tkeith

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!

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.