tkeith

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.

Egad! Just realized I never posted my responses! Track 1 - Cooker right of the bat. Don't care for the sound quality of the drums, but the track is burnin'. Seems a tad towards commercial, but in a contemporary way, but works well. Busy, a lot going on, but in a complementary manner. Alright, I'm paying attention. Sometimes the different directions annoy me; this, I am loving. Got a touch of Ra to it, but it's newer than that. Not sure how I could love this any more. It taps into the feel of some of the cartoon music I grew up with (and that is a compliment). All in. No guess. This, I need. Track 2 - This was interesting, but I actually lost track of it and had switched to track 3 without knowing it. Second listen: Speaks to me much more. Captures that New Orleans funeral dirge well. Still no guess. Track 3 - I like this but can't produce any solid guesses. Bari reminds me a bit of John Surman, but I don't think that's who it is. This is interesting, albeit abstract. I like the way the abstraction keeps getting pulled back into short melodic bits (that sound a lot like Charlie Haden's band on Ballad of the Fallen). I want to listen to this on the home setup instead of on the computer -- seems like there are a lot of layers to be contended with. Track 4 - Hmmm. Sensing a bit of a them in the overall feel of much of this music, but this one isn't really resonating as strongly as the others (even track 2). No guess. Track 5 - Instant love. Great sound, interesting playing. Reminds me of something I have and I can't place it at the moment. It's a combination of an older Stanley Clark thing, I think, and a Curtis Clark record (Dreams Deferred?). It is neither of those things, but I like it in the same way. Definite keeper. The world needs more music like this. Track 6 - Loved the bass intro, but this quickly lost me. Seems to be being abstract for abstraction's sake, but I'm not really hearing the story. Track 7 - The sound of this recording is quite troubling to me. This isn't really grabbing me. It's too much of a tribute sound. No guesses. Track 8 - In the process of typing "sounds like Khan Jamal" when I realized it's from this. KJ does cerebral well. Very cool. Track 9 - Obvious guess would be Sonny Blount, but I don't believe it's him. If not, though, a nod of gratitude is owed. Filthy bone. I'm digging this in all phases. Well, about 3:45, there's Moten Swing. Wasn't sure if it was just a quote or they were really playing it. See, they're playing this but it's not "tribute" music; they're PLAYING this. Can't tell who the alto is. Seems like someone I recognize (almost said Rob Brown), but the player is clearly more contemporary and putting his/her spin on this tune (the way you're SUPPOSED to!). Tenor loves him some Johnny Griffin. Has almost an island feel to it. Very intrigued by this. Another I think I need. Track 10 - I'd call it Better Git It In Your Soul, but it's had so many titles we could get away with calling it Mingus Spiritual. Unfortunately, for me, it's missing the spirit part. Guy can play, but it's not rooted in the blues, and that's a prerequisite for Mingus. Another recording I'm not enamored of (why so echoy?). Track 11 - You're teasing me. I'm making a trip to Jamaica soon. I'm diggin' this in spite of the stiffness (that's kind of the point). About 1:20, a nice nod to Randy Weston. Not sure who this is, but it works. A lot of money will be leaving my pockets after this. Man... I either have to cut this out or get a second job!

I should note, the archived tests are still uploading. Missed the original post, but fuss is what I'm looking for -- it's beta testing. Don't worry about hurting my feelings -- I asked for feedback. (I once included some of my own music in a BFT and my father was concerned about the feedback I might receive; I told him the same thing. People who didn't like the track apologized later, but I didn't feel that was warranted. I put it out there, I'm opening it up for criticism. That feedback is how we improve, IMHO.) I make a point of telling guys when I include their stuff. They want the feedback, as well. One of the things I do when I make the tests up is convert them to a lower-fi mp3 (can only speak for myself). In addition, the download feature will be disabled. One more thought: when I did the radio show, we posted our shows online for 8 weeks. During that time, we did NOT post our playlists. Once we posted the playlist, the shows were taken down. Musicians did not complain. Ultimately, speaking as a musician, I agree that the affect will, if anything, lead to more sales.

Thanks for the feedback, guys! After much effort to simplify the method of creating the playlists, I decided this was untenable (not so much for these tests, but for all the audio player applications I had throughout my site). I wound up purchasing the updated version of the player we were using and have it up and running here. You're welcome to check and comment on this, as well. This WILL be the interface moving forward. For those who want the information, the real issue for me was the time required to create a playlist. The first page I posted required me to upload the files and create a line of code for each song. Not the end of the world, but on my site I have literally thousands of songs. For a BFT, it meant the difference between an easy upload and a 30 minute project just creating the links (add in upload time, page time, etc.). The player we were (are) using automatically parses the files using a PHP (dynamic code) page. The difference? From the time I receive your file to the time you get your links can be as little as 30 minutes soup to nuts. Also, I think moving forward I'm going to try to host links and listening on the same page. I can change the "skin" (appearance of the player) so if that doesn't work for you, let me know. I'll go with majority rules as the point is to make this as user friendly as possible.

Hello folks, This is really addressing the frequent flyers for the BFT. I'm trying out a new interface for the BFT and I'd like to get some feedback on it. It's a LOT more work, so I may still look for an easier work around, but the current BFT (#143) can be checked out here: http://thomkeith.net/index.php?cID=136 Any reaction is good information. Thanks in advance.

Just a quick note to anyone arriving later to the game: I've become very disenfranchised with web hosting service and I'm currently migrating my site to a new host. This may, unfortunately, result in some difficulty with downloads and/or listening online. I'll get it squared as soon as I am able, but a full migration really puts me at the mercy of both hosting services. Apologies in advance.

Challenging listen (in a GOOD way!). Track 1 - Cooker right of the bat. Don't care for the sound quality of the drums, but the track is burnin'. Seems a tad towards commercial, but in a contemporary way, but works well. Busy, a lot going on, but in a complementary manner. Alright, I'm paying attention. Sometimes the different directions annoy me; this, I am loving. Got a touch of Ra to it, but it's newer than that. Not sure how I could love this any more. It taps into the feel of some of the cartoon music I grew up with (and that is a compliment). All in. No guess. This, I need. Track 2 - This was interesting, but I actually lost track of it and had switched to track 3 without knowing it. Second listen: Speaks to me much more. Captures that New Orleans funeral dirge well. Still no guess. Track 3 - I like this but can't produce any solid guesses. Bari reminds me a bit of John Surman, but I don't think that's who it is. This is interesting, albeit abstract. I like the way the abstraction keeps getting pulled back into short melodic bits (that sound a lot like Charlie Haden's band on Ballad of the Fallen). I want to listen to this on the home setup instead of on the computer -- seems like there are a lot of layers to be contended with. Track 4 - Hmmm. Sensing a bit of a them in the overall feel of much of this music, but this one isn't really resonating as strongly as the others (even track 2). No guess. Track 5 - Instant love. Great sound, interesting playing. Reminds me of something I have and I can't place it at the moment. It's a combination of an older Stanley Clark thing, I think, and a Curtis Clark record (Dreams Deferred?). It is neither of those things, but I like it in the same way. Definite keeper. The world needs more music like this. Track 6 - Loved the bass intro, but this quickly lost me. Seems to be being abstract for abstraction's sake, but I'm not really hearing the story. Track 7 - The sound of this recording is quite troubling to me. This isn't really grabbing me. It's too much of a tribute sound. No guesses. Track 8 - In the process of typing "sounds like Khan Jamal" when I realized it's from this: KJ does cerebral well. Very cool. Track 9 - Obvious guess would be Sonny Blount, but I don't believe it's him. If not, though, a nod of gratitude is owed. Filthy bone. I'm digging this in all phases. Well, about 3:45, there's Moten Swing. Wasn't sure if it was just a quote or they were really playing it. See, they're playing this but it's not "tribute" music; they're PLAYING this. Can't tell who the alto is. Seems like someone I recognize (almost said Rob Brown), but the player is clearly more contemporary and putting his/her spin on this tune (the way you're SUPPOSED to!). Tenor loves him some Johnny Griffin. Has almost an island feel to it. Very intrigued by this. Another I think I need. Track 10 - I'd call it Better Git It In Your Soul, but it's had so many titles we could get away with calling it Mingus Spiritual. Unfortunately, for me, it's missing the spirit part. Guy can play, but it's not rooted in the blues, and that's a prerequisite for Mingus. Another recording I'm not enamored of (why so echoy?). Track 11 - You're teasing me. I'm making a trip to Jamaica soon. I'm diggin' this in spite of the stiffness (that's kind of the point). About 1:20, a nice nod to Randy Weston. Not sure who this is, but it works.

A few in here that I loved. I few in here that I loathed. All new to my ears which is always a good thing. Track 1 - Heavy 50s Coltrane influence. I would think this is more modern, but the sound suggests that it’s closer to that period. Sounds like one of the disciples of Garzone/Bergonzi. Track 2 - Reminscent of Woody Shaw. I’m guessing Terumasa HIno, though, because I don’t recognize this. Track 3 - My Romance (one of my all-time favorite standards). No guess. Track 4 - I like this, but can’t say what it reminds me of. A bit like Mike Westbrook, but more in-the-tradition. Track 5 - At first, I was positive that was Harold Land. Now I’m nearly as convinced that it isn’t. A bit too brutish for Land in terms of tone. Track 6 - Wednesday afternoons at my grandmother’s house as a kid… that means it strikes me as very Muzak-ish. Track 7 - This works very well for me. A very post-Coltrane feel reminiscent of some of the later David Murray projects. I’m a sucker for percussion. Didn’t care for the vocalizing. Track 8 - All in on this from the outset. No guess. Track 9 - Body and Soul. Very dark tenor. Somewhat reminiscent of Giuffre. Love this. Track 10 - Eh… not feeling this so much; too Muzak-ish again. Track 11 - This is odd. It’s catching my attention, but seems very fragmented; seems very influenced by the late-60s Miles bands. Track 12 - Very Rhodesie. Sounds like Mark Murphy, but no so much I’ll commit. I’m in, though. No guesses. Can’t remember the last time I had such a s***y run! Track 13 - I like this a lot. Reminiscent of a lot of the Kenny Wheeler stuff. Sadly, I’m struggling to hear this because some knucklehead is testing the PA in the next room. Seems modern, but very personal. Great. Now they’re testing the guitar; guess I’ll finish listening later. At 3:45, that has GOT to be Kenny! Track 14 - Silly but fun. Late Wes? No clue. I'm unable to recreate that.

I concur! I'm finding that very description leads me to think of her, now. She always seems to surprise me; very underrated player. I meant to say "isn't" as tight as Wilton. I'm curious about this one, now.

Track 1 - So quiet at first, I thought there was a problem. Aw yeah, baby. Hannibal and his sister from this. Why this guy is not heralded as a legend is so far beyond me. They were in Boston when I was a kid the week AFTER I saw Clifford Jordan. Money was tight, so my father would take me to a couple of shows a year, himself to maybe two or three more than that. This one was not in the cards. Opportunity lost, for sure. I just love what Diedre Murray brings to the sound of this band. Track 2 - Two for two, baby! Another unsung hero (is this the theme!?!?). Michael Session from this. Adele Sebastian wrote the lyrics, which are a tad clunky, but it still works. Session just *gets* it. I'm probably the only living person who thinks of this song every time I see Family Guy. Track 3 - Hmmm... definitely more LA guys. I was thinking Billie Harris at first, but now I don't think so. This is just a tick off from the first two, but I still like it. The overall feel of the band is very good. The solos are a bit off the mark, but as a unit, this works very well. I'm intrigued. Track 4 - That's Harold Land, for sure. To tell the truth, I couldn't peg the album right away. I was thinking Oscar Brashear at first, but once the trumpet solo got going, I knew it wasn't him, and then I remembered the album. A quick check verified that it's a Kirk Lightsey tune from this. Track 5 - I'll remember April. At first, I found the singer off-putting in her liberties with the melody, but it grew on me. She has a very nice voice (a little too diva-ish in the approach, though). Pianist needs to calm down. ;) Not sure what it is but I'm on the fence about it. Track 6 - NICE! I was going to include this on my last BFT, but I couldn't find it! My guy, Billy Harper, in a very early appearance with Art Blakey and the Jazz Messengers doing THE rendition of Angel Eyes (for my money). There is a LOT to like about this record. Slide Hampton's 2-chord molly with a ferocious, if a bit raw, solo from Mr. Harper. I love the approach on this tune. Absolutely stellar! It's from this. Man! When they break into the solo... Harper is dripping soul and Blakey is outright STRUTTING! Track 7 - Señor Blues. I'm not sure who by. It's not Groove... not Patton... McDuff... Shirley Scott maybe? Dunno. I like it though. Track 8 - At first I was thinking The Crusaders, but the tenor is as tight as Wilton on the head. Reminiscent of Eddie Harris and certainly owes a nod to Les McCann's group. Track 9 - Holy Rhodes! I was about to say Harold Land on tenor, but it definitely is NOT. I like it, but I'm wishing it WAS Harold Land! ;) Track 10 - Wow! This is obscure! It's Ensemble El-Salaam from the deeply buried annals of Strataeast from this. Track 11 - I could not guess I harmonica player if you were paying cash. Only Jazz guy I can name is Toots, and it's not him. Otherwise, if it's not John Popper, Stevie Wonder of Paul Butterfield, I can't even guess. Therefore, I will not. I like the guitar solo. I have never cared for the Harmonica. A neat finish to the test, though. Yeah, definitely not a Jazz guy on harp. Huh! Did better than I thought on the ones I didn't get. Nice.

Because I had the copy slightly ahead, I've actually listened and comment, but I'm going to wait a few days before posting because this test was right up my alley. (Felser, we have GOT to hang some time!)

DL, please.

Track 1 - I like this instantly. Mean to Me, if I’m not mistaken, in a decidedly different take. Needle drop. Don’t recognize the trumpet. Like the arrangement. As much as I enjoy music that stretches, there is certainly something to be said for the constricted format of the solos here. Not a lot of wasted energy. Really enjoying the tenor. Track 2 - In six, and I’m in, but then, you knew that. Not earth-shattering, just driving, honest feel. Could be Harold Alexander. The multiphonics are a bit affected, but this still works. Track 3 - Nothing wrong with it, but I don’t typically take to this honky-tonk style of saxophone (Maceo notwithstanding). Reminds me a bit of some George Braith I have. Song is familiar, but I don’t have the title. Track 4 - Odd. Trumpet seems to be an older style, but the rhythm section has that late 60s feel (playing that late 50s style). The whole recording seems a bit off (the recording, I think, more than the music). No guess. Track 5 - Stardust, though I can’t fathom by whom. Track 6 - The moon does, in fact, look lonesome shining through the trees, but I’d rather it had a different soundtrack. Goes on a bit, too.

Yeah, I agree that's odd phrasing. Though, musicians have to be careful how flat the state things in that setting. I recall Bill Evans (saxophonist) ripping that Bill Evans/Harold Land album Quintessence. He back-pedaled hard after the reveal, but he NAILED precisely what was wrong with that album. (Incidentally, I don't care for saxophonist Bill Evans.)

Fixed. ;)

Track 1 - Hmm… odd that this is the first track on the section entitled “Freedom Principal”. This seems too rigid to me. A lot of the conservatory in play here. Not sure who it is, but seems to be a saxophone quartet-plus setting. I know who it ISN’T, and that’s the WSQ. Seems like these guys are just a tick below the top tier. It’s not as free and gruff as it wants to be. Track 2 - I’m not feeling this one. I think they’re achieving the abstract feel they’re going for, but not in a way that makes me care. Kenny Werner’s stuff strikes me this way. I’ll pass. Track 3 - A nice nod to the Ornette feel. This is not that, but it’s honest in what it is trying to accomplish. There’s an actual discussion taking place here (which was not present on the previous track). This is based enough in the blues that I’m buying it. The alto player has that rumbling, tumbling attack kind of like Sonny Simmons (not him). This draws me in. Free, loose, but seems to have a point. Somebody cares. Track 4 - This is the kind of thing that, seen live, could be fascinating. I’m not getting much out of this, though. I’ve seen stuff like this live that I thought was bullshit, too. This is not that, but it’s not resonating. Track 5 - I’m out. Not into shape-shifting keys.

Track 1 - This is pretty filthy. The tone is very Kamuca, but the ideas are more inline with Golson, Billy Mitchell. I’m not sure who this is, but I’m very much in tune with this. Doesn’t seem quite as beefy as Billy Mitchell, but sure has his approach. Track 2 - This is very sedate. I like parts of the arrangement, but the vibes and guitar are giving a very Muzak feel. Track 3 - I’m liking this a lot. I realized I wasn’t rigidly listening, but the bass solo sucked my total attention. This seems to be someone of a more recent vintage playing out of that traditional style, but it really works. Bassist is a bad man. Track 4 - Blackberry Winter. Not a huge believer in that heavy-chorus 80s guitar sound, but it works here. Not sure who is on the unemployment stick, here. S/he has control of the instrument, though, which is a plus (if a rare occurrence). Tasteful guitar solo, but really… can we can some of the effects, please? Ben Monder tends to get carried away with those, but I don’t think this is him. Though, that could certainly be Donny McCaslin on soprano, so I’m not sure. It’s nice, but I wouldn’t label it a keeper. Track 5 - Okay, I’m old school. This one just works. Nothing special going on here, but it swings, and sometimes, that’s enough. Nothing about the solos is really wowing me, but that’s not the point — on the whole, it works, and as a group effort, that’s what you want.

I like the way you set these up. Even though I'll make a fool of myself, I'm going to participate in all four. I got nada on this one as far as guesses. Musicianship was impressive throughout, though the odd numbered (older) tracks resonated more. Track 1 - Neat and enjoyable. No idea who or what. This is the sort of thing of this era that my ears warm to quickly. Track 2 - I’m less interested in the “remake” stuff of this era. There is certainly nothing musically at issue here, I just feel about it the way I feel about modern players playing bebop. It had it’s time and place, but this is tribute rather than creation. As tribute goes, I quite enjoy this, though it tends to drag on. Track 3 - This one resonates more with me. Has that spark, whatever I mean by that. No idea who or what. Track 4 - Again, it’s good music, but I’m not getting that natural feeling that tracks 1 and 3 gave me. Track 5 - Another fun one. The way everything sort of moves around everything else. The modern musician is probably more capable, but maybe it’s that slight chance of not executing that gives this music its beef. Track 6 - And this one passes me by. Musicianship is there, but doesn’t seem to have the bite of the odd numbered tracks. Clarinetist is certainly in the moment, but I’m not hip to the rhythm section.

Late to the game, here. In for a DL, please.