tkeith

Doesn't help that I'm typically listening on the laptop. Still... to miss Blakey AND Mal in the same BFT is pretty awful.

Wow... just went back and listened to track 10 again after reading the most recent posts. Man... I own that and did not recognize it. Surprisingly, my opinion of it remains unchanged.

I'm going to post a couple of days early here as I'm not going to be around the rest of the weekend. To DL: http://www.thomkeith.com/bft126.htm If you wish to listen online: http://www.thomkeith.com/tkbft and look for the folder 0rganissimo_BFT126. Click on each track to play. Good luck!

I'll be sending it out early part of the weekend just because I will *not* have time until late in the week if I wait (first week of school following a raging family weekend). That said, if you haven't laid your ears on #125, you owe it to yourself -- some GREAT stuff in there!

Weekend is a little overbooked, so I'm starting this thread a little early. Please specify if you would like a hard copy. I will provide download links to all who want them and also the option to listen online if you like. Thanks in advance!

This one nearly got away from me... just like summer did. Had some success for a change! By and large, just what the doctor ordered for a late summer listen. Track 1 - I’m in immediately. Sensing Ibrahim. That voice in the opening sure sounds like Johnny Dyani. Ah, yes… there it is. This is Ibrahim and JD. Track 1 from this. Two absolute masters. Beautiful. Track 2 - Not a clarinet fan, but this works. Seems to me that this is not a clarinetist by trade, but a doubler. Something Brubeckian about that comping, but the bass is reminiscent of some of the Ron Carter CTI stuff. Not sure who it is, but I enjoyed that piano solo a helluva lot more than I would if it were Brubeck (or so it would seem). Track 3 - This has that reliable swinging feel. Reminds me of something Ray Bryant or Hampton Hawes would play, though I don’t think it’s either. Mad chops. Track 4 - Sure sounds like a boot of Booker Ervin to me. It’s Stardust. Oh, wait. I have it as part of this. Track 5 - Odd, folkish song. It’s interesting, but I’m not sure if I actually like it. The guitar does not endear it to me. Could be Giuffre. Track 6 - I should know this tenor (and believe I do, but can’t produce a name). Lovely ballad. Oh, wait… Actually, the interlude is a nice spice to have in there. I like this a lot. Track 7 - That’s gotta be John Surman. Though I don’t believe I have this, I must acquire it. Did you mean to cut it off, or did I have an issue with the download? Perhaps an alternate take of something from Where Fortune Smiles? Track 8 - Very straight ahead, but not sure who it might be. I liked it, but not sure how well it maintained my focus. Track 9 - This is quirky and interesting. Reminds me of Tapscott’s Sleeping Giant Awakened in the beginning. No idea what this is. That bari is pretty sweet, though. Track 10 - Drummer isn’t really in tune with the pianist, but the pianist is killin’ it. Wow… drummer is really off-putting… reminds me of a Keno Duke record I have — same thing, just keeping time as though he’s the only one in the room. Some sick bop lines in that solo. Track 11 - Oh yeah! That’s my man Pharoah with Sonny Sharrock! Track 2 from this. Track 12 - Love for Sale (but at this tempo, neither the seller nor the buyer are going to be pleased. That’s Sonny Criss, track 8 from this. Sounds like Roy Haynes on drums, but I know that it’s Alan Dawson doing his best impression of Roy. Sonny was a gunfighter — blazing technique. Track 13 - Despite the sacrilegious nature, I like this. It seems like something that would happen at the end of a jam when everybody was just tired of playing standards. Not enamored of the soloists. I’m starting to believe that they may have actually be serious, but not all that capable. Track 14 - I want to say nice ballad, but something is bugging me about the trumpet. Huh… it has summoned a chipmunk to my doorstep, however. Even when I told him to beat it, he stayed. I want to imagine he is tapping his foot. Very open trumpet sound. I wonder if it might be somebody like John McNeil. Track 15 - Confession: The first time I listened to this song by choice was the Coltrane version. While most people don’t care for that version (or at least that tempo) it’s the way I always hear the tune. This is the way I never hear it. No idea… but here comes Autumn with her serenade…. Thanks for the voyage. Looking forward to the reveal. GAH! After reading the thread - Keeeeee-RIST! How did I miss Track 2!?!??!?!?!?! *SHAME* on me!

How the hell did I miss Art Farmer and Jim Hall!??!?!?

DL, please!

I don't play bass, just love the instrument. Hugh Ragin is an avant garde leaning trumpeter who works a lot with David Murray. Here is a good start: http://www.allmusic.com/album/back-to-saturn-mw0000010669 I'm surprised by the reaction to track 12, though that reaction may be more a result of what surrounds it than the track itself.

No peeking. I listened to this as I conquered a power nap, then listened for real. Lots to like here. 1 - Everything about this could qualify as overdoing it, but this just *works*. Has that trance-like feel of Horace Tapscott’s Aiee! The Phantom. The bells really bring a level of complexity that makes this over-the-top interesting. The piano is providing the base for the tune and gives some body to the unemployment stick taking the lead. My guess, due mostly to the instrumentation, is a Japanese band (maybe Sleepwalker?). This is an absolute keeper. I hope the whole test is like this. 2 - Quirky and choppy, but it’s interesting. Sort of Brubeckian, but without the handcuffed piano style. I like the bass solo a lot, but that’s nothing new. Seems like a modern group trying to capture that Bill Evans Trio feel (and doing a nice job of it). No guess, but I like it. 3 - Very Coltraney feel to me. Reminiscent of Crescent. I like this a lot, but I have no idea who this is. 4 - I really feel like I know who this is. It reminds me a lot of the Heinz Sauer recording with Michael Wollny. Saxophonist has touches of late Art Pepper mixed in with a lot of the new style approach. He’s a touch sloppy at times, which I prefer and appreciate. The only thing kind of missing is the occasional flubbed, out-of-place, bebop line. Makes me think it’s a European player. Still, I like this, overall. 5 - Hmm… This needs to get dark pretty quickly or it’s going to lose me. There we go. Sounds very soundtracky. Yeah, this isn’t really doing it for me. Hugh Ragin has some stuff like this, and that does it for me. This seems too fragmented. 6 - Another quirky one. This is the type of thing that’s fun to see, but not sure how much I’d play it at home. Has almost a blue grass tinge to it. I’m in for the bass solo, again. 7 - Well, there’s Arthur Blythe, so you have me. Bob Stewart, too? It’s Monk’s Light Blue from this. 8 - Good start! Reminds me of those fantastic Muse dates with Cecil McBee. Tune is very familiar. Has a little bit of Under Paris Skies going for it, but that’s not it. Recording is pretty horrid, but even so, I like the snappiness of the drums (3/4 always makes it work for me). Not crazy about what the bass is doing echoing the stiff piano comping, but still, it’s working. Good ol-fashioned quality Jazz playing to my ear. No idea who this is, but I could hear this a few times, for sure. Damnit, what IS that song!?!? 9 - This is slow to start, but the two horns blend very nicely when the main theme comes in. Almost strikes me as a modern reworking of Shorter’s Deluge. Is that Kenny Garrett? Tone seems a little sterile to be him, but the ideas are there. Not sure… I think I like it, but I’m not sure how it would hold up on repeated listening. No idea who the trumpet player is. 10 - Interesting, would be fun to see live, but not something I’d spend much time with. Not a clarinet guy, but otherwise, I like the instrumentation (even that horrific electric fretless). When the vocals come in, this steps up quite a bit. This stuff sort of strikes me as the evolution of the Return to Forever stuff, but I probably have that backwards. 11 - Strummed piano, bass… I’m going to like this. Feels very Ibrahim, already. Oh yeah, at 1:30, I’m all in. It’s not Ibrahim, but it’s every bit as nice. Am I sensing the hidden theme that some of these songs are reworkings of other tunes? This tune seems very familiar, but different. Man, I miss playing with piano players. 12 - Oh! 20 seconds and I’m totally in. Man, that breathy trumpet is gorgeous! Man, I HAVE to possess this! No idea what this is, but does it ever WORK! This is a lot more modern than most of the stuff that grips me, but man, am I ever in the grips of THIS! I may just listen to this all night! Oh man… PLEASE PM me the answer for this one. I need to have this yesterday! 13 - Bass, vibes and brushes… I’m going to love this. A Child Is Born. No idea who (guitar is not my forte). Not picking up who the trumpet is, but could be Eddie Henderson (something about the attack). No, not Eddie. No idea, but very nice. 14 - Song For My Father. Not sure about the vocalist. For obvious reasons, I want to say Leon Thomas, but the voice isn’t deep enough. It could actually be Bobby McFerrin. Not sure who that alto is. Very strange sound, but a modern player based on the copious licks. No idea who this is, but glad to hear somebody carrying on that Leon Thomas thing. Much love in this BFT for me! Thank YOU!

DL, please.

Plum forgot about this for most of the month. Some very pleasing ear candy in this one. Also a few that drove me nuts, but that’s more about me than any logical sonic reaction. Track 01 - I like this a lot. The piano has a nice, rolling, percussive feel. Tenor sounds somewhat familiar, but I’m guessing I’m more familiar with his/her influences as this sounds like a younger player, to me. Very musical, tasteful, and interesting. Track 02 - Very straight-ahead feel. Tenor has an older sound, but the ideas are straight Joe Henderson (though, more rehearsed). I’m unsure how much I like this. Trumpet solo is nice, but non-descript. Oy… electric bass, in a very bad way. That’s a shot to the rocks. I’m just not feeling this one (not just the bass, either). Track 03 - Something is just off, here. It’s almost like the tenor is not comfortable at this pace. I’ve heard this happen with Bill McHenry — almost like he’s *so* comfortable playing at the fast tempos that he struggles with the in-the-pocket feel. Either that or it’s like the rhythm section was recorded separately. No idea, except that it’s a modern group. It’s just leaving me a bit cold. Track 04 - Opening reminds me a bit of Charles Tolliver’s Brass Co. The 7/4 feel works well on this tune, and it’s a very thoughtful trombone solo. Clean, very nice, but ‘thoughtful’. The arrangement supports the soloist nicely and, with the help of the drums, works to a nice build. Acoustic bass — NICE! The bassist has listened a good deal to David Holland, but I don’t think it’s him. This track is a definite keeper! Track 05 - Part Gil Evans, Part Chuck Mangione. I like it on both counts. Another guy out of the Joe Henderson school, but this one speaks to me a lot more. Sounds like the trumpet player’s date. The feel of this tune is beautiful. Something about the combination of the Spanish influence of the guitar with the melancholy harmony. It’s just beautiful. Another keeper! Track 06 - Ah! I know this! I’ve got this by Shihab. Yes, it’s Track 1 from this. Underrated giant! Track 07 - Another great track! Track 4 from this. I was listening to this in the car one day, at 4:05, I got so into it that I let out an “AAaaaaugh!” followed by Alex’ response at 4:09. Awesome listening moment. Track 08 - I’m enjoying this in spite of the tenor player being a checklist of things that make me insane (from affected vibrato to strangled altissimo and everything in between). Not sure which of the NEC guys this is, but this track works in spite of him. The trumpet nails it. Track 09 - Initially, this feels like it could go the same over-learned route of the tenor, but I like this a lot. Very similar to Track 05 to my ear. A little over-arranged, but the feel is nice and they execute it nicely. Perhaps this is David Holland’s band? It’s new-ish, clean and controlled, but it works. Track 10 - Has a bit of a Cecil Brooks, III feel to it. But every time somebody includes a booty-shaker, it ends up being Organissimo, so that’s my guess. Something about this, the time is just a shade off. Track 11 - The tune sounds familiar, is it an Ornette tune? I don’t like the bass, at all. Sounds like Avishai Cohen (sound-wise). Tenor sounds like a spawn of Garzone to me. I can’t explain why these guys do this to me — there is an obvious Coltrane descendancy, and I love Coltrane. I think it’s the utter lack of originality that gets me. The technique is awesome, but I don’t hear the music. I’m not even hearing the alto. What’s bizarre is that if this were Blythe/Freeman or Bartz/Whomever, I’d probably be all over this. This just doesn’t grab me, except to rub me. Despite my reaction to Track 11, I found myself enjoying a great deal of this BFT! Thanks for the ear challenge!

Yikes! I totally booted Teddy Edwards. He's always been a guy I liked a whole lot, but lately I've been down on him a bit. After hearing this, I need to clear my head and put him back in the rotation.

Sorry, count me in -- been a busy few weeks. DL, please.

I think I have the theme: How many times can you get me to guess the wrong tenor player when it's really Arnett Cobb. Am I close?

Whoo-hooo! First! Big whoop! I think I may have ID'd one player! Listening at work, next to a construction zone as the steamroller attempts to vibrate my building off the foundation. Egad. Track 1 - Blue Man Group meets Sun Ra meets Frank Zappa. I’m in. Not sure what else to say. Track 2 - I could stand a lot more music like this. It’s got that quiet storm feel, but it’s also maintaining a creative level of musicality. Not sure who the vocalist is, but I like the deep, contralto quality of her voice. Track 3 - This is a cool feel. There’s some Mulligan influence in the bari, but I’m thinking it’s someone more like Serge Chaloff or perhaps even a multi-instrumentalist like Jimmy Giuffre. Reminds me a lot of the Charade soundtrack, so I’m in. Track 4 - A bit smooth for my taste. Sounds a bit like a neutered David Sanborn (or, later DS, which is about the same). Not feeling this one. Track 5 - Had no clue early, but it’s obviously Afro Blue. The two guys I know who did that voice+flute thing this well would be Yusef and Shihab. I don’t believe it’s either. Track 6 - I like the basic feel of this, but I’m not sure how well it would hold up over time. In general, I tend to like that repetitive, trancy sort of thing. Groovy. Track 7 - A little, good ol’-fashioned, straight-ahead Jazz. I’ll make the embarrassing guess of Sweets on trumpet. No new ground broken, but pleasant to listen to (maybe a bit too much so in the latter half of the 6th minute). Track 8 - Any of this Tito-esque influenced Latin music is a win for me. No idea who it is, but give me more of it. Ah! Especially in Spanish! I’d LOVE to work with a band playing this music… sadly, I live in the whitest state in the nation. Track 9 - Predates my ability to identify. Sounds like Gee Baby, Ain’t I Good To You, to me. Okay… got the song, anyway. Track 10 - I like this, but the saxophonist seems to have that over-affectedness of the modern player in his attack. Like he’s going for that Marsh effect, but doesn’t have Warne’s story behind it. Track 11 - In from the get go. Plenty of story behind this. Pretty sure this lurks within my collection, but not instantly certain what it is. Hints of Frank Wright in that tone. A little Joe McPhee in there, too. He doesn’t have that A-list technique, but sure as hell means it. Track 12 - This sounds very much like Misty to me, but I can’t make any guesses as to what it’s called here and/or who might be playing it. Something reminds me of the muzak my grandmother used to have going on the radio at her house when I would visit her. I can’t say it wins me over. Wait a second, now. That tenor certainly sounds like Ike Quebec enough to get me to rethink my opinion. Track 13 - This is bitchin’. Head sounds very familiar. Beastly tenor! Not someone I’m overly familiar with, but a BIG sound and aggressive approach. The ideas strike me as early Harold Land, but this is more of a brute than that. Liking this a LOT! Track 14 - This one has the same quality I described on track 12, minus the bitchin’ tenor (which I still think was Ike Quebec). Track 15 - Right of the bat it sounds like The Thrill Is Gone. Another brute. I could stand a lot of this. Guitar does nothing for me, but the rest of it is spot on. Track 16 - No idea. Does not seem to be a heavy-weight player. Intonation issues abound and the ideas are generally not very interesting. Track 17 - I believe that’s Serenade to a Soul Sister. If it’s not Rahsaan, it’s someone who desperately wants to be. Ah… it’s not him, but again, desperately wishes to be. Thanks for the listenables. Some stuff in here I want to add to the collection for sure.

DL, please.

Now that I’m looking these up, Billy Higgins is *so* evident on track 3. Surprised myself with Paul Horn, but I’ll take it. WHOA!!! The personnel on Track 16 is INTENSE!!!!

Determined not to be last (and/or caught by surprise by the end of the month) this time! Track 1 - Given the test author, and the coolness of the blues, I’m going to bite and say Gene Harris, but no idea what it is. Track 2 - Choo-Choo-cha-Boogie. Not Louis Jordan, obviously, but far less obvious who it actually is. I’d guess this recording is from the 70s or 80s. It’s fun, but doesn’t quite strike me as having the same message as something first gen. Track 3 - Take the “A” Train. Not much in this for me. Sounds like blues guys covering a Jazz tune, but they sound out of their element to me. Track 4 - That’s Lockjaw. Not sure what the record is, but reminds me of some of those early 70s Black Lion dates. Forget the name of this tune, but I know it. Track 5 - Do Nothing ’Til You Hear From Me. Not sure who it is, but I’ve started taking my clothes off. Maybe Buster Cooper? I don’t think so, but certainly someone who has listened to him a lot. Could be Harold Ashby on tenor or even late Illinois. Or even a non-feature cameo from Lockjaw. Track 6 - Mean To Me. No idea. Pleasant but my mind wandered. Track 7 - I should know the tune, but can’t pin it down. Not folks I’m familiar with, but definitely a retro-style band. Could it be that Wynton guy? It *almost* works. What I mean by that is, these guys are definitely committed to what they’re playing, and that counts for a whole lot, but I’m not getting the gut-level reaction that I should (which is as much about me as it is anything I’m hearing). Track 8 - Billie’s Bounce. No idea who it is. Sounds like one of the blues/jazz crossover guys (not Earland, but in that range). Hearing the organ solo has me thinking Groove Holmes. Something about the staccato attack in the bop lines. Smokin’ and rockin’ — both lending credence to the Groove Holmes guess. I’m guessing 80s due to the atrocious drum sound on the recording. Track 9 - Tasty. Body and Soul a la… Brawny, beefy tone. Shades of Webster (obviously not him) and Ike Quebec… perhaps Plas? Beastly, and a very melodic, vocalistic approach. I need this. I’m really not a fan of people continuing to cover this, but if you’re going to, THIS is how to do it. Sensitive, but bold… purely musical. Totally digging this from start to finish. That cat he done told me… out there in the kitchen… that cat he done told me… (thank you, Tom & Jerry and Loony Tunes!) A little I Wish I Knew there in the out-chorus… nice touch. Track 10 - There Will Never Be Another You. Initial impressions are not strong. Feel like I’m at a hockey game. I like the tenor player’s sound, but doesn’t strike me as a top-tier player. Bold sound, and very good technique, though at times seems to be playing maybe a hair beyond his technical comfort zone. I’m glad he showed up, because this has gotten a whole lot more enjoyable. Shades of Lockjaw, but no triplets… and doesn’t have ELD’s time. Seems like this is someone I should know, but I’m not able to pin him down. Piano player doesn’t do it for me. Hermann Foster? Track 11 - Sugar, by whom I do not know. Not a player I’m familiar with. Sounds like a Texas guy or a blues guy. Not really feeling the rhythm section. Everything (all four guys) seem rhythmically off. Track 12 - Piano had shades of Phineas during the intro. Liking the tenor here. Shades of Shepp without the harsh edge — more of an inside, blues player. Doesn’t sounds so gruff as someone like Arnett Cobb, but in that vein. Heavy on the Webster, like Harold Ashby, but an edgier tone than him. I need more of this. Seems to have too much sweetness in the tone to be Jimmy Forrest, but again, seems like I’m on the right street. I’m going to throw out a wild guess and say Jimmy Hamilton. By association and without confidence, I’ll guess Lawrence Brown on trombone. It’s more of knowing who it isn’t than who it is. Track 13 - Some Ike Quebec in there, but not a player I know real well. Only I can think of that plays like this is not as old as this player, but I’ll throw out the guess, anyway, Ricky Ford? Track 14 - Another big-toned player whom I don’t seem to know. Grrr! Track 15 - Somebody doing their best Pops impression. Or, perhaps the man himself. Track 16 - Sounds like Ella to me. This is cookin’. I want to say Ben Webster, but that upper register sounds more modern. The growls are pure Webster. A fun track. Track 17 - Red Top (very perceptive, Keith). All I can come up with is who it ain’t. The least few have all been winners, but I’m striking out on identification. Curses! There’s a clue in that hum. Could that be Fatha Hines? Track 18 - Comin’ Home Baby. That be Lockjaw. I believe this is from The Heavy Hitter. Track 19 - Lou Rawls, baby! Callback to track 15. I believe this is from the album of the same title. Lots of interesting stuff in here, Dan. I’m interested to find out about this avenue of Websteresque players — MUST… BUY… MORE… MUSIC!!!!!

You wear it, my liege.

In. DL please.

I have to say, I was cursing you rather loudly when I downloaded the three separate files. Then, to have to download a FLAC player (which I really needed to do, but didn’t so much have time for), you were not off to a good start. Then, damnit, I plum loved the music, so here goes. Track 1 - No idea. Sounds a bit like dos’n goni and bass, but nobody I recognize. I’d say they’ve listened to Don Ellis’ soundtrack for The French Connection. Track 2 - Okay, this strikes me as a weird mix. I’m hearing Theme de Yoyo from the AEC, but the bassist (and band) make me think Miroslav Vitous. I’m liking this, but not sure what it is (nor if I *should* like it). Part Bitches Brew, but not in an imitative way. I’m happy with this. Track 3 - I like the overall feel, but something about the soprano is bugging me. Wait, that’s an alto. The rhythm section has a solid sixties feel to it, but the alto seems to want to be Cannonball too much. It’s like s/he is trying to combine Cannonball and Wayne Shorter. I like it, but I’m troubled by it. If this came on the radio, I’d listen, but not sure I’d pull it off the shelf. I’d lean Snidero because of the Cannonball link, but it sounds much older than that. Drummer sounds like someone trying to play like Billy Higgins. I’ll throw out a guess: Paul Horn? No confidence in that, but all I can think of. Track 4 - Odd. Reminds me of some of the early 70s Gil Evans, but it’s not that. Something isn’t quite jibing with the rhythm section. Are they Japanese? (boy, that’s going to get me in trouble). That’s what it sounds like to me. Not somebody like Hino, but a cut below that. Track 5 - Loving this right off the bat, in spite of the soprano. Gee, this could maybe be one of Hino’s bands now that I think of it. Has that distinct Blue Note Liberty-period knock-off sound. Not buying the soprano player at all, but love the feel of the rhythm section. Jeez, slow down, dude. Like Sonny Fortune and Jimmy Heath had a child. Not digging this guy at all. Like to reverse engineer this and pull the RS out and work with that (hate to say that, but this guy is just ruining what they’re building). Track 6 - Sounds a bit like Concierto de Aranjuez. Again, a soprano player who just shouldn’t. So many of those around. Yeah, this one just isn’t reaching me at all. Something just off. Alto is a slight improvement over the soprano, but I’m just not buying it. Track 7 - Modern recording (meaning everything is too far up front). Alto player is all over and saying nothing, which makes me think Rudresh. There is no blues in this and I simply haven’t got the time for it. Just, why? Gary Bartz already did this and did it much better. Track 8 - Hmmm… something very Jazztet about this, but it’s not them. Not Farmer, not Golson. Possibly Curtis Fuller, but I don’t think so. Don’t know that trumpeter… intrigued. Could be Kamuca (or someone like him) on tenor. Not Curtis on ‘bone… no idea. I’m going to learn something new, here. Track 9 - Hmmm… this sounds 60s soundtrackish, but the recording is too modern. This is quirky as hell, but it works. I wanted to say one of Brian Blade’s projects, but the saxophonist is not that level of polish (a good thing). This holds my interest, though I’m not sure I’m onboard for the vibes. I’ll be coming back to this, though. Track 10 - OH! That’s my man Jesse Sharps! Question from Quest (and you should all go out and buy EVERYTHING on Nimbus West!). This is such a bitch of a track. It’s the highlight of the album, but the whole album is worth it. I wish JS played more bari (though he seems to opt for soprano more often). Check him out on YouTube with Wire2Wire. AWESOME pick! Tim Webb — we HAVE to cover this!!!! Roberto Miranda is such a boss on this track! Track 11 - BIG bass sound. Not sure what that plucky electronic sound is. Is this all bass? I like this — GIMME BASS! Reminds me of the Bassdrumbone guy — Mark Helias. Either that or Mark Dresser. This is a keeper. Track 12 - Ah! Another one of my guys. That’s Dennis Gonzalez! Not sure of the track but this is from Alvin Fielder’s Vision album. Dennis’ sons are on this, as well. If you get the chance, check out Yells At Eels in person. This disc has the tune Camel, which doesn’t quite do the justice that YAE does in person with that song. Not sure why Dennis is so overlooked. Great musician and a superior person. Track 13 - Very Muse records sound to this. Sounds like either Stafford James or a bad recording of Cecil McBee. Huh… it’s not Woody Shaw, but has that feel. Not Cecil, but sounds too deep in the low end to be SJ. Is this a Hino project? Doesn’t quite seem to have Hino’s chops. Am I about to discover another Japanese band I don’t know about? Again, has that feel. Guy definitely likes his Woody, but not TH. Track 14 - Another winner! Garvey’s Strut! Hal Singer is a BEAST! I learned about this album through another BFT, and I’m so glad I did. Bitchin’! Track 15 - Huh. Reminds me of Francois Rabbath’s Bass Ball in the beginning, but quickly gets too busy for that. Maybe a shade too much going on here for my taste, but I *am* liking it overall. Vijay Iyer, maybe? Track 16 - Woody feel, but again, not him. Gotta be Hino. It’s got that funky Horace Silver meets late Cannonball feel, but something about TH — he’s just got more of the story in him than others. I’m sure it’s him, though I don’t know the album. Track 17 - Not my bag, baby. Very Weather Report, only more commercial. Not a winner for me. Track 18 - This is the type of thing that, if it were Frank Zappa, I’d be raving about it. I like the tune, but I’m not sold on the execution. Track 19 - Again, reminds me of early 70s Gil Evans, but I don’t think it’s him. Sounds like the record he did with Masabumi Kikuchi. That’s not Hannibal, though. Could be John Surman… not sure. Track 20 - Intro sounds like Alice Coltrane on a warped LP. Sorry, but that’s what it struck me as. Something is not clicking between the harp and the band. I like the groove once it gets going. Not sure about the soloists, but the groove is positively bitchin’. Track 21 - Tune is In A Silent Way, but no idea what the recording is. for obvious reasons, it seems to be of Asian descent. Not sure how I feel about this one. Extra Disc Track 1 - Not sure. Liking it, but unsure about the quirky feel of the tune. Night music, though. Sort of People’s Liberation Orchestra meets Sun Ra. That’s got to be Sun Ra’s band, but I don’t have it. But, like Nuclear War, it’s a mother****er! Track 2 - Not sure what this is. Seems like 60s, or maybe early 70s. Could be a Ra project, but seems a bit too polished for that. No idea. Track 3 - First thought was Threadgill with Muhal Richard Abrams, but this sounds busier and maybe a shade newer. Not sure. Works, but may be a bit too busy. Track 4 - It’s Mingus’ Meditation For a Pair of Wire Cutters. Obviously not Mingus (and not Clifford Jordan), but tastefully done. Trumpeter sounds very familiar to me. Seems like a thoroughly modern recording. Pianist is taking himself way too seriously. No idea. Track 5 - Maybe I Can Sing It For You from Music from Two Basses — Barre Phillips and David Holland. Great record, great tune. Track 6 - Loving this. A bit of Very, Very Circus, a bit of Ken Vandermark at his best. Loving every moment of this. I need this. Type of thing that has me going, “AAAaaaahhh!” out loud. The world needs more of this. Track 7 - A little good, ol’ fashioned bugaloo. Shame to ruin it with that Potteresque tenor. I take that back. In the improv, he proves to be pre-Potter, but definitely out of that learn-all-of-Joe-Henderson’s-licks school of saxophone playing made so prevalent by Billy Pierce and George Garzone through their teaching. It has the feel of trying to achieve the sound of the Keith Jarrett band with Dewey. Track 8 - Bass drum has the sound of DeJohnette during his ECM period, but it’s not him. Another of the tenor players out of that school that rubs me (as above). A lot of breath-pulse counting, great chops, and very little story. I don’t hear any individuality in this playing. The guy has sick chops, but just when he’s on the verge of something, he drops back into memorized, rehearsed patterns instead of GOING for it. Branford is a good one for doing this. All the abilities of Lovano-Coffin-Liebman, but where’s the story? Groove of the RS is nice. Track 9 - Yeah, THIS! This is what is missing on the previous cut. These are not the best players, but there’s something behind this. This guy is a notch below Fathead, but damnit, they MEAN it! Track 10 - Sounds like Odean Pope to me. In fact, isn’t this his tune Prince Lasha? In fact, that’s Prince. Oh, this is the record with him and Odean on one of the Cadence labels. Track 11 - 20 seconds in this is all kinds of happy. Yeah, this is a winner. Not sure what it is, but all kinds of loving it. Track 12 - This sounds like it has too many people. I know that sounds weird, but sounds like somebody got a date and wanted to include all of his friends and went too far on the arranging. Not sure the tune is strong enough for all that instrumentation. I want to like this more than I do. I’ll say this, the guy is working overtime here — really putting it out there, I’m just not sure it completely works. Reminds me of Russell Lyle on Eddie Gale’s Ghetto Music. The second tenor is still stuck in the practice room, to my ear. He’s got the superior chops, but he’s not getting there like the first guy. Split decision (but in fairness, there WERE over 30 tracks), but where you hit, you absolutely nailed it! Hehe! Missed the whole metadata thing -- mine all say Track 0x.FLAC

I have neither the time nor the skills, but in the absence of a viable candidate, I'm willing to do triage.

DL, and I promise not to be a heel like I was last month -- I WILL make time for this test.

Busy month, but I suck. Sorry. I laid one set of ears on it, but not while I could make notes. A couple of things I recognized, but as I said, didn't write it down. Decided to go ahead and do it late, but as you can see, I'm not there yet and we're midway through week 1. I'm crying uncle. I will say that I enjoyed what I heard, but can only offer a mea culpa because I suck so bad.