tkeith

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.

Yes, I believe so. (The first two, definitely are.)

Not sure, but I'll gladly offer my 2¢. Venus is an exceptional album. Ultimate Frontier is very good, but just a shade below Venus. Live at the Green Mill is OUTSTANDING!!! His work with Kahil El'Zabar's Ritual Trio is all excellent (and you'll hear a lot of similarity between his piano work there and some of his own compositions, particularly the title track on Venus). He's one of those guys who, once you know him, you'll spot him instantly (think Tyrone Washington).

MG, you will NOT be disappointed in Ari Brown. There's a lot of 70s Shepp in him, but he tends to be more melodic/less notey.

Track 1 - Man, this is a bitch and I'm loving every second of it. I have to guess Illinois. I'm hearing Jug and Lockjaw, but it's neither. Illinois is the only other guy who could have balls this big. Unless I'm full of crap and you snuck Hal Singer in there on me. Track 2 - Well, that's clearly Harold Land, and there seems to be a lot going on. This sounds like a real Chocolate Mess. There's the unmistakeable Oscar Brashear. Man, why is this guy not better known!?!? Track 3 - Sounds an awful lot like Charles Tolliver's writing. But wait, there's Harold Land. Man, whatever it is, The IT's Where It's At! I pretty sure on this one, though sadly, I had by-passed this one in the past. This is much hipper than I remember. Track 4 - Those open chords sure sound a lot like McCoy. The soprano is bugging me, so it could be Sonny Fortune. I'm sure of McCoy, but that soprano seems too sedate to be Sonny. You've got me on this one. Track 5 - Now we're talkin'! In fact, we could be having Conversations! Nothing not to love about a second of this. Track 6 - Balls out alto. Shades of Jarman, shades of Lake. Laptop isn't picking up the bass too well, but this has that Odwalla groove to it. Wait, the solo is on, now... range seems too high to be Malachi. Two bassists. If I have this, shame on me for not playing it more. Awesome... damnit, you got me again! Track 7 - Damnit, I have this. I was leaning Andrew Hill on piano, but something is pushing me more towards Herbie. I'm going back and forth between Thurman Green and Grachan Moncur on trombone, but not with any degree of confidence. That certainly sounds like Woody Shaw on trumpet, but it could be early Oscar Brashear (very brassy like OB); is this one of the Mosaic Selects? I'm not that familiar with those. Drum sound is hard to peg on the laptop speakers, but sure seems like Joe Chambers. I know I'm going to kick myself because this HAS to be in my collection. Track 8 - Piano sounds like Strata-east to me. There's something very L.A. about the sound of this to me. Could be Cowell, but I don't think so. Sounds like Fortune on soprano, again. Could that be John Gordon on 'bone? Doesn't sound like Dick Griffin to me. Track 9 - Song sounds like Monk to me, but also sounds like one of David Murray's tunes. I'm going to take a stab and say it's Curtis Clark. Track 10 - I am so filled with love for this that I'm not sure what to say about it. I swear I was just listening to this. It sounds a lot like some of the Abdullah Ibrahim duets, but I'm not able to peg that bad ass tenor. Oh wait! That's my man Ari!!!! Oh What a World We're Living In when Ari almost fools me! Track 11 - I should recognize it and don't, which makes me think it's one of the Douglas Ewart projects. Sounds like Ed Blackwell's drumming to me. I like the alto flute, but I can't decide where I am on the horn lines in the background. I'm going to hate myself for not getting the tenor, but there are so many possibilities presenting themselves that I just can't commit to any of them. Track 12 - I love this, but don't recognize it. I can't place the flute. I'm hearing touches of Fathead, but I don't think it's him. I'm going to shoot from the hip and say Les Spann but there is no degree of confidence. I keep pinging on Fathead, rhythmically. Track 13 - Stumped again. The ideas are Gary Bartz, but the sound isn't. Sounds like one of those Norman Connors dates from the mid-seventies. Maybe Wendell Harrison? Track 14 - Sounds an awful lot like Sonny Sharrock to me. This is plum weird. The drummer, and this is a strange comment, sounds like a rock drummer playing in this style (think Ginger Baker). Trying to figure out the beastly tenor and I'm striking out left and right then the double horn thing starts and I'm thinking, Wow, Rahsaan make sense, but I'm just thinking it's not him. Track 15 - Okay, so I'm typing the last thing listening saying, "Oh come on, who's voice is that." Several ideas pop in then my subconscious punches me in the face and calls me a dumbass. Nice pick. People are going to love the reveal on this one. Transferring it to the iPod now for a beach run. Didn't realize until hearing this how Universal my Jones was for a fix of this guy. Well played, my friend... well played. After reading thread: Whoa! I'm blown away by the ID on #1! #6 I should have had and was even thinking PL. GAH! Feeling pretty good about my read on #14, though.

Don't view it as a meltdown, at all. The whole series was a great, hard fought series. I bleed black and gold, but believed Chicago was the superior team. There was not a dull moment in 6 games, and game 1 is one of the greatest games I've ever watched. Congrats to the Blackhawks, they earned it. There was no "Buckner moment" in this, they simply played hard and reaped the rewards.

You know it, brothah!

Thank you! That's it! Just needed the memory jogged.

I'm looking for an Art Blakey record (CD) that we had at the radio station I worked at in college in the early 90s. I believe it was released in the late 80s. There's a track that has a lot of discussion, then Art chewing out the band. "You know what... you guys get in the studio, you try to make everything so goddamn clinical!..." and so on. I know that Essiet O. Essiet was the bassist, but I remember very little else about it. Any clues? I'm seeking the track and album names (hoping to find it on iTunes), but would be happy with just the album name for a used record search. Thanks in advance!

There are worse crimes than hearing Gene where he isn't.

I'm an ass. I've been so frequently dead wrong picking KD that, even though I was certain it was him, I went with Booker Little. Egad. Should have started drinking sooner.

1 - Going with IS Gene Harris. And Summertime, of course (but the way it SHOULD be done). Again, nothing I don't love about this. 2 - Well, that's Fathead. Not sure of the rest of them, but I assume this is one of his Highnote dates. 3 - An approach to Jeannine that I do not agree with. It's a younger player leaning on an older tone. Or at least a later generation player and I'm showing my age. There's an understated approach, but the precision of the attack suggests a later player and some of the lines are very... practiced? The whole thing is very clean. Almost like a very polite outing from Jimmy Heath. Not John Hicks, but a less accomplished peer, maybe somebody like Michael Cochrane. The ideas are there, but they're not quite executed (or it could be Hicks on an off day, but I don't think so). Nothing technically wrong, but feels likes some false moments. Tenor seems too bold to be Eric Alexander, but has that same politeness in it. 4 - I'm either going to nail this or forever alienate Dan. Or perhaps both. Sounds like Ease On Down The Road from The Wiz. I'm going with Plas Johnson jsut for the balance of that hard, Teddy Edwards sort of blues sound with the more pop-ish upper register playing. I'm going with NOT Gene Harris on this one. 5 - Instant Love. Interesting. New generation tenor player, but with a lot of respect for the style. Like the sound, but guessing it's someone I'm less familiar with. Has those modern line down, but definitely more of a soul root in the playing. Guitar is nondescript. The tune is Back at the Chicken Shack. 6 - Not Gene Harris. I might be crazy by that sounds like Benny Carter to me. Not sure of the trumpet, but seems to be a split generation guy. Could be an older Von Freeman on tenor, but seems like Von would have ripped at least one triple-time line through that. It's definitely a superband type of setting, as opposed to a working band. Just a smidge off from the fire that I'm used to hearing from the original. But what is that damned song! 7 - More instant love. Sounds like Ike Quebec on tenor. I need this. 8 - Nothing superlative here, but it's awesome. That raw, barking tenor is awesome. I think it's someone younger, but who has listened to a lot of Arnett Cobb, et al. Seems a little rough to be Scott Hamilton, but could be. I like it, though. It's not masquerading as more than it is. It's got a jam session feel and it's working. There's homage to Lockjaw, cobb, Grady Tate... this guy has listened a lot! I've been too wimpy to make this guess of late, and I'm just going to go with it: Sweets! Much as I'm digging this, it really makes me want to go fire up the entire Buck Clayton portion of my collection, set the volume to ear bleed and see how long it takes for the law to show up. Pianist is a wee bit filthy. Seems a shade modern for Gene Harris, so I'm going to go NOT Gene Harris. However, definitely has done his time with Gene on the phones. Out of left field, I'm going to say Charles Persip on drums. Got to be one of those Concord sessions. No new ground broken, but I'll take a date like this over the entire Chris Potter catalog, and I'm an avant garde guy. 9 - DEFINITELY Gene Harris! (and for the record, we were 14 seconds in when I finished typing that, with two Bloody-induced typos). Tenor has arrived and I'm in, completely. You may be trapping me, but that sounds an awful lot like Buddy Tate to me. And where Buddy is concerned, I'm ALL in. I was too soon -- that's not Buddy. But this is a bitch, and I'm SO in. Touches of Harold Ashby, but too aggressive. Oh man, you are SO gonnna make me spend money. Second tenor has arrived. Man, give me this, all day, all night, all the f***ing time. Simply canNOT get enough of this!!! Feeling ever more confident about the Gene assessment. Man, I have GOT to have this!!! And there's Slam Stewart. Aw hell, THERE's Buddy! You're KILLIN' me! 10 - Gene. Gotta be. Man, tenor is killin'. A little Lockjaw lick in there. Nothing intelligent to guess. Yet another guy I should know and don't (not that I can't recognize him, I just should know him and am ignorant of the presence). Obviously it's Willow Weep For Me. Damn you, Dan Gould, you're making me spend money! Time to go read the cheat sheet! Thanks for an AWESOME BFT. Even the stuff that grabbed me less on this was good, but a solid 3/4 of it is now must have for my collection. Again, DAMN YOU, sir!

Years late, no peakies. One disc in, absolutely digging this BFT. Track 1 - Sure sounds like Hawk to me, but I'm not sure of the record. Seems like my Hawk collection on LP was limited to those Prestige double re-issues and, well, we know what the iPod has done to my ability to recognize individual song titles and/or albums. Track 2 - Dexter doing Some Other Blues. From the Selmer years, for sure. Even when he 'lost a step', he was a baaaaaad man. Not sure of the band. Maybe Kirk Lightsey on piano? Track 3 - Chelsea Bridge. Older sound, but the ideas are Joe Henderson. I like it, but there's something that has me thinking he's paying homage more than creating. I'll guess Lovano. Track 4 - Nice duet of Ellington. Love the tenor's sound. It's someone spanning two generations; or rather, he's from an older generation but still active. And there are things that are pinging in what he's doing, but not giving me a positive ID. I love this guy, though. He's patient, strong, articularte, knows the language, melodic, and tasteful, so I have to assume he's older. I'm going to kick myself when I check the reveal. I'll also say NOT Gene Harris as we've evidently entered that portion of the test. Track 5 - And this HAS to be Gene Harris. In fact, this HAS to be The Three Sounds covering Horace Silver's The Preacher. If not, somebody owes direct royalties. Nothing not to love here. Track 6 - After Hours, and I'll say NOT Gene Harris. One of those Concord sessions by the sound. Maybe Plas Johnson? Doesn't sound quite smokey enough to me. I'm getting sucked in. I'm going to say Red Holloway and be wrong. Hmmm... maybe it IS Gene. I'm going stick with no, but could easily be one of the Phillip Morris All-Stars things. Track 7 - Nothing not to love here. Trumpet stays in that mid-range, flawless execution and a not-in-your face tone. Booker Little? That guess and the understated nature of the 'bone has me leaning Julian Priester. Zero confidence in these guesses. Track 8 - Sound a lot like the Muse stuff of the late 70s. I'm going to make one of my odd statements here. I don't really recognize the trumpet player, but he seems like, based on the quality, I should know who it is. Because of that, the precision of the playing, and the sound quality, I'm going to guess these are Japanese Jazz musicians and I have no clue who they are. Track 9 - It's Clifford Jordan's The Highest Mountain. I have the big band record, but don't play it a whole lot (there's just better Clifford out there). If that's what this is (and I'm not at all sure) it'd be Vernell Fournier on drums. I believe Don Sickler did the arrangements on this (and it sounds like his pen). Clifford takes the tenor solo. Had the great privilege of seeing and meeting him when I was 12. He let me record the set. The guy was an absolute monster. Track 10 - Maiden Voyage. Not sure the organist, but this has that CTI studio sound. (Or that late Prestige studio sound). I'll go with the latter because there's some intonation wobble and CTI would have dicked with that post-production. There's almost something Teddy Edwards about this, but it's too modern. I don't think it's an early conservatory-age player because it's too individual. I like this a lot. I might chicken out and say Red Holloway. Second tenor is definitely more of a post-Coltrane guy to my ear. Two manly toned tenors (unlike the recordable shit that everybody seems to strive for now). I'd guess this is the younger of the two players. It's beautiful, though. Track 11 - Man, this has to be Slide Hampton. Nobody writes those two-chord mollies like he does. Don't know who the piano is (maybe Walter Bishop?) but he's nailing that McCoy Tyner open-chord thing. *LOVE* that sound. This is outstanding in every way. Something awfully familiar about that drummer. This is BURNIN'! A Touch of India at the end. Nice.

One listen, no peaking. About 1/3 of this, I loved, and must have. About 1/3 didn't resonate, and the final 1/3 made me angry, at times. So, good job! 01 - No guesses, but dug the hell out of it. Has a Randy Weston-ish feel at times, but it's not him. 02 - I'd call it Work Song, but they won't. No matter what you call it, I like it. Man, tenor has some GREAT influences. There's some T, some Dexter, a touch of Junior Cook... Billy Root? Don't know but loved every second of that solo. A touch of Freddie in that trumpet, but I'll guess Donald Byrd. Hmm.. that bari didn't resonate with me at all. Sounds like a very off Hank Crawford. Pity, because the rest of the tune is killin'. 03 - Proof I'm perverse -- I hear this breaking into Les McCann and Richie Havens ("Freedom! Freedom!..."). <smile> Nothing not to love here. Damnit! You're going to make me spend more money! 04 - No idea. Typically I like this sort of stuff, but I've been on a Bobby Womack/Isaac Hayes kick lately, so the bar is set pretty high. 05 - No guesses. I always find the very early stuff hard to listen to because it reminds me of junior high Jazz band. I'm not being snarky -- the music was in its infancy so the approach was comparatively rudimentary. In the right mood, I have a clear appreciation. If I'm just in a normal mood, it simply doesn't maintain my interest. This is somewhere in between those two states. It's interesting to a point, but then I just can't stay focused on it. 06 - Something had me leaning towards Mal Waldron, but it's not him. I don't think of there being a Mal Waldron "school", but that what it sounds like is going on here. A worthy listen. 07 - Speaking of schools, someone I don't know from the Tristano school. 08 - Man, I'm loving this. Sounds like someone close to Golson, but the tone is more Kamuca. Could be Kamuca on a great day. A lot to like here. I'm going to reverse that after hearing the alto. Sounds like Cannonball but some of the lines are too modern, so I'm guessing it's Snidero. That means I have no idea who the tenor is, but I want to know in a very bad way, now. Good, solid, straight-ahead Jazz. No new ground is broken here, but that's not its intent. This just works. 09 - Trippy. Doesn't really resonate, but I was tapping my foot the whole time. 10 - Same rhodes feel (could almost be the same record), but a completely different feel. Has my interest instantly. Could the switch to acoustic bass have anything to do with that? Likely. Something very familiar about those drums. There's an Elvin influence at time, but a huge Alan Dawson influence. Not busy enough to be Franklin Kiermyer, and too gritty to be Brian Blade. Yoron Israel wouldn't be a bad guess here. 11 - I like the quirky melody, but the sound of that snare is driving me nuts; like someone is playing his funk kit instead of his Jazz kit. Overall groove is nice. Sort of like Eddie Henderson but more swagger. A little mellow, in terms of tone, to be Jeremy Pelt, but that's what the approach reminds me of. You know, this could well be a Brian Blade project. The tenor is boring the hell out of me. Nothing wrong with the musicianship, but where's the story? He's got a slightly more personal sound than most of the "recordable" generation, but I'm still seeing the mathematical equations more than the soul. 12 - Loving the bass on this. Reminds me a great deal of Stafford James on Gary Bartz' I've Known Rivers, but a better bass sound than Stafford. This is going to seem like an odd statement, but here goes: Once the rhythm kicks in (the pulse, I guess I should say), this strikes me as if it is Indian Jazz musicians. I can't say why other than to say the time is just... odd. It isn't rushed, but feels it, somewhat. I like it, but that fact about it makes it somewhat distracting. Sometimes Michael Moore's music hits me this way, as well. About 5:30 there are some rolls that make me think this could be Han Bennink on drums. 13 - Odd and creepy, but I'm liking it. No idea who, but it's a keeper. 14 - Sounds like Sun Ra right off the bat. Struck me as Frank Lowe on the head, but when the improv starts, it's clearly not him. Drums have that sound of one of the old Freedom LPs. Maybe Clifford Jarvis? Seems like an off-the-grid sort of a band, but I'd love to have this in the archives. No idea. 15 - Bitchin' bass line. Some pretty bitchin' 'bone, too! I was thinking Lacy earlier, then no, now I'm leaning yes, again. Lacks Lacy's beautiful, precise tone, but I'm wondering how much of that could be the recording. I want this. 16 - Has a definite Bitches Brew lean towards it. No idea who it is, though. That sax line about 4:40 ends in a definite Cannonball quote. I'm going to say this is late Cannonball. Again around 5:10. Wait a minute; idiot alert. I have this. Pretty certain it's track 7, Chocolate Nuissance from this. 17 - Return to the land of recordable tenor sounds. This isn't doing a lot for me. Sounds like a lot of exercises more than music. 18 - Not feeling this at all. The snappy feel it establishes get's lost in the too long break down. When I was younger, I listened to a lot of trio stuff like this (Barry Harris, Duke Jordan) and loved the hell out it and still do. This is clearly a more modern player trying to ape that style. Just arrived at the Starlight Lounge... nope. I'm out. 19 - Horrendous sound. No guesses. A little too go-go for my tastes. 20 - Reminds me a bit of something George Adams would do, but it's not him. Maybe Hal Singer? I could love this with very little work. Sounds like the tenor is sharp to me, but could be one of the guys that I love like Frank Wright, on a weird gig. Ferocious player! I wish some modern players would do something like this. Maybe Sam Rivers? Doesn't sound quite to his level to me. 21 - I want to like this more than I do. It's sloppy, which is right up my alley, but somehow, it's also stiff. Piano and bass sound like they could be off an Aebersold play-along. Drums aren't really swinging, either. Has the sound quality of one of those Beaver Harris sides from the 70s, but lacks that loose swing he was so good at. Dutch? 22 - Very busy and I don't touch acid. This doesn't do much for me. Maybe something from Bennie Maupin? Makes me want to corner Andy Robinson in a dark alley (or Candlestick Park) and torture him for his wrongs against society. 23 - I wanted to hate this, but just couldn't. Something intoxicating about it. I started thinking it might be David S. Ware. The sound is close, but to my ear doesn't quite have the chops. That's not to take anything away from it. This is the sort of hybrid I can certainly appreciate. Seems like it might be one of the ThirstyEar projects. 24 - I don't love the tune, but otherwise, this has keeper written all over it. The drums are just cooking and the keys do just what they need to in this setting -- create tension. Something very familiar about this. 25 - By everything I've written on the last ten songs, I should hate this, but I'm so in it's ridiculous. What can I say? I'm just a sucker for the 70s.

Thanks to Jim Alfredson for fixing the issue with accessing this thread.