tkeith

Just for clarification, is there a download with this or is it online only?

Finally a moment to listen at work. Not much that I recognized, certainly a lot new to me. Track 01 - Sounds like a needle drop (sorry if that's obvious, I'm on the laptop). Odd. Alto doesn't sound as old as the rest (and I mean that in a less flattering way). His/her attack is rather sloppy and the rhythm is sort of... off; sort of like Rudresh Mahanthappa. I like her voice, but don't place it. The band is very nondescript. Track 02 - Wait for this great take: Needle drop! Wow! That'll be Charles Mingus' Better Git It In Your Soul, but it's also been called Better Get Hit in Your Soul and Slop. Probably a few others. That sounds like Handy on alto to me. Jimmy Knepper on trombone. I'm sure I've got this, but I'd have to mine which recording. Can't tell for sure if it's Horace Parlan or Mal Waldorn on piano, but leaning Horace. Booker Ervin on tenor is unmistakable. Is this an alternate of the Ah-uh session? Track 03 - No clue. Not my thing. Track 04 - Some kind of JB remix. It's interesting, but I'm not feeling the necessity of it. Track 05 - This actually passed by as I was working without my being aware of it. Could be earlier Sun Ra, but really doesn't grab me. Track 06 - I have no idea what this is, but it reminds me of the string interludes on James Taylor's first album on Apple Records. I hope that's not a slap, as it's not intended to be. Track 07 - No clues. Not resonating. I have a bunch of stuff like this shared with me by a former collaborator... it's just not my bag. Track 08 - NEEDLE DROP!!! HUH! No idea, but the first voice sounded like LBJ to me. Track 09 - Soundtrackish (seems to be the case with most of this BFT). In that context it could be very interesting, but it's not for casual listening. No idea. Track 10 - Sounds like track 3. No idea. Lost on me. It's interesting as it goes on, but still lost on me. Track 11 - The rest of the original take of track 2? Seems to me I remember reading that Charles had done a lot post production on what was ultimately released, but I believe Mosaic released the original material; could that be this? Definitely Booker, Jimmy K... could be Curtis Porter on alto, but the earlier take struck me more as Handy. Definitely Dannie Richmond on drums. I'd say this is earlier than Ah-um, but certainly influential towards it. Track 12 - "F*ck it, Dude... let's go bowlin'." No idea what it is, but sounds like it's being played in a bowling alley. I may have to revisit this one when I can lay dedicated ears upon it.

Here is the link to Jim's test: http://thomkeith.net/index.php?cID=136

Listening mostly at work, all on the laptop (making my excuses, already!) 1 - Not at all versed in the genre beyond Albert Ammons. Always fun, to my ears. No idea who or what this is, but it's very much done right. 2 - Wheeeew! Burnin'! Lyrical, to the point organ solo. Percussive, rhythmic tenor with a set-and-a-half of BAWLS! A real gun-slinger. I'm guessing one of the blues guys I'm not familiar with. Something really hinting at who it is for me. Seems like a heavy Jaws influence, but seems like it's more likely a contemporary. Man, those press rolls are pretty strong, almost Blakey-esque, but the rest of the feel seems all wrong. Could certainly be him, though. En fuego! 3 - First impressions are that it's George Benson's voice, but I can't place the setting. Hints of Gene McDaniels, but I don't know of him doing anything like this. No idea who the tenor is. Maybe just a shade off of what he's trying to do. Alto is more on target. No guess on either. Yeah, that's not Gene. I'll stick with GB. Reminds me a lot of the vocal Freddie The Freeloader with Jon Hendricks. 4 - Gah! That electric bass. Just don't like that sound. I know it's NOT Wilson Picket. Really like this take on the tune, though. No idea who it is. Oh man! LOVE the transition. Great renditions of both tunes. Dig. 5 - Good ol' jammin' guitar. No idea who, but s/he likes Santana. 6 - Sure sounds like Louis Jordan to me. Not sure what it's from. I have it on a compilation that was given to me. Louis doesn't get nearly enough love for what he did. 7 - Sounds like someone trying to sound like Billie, but could be Billie. Can't hear the tenor well enough on the laptop to make a guess. 8 - Bullish tenor of the period. Doesn't particularly stand out, but neither does it disappoint. 9 - Standard for the genre, no idea who it is. 10 - No guesses. Not sure where I am on this one. 11 - The Old Man From The Old Country. Sure sounds like Gene McDaniels. 12 - I want to like this more than I do. It's not swinging as much as it wants to. Reminds me of a Red Prysock recording my wife has. The people who NAILED this stuff sort of ruined the stuff that is good but just a notch below for me. No guesses. 13 - Egad... that BLI! (bass-like instrument) This one doesn't hit for me. Has a bit of that Concord sound, but not nearly as clean. 14 - My Foolish Heart in an odd, du-wop style. Not sure who. 15 - No guesses. Fits with the them of the test. 16 - Man! Based on this woman's voice, I do NOT want to cross her. Wow! This woman is MEAN! 17 - Unique arrangement. Not sure who it is, but I REALLY like this cat's voice. 18 - Don't recognize this at all. I find that organ a bit overpowering. 19 - Very cool. Well done across the board. No guesses. 20 - Very 70s. Dig it in a weird sort of a way. First tenor sounds like George Adams to me. Yeah, that's him, before he was really him. I like it. 21 - Hmmm. I want to say Gator, but there is something a bit funny about the time. It's a bad man, but the approach is almost like Jimmy Heath in that he's a little ahead of the beat. I'll stick with Gator, because if it's not him, it's pretty close. There Will Never Be Another You, Gator. 22 - This has the flavor of Abdullah Ibrahim, but I don't recognize it. Could also be Randy Weston, but seems a little flashier than his style. 23 - Guessing this is from the early/mid-forties given the heavy military influence to some of the quotes by the piano during the intro. And that is one bold, swingin' tenor! Possibly Mr. Byas? Followed by a pretty filthy alto, as well. Probably way off, but pianist is pinging an Ellingtonian note for me, though the band seems more like the Basie band. Some fun ear candy in this one. Thanks! Unfortunately, no. Gene passed a few years back. He'd lived locally for a number of years and I'd see him out about (particularly if there was good music in town). Having asked him about other recordings, his memory for such things was not always good, so that may not have helped. I never realized how much work he had done with so many people that we had no idea about. Class guy and very much missed.

I was wondering if it was somebody like Carlos Garnett or Azar Lawrence because of that.

Finally remembered that this was waiting for me (amazing how when all you have to do is kill time how little you can accomplish!). Did okay on this one, but have some burning questions. I thought I was in for a long test with the first cut, but overall, I really enjoyed the vast majority of this music and I'm looking forward to the reveal. Track 1 - no clue. Not feeling it. Probably due to my clarinet issues, but something about the approach here just doesn't... swing, I guess. It's not striking the chord it should be. Track 2 - I like this. Understated. It's not grabbing me by the lapels, but it's very pleasant and interesting. Track 3 - Straight ahead, good for whatever ails you. Shades of Oscar Peterson and Lennie, which is weird, but it works. Drum solo didn't turn me on, but this pianist is killing it. My guess is a younger player with some really good listening in his/her past. Track 4 - Ah! B3 from here. Personnel is here. Early Muhal! Very nice! Track 5 - Old fashioned case of the blues. Not sure what it is, but that's Charlie Mariano. And Victor Feldman. Why do I not have this? Drums are kind of... not stiff... but kind of stiff. Kind of like Shelley Manne. Is that really two horns or overdubbed? Sounds too old to play those games. No idea who the mystery man, but sounds like a redux of Charlie on two listens. Track 6 - This is killin'. Recording sounds older. Tenor sounds kind of like Garzone at his very best, but more in-the-moment. Has that sort of post-Coltrane sound, but it's still personal. I could listen to a LOT of this. Almost like one of the disciples of Shorter except that s/he got it RIGHT! Touches of Charles Lloyd, but with more balls. Track 7 - Sounds like Bud Powell... almost. I'm starting to sense a possible European theme, here. Some ringers who are close, but not quite who they seem to be. I like this, but the drums are just... well... speaking of themes... stiff. Track 8 - Definitely modern. Has that "remix" beat, but with a Return to Forever feel. No idea. I like it, but not sure it leaves a lasting impression. Bet I'd enjoy the hell out of this live, though. Track 9 - Tasteful use of the unemployment stick. Is that You Don't Know What Love Is? Interesting take. I like it more and more when I hear a completely different take on the "chestnuts". No guesses. Not a lot unique about the soprano, other than the non-screeching approach (which is more than worth it!). Track 10 - I'm liking it, but then it keeps losing me. Sounds a bit like Calvin Hill in that regard. Such a great instrument, but not sure how I feel about the sound of this one. Has that chop/funk attack that Calvin Hill does so well, but doesn't seem to have the same warmth of tone as he does. Thought of Arthur Blythe immediately when the horns came in. Not sure what all is going on there... wait... I have this! Egad! Didn't recognize it until the static (I will never understand why they did that). It's track 4 from this. Anyone remember when the Rolling Stones did something similar to a Duke Ellington track on... Tattoo You? Track 11 - First instincts were way off -- I was thinking Lee Konitz off the bat. It's Kansas City Line from this. JH could hammer those classic lines as well as anybody but never got any credit for it. Track 12 - Uhm... wow. Need to find my sister's flourescent leg warmers. I hope this is somebody well known making a bad choice. I'm hearing it as an Emanuelle soundtrack. I guess it's kinky, then, that I'm secretly enjoying it... but against every fiber of my being. Track 13 - Can't name the tune, but it's a Lennie Niehaus composition, of that I'm sure. That's definitely Bill Perkins. I wish I'd done this BFT with my Dad -- he'd know all these guys. There's Lennie, so that's a good sign. I like this drummer better than some of the early ones on this test. It's the same style, but he seems a smidge looser. Track 14 - Not sure where I am on this. I like it, but I can't quite buy in. But, with those block chords, now I'm all aboard. Then he's back up in tinkle land. I don't know... it's just weird enough that I'm in, but only for a song. Does that make sense? No idea. Digging hell out of the bass, though. Track 15 - Needle drop. I'm all over this. Somebody likes their Trane, a LOT! (WHO DON'T!?!) Has that pinched sound and aggressiveness of Liebman in the 70s. Somehow, I'm not offended by the gratuitous Trane quotes (perhaps because s/he is doing them the right way -- with FEELING!). Insert 70s Berklee guy here... could even be early Bergonzi. I like this, though, even if it doesn't exist without St. John. Thanks for the listen!

Quite a bit of my listening time these days comes during my commute. What I’ll do is make notes when something really strikes me and add it to a list of songs for the next BFT. I’ve taken to loading my iPod with tunes by clicking play on a song set to shuffle, then forwarding. This gives me an eclectic mix of my collection and forces me to listen to some of the stuff hidden in the corners. 01 - Dick Cheney The Soggy Po’ Boys (2013) Seedy Business Mike Effenberger - piano, Stu Dias - vocals, Jim Rudolf - drums, Nick Mainella - clarinet, Zach Lange - trumpet, Colin Mainella - trumpet (solo), Eric Klaxton - tenor saxophone, Claude Fried - sousaphone, Matt Young - clarinet (solo) This is a local band of young-ish (mid-30s and lower) guys who play ALL sorts of music. This is one of their projects. They’re a lot of fun to see live and I just love this tune. 02 - Into A Fantasy Cecil McBee (1982) Flying Out John Blake - violin; David Eyges - cello; Cecil McBee - bass McBee is my all-time favorite bassist and something about this track really struck me. It’s not “Jazz” but it certainly is creative, interesting and thoughtful music. 03 - Arise Automaton Chris Klaxton (2015) Collage Chris Klaxton - trumpet, Taylor O’Donnell - voice, Mark Small - tenor sax, Kendall Moore - trombone, Tim Jago - guitar, Mike Effenberger - rhodes, Michael Piolet - drums, Sam Weber - bass Chris is really the backbone of the local music scene in the New Hampshire seacoast right now. He’s creative, interesting, talented and a super good guy. We did a session this spring and he handed me this, a copy of his latest effort. I really like what this band is doing. 04 - You’re Looking At Me Bill Saxton (1991) Live At The Henkelmann Jazz Club, Vol. 1 Bill Saxton - tenor sax, Christof Sänger - piano, Christian v. Kaphengst - bass, Heinrich Köbberling - drums Bill Saxton is one of those guys I like, but see in the second or third tier. It seems like I enjoy him because I identify with his struggles as a player. However, I just think this is a beautiful ballad. 05 - Nommo Max Roach (1966) Drums Unlimited James Spaulding - alto sax, Freddie Hubbard - trumpet, Ronnie Mathews - piano, Jymmie Merritt - bass, Max Roach - drums This one probably wasn’t going to fool anybody, but it is SUCH a bitch of a tune! Had to include it. 06 - Sister Caroline Nat Adderley (1958) Branchin’ Out Nat Adderley - cornet, Johnny Griffin - tenor sax, Gene Harris - piano, Andy Simpkins - bass, Bill Dowdy - drums J-Griff fools nobody. This came on the rotation and I just had to include a cut. No surprises this would be good when you look at the personnel. 07 - Ballad For Old Souls Muhal Richard Abrams (1972) Things To Come From Those Now Gone Muhal Richard Abrams - piano, Rufus Reid - bass, Emmanuel Cranshaw - vibes Another one that just caught my ear in the car. Beautiful song. 08 - Rain Is Coming Hamid Drake/Albert Beger/William Parker (2005) Evolving Silence Vol. 1 William Parker - bass, Africa hunter’s harp; Hamid Drake - drums, percussion, Albert Beger - tenor saxophone I love William Parker and Hamid Drake. I discovered these collaborations while trying to fill in some gaps in my collection. The world needs more of this music. 09 - In A Sentimental Mood Elvin Jones Jazz Machine (1980) Soul Train Ari Brown - tenor saxophone, Marvin Horn - guitar, Andy McCloud - bass, Elvin Jones - drums Andrew White also appears on this record, meaning there is a LOT of tenor. This was posted on FB and blew my away. I love Ari Brown and really don’t understand why he gets no love from the Jazz community. Though, that seems to be something afflicting the Chicago community in general. 10 - Three Gymnopedies, No. 1 Mal Waldron (1984) Plays Eric Satie Mal Waldron - piano, Reggie Workman - bass, Ed Blackwell - drums Come on. Someone once commented (perhaps here), “I’d listen to Mal Waldron set his drink on the table.” A former student hipped me to this album and boy am I glad he did. 11 - Round Midnight Max Roach (1981) Chattahoochee Red Cecil Bridgewater - trumpet, Odean Pope - tenor sax, Calvin Hill - bass, Max Roach - drums This is the second time I’ve gone to this well for a blindfold test. I love this record and can’t understand why it’s never found its way to CD (what gives, Columbia?). In my opinion, it is the best of the albums produced by this band. Hopefully this provided a balance of identifiable and challenging. Thanks to all who participated.

Doc says prognosis is good. Back feels like somebody kicked me right in the base, as it will for awhile. I plan to follow all doctors orders, which will include re-learning to play seated (I'm on an 8-lbs. weight limit for at least two weeks with a gig in 10 days) with the horns in a stand. We shall see.

I am still alive.

Getting late in the month, just wanted to drop a quick reminder in here. FYI, I'll be radio silence for a couple of days (surgery), but anticipate being back online Friday or Saturday at the latest.

In. DL preferred.

I saw T.S. Monk do a similar arrangement, same tune. I always thought 'Round Midnight sounded like a Messengers' tune uptempo. It worked that night and it works here. Not Ricky, but a quality guess. Man! You have great ears! 'Tis William on bass. If you ever want to part with any of those WP records, please consider me. I have a few (very few) gaps in my WP collection.

Cheater! Cheater! So, I cheated, too. I actually grabbed the audio from this file. This guys live one town over and I had the pleasure of doing a session with the singer in that studio back in April (which reminds me -- I have to check on the status of that). One of the most enjoyable groups I've ever seen live. They really enjoy what they do and they really GET it. Your ears serve you well on #3, though I would put them on a higher level than re-enactors. While certainly influenced by music of the period, these guys really are making their own, unique path.

Not a bad offer, but not accepted.

Push that bar! I'm a flat-out sucker for it. True, but perhaps not by as much as you think. Later. I get precisely what you're saying, but this album has grown on me with each subsequent listening. Not Pharoah. Album correct. Wrong tenor, but you named the correct one. This one blew my mind. I believe it was Tim Price who posted a clip of this on Facebook and it absolutely knocked my socks of because I love Ari Brown. I was not aware he had recorded with Elvin until I heard this. Ordinarily, I prefer this tune as a straight ballad, but when you do it this way, what's not to love? The rest of the album is quite to this level (and Marvin Horn brings *nothing* to this cut, IMHO), but still very much worth a spot in the collection. I purchased it digitally. The variation has been established above, but given the who, I respond, it most definitely is Jazz. A great question, but the answer may define re-examining what we define as Jazz, or at least our view of it. Correct, Sir! Negative on both counts. Ah yes, my hilarious commentary. It IS a Zimmerman song. The band, while not comprised of NOLA musicians, was in fact created in NOLA. Correct identification of Gene. Track ID'd above. Glad I got *something* in there to make your ears smile. Just want to take a moment to state, again, for the record how much I hate the automatic merge-posts feature. Definitely not an ivy league crew. Not Mark Feldman. Interesting guess. I hadn't considered Urbaniak, but I like the comparison. Very accurate. Me too! Or, you know, not. Right? Id'd above. Correct! Id'd above, but you're spot on with all comments! Id'd above. As stated, not my favorite arrangement by the band nor of the song, but it's so different, it really grabs you.

Morgan, no. Spaulding, yes. J-Griff fools no one. Not Junior. Correct, sir! DING! DING! Ding! Ding! Pretty fun, musically, too. Not a bad guess, but not a correct one. Good ears. It *is* a commercial release, but not a top shelf one by any means. High praise, right there. Negative. This one should be fun. Track, yes. Comments on tenor are spot on, but not one of the tribe you mention. Ding! Ding! What a fantastic record by a fantastic artist (in the true sense of the word). Ding! Ding! I agree with your assessment, but such a unique version of the tune. Thanks, Spoon. Not a bad guess, but not correct. I give these guys one notch above "mock", but follow the assessment. Negative, but I like the path your ears are on. Another strong path, but not TR nor HT. This is one of the tough ones in this BFT. I'd rank Eric well above this player on a technical scale, but again, I like the path your ears are on. Perhaps, but not this time. Nope. His influence is certainly there, but not Newk. I believe Chris would thank you for that comment. When this was ID'd it must have given you fits.

Wow. Disappointed I missed Ra. Can't believe we BOTH missed Dex!

Hope I'm not stepping on toes but I want to make sure this gets up for the first of July. Family on the way in and may not be able to get on line. Discuss it here, download it here or find the link to the online test here. One stop shopping. Should be a couple of gimmes in here, but there should be some near impossible ones, too. Something for whatever ails you! http://thomkeith.net/index.php?cID=136

Typing on at belt and doing this w/Dad. Comments may be terse because of typing. Track 01 - go-go dancing. Not feeling this. Wish it was Gary Bartz, but it's not. Track 02 - better. Sounds like Ibrahim to me, so I love it. I'm going Horace Alexander Young on alto. I could listen to this all day. Track 03 - uh, no idea. I'll pass. Track 04 - I'm in on this one. Not sure who it is. Track 05 - no idea, not sure where I'm at on this. Track 06 - that's Dirty Dozen Brass Band. Track 07 - no idea, but I have my ace in the hole (taking this with my Dad). Sounds tributey to me, not OF the period. Track 08 - Art Farmer. ditty. The Summer Knows. Smiling Billy on drums. Track 09 - not sure. Like it but that's a doubler on flute. Track 10 - a very good year. Dad guesses Big John Patton. I can't argue. Track 11 - this is cool. Burly tenor -- Nice. Ike. Dad got him first. Dad guesses Grant Green, but I'm skeptical. Track 12 - we have a guess of Pettiford on cello. Julius Watkins on French horn. Okay, Dad says Phil Urso on tenor. Now he is backtracking on Pettiford. Track 13 - Lucky! "Dancing Sun Beam album... Jimmy Cleveland, I think... Pettiford [matter of factly]". Those are Dad's thoughts. I'd have gotten Lucky, but not that quickly. Hank Jones. Track 14 - seven come eleven. The unemployment stick. Bob Wilbur is Dad's guess. Different soprano comes in. Dad's guess is Kenny DeBurn and he thinks this is Bob's soprano summit group. What the hell is the keyboard doing there? Track 15 - sounds like Scofield to me. Almost sounds like Eddie Harris. Yes, it is. No idea what this is.

Taking no chance on missing May! Listening immediately and commenting immediately! Track 1 - Nice sound in the recording (I know it’s not a sound everyone likes, but it’s very clean and I like it). Yeah, I’m into this. Even though it’s newish, it has something behind it that really appeals to me. Even though it’s new-agey, it works for me. That bass is really speaking to me with its sparseness. I like this a lot. My mind wandered a bit into it. I’d say it goes perhaps two minutes longer than necessary, but I still like it. No idea. First time I heard Avashi Cohen, this was how he struck me. He lost ground rapidly thereafter. Track 2 - At first had the feel of a late Blue Note date. That tenor is tripping over itself, though, and that’s just not a BN characteristic. I’m thinking DeJohnette on drums. Tenor just isn’t quite making it. I was thinking Joe Farrell at first, but I’ve never heard him off the mark this much. I can’t put my finger on it, but the player just doesn’t seem to be quite up to what s/he is trying to pull off. Second guessing my JD guess. Sort of sounds like a mix between Tony Williams and Jack. I like what the drums/bass are doing. Keys are awkward. Sort of like Steve Kuhn, but nowhere near as busy. This is a weird date. I want to like it, but I can’t quite get there. Track 3 - Sounds like early Cecil. That would be the easy guess, but really strikes me as Andrew Cyrille’s drumming. That’s definitely Steve Lacy on soprano. Hmmm… could also be Denis Charles, would suggest one of the dates with Buell Neidlinger. Keeper. Track 4 - What’s not to love about this? I don’t have this, but will once it is ID’d. Someone posted something by a vibes-fronted band on a BFT awhile back and I would have sworn it was Dickerson, but it was not. I know this is not Walt, but wonder if it is that album. Either way, this one needs to be in my collection. Track 5 - MUCH love. Is that early Archie? Gotta be! DIG! Gotta search the collection because if I’m right, it’s GOT to be in there. Track 6 - Oh yeah! One of my early album purchases! It’s this. I had trouble accepting this tune because Coltrane’s version was my introduction. The rest of the album, however, blew me away. When I got a little older, I came to realize judging anything in Coltrane’s shadow is a foolish pursuit. Side note: I bought this from my Dad (nothing was “given”). He’s a bit of a space shot and had ordered plain white record jackets for all his albums and either cut the photos out of jackets or just stuffed the jackets in the basement (it was bizarre). I never saw the cover for this until searching the web for album artwork while working on my iTunes collection. My cover had Benton’s name and the personnel in black Marks-a-lot marker over the front (my Dad only did this when he was selling an album). I’ve never been able to fully understand his mindset in doing this. At the time, he was rebelling against bad cover art and liner notes. Hey man, I can’t explain it. Track 7 - Pleasant, but no guesses. Track 8 - Strikes me as a second tier player (think Buck Hill). I like this a lot, but there is a certain gap in technical facility that seems to hold it back a bit. I could hear somebody like Harold Land really making this sing. Love when the trumpet comes in. General feel is very nice. I’d spin this a few times. Bitch of a tune! Track 9 - Not a lot striking me here. Could be Karen Krog, but I don’t think so. Seems like she’d be hipper about it. Track 10 - Early on I was thinking Yusef on flute, but now I’m not sure. I like this a lot. Track 11 - Sounds like Garbarek to me. Nay… that’s John Surman. I don’t recognize this. A bit towards the classical side (in that 70s-ish way) as some of John’s stuff tends to be. I like it, though. Nice split line with the bass. That works well. Reminds me a bit of the Weather Report stuff when Miroslav Vitous was with them. Creative. Is that percussive sound Surman’s horn overdubbed? Found a lot of happiness in this set.

Apologies for getting to this so late — almost missed my second consecutive one. (Oddly, I listened to BOTH more than once, something I don’t usually get to do.) A home studio project is sucking a lot of my time. At any rate, here goes: Track 1 - My first thought was Batman, but that’s not correct. Given who is behind this, I have to guess this is a Gene Harris project. Big-boned tenor beast. Like a less-agile J-Griff. Hmmm… that piano does NOT strike me as Gene. Man… “why you do this to me, Dimi?” Track 2 - Bags Groove, I’m guessing the drummer’s record because that high hat seems to be right in the center of my forehead. Shades of Kenny Dorham in the trumpet sound, but not him. Same mild attack, though. Has the feel of a mid-70s Pablo date. Great chops on the trumpeter, but he’s not even working up a sweat. Great control, spot-on rhythm… why can’t I peg this guy? Second trumpeter has a fatter sound, reminds me of Don Sleet. Doesn’t quite have the rhythmic facility of the first guy, but is playing with a bit more… struggle? I mean, he’s working it harder, but maybe doesn’t have quite the chops of the first guy. Drummer is bringing nothing to drive these guys. Like a busy Shelley Manne. A THIRD guy? If this guy were playing an octave higher, I’d guess Dizzy. I like the way the pianist is working in-and-out of the changes — almost like a sane Tristano. In fours section it’s the second guy speaking to me the most. Overall, I think I prefer them 1, 2, 3, though. No ideas. Track 3 - The Hucklebuck! (He kidded) A few years back, I went to see some local guys play — all phenomenal players. The conversation went like this: Trumpet: “Wanna play a blues?” Sax: “Sure.” Trumpet: “Take The Coltrane?” Sax “I don’t know it.” Trumpet: “It’s just a Blues in C.” WRONG! That’s what steals the feel of this music. Play the SONG, not a ‘Blues in C’. This strikes me as guys doing the latter. It’s technically correct, but I’m getting any feel of interest from it. Could be Red Holloway on tenor. Good time, good ideas (though not a helluva lot to do with Now’s The Time to my ear). No idea on the trumpet. Again, drums just seem to be coasting along, not really driving anything. All three solos are good blues solos, but don’t really fit the tune, to me. Guitarist is pretty filthy; could be Barney Kessell. Huh… I’m going to say the pianist is NOT Gene Harris, but he’d like to be. Now the ALTO is playing the SONG! Drummer is beating the hell out of the drums but not really inspiring… Buddy Rich? (kidding, but I don’t care for him) I should be able to get the alto, because he’s killing it, but I can’t peg him. Okay, he just got a little crazy up high, but still, he’s on it. Could it be the tenor player double-dipping? If so, that would support my Red Holloway guess. Track 4 - That would be Mr. Blakey. Hmmm… or would it? Sounds like Ralph Bowen on tenor which would lead me to believe this is Ralph Peterson doing is uncanny take on Blakey. Is this Out of the Blue? I had all there stuff way back, but was most familiar with the Mt. Fuji record. Nice facility on the trumpet… could be Mossman. Huh… wait… missing 3rd horn (KG). Man, I would have sworn that was Harry Pickens on piano, too — always sounds like he’s playing Parisian Thoroughfare when he solos (not a bad thing). Man… is this some obscure Gene Harris thing you’re tricking me with? Also, needle drop? Track 5 - Where or When? Now. Always hear this as a Dexter-ish swinger in my head. I’m thinking Lucky Thompson, but oddly, I’m not familiar with the version, and I have a LOT of Lucky. I’m sticking with that guess, though, because the combination of that bold, smokey sound with that Golson-esque facility just doesn’t lead me to anybody else. Gotta be Lucky. OH! Wait… early one — Accent on Tenor. Billy Taylor on piano, I think. Track 6 - Certainly has that Concord big band feel. Sounds like Grady Tate to me on drums. Track 7 - Okay… I’ve got to be right ONE time. Gene Harris on piano! (And it really DOES sound like him.) Track 8 - Loving all of this. Reminds me a great deal of a Randy Weston tune, but not him. Has that feel, though, with that driving bass. Man, I’ll take double helpings of that. Track 9 - Sad Padre. Another with that Concord sound. A Hawk influence on the first tenor, but seems to come out of that blues background. I like him, but it’s not a guy I’m familiar with. A beast, though. Hast that ‘electric’ articulation like James Carter uses. I dig it. Seems to be flirting with the Webster side of this equation, but a bit out of context (meaning a bit forced). Sounds to cool a sound to be Scott Hamilton, but I’m guessing it’s in that neighborhood. The Hawkish guy seems almost like Gator with a touch of Harold Ashby added, though I believe him to be neither. I’ll be interested to find out the ID on this one. Track 10 - Love it. Huh… Big, beastly sound. I’m thinking Plas Johnson, though the sound doesn’t seem quite so dark. Could be Sweets on an adventurous day. Me likey. Thanks again for reminding me just how little of this music I've actually heard.

Bill, sorry! I thought I had posted my thoughts and guesses. Turns out I never even wrote them down. I did listen 3 times when I had the rental car (I typically listen only once). Sorry 'bout that.

The single CD idea also appeals to me, particularly where we are having issues getting people to present. That just means you already have another test ready to go. Limiting to once every 12 months was also a good idea, if we can keep that going. If not, well, that'd be the first thing I'd wave. As for why, it's preference more than anything. Keeps the test focused and interesting and increases the likelihood of participation. Some people are definitely intimidated by a longer test.

Definitely keep it. danasgoodstuff, I know I'd be happy to participate even if someone did an "EP" length disc (just a few tunes). It really is up to the presenter. While I understand and agree about longer tests, ultimately, everybody participates to their ability (including schedules). If you can only make time for a few tunes, nobody would fault that and I'm sure test-makers would be happy to have the involvement.

Absolutely. No problem. Ultimately, I see both sides of the issue. For me, it's easy: I have a day job. That's why I always tell them. If anybody ever requested that I NOT include them, I would oblige that. Mind you, that's only the folks I know. If I were ever contacted by someone in the test who I didn't know, I would also oblige. I don't want to make it seem like I'm hanging with the folks in the test, but I DO try to include some of the folks I know to get out the message.