tkeith

DL, please. 1. Just because I like the way you wrote it.

For shame — I should have nailed Grass Roots, perhaps my favorite Andrew Hill record. Likewise, how could I miss Illusion Suite? Shameful. I was going to say Houston Person on track 23, but it didn’t seem quite bold enough. Likewise, Billy Hart crossed my mind on the next track, but I chickened out. Quite a mix in there, lots to make my ears smile. Thanks!

Track 16 - Fat bass line makes me happy. Keys are a bit abstract for what it seems to be trying to be. I like it, but it also feels like it’s trying a bit hard. Could be Don Pullen, but I don’t think it quite has his all-in soul. D.D. Jackson? Seems too old to be him. Not sure… just not completely sold on this. Track 17 - Aw yeah, baby! Big George! First guy I ever saw in a club (w/James Williams, John Lockwood and Terry Lynne Carrington). This is THE version of Cedar’s Mode For Joe (sorry Joe Henderson) from this. In my opinion, this is THE album by ER; the others just do no measure up. Track 18 - Ouch… those keys do NOT make me happy. I like the tenor sound, but the rest of it just does not fit my tastes — too commercial. Tenor sounds familiar but could be a disciple of what I’m recognizing. Track 19 - I feel like shopping, but man, this is one cool-ass store! If it’s not late Wes, that’s got to be Benson. I’m in, though… for all my bitching about commercialized Jazz, this type of soul Jazz just FIRES for me. This is the feel the modern bands are going for, but THIS is IT. Track 20 - I’m liking this reggae feel. It’s not Jazzy, but more of a soundtrack meets Tower of Power feel. UGH! Why would you kill this with a drum machine?!?!?! Damned shame. It’s dead to me, now. I’m being unfair — if this came on in a coffee shop or a bar, I’d be into it, but in a listening setting, I’m quite put off by the synth drums. Track 21 - Aaaaaand, total redemption in 3 seconds. Well done, sir. I need to go pour a Courvoisier, be right back. It’s either Maceo being really controlled, or somebody who desperately wants to be Maceo nearly as much as I do. Track 22 - This is 70s cool. I wouldn’t like it if it were more modern, but something about the stuff from that era resonates for me (I’m quite confident this is not something of a throwback nature. Again, I wouldn’t sit down to listen to this, but this would be ultra cool if it came on in a record store or bar. There was a radio station around here playing more modern takes on this sort of thing but operating on sponsorship. They’ve been replaced by an all funk/soul station (which, let’s face it, is not going to last long in New Hampshire). They don’t play anything quite like this, but stuff just over the commercial fence from this. Track 23 - I like this, but I’m not sure it would hold up. Sounds sort of like the Concord dates in the 80s, in terms of feel. Maybe Plas? Not sure. Has that very 70s lounge feel, but from *that* side of town. Track 24 - I’m not made of wood, you’ve got me. Seems like a PG, less invective filled take on a Smiley Winters album I have. I like this plenty. Huh… not sure why they felt the need to abandon the feel at the end… I’m assuming there’s a next section that is truncated (perhaps a good decision). Track 25 - No idea, predates my listening. Track 26 - I like it, but I’m not sure how much I would go back to it. Wait, that’s two pianists. I was hearing it as busy at first. No, this works. I would definitely revisit this. Not sure quite who we’re dealing with. Could be Tommy Flanagan on the right, which would lead me to a guess of Barry Harris on the left, but I’ve got no real inclination towards either. Track 27 - Eh… back to what was bothering me about 18. I mean, there is something cool about this, but the smooth factor is worthy of an insulin injection. Not feeling this. This sounds like an electronic production, full miss. Track 28 - I like the reggae idea, but again, this seems to be the product of overdubs. Doesn’t offend, but doesn’t really hit, either. Track 29 - Pleasant, but doesn’t really speak to me. Is that a Beatles tune?

I can see why I liked the rhythm section on track 2-6... Man, I have the Dyani record and I love him... that's a huge swing and a miss for me. Annoyed at missing Nathan Davis and over-thinking Kenny Wheeler. Gah!

Track 1 - Uh, no clue. It’s not my bag, baby. Track 2 - I know the tune, but hell if I know the name. Sound is a struggle… thought it was a violin at first. I like this but it’s not a genre I’m particularly versed in. Easier for me to say who it’s not than who it is. Track 3 - I like this. It doesn’t strike me as Jazzy (actually reminds me of the rock band I worked with until recently), but it’s a pleasurable feel. No idea… sensing a trend in that regard. Track 4 - Those brushes are the perfect follow-up to the last track — nice programming. Ah, the dreaded clarinet. This works… works in every way. Can’t hazard a guess, but I like this a lot. Track 5 - A little Red Clay for the pottery collection. I’m so pathetic that I’ve never learned the head, but I always love it when a rhythm section breaks into this vamp — it’s a fun ride. Has the CTI studio sound, but the drums are a little too real; seems like someone newer doing an homage to that style (and doing it well). Yeah, this is a keeper. Funny, if I heard this in the 80s, the Coryell-ish guitar would have driven me buggy, but given the way everybody wants to sound like Ben Monder now, I find this refreshing. Is this Larry? Track 6 - I like the arrangement, but it’s not really swinging. Harmonies are nice, but I like a big band to swing a bit more than this — seems a tad disconnected. Somebody has spent his time studying the hell out of Coltrane or this is the real deal. Ah! No, I know what this is. It’s track 8 from this. The band doesn’t really swing, though, in spite of the personnel, and Blakey is too controlled in this setting. Track 7 - Sounds like a tune B.B. King did with the Jazz Crusaders (Hold On). A bit quiet storm, but I’m digging it. Could this be a Joe Sample project with the same tune? Track 8 - I have this… but can I identify it? My original thought was Andrew Hill with Joe Henderson, but it’s not him. Could be Farrell, could even be Tyrone Washington. Given the uneven mix, I’m almost thinking it’s the trumpeter’s gig. I’ve got to say Woody Shaw. I’m sticking with Andrew Hill, though. It’s got to be one of the unreleased tracks that made the Mosaic Box. I’ll stick with Woody and Andrew and say Joe Farrell on tenor. Either Freddie Waits or Lenny White on drums. I can’t hear the bass all that well. Sounds like Grant Green on guitar to me, but later Grant. I would check this, but my desktop (with the iTunes drive) is out for repair at the moment. I’m dying inside a little. Track 9 - Love from the get go. Terrific arrangement! Almost sounds like George Russel’s work to me. but more melodic. Could be Oliver Nelson on alto. Unsure on the keys… a bit like early Cecil, but not him. Man, what a beautiful arrangement. I like this a lot. Need this badly. Track 10 - Ah, the old major-2nd chord change… I’m all over this. This is basically every song I’ve ever written. Very aggressive, ballsy tenor. Influenced by those Turrentine CTI dates, but this is less commercial. Sounds more like Tyrone Washington’s record to me. This is bad ass! Man, I’m sporting a full-on music boner. This is my bag, right here. Goes a little Chicago at about 2:15, but… man… who’s the guy this reminds me of… I can see the album cover… redish/pink, late sixties. Love the vocalizing. MUST have this. Wish I could remember who it is I’m thinking of… dude played a lot of flute, too. Track 11 - Got a little Charade feel to it. I’m in. Great tune — been hooked on it since I heard the Sonny Clark version with ‘Trane. Could this be Chris Connor? Sounded a shade like Rouse on tenor, but that’s not right. Track 12 - Cookin’ 70s style. Got my Caddie with the windows down, 8-track blaring with some bad ass platform shoes. Not Freddie, but close. Sounds like either Perty Purdie or Grady Tate on drums. Certified ass-shaker. No idea on the guitar. Not sure of the tenor, but he’s filthy. I recognize that sound and those machine gun riffs in there, but I can’t put a name to him. Again, up my alley. Not the most technically proficient stuff, but cooks and makes my innards happy; can’t ask for more than that. Love me some Rhodes, too. Man, that drummer is pretty filthy — don’t think it’s either of the guys I mentioned; too snappy. That snare is relentless. Gotta have THIS! Almost has that Roy Haynes thing going on with the snare. Absolutely bitchin’. Track 13 - Filthy pianist. Sick chops. I want to say Oscar Peterson, but it seems like somebody perhaps even filthier than that! Pretty sure I have all of the Phineas stuff, but it’s on that level. This cat is OUT! Man, this is great. I’d love to see this live — have a guy so baaaaaaaad he gets the audience eating out of his hand and then nails them with a pocket full of soul while he’s at it. Johnny Griffin was like that the one time I saw him. Track 14 - Cheesy 80s compressed drums aside, I liked the intro. Meh, not crazy about this. Too late 70s cheese for my taste. Somebody out of the Joe Henderson school with a heavy Grover Washington influence. Egad, at 3:03, please shoot that bassist. Gotta pass on this. Track 15 - I like this. Quirky, kind of like the Booker Ervin stuff with Han Bennink; it’s different, but has that feel. I assume this is a live recording. I’m to throw an off-the-wall guess and say early Joe McPhee. Tenor is all soul, not much on the technique (and I mean that as a compliment). Drums aren’t getting carried away with drumming, just playing the music (the way Luther Gray does it! Man! I wish there were more like him!). Has the sound of one of those India Navigation recordings. Nothing flashy here, just playing the music. MORE, please!!!!! This is a long-ass BFT! Going to take two runs to get this all in. Done for tonight (wife has been patient).

DL, please.

Always the case (comes off more that way in written form). I don't edit the comments, just write them as I listen. That which I dug, I truly dug; that which I didn't, I also didn't mind spending the time listening.

Some goodies in this one. Listening was spaced out over the course of the month -- stupid job! Track 1 - I’m liking the percussion, but there is a drop off in the nice feel that’s been established once the soprano comes in. The pseudo-folk melody doesn’t really mesh. John Surman does some stuff like this (it’s not him) and that’s the one thing about him that kind of rubs me. I would enjoy this more if it would try to be less. Track 2 - Drums have that Bitches Brew feel. Loving the bass. Ideas are very Stan Clarke of the period, but the sound is McBee. I’ll split the difference and guess Miroslav Vitous. Track 3 - Hate the sound, right off the bat; very shrill. Drums and piano are anxious, too busy. Alto had me thinking Jackie on the head, but I can’t imagine him doing something like this. They can’t all be “winning”. Track 4 - That’s got to be Tomasz Stanko. Loving that tone and the un-time feel behind him. Free without being too messy. I love his style. He’s not anybody else. I mean, he’s not Lee Morgan, but he’s so unique that I dig him. Also very much sound like an ECM recording, but I have no idea what it is. Track 5 - Hehe… students in a science class are doing “the cilia dance” in front of me as I listen to this (making good use of a prep block!). A little honky-tonk for my taste, but a some serious chops on the alto. Not familiar with the player. Heartfelt, and soulful, though I find the rhythm section not fully in sync (particularly piano). This would be a lot of fun to see live (where pianist would be less obtrusive than s/he is banging away in my left ear). I’m wondering if the pianist is the leader because what s/he is doing is WAY up in the mix on my headphones (earbuds) and really inspiring some pretty serious hatred. The piano solo is okay, it’s the comping that’s grating. Wait, now s/he’s ruining the solo, too. Hope this is not someone I typically like, because this is really getting to me; too bad because otherwise I like the hell out of the track. Could be Cecil, hellbent on annoying me. Some judicious editing and this track could be a keeper. Track 6 - A cover of Peace Piece. Not caring for the sound of the keys (doesn’t sound acoustic to me). I like the bass taking the lead. Feels like the tempo is a bit rushed… or maybe like it’s overdubbed leading to a rushed feel. And now an “original” head. I like it, though I feel for Mr. Evans’ estate. Touches of Kenny Wheeler, but not him. Sounds like one of the Steeplechase guys to me (McNeil, Smoker), but not with any degree of confidence. I like the tenor player’s sound, but it’s not intensely personal, so I have no guess as to who it is. Seems to be playing honestly rather than from memory (yes, that’s a shot at the conservatory set; like to hear more of this type of playing!). Wish this went on a bit; sort of feel like they only scratched the surface of what they were building. Pianist definitely owes Bill Evans some royalties. Track 7 - I’m inclined to say this has to be Steve Lacy as I can’t think of anyone who has that type of control over the horn. The tone doesn’t seem quite warm enough, though. I couldn’t listen to much of this, but man, I sure admire the musicianship. Disc 2 Track 1 - Dueling bass claris!??! I hope so. Be so much cooler than an overdub. This is fun and would be incredibly awesome live! Track 2 - Three-four; I’m in. That piano sounds like it has 112 keys — nice, wide open sound. Very much an early 80s (late 70s?) sound, but I like it. They’ve got that nice, loping 3/4 feel down. Not sure how we made our way from this to the current, frenetic, mathematical approach, but I sure wish we’d paused a bit longer here. This is an absolute keeper, but I have no guess. Track 3 - I believe I detected a needle drop here, but it could be the rain (we’re getting swamped here in central New England). Fun gallop to this, though not enamored of the soprano sound. That’s my stuff — just not a big fan of the instrument. Digging the solo, idea-wise; (intonation is sketchy as hell, though). Sounds like someone from that period where every tenor player had to had a soprano track on his/her record (see how careful I’m being?). Not sure about that breakdown… seems to kind of… break down. Piano solo is working, though. It’s got some of that abstract nature that disc 1, track 5 had, except that seems to make sense, musically, to me where the other did not. Digging that ‘bone, too. Never really warmed up to that instrument until I had the opportunity to play with Derek Kwong. Now it’s my preferred second voice in a two-horn setting. Not one of my usual guys (Harris, Anderson, Rudd) but not far from it, either. Bitchin’ bass solo. I think I recognize that bassist, but I’m not getting a name. Man, this guy’s a bitch! Track overall is a keeper. Very dig! Track 4 - Straight ahead as can be. Liking this a lot. Has the sound of one of the old Muse sides. Soprano sound suggests a doubler to me, but a bad man. I’m trying to think of this player as a tenor, but I can’t quite place the phrasing. Almost somebody like Curtis Amy. Thoughtful, patient trumpet solo, with the occasional short, ripping burst. I like this a lot. I don’t believe I have this, but I will have to rectify that. Something about that last line in the trumpet solo is remarkably familiar… This is killin’. Track 5 - More needle drop. This suffers from being a bit too modern for its own good. Sort of like that Chico Freeman record with Bobby McFerrin. The solos speak to me more than the song itself. Quite liked the soprano solo. The “duet” segment is less up my alley, but still interesting. Saxophonist has a decidedly Gary Bartz influence, but perhaps a tier below that in terms of technique; works well, though. Detest the sound of the drums (ease up on that compressor, Mr. Engineer!). That bass sound is very familiar. The harmonics are throwing me, though. It’s not Cecil. Track 6 - Tremendous technique on the head, but seems to not have quite the same chops on the improv sections. Doesn’t really swing to my ear. Has a lot of a highly technical lines and patterns down, but I’m not hearing the grit. I like the overall feel of the tune (rhodes is typically a win for me). Bass/drums are locked in nicely. Drum solo is kind of standard fare, seems less locked in than when playing with the whole group. Soloing seems to have the same issue I noted with the saxophonist. Drum sound reminds me of Kenny Clarke, but it’s not him. I don’t care for the separation in this recording; very apparent on the phones. Drums are seemingly all on the left, bass in the center, keys on the right… not a natural separation, at all. Track 7 - Cool droniness. Doesn’t really work where I’m listening, but a Friday night at home, lights off — perfect. I'm thinking I like your ears! Thanks for the test!

Track 2 - Jeff Coffin is most noted for working with Bela Fleck and more recently replacing the late saxophonist for Dave Matthews Band. Track 4 - I believe Ashcan Rantings is the song. 4 corners is the album name, but may also be the band name, now. Track 7 - Dale Fielder was a discovery. I forget exactly how, but I found him when I was doing the radio show. I think I was searching for Pepper Adams recordings and happened upon this. I'm connected with him on the Facebook, and he seems to be a super nice guy. Thanks for the kinds words on the test. Glad you liked it.

Track 7 - Now In Our Lives - Dale Fielder - (2007) Dale Fielder Quintet Plays the Music of Pepper Adams Dale Fielder - baritone saxophone; Jane Getz - piano; Edwin Livingston - bass; Thomas White - drums I discovered Dale Fielder back when I was doing my radio show. I don’t recall exactly how, only that it was mostly by accident. Always on the lookout for another bari voice, this recording really struck me. Dale had an injury that led him to play a lot of tenor over the past year, but I love the sound he gets on bari. Track 8 - Joyful Noises - Louis Moholo's Viva-La-Black - (1988) Louis Moholo's Viva-La-Black Louis Moholo leader/drums/vocals; Sean Bergin tenor/alto saxes; Claude Deppa trumpet/flugel horn; Thebe Lipere congas/percussion/drums; Roberta Bellatalla double bass This is sloppy, poorly recorded, and kind of dated, and I can’t get enough of it. Every time it comes into the rotation on the iPod, I fall in love with it all over again. Sean Bergin is another very intriguing player to me. Track 9 - Riff-raff - Peter Warren - (1981) Solidarity Peter Warren, bass, cello; John Purcell, alto, tenor & soprano saxophone; Ray Anderson, trombone; John Scofield, guitar; Jack DeJohnette, drums Initially, I only knew Peter Warren from Jack DeJohnette’s Special Edition album with Blythe/Murray. This was about the same time and when I saw the personnel, I had to have it. There really isn’t a wasted track on the album. Track 10 - Song For Gwen - Carter Jefferson - (1978) The Rise of Atlantis Carter Jefferson - tenor saxophone; Shunzo Ono - trumpet; John Hicks - piano; Clint Houston - bass; Victor Lewis - drums; Steve Thornton - percussion Ah, what could have been. Back when Arts & Entertainment Network really *was* that, they used to play Jazz concerts on Friday night. They only had a few, but one was Woody Shaw with Carter Jefferson. I was instantly hooked on his playing. He came out of the post-Coltrane school, but somehow managed to sound particularly unique. Tragically, he died very young (age 41) before really reaching his apex. To the best of my knowledge, this is his lone outing as a leader. Track 11 - Eureka - Fred Hopkins/Diedre Murray Quartet - (1991) Prophecy Fred Hopkins - b; Diedre Murray - cello; Newman Baker - dr; Brandon Ross - g Tim Webb turned me onto this. Such a bitch of a record! I had the great fortune to see the Henry Threadgill Sextet a couple of times as a teenager, and both Fred and Diedre were in the band. Both were so amazingly capable of creating breath-taking music with every note. Good times. Kind of surprise by the hot-and-cold reception to this one.

Track 1 - Joe - The Bush Crew - (1995) The Bush Crew Les Arbuckle - tenor sax; Mike Stern, John Abercrombie - guitar; Essiet Okon Essiet - bass; Victor Lewis - drums Les was my sax tech for about a decade until he moved back to San Diego for the last time. A great guy, amazing tech, stellar player and bad-ass surfer to boot! I don’t love this record, but there are only two Les albums that I’m aware of. The other is a more straight-ahead outing with Kenny Barron. Track 2 - Beautiful Flower - Jeff Coffin & The Mu’tet - (2012) Into The Air Jeff Coffin – soprano sax; Kofi Burbridge – acoustic piano; Felix Pastorius – electric bass; Jeff Sipe – drums & percussion Jeff was “the kid I took lessons from in high school”. Now he’s famous and a very bad man with a horn. A lot of his later stuff leans toward being more commercial, and that’s true of this record, as well, but to my ear, this is one of his better outings. Track 3 - Druid’s Circle - John Surman - (1994) A Biography of the Rev. Absalom Dawe John Surman - all instruments John Surman was a late discovery for me. Someone included a recording of him with Mike Westbrook in a BFT and I was hooked. Now I just can’t get enough of him. Track 4 - Ashcan Rantings - Adam Lane/Ken Vandermark/Magnus Broo/Paal Nilssen-Love - (2007) 4 Corners Ken Vandermark - baritone saxophone; Magnus Broo - trumpet; Adam Lane - bass; Paal Nilssen-Love - drums I’ve always been split on how I feel about KVM, but this album knocked my socks off the second I heard it. It may be a bit ‘out’ for some, but this whole album just hits the spot for me, especially this tune. Track 5 - Hiromi - Chico Freeman & Mal Waldron - (1992) Up And Down Chico Freeman - tenor saxophone; Mal Waldron - piano; Tiziana Ghiglioni - vocals Not sure where this one popped onto my radar, but it was very recently. I love Mal, and Chico is a guy who always intrigues me. He seems to play ideas that make sense to me, and because of that I gravitate towards his playing. I was surprised how many thought this was an alto. Track 6 - Rome At Night - Sun Ra - (1978) New Steps John Gilmore - tenor sax, perc; Michael Ray - trumpet, perc; Sun Ra - keyboards; Luqman Ali - drums John Gilmore is a god to me. I’ve never heard him when I wasn’t totally captivated. This is a strange album in that there is no bassist. It’s one of the Horo dates Sun Ra did, and in spite of the bad sound, is some really intriguing music.

#2, no didge. #5, you likely know the piano player. #8, noet AEC #9, very possible.

For DL, here is your link: http://www.thomkeith.com/bft127.htm NOTE: Please check the track order. The zip file is broken into disc 1 and disc 2 (only disc 2 is labeled as such in the mp3 tags). The files are clearly named for disc 2. If you want to listen online, you can go here: http://www.thomkeith.com/tkbft/tkbft.html, the test should be the first option. Once the discussion thread is created, I will also post them there. Just for clarification, this is the easiest way to host/send these links given Mark's comfort level with webshare sites. Just don't want anybody to think I'm trying to do something fancy.

Ding! Ding! Nobody seemed to notice the missing instrument.

You are correct, sir. Yes, it would be. But that's a clue.

I wouldn't say it's before that era.

It *is* Sun Ra, and the vintage is correct. Not Surman... but in a way, you're sort of close. It *is* overdubbed. Correct! Not Ricky, but a contemporary who leans a bit further out. Thank you, sir. #10 is not DM, DP, nor CB. However, I like the idea of that lineup a lot!

Nailed it! Terrifying anecdote, but a real dose of reality.

Damned good ear - it is indeed Scofield. I wonder if that was the inspiration. Not Jan, but a very good reason for the similarity. You may have it, but it's not DD. Mal Waldron is correct! I'm very surprised this one hasn't been pegged, yet. Song is correct, player is not. Very much that neighborhood -- good luck finding it. Spot on with JD and Purcell. Not Abercrombie, and you haven't guessed the leader, yet. 10) Not a show tune, though could be a contrafact. Definitely NOT Michael Brecker. I'll be shocked if he ever finds his way into my BFTs as he is barely in my collection. 11) I concur -- you will want this. Glad to please your ears, sir!

Excellent!

Save the time on 8. I like the guess, but not them.

Not JP. I agree about the guitar sound. I might mention, there are actually two of them. Stopping, I believe, is on your end. I had the same initial reaction to this, then I heard it somewhere other than from my own collection and reacted extremely positively towards it. It's grown on me and I think this album is the best of the artist's recent output. Nothing quite so Braxtonian. The title, however, *is* rather thin, IMHO. I need clarification on "Goldfish bowl being stirred with a silver spoon" That would be a lady friend reaction. My father would call this "man music," a term he similarly applied to the Larry Young sessions with Herbert Morgan and Tyrone Washington. I'm not sure I can define what that mans, but I understand it and seem to agree with it. I believe they're a bit after that, but the comparison also makes sense. Not JL-P. Not sure I have any in my collection, to be honest. I'd dare say these folks are well further away from the bank than he is.

Link is posted here:

I know what you mean. Not Bluiett, but not a bad guess. Ray Anderson is correct. I'll say yes and no on our takes on guitarists. A lot of this test is outside of my typical boundaries for that sort of stuff. Notwithstanding Sonny Sharrock, I'm very much a Grant Green sort of guy.

Welcome to September! (damnit!) The link has been posted (), and the test is also available online. Please let me know if you have any issues. Now for the discussion! Let 'er rip!