tkeith

Enjoy your trip -- no worries. Walks and traffic are a good way to lay your ear on music. Good call avoiding the Jason Adasiewicz guess -- not him. I think the Mangione surprise is probably the biggest uh-huh, but there are several minor ones contained herein.

I was most familiar with the Vadalla band, and never really warmed to the improv stylings within. I think Chuck is a very underrated composer, though.

The surprises don't stop there. Sam Jones, Louis Hayes and Joe Romano round out the band. I had no idea CM had worked with such heavy hitters!

I very much agree. That is probably the #1 drawback to this guy's playing, but it's also one that makes him most identifiable... and more recently well off. This is the lone bearable track from one of the very glossy productions MPBN used to provide me with. Over a decade, I think I may have used 5 songs (out of literally hundreds of terrible CDs). I really liked this tune as soon as I heard it, but as I mentioned in a response above, it's because of the similarity in the bass line to Amsterdam After Dark. There's still a good story pending in the reveal. This one is a stretch for anybody to get. I don't doubt your seriousness because I know precisely what you mean. There are points on the album, though, that I do wish they'd take a second to tune. Even so, overall, I like that these guys are doing something *different*. I can't quantify what that is, but my ears tell me it is so. I intentionally stayed in the post-bop mode for this test. I hadn't done one like that, yet, and felt it was time. Trust me, there'll be a freak-out next year (all the stuff I didn't include in this one!). Though I understand what you're saying about the tenor player, there is something about this guy, again, that is just different to my ear. He's playing the same notes, but he somehow seems to mean it more than his peers. Different is the reason I chose this track. There are at least two tracks on the album I prefer much more, but I thought the combination of the song and the players would throw people off. I, too, wish they had done more with it.

Never apologize for reacting to music. I enjoyed (and always do) reading the reactions. Ding! Ding! You are correct, sir! That's not what they're calling it here, but I very much agree with your assessment regarding this entire album. Something about this track just makes me smile, though. Precisely what I was hoping you'd say. Not Mal, but that has been the odds-on-favorite guess. Things that are true. This one is going to shock folks, I have a feeling. Yeah... my take on this *exactly*!

I'll be impressed if anyone gets either of those tracks.

As usual, you are correct on all counts. You're in the correct neighborhood, but choosing the wrong houses. This one also has a good story. You DO need this. Another guy who has had a strange career. He started one place, this is in the middle, and I have no idea what has become of him. I've really expected more people to get the tune on this one. The players and the tune don't really sync up, but that's one of the reasons why I chose it. IMHO, the rest of the album is better than this tune, and again, you definitely want this.

No surprise that you'd love the bassist. Your chronology is a hair off, and it's a tenor, but otherwise, you're right on it. This is an OJC. Correct about Elvin. And you *do* know one of the tenors. These are the reactions I was hoping for on this. surprised no one has gotten this. Folks will be surprised by this. None of those folks, but it shouldn't surprise you that I had the identical reaction to this. This will be a shocker all around. Again, this one will shock people. I don't really expect anyone to get this one. A hint is that this is an early recording of this player and his larger body of work went in a very different direction. I know what you mean. It's the only listenable track on the album, IMHO. I chose it for the song, and/or the feel. After learning the tune, I realized the feel I was so enamored with is actually George Coleman's Amsterdam After Dark. However, there is a good story which might get you onboard with the reveal.

You're on!

Pianist is not the leader. This one may surprise some people as it is lesser known than the leader's other work. When reveal time comes, this one has a nice story with it. Not Archie, but certainly a contemporary, though with a later start. You may well know who this is as your description rings a bell. Not Jay. I agree with your assessment and love of this. I owe a huge thanks to Charlie Kohlhase for turning me on to this. I hope that this BFT renews interest in this player. He deserves better recognition. Good ear. I had the same reaction to this, though it's by no means my favorite cut on the album. I figured the tune would send folks in a direction, but thus far, no one is taking the bait. Dude! You, me, and webbcity need to hang. Seriously.

WARNING: It is distinctly possible that these tunes may get stuck in your head, particularly track 12. My students working on a project and trying to concentrate have been VERY unhappy with me and my incessant humming/whistling.

Good observation. I'm not commenting, yet, but I like the thought behind it. Again, terrific observations. This one may surprise. Yes, you do. Great compositions throughout. This is not a band I would typically gravitate towards and, to my ear, it's as good as I've ever heard the tenor. Again, I anticipate people being surprised by this one; I certainly was.

Ding! Ding! First correct ID, and I was hoping that one was going to be obscure enough to pass. Your other observations are all spot on. I'm going to refrain from saying more at the moment because there are two surprises in there that I don't want to reveal too early.

Thanks for the early reflections. You're ears picked up some nice directions, though I think some of the reveals are going to be surprising in terms of chronology. One thing I will say (and not trying to start a flame war), it's highly unlikely that the name "Michael Brecker" will ever make an appearance on one of my playlists. We are of a very similar mind on this issue.

Starting this one a day early just because I'll be unavailable for the rest of the weekend -- much going on (not all good, unfortunately). Apologies to NIS for slightly stepping on his month. Looking forward to the discussion on this one.

Sent the link out a day early due to holiday obligations. If anybody else wants in, please send me a PM.

Tim, you read my mind. Had to get the brownie points after hearing that as a Kahil El'Zabar; I think he'll get a kick out of that. Pleasantly surprised that I was right about Buell Neidlinger, as he is a fairly new revelation for my ears. I should have got McPhee. Had the opportunity to hear a Trio X set at a church in Boston a couple of years back and was literally next to McPhee the whole evening. What a SOUND!!!!! Seems like I need to build my DDBB collection up a bit, as well.

Egad! As an Adams/Pullen fan, I gotta say, that's not even a good record.

Hey all, I hope people are enjoying #113 as much as I did. Just wanted to plan the seed for #114. If you're interested, please let me know here. My preference is download, but I can setup an online version for those who desire it and/or discs for those who require it. Thanks in advance!

The beginning of the test went about as well as expected. Never heard of Shelley Carrol, but I need to look him up. Ah, Prince Albert, a title that mocks me. FRANK MORGAN!!!! Jeez! At least I had the anger correct. Holy smokes! Bobby Watson is also a surprise; given my comments, James Williams is not. I liked James, but he always got a little too doo-wop flashy for my ears. MAN I wish I had heard track 7!!!! I almost guessed Norris Turney, but I psyched myself out. Jesus! I danced around it but, I should have had it. Even REFERENCED Buck! Idiot! At least Budy didn't fool me. I'm not familiar with Wilder, but sounds like I need to get that way. James Williams at his best if he had me guessing Gene. Gah! Jive at Five! Another title to mock me. I only recently discovered Jeffrey's work. The band just didn't click for me on this. I would NOT have guessed Barbara Dane. Helluva band, too! I thought about guessing Harry Allen, but it would have been just that, because I'm not sure I've ever heard more than two songs by him. Lots of new stuff for my ears. Thanks!

Finally got around to this. Very enjoyable set. 01 - Not sure what they're calling this but I'd call it Blues Up And Down. First guy sounds like Hawk, but I'm not sure it's him; more likely a disciple. Second guy has ALL the licks down, but again I'm leaning disciple. No idea on the guitar, but something in the left hand on that piano has me thinking Jimmy Jones. Now (on the fours) the second guy is more convincing, but I still can't put a name to him. I wish they still made records like this. 02 - I think I should know the tune, but don't. It's a little Horace Silver-ish, but I can't lay a title on it. Maybe it's that tie-in, but that sounds like Randy Brecker to me; very brassy, but a straight, modern funk style. Tenor is doing the Eddie Harris thing, but not in the same personal way; still doing it well, though. You aren't sneaking Fred Wesley in on me, are you? Uh-oh... could that be Gene Harris? 03 - Just deliberate, in your face, blues. Not a farquing thing wrong with that. I was leaning Jimmy Forrest, but I think it's someone a bit newer; has that feel, though. Not sure who that filthy mute is, but he's got some Roy Eldredge in there for sure. Could be Ray Brown on bass, but there is no degree of confidence in that, just something about the sound. Now, on the shout chorus, I'm thinking Budd Johnson, but again, sounds newer. The playing here reminds me of Budd's album Off The Wall on Argo. 04 - This is going to tick me off. I know I've heard this. Clearly it's based on All The Things You Are. Horrid recording; the drums are right there in my ear on the phones, but the tenor is tucked in the background while my ear is assaulted by the ride. Could be somebody like Hadley Caliman, but seems a bit more traditional; I think that's the right neighborhood, though. Something is off about the second guy. He's got flourishes that just don't fit in with the main idea of his solo. I'm going to shoot this f***ing drummer. I like the second soloist better, despite the seemingly disjointed nature of the solo. Could one of these guys be Pete Chrislieb? 05-Footprints, but by whom? I'm going to send out an off the wall guess: Bunky Green. It has that shrill, clean alto sound he gets, and enough soul to be convincing. BG seems to have a hard, innate anger to his playing and I'm hearing that here. No idea what the record might be. I like the way the bass pedals behind the piano solo -- spices the arrangement up just a bit. The drumming is a little busy (rock-ish), but it still works. It's like he's going for a Tony Williams thing, but just missing. LOVE the way the alto comes back in. That's GOT to be Bunky. He's like an aggressive take on Sonny Criss -- totally bad ass. Nice Lullaby of the Leaves quote at about 7:00. Doesn't have the technique of Kenny Garrett, but man, ALL the heart I haven't heard in Kenny since OTB Live at Mt. Fuji (or really, since his stint with Miles) is right there. 06-Moanin'. Used to have this (Blakey's version) on my alarm clock to wake up by... reminded me of the blues the day had in store for me, but still, it was good. I like the alto, but not sure I'm buying the pianist. The alto player is for real. I'm thinking of a guy like Sonny Red (sounds too new) or Red Holloway. Man! Right at 4:05, knockin' me out! Way to keep it simple but just make your point. This is a baaaaad man! I see what the piano is doing, but I still feel like he's trying to do too much. I like the piano solo better than the comping (comping is still too busy for the song IMHO); very nice lines, very hard bop versed. Could do without the George Shearing quote at 7:05, though. Something in those triplets in the coda is conjuring Sonny Criss. Otherwise, though, it's too straight blues, so I'll stick with my earlier thoughts. 07-NO TRACK 7!!! Now I'm dying to know what I missed! 08-This is nice. Alto seems like he's going for that Johnny Hodges thing, but still doing it his own way. Well done. 09-Something sort of JATP about this. Sounds like Buddy Tate on tenor. I was leaning Jimmy Jones again, but I don't think it's him on piano. Could be Fatha Hines. Something happening in my ears; trumpet is clipping. I'm going to say Roy Eldredge, but could just as easily guess Sweets. Bone, I would guess Al Grey just out of association for my other guesses. Not sure of the alto... could have been Benny Carter, but sounds meaner. I'll guess Sweets on the mute. No idea what this is, but I'll take a whole lot more of it. It's like some of the Buck Clayton stuff, but shorter. Nice. 10-Has that Concord Jazz sound, so I'm going to say Gene Harris right off the bat. Pretty confident in that. I'll say Sweets right there, too. That was my first impulse, but I wanted to hear him improvise, and that's my call. No idea on the guitar, but I like his sound. I hope this is the Phillip Morris record I actually own with Kenny Burrell, but it damned well could be. I believe that would put Mr. Tate on the drums if that is the case. 11-Damned title is escaping me... I always associate with Zoot Sims because it was his version that prompted me to learn this. Drawing total blanks. Egad I suck. Trombone does that double-time thing like Al Grey. This seems a bit too sloppy and stiff to be the real guys, though. Almost sounds like Chris McGregor's band playing Basie. I'm going to guess this is South African musicians and I don't really know any of them. 12-A little Since I Fell For You. She's singing it the way it SHOULD be sung. No idea who it is. Can't really hear the horns, even with the phones. 13-Now THAT is Blues Up And Down. The recording sounds like a Concord Jazz recording, so my guesses will lean that way. Big sound, very spry. Second guy, same thing, but bit darker. I think one of them is Scott Hamilton. I'm going to shoot from my butt cheek and say Red Holloway is the first guy and Scott Hamilton is the second. I don't know, though. Second guy seems more out of that Getz school (almost could be Getz). Both these bastards can play, I'll say that. Both seem more modern because of the quotes being thrown in. It's second generation (as opposed to the JATP guys who created this feel) but very well done. This is very enjoyable, if a little clean.

Had a few of these in the rotation over the last few days, but by-and-large, just a one-off listen and comment. Much I liked in here and like all good BFTs will cost me money. Only one that I pegged, which is frustrating. I'm most interested in finding out what #13 is. Track 1 - Lady Sings The Blues and a lovely rendition. My immediate thought is Buell Neidlinger, but there is no degree of confidence there. No idea who the horns are, but that tenor could be Sean Bergin. Track 2 - There's nothing particularly wrong with this, but it just isn't reaching me. I'm guessing a European musician, but only because it seems to meander more than groove in any particular way. Track 3 - This is fun. It's not really a conversation, but more like a chat. I wouldn't spend too much time with it, but what I hear here, I like. Seems like it's making an honest effort to pay homage to an older style, 'til the final moments. Track 4 - The bass hook has me. That smoky, sleepy, trance-like groove -- gets me every time. The best Masada has this feel. Typically don't like sampling, but this is just right. No idea the clarinet. Diggin' the 'bone -- he's got that mute workin'. Could this be a Dave Douglas project? This is nice throughout -- I want this. Track 5 - I Remember Clifford by a big, modern tenor. Has that muscular tone kind of like Odean Pope, but something about the note choices of the bass and the attack of the tenor has me thinking a European players again. Track 6 - My first thought was Dave Grisman's version of Minor Swing, but this is newer. I end up on the bill with a band that plays a lot of stuff in this vein, and I always enjoy it for a song or two, but then my interest wanes. The musicianship is impressive, but the impression does not last for me. Track 7 - This is Sun Ra's take on Pink Elephants on Parade. I think it's taken from this ( Track 8 - Not sure what it is, but I completely love this. Maybe Faruq Z. Bey? It owes a nod to Kahil El'Zabar's Ritual Trio to my ear, but there's not a thing wrong with that. I could listen to this all day and all night. Track 9 - Nothing not to love here. It has a slight sloppiness that leads me to believe it is authentic. Perhaps music from Mali? Reminds me of Roswell Rudd's Malicool. Again, I could listen to this a lot. I'd love it if U.S. radio would play this sort of thing instead of the tired-ass, glossy-covered shit they were distributing when I was working for Public Radio. Of course, the latter are the only shows that survived the cut... as usual. More Jonas Brothers Jazz for the foreseeable future. Track 10 - Seems like it's being weird to be weird. Thirsty Ear managed to pull this off as well as anyone so far, particular the Shipp stuff. I like elements of this, but it doesn't fully come together for me. The Doomy piano chords are a win, but it's almost like the string instrument is not listening. I don't believe that's an acoustic bass (unless there are actually two string instruments -- ah yes, that seems to be the case). Track 11 - Gah! I want the last pianist on this track with this rhythm section! I enjoyed that but have no intelligent guesses. Hell, I don't have any stupid guesses. Track 12 - Part of me loves this. Part of me hears it as too clean. Yeah, the "collective improv," sort of loses the nice feel they had set up and it turns into "look how fast *I* can play, Mom!" Could this be a Wynton project? Track 13 - My first impressions were Mal Waldron, but it isn't him; there's more technique (and that's no slight to Mal, just not his style). Could actually be Kenny Barron. If this isn't a tribute to Mal, it should be. Thanks for the ear porn.

Definitely in for a DL, please.

Wow. Did I blow the Stitt one! Glad to know my ears weren't crazy on Billy Mitchell. Ashamed I didn't at least get the tune on One O'Clock Jump. Christ! My Grandfather died dancing to that song!

No peakies, one round before the wife got home. Some good stuff in here! I was a little concerned a few tracks in, just like you said I'd be. Track 1 – A good ol’ fashioned ass-shaker. Has a bit of that Cold Duck Time feel. Could be Pretty Purdie on drums, but I think it’s somebody copying his style (more of a rock feel). Could this be some Gene you’re sneaking in on me? Definitely owes a lot to Les McAnn, but I don’t think it’s him. Fun, but not heavy. Be good for a party. Track 2 – Somebody who has some love for Sonny Criss as well as those rock ‘n’ roll guys. Not a genre I have any hope of nailing. Nothing like this in my collection that I’m aware of. Again, fun, but not heavy. As it gets further on, I’m hearing a big Benny Carter influence, as well. Track 3 – Nope hope of getting this, but I’m disturbed by how much I’m enjoying it. The agility of the piano at times reminds me of Phineas, but what is going on with the bass/drums? And the friggin’ Hawaiian guitar!??! You’re killin’ me! Track 4 – Lap steel rarely grabs me. This is not the exception. I like the head, though. Something almost Tristano-esque about the blend of the two lead voices. I don’t think this is anyone in my collection. I appreciate the musicianship, but don’t think I’d play it again. Track 5 – I want to like this, but it’s hitting me as way too affected. I DO like the tenor, in spite of that, though. The vocals actually work, in context, but there’s something about the rest of it that’s far too Muzaky for me. A friend was recently collecting a pretty healthy check working for a band doing stuff like this. Sad that that’s an option given how much other music gets ignored. Track 6 – Unlike most of humanity, vibes will pretty much grab me off the bat. I don’t think it’s the MJQ, but they’d like to be. Something about that drummer makes me want to say Connie Kay (and I acknowledge the MJQ tie-in is influencing that). Vibes don’t maintain my interest, but more because I’m longing for Milt’s down-home blues to kick in. Track 7 – Odd little take on The Preacher, but I like the arrangement. It’s not Ray Anderson, but somebody who likes him a lot. No guesses. Track 8 – Older ‘bone work. Similar feel, but not the type of thing I gravitate towards. The bass is strange in the mix. Seems too prevalent. Vibes lose the groove towards the middle of the solo. Seems like the whole band is pushing their tempo limits a bit. Unsure of the tenor. Track 9 – That HAS to be Gene. Reasoning is simple: I love it. Track 10 – In a Mellow Tone, one of my favorite Ellington tunes when I was younger. Not a tenor I’m familiar with, unless it’s a very early recording of someone I am familiar with. He’s got that big, reedy sound, but there’s something almost a little sloppy about some of those bebop licks. I like it, but it’s a shade unpolished (actually something I tend to prefer). Maybe something obscure from Billy Mitchell? Doesn’t seem quite solid enough to be Billy, though. Impressive dexterity on the pianist. Bud Powell at ¼-speed; that makes me want to guess Barry Harris, but it seems ½-speed for him. Tenor goes up high and gets it the way Budd Johnson would, but it’s not him; it’s someone a bit later than that. Track 11 – This sounds VERY familiar. Not like I have it, but like the tune was in a recent BFT. They’re going for that Blakey shuffle, but the band reminds me of the later Horace Silver bands, but doesn’t quite swing as much as they do. Something familiar about the trumpet, but he’s so scoopy it’s throwing me off. A wild hair has me saying Ralph Peterson on drums. It’s the Sebastian Whitaker cut it’s reminding me of, I think. Man, a lot about this sax player has me thinking Gary Bartz (the ideas), but the burn is missing for what I’d expect for GB. Maybe a student of his? Several lines are DIRECT Bartz quotes. Wait a minute. I have this. It IS Gary Bartz, and it’s track 2 THE PANTHER from this (http://www.allmusic.com/album/blue-jazz-mw0000319245). One of the great covers EVER! I picked this up about the same time as Grachan Moncur III’s EXPLORATIONS, and the major difference between the two is the drumming (Cyrille is the drummer on that date). Cyrille would have put this album over the top. Track 12 – Bood Count. Man, that is one DARK ballad. Getz did a great version on the album Pure Getz. This is John Stubblefield’s take from this (http://www.allmusic.com/album/confessin-mw0000193233). Track 13 – ‘Scuse me while I disappear. Another great cover (sensing a theme here). It’s Hank Crawford’s take on Angel Eyes from this (http://www.allmusic.com/album/more-soul-mw0000366495). Man, Ray Charles had himself one helluva band! Track 14 – Fly me to the moon from a needle drop that seems like it may have made the trip a couple of times. Man, that is one pro tenor player! I was thinking Fathead, then Moody, then even Jimmy Heath. I’m right around him, but I can’t get him. Not Teddy Edwards, but he’s on that block. Track 15 – It’s Blue and Sentimental. Trying to nail down the big band tenor. My first guess was Ike Quebec, but now I’m leaning more Billy Mitchell. Not sure of the band. A bad-ass, for sure. Track 16 – Sounds Kinda Dukish… then has the Basie tag ending. I think this might be another round of Gene. Track 17 – Hmmm… this is Almost Like Being In Love. Something West Coasty about this… maybe Bill Perkins? Then again, seems to have a hair more grit than that. This is someone I should know. I’m going to hate myself, but I’m running out of time for this listen. Damn the bad luck! Track 18 – Relaxing and soundtracky… no idea, but I would like a nice cool, strong drink in this here black-and-white café.