tkeith

Sorry guys. Been only semi-online (in terms of my routine). It was a clerical glitch that shut my domain down. Should be up and running now. (And now, I will receive my slew of backlogged e-mails). Haven't listened, yet, so I haven't been checking this thread. We should be back up and running. Thanks for the heads up, Bill. Oh, and Dan, I'm recovering with minor setbacks (swelling, fair amount of pain). Getting old royally sucks.

Thanks, Bill - I was just on my way in here to do this.

I knew the record, but in my mind, I was thinking it was Moondoc. My apologies to Charles Tyler (who also occupies a fair amount of shelf space in my collection). This tune is a bitch. Reminds me a lot of Billy Bang's Saigon Phunk, except THAT is Frank Lowe at his [in my opinion] expressive best.

I dare say I did better as this went on. Track 1 - I like the islandy feel of this. Arranger is not revealing himself to me. It’s not anybody I would be expecting it to be, but the overall feel suggests to me that it’s somebody I’m probably familiar with in another setting and that this is an anomaly among their output. I really want a solo here, but this would be great to have on in the background at a party. Terrific arrangement. I also enjoy that the musicians seem to be enjoying themselves, though when the pianist takes the soli s/he reveals themselves to be less accomplished as a soloist. Band is tight, though. I’m sure I’m insane, but I swear I hear Norris Turney’s lead in there. Track 2 - That vamp had me wanting to here, “It’s quarter to three…” Still has that melancholy feel. Nice. That tenor is very recognizable to me. A touch of J.R.? Not him. Don’t recognize the trumpet, great facility, though. Aw, man! No tenor? Track 3 - I like the reggae/tuba mix. Horns are sloppy-ish (in a good way). I know when you first played this for me my guess was Ahmed Abdullah. I’m still leaning there, even though I know that’s not the case. Those hyper-compressed drums have not grown on me. The melody doesn’t excite me, but the feel is grooving. My initial thought was Moondoc, but that’s most certainly not him on alto; someone much more inside. Oh-for-three, damnit! Track 4 - Killn’ bari tone. Terrific ballad. Want to say I know the song, but I think I’m lying. Piano solo wanders a bit, but overall is solid. This dude is a BEAST! I dug deep on this, I don’t have it, and that irritates me. I feel like I know this guy, but I dare not guess. Track 5 - Tasty… right up to the entrance of the guitar. Awful lot of chorus/reverb on that guitar. Love the feel of the rhythm section, though. Guitarist seems to be leaning on more of a “blues” feel. I know you’ve been on an Ed Cherry kick, but I’m not familiar with him. The niceness has worn off and my focus is wondering. It went right past my head. Track 6 - Don’t know what the record is, but that sure sounds like Lucky to me. You’ll hate me for this, but the first verse brought me directly to the scene in Cool Hand Luke with Harry Dean Stanton playing and singing on the steps to the barracks as Luke is “get[ting his] dirt out of Boss Kean’s ditch.” Fun song and I feel like I may have finally semi-gotten one. A little sleuthing tells me it’s from this. Track 7 - Transition to the solos the drums have that Roy Haynes snap, but that’s not who/what it is. Trumpet player loves Miles. Tenor sounds like Rouse at times and like Kamuca at other times. Another terrific arrangement. Track 8 - There’s Moondoc! “I is a artist!” It’s track 8 from this. Track 9 - Bass and bass — what more could you ask for? Closing track from this stellar LP. Track 10 - [In Bob’s laugh] AHAHAHAHAHA!!!! Track 11 - Bass flute! That sure narrows down the options. It’s not Richard Gardzina, so the obvious guess is gone. Nice ballad, no clue who. Track 12 - Nice, laid back feel for rhythm section. Tenor is a bit raw, but still inside. Not sure how I feel about him. In fact, I find it odd that you like him, as he’s more down my alley, but he’s slightly missing for me. Teases with being Tyrone, but not him. Track 13 - Ah, nice. I actually included this on one of mine awhile back. Rufus! My man! I have this on one of those boxes. Private Collection: 1968, I believe. Well played, fam.

Well, since Felser has posted his reveal, I'll start up the discussion for my Dad's bft. I need to get to his house to make sure he's setup to access the discussion (my guess is that he is, but I want to make sure he's comfortable with accessing the discussion). Meanwhile, you can access the test here: http://thomkeith.net/index.php/blindfold-tests/ Just know he won't be providing feedback for a few days until I get up to his house to make sure he's able to get in.

Egad... been in a listening rut... I actually own TWO of these that I did not ID. Sad, OJ... sad.

Lucky snow day! I get to do a BFT! Track 01 - Hmmm... no idea what this is. I go through periods where I listen to stuff like this (I'm in one right now), but I'm kind of particular about it. Not sure how this one strikes me. Track 02 - Rhodes -- I'm in. A bit freaky on the headphones, but I'm diggin' it. I kind of feel like this is what Kamisi Washington *wants* to sound like. This is a great feel and driven by the period (I'm assuming early/mid-70s). It's neither Gene McDaniels nor Bill Withers, but in the vein of both. I'm all in on this one. Track 03 - My first thought was Michael White, but no. Then I was leaning Billy Bang, but the sideman aren't there. Seems too pure to be Urbaniak. I'm now thoroughly confused. That electric bass is awful but I want to hear more of the violin, and the overall feel is smack on. I'm in, but I can't ID. Track 04 - This tune is reminding me of another tune, but I can't place either. Tough getting old. This is my ideal quintet setting. I'd prefer acoustic piano, but if you HAVE to go keys, it HAS to be Rhodes. Stand-up bass would make me happier, but again, this feel is killin'! Tenor player is a later guy, but with ties to the hay day. He's got those lines down, but he ties them together with meaning and he's not afraid of being non-technical. Sort of like a ballsier Eric Alexander. Rhythm is spot on or I'd go Jimmy Heath. Could almost be The Crusaders, except I think the musicianship across the board is a tick higher, and that's a statement. Man... you are going to cost me MONEY!!!! Telling my mother-in-law to make it Amazon and iTunes gift cards! Just when I think I've got most everything I want, you damned guys cost me MONEY!!!! The tenor reminds me a bit of Fathead, but I say he's newer. I need this. Track 05 - Please say that's not sopranino... I mean, I like this, but if it's that, I won't be able to deal. Nope. Just the shrillest soprano, ever. Hence the nickname "the unemployment stick". I'm all in, in spite of that. Can't remember the last BFT that hit on all cylinders for me... though, it was probably your last one! This is clearly a tenor doubler, but which one? No clue. Seems too early for this, but I'm going to guess that Oscar Brashear (already been wrong about him once on this test -- more on that later!). Where ARE all *these* trumpet players!?!?! Everybody I encounter seems to have consumed the Wynton Kool-aid. Be brassy, aggressive and proud, damnit! This is the sort of thing I would sometimes get on the radio as a kid. I was so cool I'd spend my Friday nights alone, lights out, in my room, stone sober digging this stuff with a Sprite. Those hyper-compressed drums are a bit off-putting, but otherwise, more money leaving my wallet. This has a feel very similar to some of Harold Land's 70's stuff, but these guys seem younger than that. Track 06 - I recognized this tune, instantly, as Is It Not True Simply Because You Cannot Believe It, but also realized I didn't have the version (MORE MONEY!!!!). Billy Harper was obvious, but I had to sleuth to find it, so I'm not claiming identification, here. I *did* however, immediately buy it. Billy remains "my" guy. I've heard people talk about other musicians who are always "in the moment," for me, that describes Billy to a T. Ego? Sure. Sometimes a bit difficult? If the stories are true. Complete bad ass? AbsoLUTEly! Always surprised (and a bit grumbly) when I see someone mis-ID'd as him. To me, he's just so damned unique. I don't think there is a safer bet than purchasing a Billy Harper album (perhaps excepting Jon & Billy, and Blueprints). Even the vocal album works. This was my mistaken Brashear ID (in a PM to Felser). I still do not have a better guess. I surely wish Billy would put out a book of his tunes. He had that option advertised on his site about 8 years back, and I contacted him with a list. Never heard back. Not sure what the breakdown was, but man, this stuff needs to be PLAYED! Glad recordings like this and The Cookers are actually making that happen. Track 07 - Sure sounds like William Parker, right off the bat. Nope. Too much production. Love it, though!. Man! What's not to love? You've got vibes, reverb flute, a bitching groove, tasteful drums (Marc Edwards?). Man! Felser! We gotta HANG! BITCHIN'! This is the kind of thing makes me wanna PLAY! Gotta share this with Tim Webb! Man... this gets better as it goes! Could be Khan Jamal. I could do this all day long... MORE! Track 08 - Why, hello, Billy. I was leaning Mike Westbrook's arranging, but that's out the door. It's not Gil's band. Not Tolliver. Unless it is MM, again, it's almost GOT to be Barney McAll. The feeling of seeing/hearing Billy in person the first time... can't describe it. Literally nothing else like it. Chills. Warmth. Euphoria. And that was the bleedin' sound check! (Priestess) Wait... not McAll... not enough keys. Gotta be another Mark Masters project. And, DAMN IT ALL, I don't have it. GRRR!!!! Track 09 - Ibrahim meets Santana? Sure sounds like Carlos. Literally nothing in this world makes me happier than Latin music. When anybody hears guitar like this, how do they possibly listen to the shit that's on the radio. Sad, OJ... sad. Track 10 - Tarrentino! There was a band in these parts playing this sort of stuff (not quite to this level) called The Cadillac Hitmen... they'd arrive at their gigs in this big, red Cadillac El Dorado (I believe). Then they'd blow your face off with three hours of this stuff. Oddly, it always worked. It does so again, here. Could this possibly be a Zorn project? Track 11 - Somebody newer, who owes a LOT to Woody Shaw. The tenor is definitely post-Brecker. The notes are right, but a bit too clean. Could be Bergonzi, actually. I like the trumpet, but I'm unsure how he'd hold up over numerous songs. He's "studied" his Freddie Hubbard and Woody Shaw, for sure. Drums are busy, but in a good way -- they're making this work. Not Gonz. Out of that school, though. Not particularly individual, but I'd guess Berklee or NEC. Track 12 - I'm guessing the same as #2. Still don't know. Still in. I want MORE of this. Track 13 - No idea, but haunting and powerful. It'll be alright, my brother. Man... you are spending my MONEY! Good gravy! How the hell did I miss #8! On the bright side, I can save a few bucks -- I own it!!!!

Sorry for the delay in participation. Ordinarily, I listen at work, but I can't stream there without causing major issues. Track 1 - Love the energy of this right off the bat. Seems older than this, but the trumpet reminds me of Rod McGaha. Whomever it is, they are a fan of Mr. Cherry. What I like about this is, the drums keep up their part, they don't just go crazy when others break off. Because of that, it maintains its musicality. Love that beefy tenor. mjazzg had it right... this is going to be an expensive listen. Track 2 - Really not a fan of the instrument, but this guy is for real. I'm going to throw out a hairbrained guess of Jimmy Giuffre because every time I hear something by him, I manage to be surprised. Like the left hand in that piano, as well. Drummer seems to be from a different area of the music. He's trying, but it's not quite clicking. When it's just him, it's okay, but as part of the unit, doesn't quite click. Track 3 - Rhythm-a-ning. Really difficult to hear the bass on this. Trumpet player is working. Alto player seems just a tick off of top tier in terms of his attack. That's not meant as a criticism so much as an attempt to classify the player for identification. Seems to scoop the notes a bit. S/he is working very hard, but not getting quite the same degree of success from it as the trumpet. Oh, there we ago -- about 5:05 s/he finds it. No idea who this might be, but this would be a good night to be in the audience. And, by the sounds, I would have lots of space to relax. *sigh* Drum solo has it. Track 4 - Like this a lot. Again, a tick off in terms of attack, but thoughtful, in that Frank Lowe way. Articulation is a bit thick and chunky at times, but this cat means it. Nothing here to not enjoy. I can't peg these players, though. One minute, sounds like Father Hines, the next minute, sounds like the Amazing Hasaan. This is out of left field, and really throws me for a loop, but that bassist sounds like John Lockwood. I should know this tenor. That sound is too damned familiar. Track 5 - I had a lot of hope for this early on, but it's going in a different direction than I'd hoped. Creative and original, but my mind was ready for another direction and I feel let down. Track 6 - In context (as a break in a live set) I would appreciate this a lot more. Here it just seems to be sort of out of place and part of a bigger picture. Alone it just doesn't seem to work. Track 7 - I'm a sucker for bass. Totally in on this one from the get go. This reminds me a lot of Francois Rabbath's stuff. I love it. Well now, that certainly sounds like Frank Lowe. Nope... too busy. I'm loving it, though. Yeah, I could listen to this all day. 'Bone seems more versed in the tradition than the rest of the band feels... hearing a lot of Curtis Fuller lines. I love the way the piano is used here. A distinct voice contributing to the ensemble, but not having to be a "piano". Track 8 - I like this, but it seems like I would like it's influence more. Nods to Sun Ra, Kenton, and Clarke-Boland, but doesn't hit me as strong as any of them. Interesting and obviously a top-notch band, weaving in and out of one another, but doesn't seem to quite match the creativity of those sources, somehow. Interplay between the alto and the trombone is right there, though. Can't figure out if this is avant gardists playing inside, or inside guys trying to be out, or what... but it doesn't feel quite right... making it quite probably European. <smile> Oh, listen to the size of that audience! DEFINITELY European! Track 9 - Yeah, this one is more like it. They're doing what I was looking for the last one to do. I can't put it into words, but this is where it needs to be; got the feeling the last one never quite got there. Definitely need this in my life. Track 10 - Less appeal in this one, but no less appreciation. Again, live, this would be striking. Track 11 - Yum! It's a doubler. Sax is the main instrument (seems only sax players get that fat flute sound). This reminds me a lot of Shepp's Miriamar, just has that great, organic feel to it. All in. Not sure who we are dealing with, but I'm getting an idea for a new project! Track 12 - I want to like this way more than I do. It's like if Hawk tried to play out. Or if Frank Wright tried to play in. Unfortunately it's neither of those things, so it's just missing for me. I appreciate what it's wanting to do, but the execution is just not quite there. A variety of stuff here, most of which I want to hear again, some of which I HAVE to possess. Thanks!

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.