tkeith

Track 1 - Oh! I know this. That bitchin' bari vamp. A-ha! That's Junior Cook. Hmmm... no, too Coltrane. This will need a second listen. And I still can't place it, but man, that hook is awfully familiar. Track 2 - Has that Concord sound, but given the needle drop, I'm leaning a Pablo date. Okay, and a live date. Nice, laid back, swinging date. Bass solo doesn't resonate but enjoying the guitar a lot. Track 3 - I'm a sucker for this style. I used to have a lot of this sort of thing in my collection when I was younger (or maybe it seemed that way because the collection was smaller). This is very nice, and there is something very familiar about the timing in this pianist's touch. Heavy McCoy-ish touch. Track 4 - Give me a second on the title... I can hear the lyrics. Ah!, Jumpin' at the Woodside. A touch of Jaws, but not him. A firebreather, for sure, though. [second listen] -- I'm going to say Arnett Cobb, but I think later. Track 5 - Sure sounds like Ash to me. Again, sounds like a Concord recording. Less like Ashby as it goes on, but someone in that vein. [second listen] Man, there are points I'm positive this is Ashby, but then I waffle. I'll commit and say it's him, but it's not something I have. Track 6 - Gator? Good ol' rock 'n' roll saxophone. I'm in the right neighborhood, but I'm not 100% sure; I'll go with Gator. Track 7 - Huh... almost has that Graham Bond Organization sound. No idea. Track 8 - Off the bat sounded like Joe Williams, but then it became clear I need fresh air as that is clearly not right. The last few songs have me yearning to hit a smokey bar and watch some chick in a bouffant hairdo dance in a bikini. Track 9 - It should have been me... evidently sung by a young man. It's none of the guys I would typically think of who were working at this age, so I'm rather clueless. Track 10 - Sister Sadie. Done by people I'm not familiar with, live. Seems like it might be the drummer's gig, and I was thinking it could be Philly Joe based on the snapiness of the drums.

Huh. I'll be damned.

Tom, is it Patience or Stubbs on #4?

Second half: Track 6 - More odd meter. I know this guy. If not Billy Pierce, somebody out of that school. Second guy is an older player. Touches of Shepp at times, but it's not him. If not an older player, somebody a tick below the first guy. Something about the bass has me leaning Ray Drummond. Almost Elvinish drums at the tail end of the solo. [second listen] That's definitely Billy Pierce on tenor. No idea on the second guy -- not Shepp. Still leaning Ray Drummond on bass. Huh... something weird here... I'm typically not a big Alan Dawson guy, but I like this a lot and I'm nearly positive that's him on drums. Track 7 - Very clean (maybe a bit too much so). I'm hearing Bergonzi. Don't recognize the bari. This reeks of the conservatory. Track 8 - I know this. At least the tune. Pretty sure I have this. Oh man. I know this, definitely in the collection. Yeah, something about that tenor -- I know this guy but I'm missing it. Second solo, and there's Frank Wess. Oh! Yes, it's track 7 from this. Yeah, man, there's Kenny Barron. Gotta re-queue this again -- love me some Frank Foster! Track 9 - Oh, that's a familiar bass hook. Something not quite firing on this. I like the tone of this guy, almost a little out -- has a cry to it, but doesn't seem like it's his best day (sort of like more recent Shepp). Oh! About 2:45 -- that's Cedar Walton on piano. Yes, definitely. Doesn't sound like smiling Billy on drums, so I'm going to assume it's more recent. Can't place the bassist, but I like his note choices. Something with Cedar -- best I can do. Track 10 - Later Jug, that much is certain. Terrible sound. Could be Grady Tate on drums. No idea who that guitarist is, but I wish he wouldn't. Could be Ron Carter on bass. Something both old and new in that pianist. I feel like that's a clue, but I can't place him. Track 11 - Trumpet sounds like one of those Steeplechase guys -- Smoker/McNeil/Swana. Not that familiar with them, but getting that way thanks to a trumpet-playing friend hooking me up. Tenor is not familiar, but seems like he should be. A definite survivor, but not one I'm familiar with. A bit like Junior Cook, but more muscular. Second tenor has touches of Rouse, but it's not him. Two guys I need to know better. This isn't a 100% hit for me, but something I feel like should be in my collection (sort like the later Buck Hill stuff). Looking forward to the reveal!

Apologies for the late sign-up. Listening at work (getting the productive juices flowing. Some good stuff in here in the early offerings. I'm not entirely confident, but I've definitely scored a few IDs. Track 1 - If it's not clear by now, I'm a sucker for all things in 3. This would ordinarily be a bit clean for my ears, but it's in three, so I like it. Not a guitarist I'm familiar with, but seems to be out of the Doug Rainey neck of the woods. I like the bass (again, not a surprise), though overall, the improvisation of the guitar is leaving me a bit cold. It's thoughtful, but not particularly interesting. Track 2 - Sounds like a Concord recording. Understated. Just swings without being ostentatious. I like it. Track 3 - St. Thomas a la two tenors. First has a big sound but out of more of a modern player. Reminds me of Booker T. with a lot more chops. Second one sure sounds like Harold Ashby to me. In fact, that's who it is. That's a clue... trying not to resort to looking it up, but I've got to think who he collaborated with. Sounds a lot like somebody out of the Kenny Barron school on keys. [second Listen] A clue around 1:20 to this guy's ID. Again at 1:33. At 1:40, I'm calling it: that's Benny Golson, albeit later BG. I don't know what this, but Benny is rippin'! Track 4 - Man, the sound on this recording is rubbing a bad part of me. Sonny Moon For Two. I know that tenor. He's got some filth on there, despite the clunky articulation (which works, by the well). Could be later Johnny Griffin. First impression was Stitt on the second tenor, but then George Coleman. Could even be Golson, again. [Third listen] Not sure on the first guy, but not JG. Not a bad guess, though. Middle is definitely Big George. Third guy sounds a lot like Stitt, but not as proficient. Could be later Houston Person. [Fourth listen] First guy... it doesn't fit, but there are some lines and phrasing that have me leaning Stubblefield, but the overall tone is too Texas Tenor for him... maybe Patience Higgins? I have to move on. Track 5 - First thoughts are Dave Stryker on guitar. Sure sounds like Fathead to me (a good thing). This is a weird comment, but it sounds to me like the sax is dubbed in later. I'm 98% sure that's Fathead. The rhythm section is striking me too hard. Organ is too tasteful to be any of my first thoughts. Very patient in the way he builds his improv -- I like that. Drums and guitar just aren't bringing a helluva lot to this to my ear. Organ solo is veyr nice, again, very patient. More later...

DL please

Apologies for the issues you ran into, Colin. Should be good now. This was an interesting BFT, and I rewarded myself for all the hard snow removal with a little listening time, so here's my take: Track 1 - Odd beginnings. I like it. Song sounds familiar, but I’m quite sure I’m crazy. Hearing some elements of a WSQ tune, I think composed by Hemphill, called Hymn For The Old Year, but it’s not that. I really like this once the tempo kicks in. Tenor could be Ayler — strong and crying, but sounds too new. Reverend Frank, perhaps? Very much liking this. I love the bowed bass and tenor in the beginning. May have to borrow that arrangement. So… guitar, tenor, bass clari, and bass… something about that guitar has me thinking Allen Lowe. Track 2 - Not sure what it is. Takes awhile to get going, but is nice once it does. I’m not 100% if I like it or not. I’m going back and forth between liking it and thinking it’s dragging on (I think I’d like it upon repeated listening). The percussion in the beginning really does take a bit to get going. Track 3 - That’s Michael Moore, for sure. That makes me think Bennink. Oh! I know what this is — it’s Clusone Trio. Moore, like all things Dutch, is someone who always piques my interest. It’s not even that I love it, I just can’t ignore it, ever. Amsterdam may be the coolest place on earth. Track 4 - Needle drop. A lot of facility in this player. It wouldn’t be the first thing I grab, but a dark night, no lights, I could enjoy a whole lot of this. Seems similar to some of the Bill Dixon stuff, but I think this is a European player. Track 5 - A live recording (late 70s?) of Take The A Train. Sounds to me like an outside player intentionally playing inside. Could be Cameron Brown on bass. I’m guessing this BFT is heavy on the European players, though. Track 6 - It’s track 6 from this. I can never fully warm up to Kidd. He’s a bad ass player, but he never fully resonates with me. What’s more, I typically love Parker, but with Kidd, less so. I could, of course, be crazy, but that’s what my ears are telling me. Drake is always awesome. I’m reading Parker’s WHO OWNS MUSIC? right now. What an amazing human being. Track 7 - At first, the tenor sounded like Charles Brackeen, but then he started to get too technical. I like him, but something isn’t entirely clicking for me. There are some monstrous moments, but then he kind of loses me. Monster player, though — no doubt about that. Digging that bass, though. A bit of David S. Ware in the tenor, too, but seems to be thinking too much as opposed to staying within the music. On second listening, I like this. That tenor is mean. Aggressive and feisty, I was wrong to dig on his facility — this is a bad man. Not Ware, but in that neighborhood. That bass player has the facility of Stanley Clark on those note-filled runs, but man, he’s got that David Holland style low end. This is good — looking forward to the reveal on this one. Weird guess on the drums - could be Motian, but sounds very aggressive. Track 8 - This has that European abstract style that I’m less familiar with. It’s interesting, but I think I’d be more into it live. It’s a lot of work to listen to (which is not necessarily a bad thing) but I think I prefer a bit more of the blues. Track 9 - This is really nice. A lot of precision in this player, but very thoughtful. Even when he gets a little out, he finds his way back to that melodic beginning. There are a few points that get a little abstract in relation to the original feel, but still, I like this. Reminds me of some of the Tomasz Stanko stuff, but it’s not him. Track 10 - Big, beefy sound. This seems a shade older, but not too old. I’m pretty certain it’s Fred Anderson. It’s not Drake or Parker, though. Definitely Fred. Second listen — oh, wait! The tune is Fred’s Wandering. I have it as a duet with Harrison Bankhead. This isn’t Harrison on bass, either. This is good stuff. Like Kidd, Fred can be hit or miss with me, but one thing is certain, he’s always putting it out there. Track 11 - I’m all in on this from the get go. First impressions are maybe one of Peter Apfelbaum’s groups, but it seems a bit too out. Very aggressive alto. That bass line is hypnotic. Wait a second -I have this. I’m sure of it. Ah, this is Dennis Gonzalez. Yes, there is Charles Brackeen. Such a cry! Oh, yes! I *do* have this — SUCH a great record! Track 1 from this. Been awhile since I’ve played this. I think I’m about poised for another Dennis Gonzalez kick. The Skipper is such a beast and it’s a beautiful mix with the cello on this cut. Track 12 - A little abstract for my blood. Not really feeling it.

That was the way I read it. Seems like a Basie combo, but I can't say who would be in it.

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.