tkeith

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.

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.