tkeith

Track 14! Classic! Awesome! Just showed this to film class because a few students had never seen it. Mouths were agape. We also watched the interview with Mel where he talked about the outrage from Jewish groups when the movie came out. "They didn't get the joke." Wow. What a great pick!

Wha? No, my comment was for Spoontaneous in response to his reaction to my original comment. I really wasn't taking a shot at singers. I was more saying that it sounded to me like someone who plays an instrument s/he is known for, but is not known for singing. Gary Bartz would be an example, Grady Tate another. That's all.

Ah! Then it's track two from this.

Listening to 3 again... first tenor somewhere between J-Griff and Don Byas... man, a BAD MF whoever he is. Only other guy I can come up with fitting those parameters is Arnett Cobb, but seems too agile. I'm going to throw a guess in on the second guy and say Buddy Tate. I guess my comments on track two came off more contemptuous towards singers than I intended. Track 5, based on your response, the newish tone, and the Marsh influence, I'm going to say Mark Turner? Track 8... having trouble reading between the lines of your response comment. That's not Max? Digging this more than I did even the first time. Bitch of a tune! 14 sounds like a TV theme after your hint.

GREENIE!!!!! Thanks!

Late to the dance -- been a bear of a month. I liked a lot of this, especially on the front half. The back half made less of an impression, but was still by and large enjoyable. Track 1 - Oh, I know this right away. Wait a second. Not sure about the humming piano player, but that sure sounds like McBee on bass. Sure sounds like Idris on drums, too. Damnit! I have this in one of the iPod rotations, but it’s giving me fits… coming back to it later. May be a tune I recognize by somebody else… this is going to stick in my craw ’til I get it. Ah! YES! That’s it — it’s 400 Years Ago, Tomorrow, which I know from Woody Shaw. It’s written by Walter Davis, Jr., so I assume this is the Steeplechase date with Santi DiBriano and Ralph Peterson. Now that I’m listening again, I’m sure of it — that’s definitely Ralph on drums. This. Track 2 - This sounds like someone sounding like Mark Murphy to me. Maybe a musician who also sings? I’m not feeling the guitarist, but the piano is solid. Track 3 - This is perplexing, horrible sound, but the band sounds more modern at first. Recognition for the first tenor, but no name, yet. That certainly sounds like Roy Eldredge on trumpet. And that second tenor is awfully familiar, too. I wonder if this could be some later JATP recording. Bitchin’ and burnin’, whatever it is! Track 4 - Sparse. Interesting. No idea. Track 5 - This seems a bit stiff right out of the box. First tenor is not someone who makes an impression on me. Has that modern sound that I find difficult to differentiate. Second tenor, despite an obvious Marsh influence in terms of tone, just bores me. The affected quietness of his approach doesn’t resonate. This one is just tired. Sorry. Track 6 - Beat It! Mal Waldron from this. Mal Waldron can play ANYTHING and make it great! Track 7 - Never have warmed up to the bassoon. It’s ‘Round Midnight, but I can’t say who it is playing. I only know a handful of bassoon players (Yusef, Ken McIntyre, Tim Price) and I couldn’t peg any of them. Track 8 - This cooks. Somewhat Monkish, but more like Phineas or The Amazing Hasaan. Something very familiar about those drums. I’m digging this completely. Track 9 - I want to like this more than I do. Alto reminds me somewhat of Frank Strozier, but seems a bit too commercially tinged. Could be Craig Handy, but doesn’t seem quite in love with himself enough. Perhaps the Strozier tie-in is the Harold Mabernesque piano. I don’t think it’s him, either, but they are certainly nailing down that sound. Drums are kicking right along, but there is something modern about them. Could be Ralph Peterson again. Bass is not making a huge impression either way. I do like the simplicity of this melody. It’s interesting, but pretty much just loping rhythmically along. It provides a nice vehicle for the groove and the improv. Track 10 - Very nice. No idea, though it reminds me a lot of Tommy Flanagan. Track 11 - This one isn’t resonating for me. None of it. The lyrics, especially are leaving me cold. Track 12 - Outside of the realm of my listening, but enjoyable. The arrangement is a little restrictive — pretty much the whole band following the melody without a lot of counter movement. Tenor solo is nice, tasteful, and swings. Track 13 - This is a quirky one. I kind of like it, but it also sounds like guys playing outside of their area of the genre, particularly the tenor. I like his playing, but it doesn’t quite fit the feel of the tune (which may be the goal). Track 14 - Solid music, but didn’t really make an impression. Drummer reminds me of Alan Dawson, but the recording seems too modern. Thanks for the challenge!

A DL, please, kind sir.

Think I figured out the theme. I’ve never actually owned the album in the picture, but do have a cut from it on a Tower Records Sampler. Odd but useless fact of the day. Track 1 - Digging this. It’s got an edge to it because of the tempo, but I like the simplicity of the melody, and those vibes are a very interesting layer. No idea who it is. I’m not enamored of the vibrato he’s using on the vibes, but the complete package works tremendously, here. Track 2 - I like this even more than the last. That base is intoxicating. I don’t miss the lack of drums and the vibes are the perfect compliment to this. I think I’ve heard this before, but I can’t say what it is. It’s perfectly lovely. Track 3 - This has the feel of a Sonny Clark recording to me, but I don’t think that’s what it is. Time period seems right, but on the earbuds, it’s hard to tell. Could be a Steeplechase recording, too (if that makes sense). Loving the rhythm section on this. That’s not taking away from the vibes, but the trio is just driving this without being in your face (why doesn’t this happen anymore?). An out-of-leftfield guess: is that Tootie Heath on drums? Track 4 - My first impression of the piano was Joe Bonner, then McCoy. But now I’m thinking this is newer guys playing in that style. Something about the head is very 90s. The musicianship is impressive, but this lacks the “it” that the last cut had. Pretty positive that’s Billy Higgins on drums, but that’s not going to pull this over the edge. The interplay between vibes and piano just comes off as too busy. I like it more than it sounds, but it’s too busy to hold up for me long-term. Track 5 - Man, you’re hitting the right spots with this test. Man, this has it all. Organ-ic blues feel, Coltrane, and it’s in 3. This is like Thanksgiving pizza. Weird suggestion: Sounds (again, on earbuds) like a Mapleshade recording. I say that because I’m loving the drums to unhealthy levels. This may find it’s way on permanent repeat for awhile. LOVING this. Heavy Elvin influence on the drummer, but not in a rip-off way. This is just groovin’. CURSE YOU! Yaw gonna make me po-ah!!!!! Track 6 - This is weird. Tenor has me thinking J-Griff at time, Mr. T. at others, but it’s neither. However, I can’t say who it *is*. A little Harold Ashby right at the tail end of that soil. I don’t know the band, and I’m not sure the arrangement completely works. Almost sounds like a college band — very precise, but lacking that distinct voice (the soloists notwithstanding). With that heavy vibrato, could well be Lovano, but I like this more than I typically like Joe. There’s that growl again. Almost like Shepp or Heinz Sauer, but that’s just two more people that this isn’t. Love the ‘bone… nay, that’s a Frenchhorn, isn’t it. Either way, I like it. No, now I’m leaning ‘bone again. Loving all the solos, but not the arrangement… perhaps there is a clue in that. If so, I’m blind to it. Track 7 - Never thought I’d say this: too much vibes. Lacks the blues through the first minute. When the band comes it there is an improvement, but I’m still not loving it. Drums/bass are working hard to make this happen, but everything else is missing to my ear. Starting to gain some steam at 2:06. The Coltrane/3 feel again, but well done. Piano is still a little too new—agey for my taste, but this is developing into something. Newer recording and the drums are definitely adding something. I’m thinking this is an avant garde drummer playing in a more traditional style. Not sure what to make of the vibes, only that I’m not digging it. Track 8 - Ah! There’s my guy! It’s track 2 from this [http://www.allmusic.com/album/this-is-walt-dickerson%21-mw0000105645]. Those first four albums — not a wasted note on them. Pretty much enamored of everything he ever did, and it’s one of the great travesties that he’s not mentioned with the royalty of the genre. He wasn’t a junky, so he was under recorded (meaning the record companies couldn’t take full advantage of him). A man I actively miss. Everything about this record just works. Track 9 - This is quite nice, as well. This is not someone I’m as familiar with, but coming out of that same general school. I prefer the ballad segment of the tune, but both halves work. I like the right-hand of the pianist a lot. Seems like the recording could capture the piano better, but I really like what the piano is doing. The business of the uptempo portion of the head doesn’t really bother me as they don’t allow it to run over the feel of the whole tune. Track 10 - An older style/recording. This strikes me a lot like the opening cut. The vibrato is heavier than it needs to be, but the overall feel work quite well. Bitchin’ tune. Track 11 - This one doesn’t resonate quite as much as the last one, but I still like it a lot. No new ground broken here, but this is IN the pocket. Piano seems very familiar to me. Another neat tune. I want to say I have heard this before, but have no guess as to what it is. Track 12 - Tenderly, in an older style of the instrument. Very thoughtful. Track 13 - If You Could See Me Now. These sounds incredibly familiar. Sounds like a Xanadu live recording. Track 14 - This has a more modern sound to me, but I like the overall feel. Pianist is a bit busy for my taste. Well… I think it’s the combination of busy and angular that my ears object to. Track 15 - My Funny Valentine. A decent version of the tune, but didn’t really hold my interest. I was distracted by a note of news and had to check to see what tune I was on. I do like the playing, but it just lacked “it”. Track 16 - I’m in at the opening bass hook. Don’t know what it is but reminds me of Charles Lloyd’s writing in the late 60s/early 70s — sort of a Sombrero Sam thing going on. Those guitar lines have a heavy Grant Green influence, but it’s not him. I think this is a retro-group. They’re doing it right, though. This is a good, ol’-fashioned ass shaker, and that’s always a good thing. Vibes player has some serious ability. I don’t think it’s Bobby, but it’s at that level. Track 17 - Seems like a very mainland variation on St. Thomas. It generates, but does not maintain, some interest. It’s almost Brubeckian in it’s composition. When the improv starts, it improves slightly, but that comping sure does sound like Brubeck (not a good thing for my ears). There’s nothing particularly wrong with it, just doesn’t reach me. Headed back to read other's comments. Thanks for the compilation. Varied reactions, for sure, but overall, much to like.

Guess I *don't* know that tenor on track 7. Again, Sam Rivers vexes me. I love what I have by him, but so much of what else I hear about seems to rub me wrong. Odd. Also, quite embarrassed by the total whiff on the Muhal Richard Abrams cut. Bah! That's why we do this! Also some real finds in here (sound of money being vacuumed from my wallet).

Definitely in for a DL, please.

Got to listen to this one three times, but really, did no better than when I listen once. Track 1 - Sounds like Sonny Blount to me. In fact, at 1:20, that *has* to be John Gilmore. Not sure what the recording is. Something old and something new. I like it more on the second listen (something that rarely happens with a BFT, but the distraction of music masks the distractions at work these days). Vocalist could be a young Jimmy Rushing, but again, that's not a confident guess. Track 2 - St. James Infirmary, but by whom? This is a difficult period for me. At times it has an early Ellington feel, but I don't think that's right. The more it continues, the more I'm thinking Ellington, but that would remove the vocal guess as I only know of one instance where they worked together. Bah! I'll just enjoy it and keep my guesses to myself. Track 3 - No idea Track 4 - Watusi. Not sure the recording, but it's early Sun Ra. Bitchin’ horn lines! Track 5 - Nice vibrato on that trumpet. A nice, old-school recording. Not particularly sure who I’m listening to. It’s a big, fat, round trumpet sound. Could be Fatha Hines on piano — very percussive. This will break my heart if this is some retro-style group going way far out of their way to capture that style and sound. Track 6 - Bitchin', bad-ass tenor. That's gotta be Lockjaw. Ah, yes, there's the triplets. MAN he was bad-ass! And there's Clark Terry. Oh, it's track 2 from this. Not a stretch to say this is a classic album. Track 7 - That's a very familiar tenor. I want to say Harold Land, but that's against everything my mind is telling me. There'll be a third, nay, a fourth listen on this one. The trumpet is someone I’m less familiar with, but he sounds familiar. Man… I *know* that tenor. I’ll wimp out and say Red Holloway, because after 5 listens, I don’t have him, yet. Gah! The bass is entirely familiar, as well. This is going to piss me off because I *know* I’ll end up having this. GAH! Track 8 - That's John Hicks. A few seconds confirms that. Sadly, I'm not as familiar with his trio work as I am with his work as a sideman. This flat-out cooks. Much love and I'll have to go buy it on the ID. Sounds a lot like the rhythm section from Journey to the One (Ray Drummond, Idris Muhammad), but something also has me thinking Al Foster or Louis Hayes on drums. Ah... crafty. I had to do some research, but it's from the DIW sampler. By the bass solo, I figured I was wrong about the bassist, and the title confirms that. Great tune, great playing. Should have stuck to my guns on the drummer. Track 9 - This is interesting as hell, but I have no idea what it is. I find myself wondering if an entire album of this would maintain my interest. Reminds me a lot of the Abdul-Malik stuff. Track 10 - The horns remind me of the Beaver Harris 360º Experience, but the drums seem too tight to be BH. I’m thinking this is a more modern band than that, perhaps European. It burns, but has a different swing to it than what it reminds me of (if that makes sense). The bass has a sort of thinner quality to it (not the right word, but it’s not a booming Mingus/William Parker sort of bass). Definitely a more modern tenor. Lots of execution, but seems to be more head than heart to my ear. There is a Sam Rivers influence, but I don’t recall him using that affected, strangled altissimo. If it’s him, I think it’s a later recording. Track 11 - I don’t know who this is, but he’s all over and I like it. It’s not Kenny Barron, but s/he’s similarly versed. This has a little bit of many styles. Whomever it is, s/he can *play*! I’m hearing different tunes, ranging from “Don’t the moon look lonesome, shinin’ through the trees…” to “Ease on down, ease on down the road…” Very interested in this one. Track 12 - This is a little modern/commercial for my leanings. It’s one of the newer bad-ass players (but not too new), and has that technical accomplishment that players can’t seem to get beyond. I like it, but I’d like it more if it were less perfect (like when Sonny Rollins did this stuff in the ’70s!). In fact, this reminds me a lot of Don’t Ask, but doesn’t have the same soul to my ear. That sounds a lot like Dave Stryker to me on guitar, but seems like a style he doesn’t tend towards. I’d like to take the effects away and see what happens (yes, I’m jaded about guitarists). I want to like this more than I do, and I can’t fully explain why. Oh, wait, yes I can — it’s the friggin’ synth sounds. Sorry, I’m out. Track 13 - My first impulse was that this was the Microscopic Septet. It has that Kenton-esque straightness to it. I was leaning 29th Street Saxophone Quartet, but seems a little safer than that. Track 14 - That’s J.J.’s Lament. A beautiful tune that somehow STILL doesn’t get covered enough. This has a beautiful feel to it. The sort of feel Tommy Flanagan got on solo piano. It doesn’t have Tommy’s loping swing, though. Could be someone more along the lines of Roland Hanna. I like this a lot. Track 15 - I’m not sure what this is, but it instantly reminds me of the soundtrack to The Far Side animated special. It’s not that, but in it, there is a similarly haunting melody like this that has always captured my interest and imagination. There’s some heavy hand in there almost like Mal Waldron, but it’s a little stiffer than Mal. Oh! Tasty! *Loving* the violin! The Clarinet doesn’t really work for me. Seems to be trying too hard. Doesn’t really ruin it (and let’s face it, my bias against the instrument is very well documented), but I’d love it more without it. GOOD test! Lots of tasty morsels in here! Looking forward to the reveal (and the loss of more accrued revenue as a result!).

Nice! Some stuff uncovered that I'm not familiar with but clearly need to be. Well done, sir!

In for a DL, please!

In Boston, there was Stereo Jack's, staffed by Charlie Kohlhase (not a bad arrangement!). In Portsmouth, there was Rock Bottom Records. The owner knew next to nothing of Jazz, but was able to hire people to manage other catalogs, so he took on Jazz. He lucked out. My father served as his unofficial adviser. That's good company when building a collection.

Indeed it was. Probably explains a lot about me as an adult. I got the chance to do a couple of gigs with Eddie about... eesh... 7 years ago. Tim (webbcity) was on those, as well. Good times.

Hmmm... interesting to see all the chronological commentary. I consider this to be the era as I was growing up, though I was not yet part of the record buying public. My Dad would play things like Return to Forever, Children of Forever, and Eddie Gale's Ghetto Music (my first Jazz record) for us as kids (roughly ages 4-10 for me and my older sister). He typically played more traditional stuff, but this was his attempt to get us into the music. It worked for me (sort of; other than the Chick Corea stuff, I didn't develop my real appreciation until Sonny Rollin's Don't Ask, which was my first purchased Jazz record when I was 9). Anyway, I'd guess I might be about 5-10 years shy of the folks identifying with this stuff, though I'd count myself in your numbers. I know webbcity identifies there, as well, and I've got a few years on him. Interesting stuff, this social media.

Yes, I know you got 8 (my 9) right. I mis-recognised it. (Is that a word? Well, it is now.) When I looked at the tags, I realised I'd completely bollixed it up. But I didn't change what I'd said. MG *Phew*. I thought I'd slipped into Rod Sterling's world for a moment.

I just want to add on that I never saw tags. I typically listen in iTunes, but even when I loaded the files into Switch, there were no tags. I know from using Audition that there are different versions of tags and I bet that has something to do with it (some software uses different versions, so when you "scrub" the tags, it doesn't get all of them. On a prior test I had the same issue and I always rename all ID3 tags in iTunes (Once I have my song order, I'll change the title of the album to BFT #XXX, change the artist, etc.). Even if it's a tag that I don't always use (e.g.-- composer), I'll selected it, enter a character, then delete it (so long as I'm editing all tracks at once, that seems to work). I've even gone so far as to change the artwork. Not sure how foolproof it actually is, but it seems to work. I'm confused by the "Pharoah" ID, because numerically, I *know* I got track 8 right.

I actually got to this one quite early, but didn't finish until this morning. I need to retire so I can focus on BFTs. Think my wife will buy that argument? Given that it's 7:41 AM and she's working here at home on a Saturday, I think I'll maybe broach the subject another time. I haven't looked at the thread, yet -- I'll go do that now. Track 01 - Sounds like one of Mtume's bands. Ah, no, wait... it's Track 1 from this. The Blackfire catalog was sort of a discovery to me a few year's back. I still rank Doug Carn near the top of this sub genre, but really enjoyed the majority of it. What can I say? Part of my has always wanted a red-on-white-in-white Cadillac convertible. Good starter. Track 02 - Not entirely certain what this is, but sounds like another of the Black consciousness era bands, which is to say, I love it. The tenor is a boss, bold, voice. Very post-Coltrane, but done right. I want this. No confidence in guesses, but something very familiar about that tenor. Almost said early Ari Brown, but doesn't quite have the "meanness" that I associate with AB. Track 03 - Something has me leaning towards Sonny Fortune, but I seem to like it more than I would if it were him. It's got that very hipnotic, LA 1970s feel (read; Tapscott). This is very nice. I could deal with a whole lot of this. Perhaps something by Adele Sebastian that I'm not familiar with? Track 04 - All that was hitting about the last one seems less in attendance here. It sounds like it's *trying* to be like that music. The hyper-compressed drums are a big part of the issue. I assume this is the drummer's record. It's a modern, conservatory tenor. Has that accomplished sound that frustrates me because there is nothing individual about it. Even his Coltrane-isms are blatant thievery (the Like Sonny quote). Could be John Hicks on piano on an off day, but I don't think he had those... ever. This one just isn't resonating with me. Outside chance that the tenor is Eric Alexander, but to me, he doesn't have that beautiful tone EA gets. Track 05 - Oh no you don't. That's MY song! Stanley Cowell's great tune Effi from this. Easily one of my all-time favorite recordings and a top five favorite song. Infinite thanks to Webbcity for introducing the chart to me. My only regret is that he ever wants to play any other tune. Simply awesome, and IMHO, THE standard for the Black consciousness sub genre within Jazz. I'm sensing a theme and I think I love it. Hey Tim! Jymmie Merritt is THE exception to my electric bass rule. Track 06 - Great re-telling of Wayne Shorter's Infant Eyes. Beautifully done, by someone who can *really* sing! Although, as it goes on, she goes into a really wonky area... doesn't *quite* work, but still, some amazing vocal control when she sticks to this tough melody. Track 07 - This reminds me a lot of a Sonny Rollins/Larry Coryell duet called The File, but it's not that. Unless my earbuds are failing me, this is a piano/drums duet. Somebody very much out of the McCoy Tyner school. Track 08 - That's my guy Harold Vick with some insulting synth. Nonetheless, he is VICK! It's Track 5 from this. Not sure why she opted for that sound on this song, but even though it survives, it would be healthier without it. Vick was such a discovery for me when I got to him. He was that missing link between say, Hank Mobley, and all those post-Coltrane guys. I had him on a few records, but always as a section horn. I'm glad I finally got to him because I think he's an important voice in the timeline of the music. Track 09 - Sounds like Woody Shaw, but given this is a BFT, I'll assume that's an act of subterfuge and guess that it's Terumasa Hino. That's certainly Sonny Fortune (or is it the Japanese equivalent?). Oddly, my favorite bassist is Cecil McBee, especially his sound. One of my least favorite bassists is Stafford James, ONLY because of his sound. Oddly, on BFTs, I frequently guess one for the other. This sounds like Stafford to me, which means it's probably Cecil. Some great stuff in here! My only sadness is that I already have so much of it. Thanks for the BFT!

Yes. And I eventually forgave him.

I assume that it is, but as I said, I recorded this off the radio. I've never found the actual document.

I agree, and I think that's a large part of why Noble didn't last on the scene. I still find that particular track fascinating, though. Yes, I contacted him about that years ago and he said it was his intent to share that music for free (I bought the discs anyway).

08 - One For You, Three For Me - Jeff Coffin Ensemble - (1995) Outside The Lines Jeff Coffin - tenor sax; Bill Fanning - trumpet; Barry Green - trombone; Tom Reynolds - piano; Roger Spencer - bass; Chris Brown - drums This was Jeff's inaugural album after working as a session man after college. The whole record is similar to this straight ahead, post-bop style, and the whole record is enjoyable. I had the good fortune to attend the same high school as Jeff and be one of his first (if not THE first) of his students. When we met, he was listening to Yakety Sax, The Brecker Brothers, and a lot of rock sax, as well as playing all the high school band charts (though the band director *got it*). Jeff was bad ass as a high school Junior, and really stood out. I paid $3 for a 30-minute lesson once a week (I'd been playing a little over a year). My father was converting from LPs to tapes and suggested I ask Jeff if he'd like to be paid in albums instead of cash. I was too sheepish to ask, and eventually, Jeff suggested the idea. This turned out to be a developmental moment that Jeff has cited as a major growth point as a listener. My father wound up being the guy that brought Jeff's exposure beyond "Bird" and "Trane" and such and introduced him to the likes of Yusef Lateef, Hank Mobley, and others. I'm glad for Jeff that he's built the career he has, but a part of me will always wish he'd continued down this path. But if somebody offers you a return on the investment of your study and effort that puts you in front of audiences of several thousand all over the world, you don't typically say no. 09 - Pull Of The Moon - Carol Heffler - (2005) Exactly Carol Heffler - vocals; Angelo DiBraccio - soprano saxophone; John Bianculli - piano; Steve Varner - bass; Dave Mohn - drums When I was doing my radio show for Maine Public Radio, I would get a box of discs, sporadically, from different distribution sources. Most of them were glossy, well-produced covers containing over-produced schmaltz that worked well as a sedative. This track caught my ear immediately and it wasn't until later that I realized it's the same rhythm in the bass as George Coleman's Amsterdam After Dark. Because of this modern world, I was able to track down Ms. Heffler and inquire about the tune. She e-mailed me a chart and asked that I let her know if I recorded it so she could keep track. She was pleasant and thankful for the interest. While she may not be Carmen McRae, I thought this song was interesting enough to add. I *will* one day record it. 10 - The Calling - Wendell Harrison - (2002) The Eighth House: Riding With Pluto Wendell Harrison - tenor sax I didn't expect anyone to get this. Awhile back, again while doing the radio show, Charlie Kohlhase put me in touch with a representative from Entropy Records. It started with Charlie asking if I'd heard the new stuff from Faruq Z. Bey. I wasn't sure I'd heard the *old* stuff, but when somebody like Charlie makes a recommendation, I listen. This was an iPod find on the commute and floored me (though I would have skipped the extreme altissimo ending). This album seems mostly comprised of some ideas rather than compositions, but it's a worthy listen. Harrison was on Phil Ranelin's recordings of The Tribe, albums that have always been a huge source of enjoyment for me. 11 - Mokondi - Faruq Z. Bey w/Northwoods Improvisers - (2009) Emerging Field Faruq Z. Bay - alto saxophone; Mike Carey - alto saxophones; Skeeter C. R. Shelton - alto saxophone; Mike Gilmore - vibes; Mike Johnston - bass; Nick Ashton - drums And this was one of the albums Charlie recommended. The Northwoods Improvisors were really doing something unique and this is pretty representative of their sound. One of their "covers" is Randy Weston's theme song (written by Guy Warren) Mystery of Love. These guys bring it and manage to be creative with an underlying respect to the tradition. Their production is far less glossy -- they just create music. It would be nice if someone acknowledged them once in awhile, so I included them here. 12 - Blackness - Robert Stewart - (1996) The Force Robert Stewart - tenor sax; Ed Kelly - piano; Reginald Veal - bass; Jeff "Tain" Watts - drums Stewart's story is an interesting one and can be found here. In a nutshell, Stewart was a self-taught, late bloomer who had a chance meeting with Pharoah Sanders at a jam session with pianist Ed Kelly, where Sanders said, "Ed, I hear something in this one." Another guy I owe Ken Eisen for introducing me to. Stewart was producing with regularity right up until his last album, a live date that serves as the last recording of Billy Higgins prior to his untimely passing. He's a unique voice falling closest to Ricky Ford to my ear, but I have no idea what he has done lately. 13 - Remembrance - Ed Schuller - (1996) Mu-Point Dewey Redman - tenor sax; Bill Bickford - guitar; Ed Schuller - bass; Paul Motian - drums This album was a complete discovery. A friend lent it to me and I put it on the iPod for the commute. I always shuffle the tunes and this one sent me checking for what I was listening to. When I saw Schuller's name, I became excited, figuring I'd discovered some new, lesser known tenor. I was surprised and a hair disappointed to learn that my new find was actually the late Dewey Redman. I've long been a fan of the elder Redman, and this album presents yet another facet of his amazing musical personality. I chose this track because it is a Jim Pepper tune and I figured people might guess in his direction. I'm not completely sold on Pepper, but hearing Dewey playing in this varied setting is just warming for my ears and soul. I recommend this album completely, as this is likely the weakest track. Thanks for listening and participating and hopefully I've lightened some wallets this month.

I'm going to post this a couple of days early simply due to a hectic schedule. Gig tonight with Webbcity, two long work days following. I'd rather be a little early than a little late. Please make sure you sign up for felser's BFT. 01 - Friar Tuck - Jerome Richardson - (1959) Roamin' With Richardson Jerome Richardson - tenor sax; Richard Wyands - piano; George Tucker - bass; Charlie Persip - drums I wanted to start this BFT off with something very straight ahead. I was thinking of something from Jimmy Hamilton when I found this track. Richardson is a very under appreciated cat who was the prototypical studio musician for a couple of decades. It's humbling to hear just how accomplished this guy was when few people have an album by him in their collection. 02 - B.G. Mambo - Bennie Green - (1958) Soul Stirrin' Bennie Green - trombone; Gene Ammons, Billy Root - tenor saxophone; Sonny Clark - piano; Ike Isaacs - bass; Elvin Jones - drums There is nothing I don't love about this album. I'm a huge Jug fan, and Sonny Clark is one of my favorite pianists in this pocket of the genre. Hearing Elvin in his development is awesome -- what a force! Billy Root was a surprise discovery when this popped up on my iPod during my commute. 03 - Just Another Sunday - George Benson - (1964) The New Boss Guitar of George Benson with the Brother Jack McDuff Quartet Red Holloway - tenor sax; George Benson - guitar; Brother Jack McDuff - organ; Ronnie Boykins - bass; Montego Joe - drums, percussion George Benson seems to be a forgotten voice in the world of Jazz, particularly since he requested rights to the night on pop radio. This track is poppy, but it just works. Another one that happened across my iPod on the commute and blew me away. Red Holloway is one of those second-tier guys who always makes my ears happy. Where are those guys in today's music? Get out of the practice room and play some MUSIC!!!! 04 - The End of a Love Affair - Richard Noble - (2002) Continuity: In Memory of John Coltrane Richard Noble - tenor sax This was recorded off a radio broadcast to tape, then transferred to CD for posterity. I've never found the original disc (NOT For a lack of trying). My friend Ken Eisen turned me on to this cut, which is by far the class of the album. Noble was fresh out of college when this was recorded and had clearly spent a lot of time honing his Coltrane. What really sells this is how incredibly well they capture the sound of the whole quartet (solos notwithstanding). This one fooled The Boss (my Dad) who saw Coltrane many times. Like most of us, he went for his discography and was unable to find a recording of this song. The other cuts I've heard from the album expose Noble's limits as a player, and I'm not sure what ever became of him. 05 - Old Portrait - Charles Mingus - (1964) Mingus Plays Piano Charles Mingus - piano Yeah. I was surprised nobody got this (particularly given the song ID!). When I found this album, I couldn't wait to hear it. Mingus is not the most accomplished pianist, but man! He sure is musical! There is not a missed moment on this disc -- pure, honest music. 06 - Checkmate - Shelly Manne & His Men - (1961) Shelly Manne & His Men Play "Checkmate" Richie Kamuca - tenor sax; Conte Candoli - trumpet; Russ Freeman - piano; Chuck Berghofer - bass; Shelly Manne - drums So, who even thought Kamuca for a minute? My first leaning when I first heard this was Golson, but I knew it wasn't him. I didn't know Richie could play like this. This album is all music by John Williams (yeah, THAT John Williams) and there is not a dull moment on the record, though I believe this track is the class of the album. It's tight and the whole thing swings like hell. I've always seen Kamuca as the dividing line in taste between my father and I; I always seem to prefer the other tenor player in a band with Kamuca, though I enjoy his playing and respect his musicianship. If there were more Kamuca recordings like this, I would count myself a huge fan. 07 - If Ever I Would Leave You - Chuck Mangione Quintet - (1962) Recuerdo Chuck Mangione - trumpet; Joe Romano - tenor sax; Wynton Kelly - piano; Sam Jones - bass; Louis Hayes - drums Saxophonist and educator Tim Price frequently posts what he is listening to on FB, with commentary (anecdotal and otherwise) about the music. He posted this as a demonstration of Joe Romano's work, and I was blown away. I had no idea Chuck went this far back nor that he had played with such heavy hitters. Respect.

In for a DL, sir! Thanks!