tkeith

Did he confirm it wasn't Lester? I don't see that.

OOo! I like the Herschel Evans guess, but something about the time still says Prez to me.

Well, got to it (while sitting in a room where students are rehearsing a play... this is NOT the way to listen). Recognized more than I thought I would (including an album in my collection!). Track 1 - Not my genre, but sure sounds like Armstrong to me. And now with the voice, I’m sure of it. No idea what, but confident it’s him. Track 2 - This sounds a bit new — bass seems more actively involved in the song. Ah, that would be Ms. Holiday. A youthful one at that. Track 3 - Tune is Minor Swing. Don’t know if this is Django or not, could be. Track 4 - It’s early Basie, for sure. There’s the president. Man, such a BITCH over time — love it. Arguably THE best “time” player, ever. He’s so much more aggressive than he’s given credit for in common circles. Had to consult the interwebs for the title, but I believe this is Oh Lady Be Good! Track 5 - Well, it’s St. Louis Blues, but any guess as to personnel would be trite and silly on my part. Track 6 - Ah! Finally! One I actually *know*! Lionel Hampton’s Flyin’ Home. Heard this on NPR when I was a kid on NHPR, including an interview with the soloist. First time he played this, he was approaching the band stand and, "Marshall Royal, the first saxophonist, leaned over and said, ‘Do it for yourSELF!’” At least due in part to that interview, I’ve always had a very warm reaction to this recording. Track 7 - C-Jam Blues. Sounds like the man himself on piano. Definitely his band. Nance on violin (always a treat). Big Ben on tenor. Given the time period, I’d say Barney Bigard on clarinet, but not from recognition. Track 8 - I was thinking tame Hawk at first on tenor, but that’s Mr. Young, again. No idea what this is, but MAN, that guy cooks! Track 9 - Again, no idea and any guesses would be trite and ridiculous. This is about the time that I struggle to listen to; something about the bouncy nature of the time. Track 10 - Ditto. Track 11 - Oh my… mega dittos. Track 12 - Well, I don’t know what, but I know who — Mr. A. Track 13 - Okay… now I’m doubting myself, because it sounds like that guy… again. Unless you’re toying with us, I’m now doubting my call on track 12. Track 14 - Getting closer to my era. It’s somebody I’m less inclined towards (that’s code for a “white” band, but when I say that, I always get in trouble). Clarinet is kind of stiff, like Benny Goodman. Oh! That’s because it’s Benny Goodman, All The Cats Join In — my grandmother loved this song. (I’m not being funny, she was pretty hip) Track 15 - I don’t know the song, but I know the clarinetist. That’s Artie Shaw. I heard a great story about him speaking at a Jazz educators convention. Ernie Sola attended with a friend and Artie was the keynote speaker. He started by saying, “All of you, are liars. You’re all claiming to do something that can’t be done — teach Jazz.” I’ll always love him for that comment (as did Ernie). Track 16 - It’s Tea For Two, but I have no idea who by. Makes me want to hear Lester’s vocal version, though. Track 17 - No clue. Has the bounce of the older stuff, but sure sounds like a newer recording. Is this a throwback band? I actually like what the trumpet player is doing, a lot, but that bounce gets to me. Track 18 - No idea what the track is, but it’s Sir Edmond Hall from The Happy Man. My father gave me this record. What are the odds? Track 19 - No clue. I wanted to say Django early, but later it sounded way too modern. Track 20 - I like this off the bat. Helluva band. A-HA! I almost said I thought I heard Quinnichette in there, that’s definitely him on tenor. Am I hearing two baris in there? Man, I need this. Track 21 - That bouncy style in a modern recording. No idea who or what. Track 22 - Almost sounds like Phineas, but I’m confident there is no Phineas I do not own. Also, not quite as… spotless as him. Unsure. Nice, though. Track 23 - Even more modern recording. No idea. Not my thing, but respect it. Track 24 - No clue.

Here's the sad answer to some of the Nate Morgan questions. Jazz legend Nate Morgan dies of heart failure ‘Did what he came to do’ OW Staff Writer | 11/27/2013, midnight Nate Morgan 3 Longtime Jazz pianist Nate Morgan died recently of heart failure at Gardena memorial hospital in Gardena, Calif. He was 60. Rene Fisher, spokesperson for the Morgan family, says funeral arrangements are pending. Before his passing, the famed musician suffered through a series of debilitating illnesses including a stroke that temporarily sidetracked his career in 2008. Morgan’s eclectic artistry behind the ivories put him in elite company among other Los Angeles Jazz musicians and solidified his place as a bona fide master of the genre. In 2002, a community-wide tribute was held in response to Morgan’s failing health at the then newly opened Jatkodd Cultural Fine Arts Center in the Crenshaw District. Over the years since then, various benefit concerts and gatherings have taken place to honor Morgan’s legacy. Philomine Morgan, his wife of more than 30 years, says she has fond memories of her husband’s loving spirit and playful attitude. “These last five years he kept me laughing,” she recalled with a chuckle. “He made sure to say ‘I love you’ every morning and every night. He also sang to me every chance he could get.” She continued, “Before he died, he told me that he has no regrets, that if he passed he did what he came on this earth to do.” During his final days, Morgan’s diminished health almost required the removal of his arm, Philomine added. “I couldn’t let that happen” she said earnestly. “He’s not just a musician, he’s an artist. When the doctor told me he might have to amputate Nate’s arm, I said: ‘if you can’t save his arm, don’t wake him up.” Morgan spent part of the 1970s playing for Rufus and Chaka Khan and collaborated in the early 1990s with rappers Bone Thugs N’ Harmony. He’s also been touted as one of the best kept secrets of the Los Angeles Jazz scene. Morgan is survived by his wife and their six children. Darius Nathaniel and Deshonda Johnson, and Nymekye, Jabari, Dors and Yusef Morgan. Now I'm fascinated and confused. I need to find out who the 52-year-old Nate Morgan who is friends with all of the LA Jazz people is that I am connected with on FB. Egg on my face.

I have no idea why, but you're absolutely correct. You know, based on his FB posts, I'm not even sure he's still playing. He attended one of the larger festivals this summer, but seemed to do so as a fan, which is astounding to me. On the upside, about five years ago, I shared a bunch of music with some of my students and one kid really gravitated towards Mirafu. He was an electric guitarist who took a degree in recording technology, but he learned basically that whole album on guitar. I walked in to school one day and heard electric guitar and acoustic arco bass playing Tapscott's The Sleeping Giant Is Awakened. It was surreal. I miss those kids.

WRONG!!! What Serendipity! I just got the notification of your post. I've been on Nate's FB dropping a line about football, literally less than two minutes apart. It's this.

HAROLD ALEXANDER!!!! That's who I was referencing (I think last month) where I described an album cover but couldn't remember the guy's name!

It's an interesting guy, one I like a lot. I went back to lay an ear on this again after reading my comments. It was REALLY familiar. I was thinking Sleep Walker, so I went to the iTunes drive and started mining. Suddenly, as I was scrolling and listening, it hit me. It's this. Love his work on Andrew Hill's Lift Every Voice.

Man, DIGGING that Azar Lawrence track. Turns out, I have that in the collection and didn't even know it (it happens after 35-40 years).

Now this intrigues me. You've compared one of my favourite ever singers to someone I don't know, Gene McDaniels. What early 70s Gene McDaniels should I try and hear? thanks Start with Boby Hutcherson's "Now" album, for the great "Slow Change" and "Hello To The Wind". Also, McDaniels had a huge pop hit in the early 60's with "A Hundred Pounds of Clay", though that has nothing to do with his subsequent work. He wrote some hits for Roberta Flack if I remember correctly. What he said. Gene wasn't only a huge talent, he was a quality human. If you want to hear the progressive, non-Jazz side of Gene, check out Headless Heroes of the Apocalypse and Universal Jones. I agree that the Hutcherson records is the place to start, though. That's in my desert island collection. Even Gene's early pop stuff is worth the listen. De nada.

Track 1 - Aw yeah! My man Gary Bartz! This is such a powerhouse band. It’s the closing track from this. Track 2 - This is pleasingly 70s. That electric bass doesn’t really bother me, which would ordinarily suggest Jymmie Merritt, but it’s not him. I’m pretty much a sucker for vibes in this setting. No! This is a Strata-east record. The poem gives it away. Track 4 from this. Not the most technically proficient musicianship, but MAN! This cooks! Track 3 - Freddie’s Arietis. Such a bitchin’ tune. Love the original with Elvin (Ready For Freddie). This is Freddie’s own remake from this. It’s incorrectly titled as “Aries”. Track 4 - Huh, this one I don’t have. A little far over the line of this for what I typically listen to, but I like it in the mix. Flirts with George Adams, but it’s not him. Not sure. Track 5 - Man, this has that feel of the period I love. Drums are not that well recorded, but has the feel of Gary Bartz’ I’ve Known Rivers. Loving that bass. There’s a little Azar Lawrence, a little Billy Harper, a touch of Ron Bridgewater… I’m not sure who it is, but I like it. It could be the latter. I know there were two Denon dates, only one of which I own. Doesn’t sound like Cecil, though. Bitchin'! Track 6 - Now, *this* electric bass bugs me. That’s Carlos Garnett on tenor. OH! I know this. It’s track 1 from this. Track 7 - Sure sounds like Dee Dee to me. That 70s, post-Coltrane tenor sound, but this guy is working it well. It sounds a lot like Woody Shaw to me. Because I’m not getting the actual album, I’m thinking it’s one of his Japanese counterparts. Another bitchin’ track. Track 8 - This one rings no bells, but I like her voice. Track 9 - I am TOTALLY in on this. I have this. Sounds like a Horace Silver influenced tune, but I can’t place it. This one is going to trouble me. I *know* I have this. Track 10 - Very lovely track. Very reminiscent of Hum-Allah, Hum-Allah, Hum-Allah. Oh… well, that explains that. Not Dwight Trible, but someone in that vein. The tenor has a late-Harold Land influence to my ears. I’m changing my mind, that’s Dwight Trible. This troubles me because I thought I had ALL the Dwight Trible recordings. I’ll be adding this one. Track 11 - At first, I was thinking Gene McDaniels, but the voice is not deep enough. Definitely in the vein of the stuff he was doing in the early 70s. I like this a lot. Looking forward to the review on these last two. I guess this could be Mark Murphy, but I’m only slightly familiar with him. There’s that McD thing again just after 7 minutes. Saw McD do that live once… such an amazing performer when you saw him live. Thanks for what I think might rank as the best BFT of 2014. Well done! [Edited to fix my hyperlinks]

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.