tkeith

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.

Late to the game. Thanks for the hookup for the test, Dan. No peaking (couldn't access the thread even after listening; again, thanks, Dan!), one listen. track 01 - Just because I'm biased by the originator of this BFT, I'm thinking Gene Harris, but I have no idea what the recording is. Sounds like The Three Sounds to me. track 02 - Drink Muddy Water, but not sure who the vocalist is. Both of these first two tunes are winners, though. Hints of Jimmy Jones in the piano, but I don't think it's him. Someone close, though. Sounds like a very unhip audience to me. track 03 - A little reminiscent of Ben E. King (or, I'm guessing, vice versa). Maybe Lou Donaldson? I'm a little luke warm on this one. track 04 - Watermelon Man. Got one of those beastly bluesy sounds. Maybe Red Holloway? track 05 - No idea. Didn't sway me in any particular direction, but didn't bother me, either. track 06 - The sound of this makes me think late 70s; cleaner than Muse, but that era. Some similarity to Rouse, but it's not him. Maybe Moody? Rushes the tempo a bit like Jimmy Heath. Not sure on the 'bone. Not Curtis or J.J., but out of that school. The rhythm of the piano player has me thinking someone out of that classic bop school. Not Barry Harris or Tommy Flanagan, but maybe the tier below that. track 07 - Billie's Bounce. Well, I had it all wrong, but the personnel at the end set me straight. Would not have guessed Carmell Jones. No guesses on the others and couldn't hear, so I'll find out when I look later. track 08 - Friggin' track name is escaping me, but of course I recognize it. Can't grab the damned lyrics. Don't recognize the alto; assume it's more of a blues guy than a Jazz guy. Wow. Would not have guessed Grant Green, either. track 09 - I'm thinking I know this tenor player, but it's not ringing in for me. It almost sounds like Bunky Green playing tenor. I suspect it's a similar player in terms of notoriety, but lack any intelligent guesses. Very nice ballad, though. No guesses on the sidemen, which is disappointing. (I should qualify that with the fact that I'm listening at work) track 10 - That sounds very much like Gene Harris to me. This has a feel that reminds me of Milt Jackson's Kosei Nenkin set. I don't think it's Cedar Walton, though. More modern horn player. A Brecker contemporary? Maybe slightly before that, but similarly schooled. Electric bass? Or just an odd sound? Honestly struggling to tell if it's an alto or a tenor, but leaning tenor, but one of those strange mid-ground sounds. An 80s version of that "recordable" sound of the modern players. track 11 - Footprints with a needlessly modified melody (not a fan of that). Trio works well together. I'm not picking up on who they are, but I'm assuming this is a recent (oughts) recording. Maybe somebody like Avishai Cohen or Vijay Iyer, but more mainstream. It works, though. track 12 - Sounds like Maynard on the high end. I'll guess one of his later bands. track 13 - Somebody heavily out of the Joe Henderson school. Hearing some George Coleman influence, too. Earlier guy than Jeff Coffin, Gary Thomas, but sounds like that level of guy. In fact, Thomas is not a bad guess.

Heck yeah, send them along. Always happy to listen and offer my caustic, curmudgeonly reactions.

Man, on track 5, I wish I'd commented my full thought. Something about it reminded me of a Music Minus One set I have with Mal Waldron's trio. Gee, I wonder why. Track 8, well played, sir. Track 10, I wondered if it was Ray's band, but figured I was being duped by the Hit The Road Jack comping. Track 11, again, well played, sir.

Whoo! Late to the dance for this one, too, but THOROUGHLY enjoyed this one! Sounds like Alvin Queen’s band to me. Nice, brassy, hard bop trumpet sound, and that shuffle is WORKING! If the whole test is like this, this is going to be FUN! Odd reaction to the alto. Seems like a lot of head in there, but a firm basis in heart and soul, like maybe an older player revisiting. Pure love the ‘bone solo – to the point, not bullshit! Love it! Great exchange from ‘bone to tenor. Tenor seems to be a younger, post-Trane guy, a little hung up on what he can do, but he executes it. Maybe Craig Handy? Could be a CB3 project, too. Piano is the first guy not really resonating for me. This has the sound/feel of the live OTB record from way back. In fact, that now has me thinking that could be Ralph Bowen on tenor. This track is a keeper. Not sure what it’s called here, but I recognize it as A Baptist Beat as it was recorded on Hank Mobley’s ROLL CALL. This seems maybe a bit older than that, though, so I’m going to steer away from the track. The sloppiness has me thinking South African, but there’s a lot of old school American Jazz in the ideas. Perhaps my impression that this is older is just because of the terrible sound? What it lacks in technique they’re filling in with soul. I can’t say I love it, but I appreciate the hell out of it. Almost sounds like Don Byas in terms of tone, but maybe more like a hungover DB… I can’t help it, I like it! Modern, recordable tenor sound. I’m not sold early on, despite the impressive chops. This actually reminds me of a cut off of another BFT from the past year, and I had the same issue (though I think that was a straight duet). Just make me care, that’s all I ask. There’s nothing wrong with this, I’m just indifferent to it. And, it’s obviously Impressions, but I don’t find enough individuality in the bad ass to make a guess. Brain fart on the title, but it’s the Red Garland tune, right? This already has what the last tune was lacking. Love the quotes of Gene Ammons done on trumpet. Nothing earth shattering, just a good ol’ fashioned ass-kicking jam session. I wanna say Poppa Jo on drums, but seems a bit too busy at times. Very snappy, though. Piano is doing just what he should – accenting, adding, not getting in the way, and supporting. THIS is what the conservatories should be focusing on! No flash – none necessary. MORE! This cooks like hell! Almost strikes me as Oscar Peterson on a very laid-back day. Now he sounds like Basie. Just trying to make me crazy. Could by Roy Eldridge, but sounds too sane. Joe Newman? Digging the hell out of it whoever it is. Boy, that sure sounds like Poppa Jo to me, I just can’t commit to the guess. WINNING! Instant love. Reminds me of one of those Abdullah Ibrahim ballads from the duet record with Shepp. Powerful alto with a little bit of an FU edge – sort of like Bunky Green. Sing it! Absolutely loving every fiber of this. Only wish there’d been a nice extended solo from that alto. Total winner. Have some beef with that tone! Wait a minute… isn’t this the same tune? Piano is a little overdone… doesn’t seem like a guy playing in his native style. Sounds like Joe Bonner playing in the old ballad style. Love that trumpet sound. BEASTLY tenor! I swear I know that sound, but something is very out of context, here. This guy is an animal and I’m going to kick my own ass when I see who it is. A little Tyner-ism – I’m in. This almost suffers from too much technique, but that pianist is bad ass. Rockin’ in Rhythm (or is this Kinda Dukish – damned iPod is killing my ability to name songs!). Great tune, either way. I’m not crazy about the guitar lead, but that’s more about my preferences and biases than what he’s doing. Alto solo works better than I wanted it to (Duke is sacred to me). Some moments of Arthur Blythe, but definitely not him. Arrangement is good; pays homage to Duke but does it’s own thing. This will get me in trouble, but what it most does is make me want to go break out one of Duke’s versions and blast it ‘til the neighbors call Johnny Law! Goin’ to church in 3! I’m not made of wood – you got me! Has that same call-and-response thing of track 2. I like the solo, but it seems to be a second-tier player to me; he just doesn’t quite execute some of those double-time runs. More an observation than a critique, but this isn’t going to be a Booker Ervin guy, but one of those other guys we know less about. Guitar grabs the groove and continues the feel. This actually reminds me a lot of the feel of William Parker’s Uncle Joe’s Spirit House; has that same churchy feel, but with a very grounded, unshowy approach. This organist is filthy! They’re so tight on the out-chorus! Man! Tim Webb THIS is precisely what the setlist needs. The Barley Pub crowd would shit a fuzzy snake if we whipped out something like this! “Dimi… why you do this to me? Why Dimi?” This hurts parts of my soul I didn’t know existed. I’m actually intrigued to see how we’re going to get 7:42 out of this without me taking at least one life. 2:09… can’t do it. Just why. I don’t know what this is, but I love it. With stuff like this out there, there is no need for that last track to exist. This fires on all cylanders and could be listening jazz, soundtrack, shopping, whatever you needs. No idea what it is, but there is NOTHING wrong with this track. Here’s a thought: Where’d the ability to create meaningful, thoughtful, melodic ideas at fast tempos go to? Whoever belonged to that “Aaah!” you SAID it! Nothing fancy, just right IN it. No idea, but I need this. Early on, I was thinking Art Pepper on tenor, but it’s too control. I’m Beginning to See the Light. Between that right hand and the growling, I have to guess it’s Fatha Hines. Or is that the drummer grunting away? Short, sweet, to the point. Keeper. Old Devil Moon. Instantly liking this. I can’t explain why, just that it has a feel that is just right. The phrasing is just affected enough to work without being over the top. It really sings this song. Another keeper. This has been one of the best BFTs I can remember. I count one dog, thus far, and that’s purely on account of my electronic anti-bias. This is nice, but it seems like it’s trying too hard to be what the last track was, and it just doesn’t do it quite as well. I like it, but it’s not holding my interest. Seems like one of those Concord Jazz throwback recordings, but doesn’t quite reach the level of the original stuff it’s trying to emulate. I’m all in within 15 seconds. This does EVERYTHING and more the last track failed to do for me. Gunslinging tenor, nice, smoky feel behind it all. Man, that’s a bad man on tenor. Got a little bit of a honky tonk feel in some of that. Maybe Red Holloway? This is unapologetically cool. Man! Who IS that fat bastard?! Love it! Nice set ender. Has that Clarke-Boland feel, except that the drummer rushes the time a bit. Caps this set off nicely, though. Sounds like Lou Donaldson to me – bluesy with chops, but with that nice, dry timbre to the tone. Absolutely ballsy set! Thanks, Dan!

Very happy to learn about #7. No wonder I enjoyed it so much! I should have gotten Randy Weston, and my [in]ability to identify track names is embarrassing.

Late to the dance. Very nice. Is this I Guess I’ll Hang My Tears Out To Dry? Getting some odd crackling in the left channel. Probably my cheap earbuds, but I’m at work and need to use them because the background noise is too loud. GAH! I like this. This is a weird analogy, but sounds almost like Jimmy Giuffre might sound playing a guitar. In a Sentimental Mood. I’d say by a flutist, not a doubler. Nice. The staccato stuff in the head is a bit overstated for my taste, but overall, this has a nice, relaxing feel. Nice full tone. Is that an alto flute? Seems like more of a doubler – the lines seem more sax like. Maybe somebody like Harold Vick. Same song, I’m not enjoying the soprano as much as the flute. Sounds a great deal like Vick to me. Really Big Stair Cases. I’m one of two sax players who don’t like this tune. This seems to work out okay, but I’m not really interested. Joey D? A little Kenny Rogers for your trouble. I believe the composer was Don Schlitz, but I won’t pretend to know who that is – just a piece of useless information I possess. Brings back positive memories of poker night in high school. This us fun. Despite the thin sound, this is very nice. Making it hard to ID the sax player, but seems very familiar. A little Junior, a little Rouse… I need to know who this is. Shades of J-Griff in the ballad style. I like this a lot. Nice ballad style. Very heavy Yusef influence to my ear. Very versed in bop lines with a nice, big, fat sound. Could this be Junior? Sounds maybe a shade younger than him. Nice, tasteful piano solo. [Phones are getting worse and the student band is rehearsing Kansas – AAAAAARGHHH!] Very Yusef-influenced vibrato. Pretty, soulful. Again, sounds like someone I know, but I can’t hear it with authority. Recordame. A very schooled, 80s sound to it. Definitely a conservatory guy on tenor. Somebody out of that Billy Pierce school, but I’m thinking earlier rather than later, because there is an underlying sense of story. He plays with a sense of dynamics (most of the modern guys don’t, to my ear). Not much of an impression made by the others (though that’s probably my bias towards the tenor that makes it stand out more to me). Good players, for sure. Monk’s Mood? (No matter what I guess on a Monk title, I’ll be wrong!) Lost the feel as he sped up – just got too busy. Isfahan. Gorgeous tune. Sounds European to me, and by that I mean, it doesn’t swing. Drummer is somewhat out to lunch. During the head, alto was paying nice homage to Rabbit; in the solo, he goes more towards himself, which is good, but I’m not sure I’m digging who that is. Seems very heady, lots of ‘notes’ as opposed to feeling. I like this feel immediately, even though it shares that European identity (to my ears). It reaches me instantly. Sounds like someone who has listened to Grant Green a lot (and this is a good thing). Piano has a Steve Kuhn feel to it, though not as abstract. This music would drive my Dad nuts, but I like this a lot. Very personal bass sound. Even when he ventures into Scot LaFaro land, he’s got me. Digging this a lot. Interesting instrumentation, captured me right away, but didn’t maintain my interest as strongly once I became accustomed to the sound. I like the sound, but I’m not sure how often I would listen to it. Kudos to whomever it is for taking an authentically different approach. The guitar is a little to Windam Hill for my tastes. Not sure I’m totally in, but I am acutely interested in finding out who it is. Easy Living by a big-boned sounding tenor, though I wish s/he would let that tone sing instead of cutting it off like that. Somewhat familiar sounding voice, but I’m not sure who it is. Singing it like a horn player would play it. Curses! What’s the name of this? Well, now I really think I’m going out of my head. Time to go look. Thanks for hooking a brother up after the fact to take a shot at this. Lots here for the ear to get around.

Just read the thread. Glad I got made the Jim Pepper connection, but shame on him for aping Pharoah. Also just want to add because it needs to be said, Jim Sangry just f***ing hears!!!! Keep posting that stuff man, I can't get enough!

Egad! Two pages already and it's only the 6th!??!?! Oh well, at least I'm in on the first week. One listen, no peakies. Much to like on this one... track 14 notwithstanding. Track 1 – I want to like this more than I do. Definitely a strong Kenny Dorham influence in the player. Something about the sound… hyper-compressed? I don’t know, but it’s just not quite hitting where I want it too. Not a thing wrong with it, it’s just missing for me. Well, so much for what I thought was a KD influence – now we’re into full Freddie Hubbard land. The fours section resonates more for me. Track 2 – I’m always wrong on my Monk titles, but I’m reasonably sure this Crepuscule With Nellie. Sounds like a needle drop. I like the interpretation. It’s maintaining the originality of the player, but also respecting Monk, something not everybody can pull off. Track 3 – Predates the majority of my listening, so there are no educated guesses I can make. I’ll say one thing for much of this vintage that finds its way into the BFTs, it’s honest. Track 4 – I like this track better. It’s got a little more swamp to it. Clearly a newer recording than the last. Yeah, that woman was not nice to this clarinet player. Track 5 – Early on has a bit of a Laswell feel to it. Not into the Klez-feel, but overall, I like the direction this goes in after the Bar Mitzvah. It’s just strange enough to win me over. Can’t wait to find out what this is. Track 6 – But THIS is more like it. Sounds like one of Charles Earland’s bands to me. In fact, it’s the opening cut off of this and that’s none other than Grover Washington, Jr., on tenor. Track 7 – I like the piano intro and the band has a nice feel to it. Stupid song, though. No idea who the vocalist is. No clue on either soloist, but they don’t sound like they’re guys accustomed to taking the spotlight. Neihaus on alto? Track 8 – I like the staggering vamp on this. Alto has chops, but it’s also on the raw side, which I like. A little too post-Coltrane-typical at times, but overall, the feel carries it through. Except for the sound of the recording, I’d guess it’s one of the Tapscott disciples, because that’s the impression I get from it. Something like Billie Harris or Michael Session would do. Sound quality is better than most of those dates, though. Man, I have to have this. Rapidly falling in love with it during the piano solo. Man, nothing not to love here now that the trumpet has arrived. I could stand a LOT of this in my collection. There are times where this strikes me like Gary Bartz of the 70s, but it’s definitely not him. I’m wondering if it’s a guy I usually don’t take to having a great day. Either way, this is da bomb. LOVING that bass. Track 9 – Smoke Gets in Pharoah’s Eyes. A very technical pianist – maybe someone like Armen Donelian or Michel Pettruciani. Not sure Pharoah has played with either, but I’m sure it’s him on tenor. Unless it’s Jim Pepper doing an impersonation of him. Track 10 – It’s not Johnny Hodges, but somebody is shamelessly trying, and doing a pretty good job. I could stand a whole lot of this. It’s got the same flavor as that Illinois cut in the last BFT. Almost like the horn player is mimicking a melodramatic vocalist. Call me a sucker, but I love when that happens. (In addition to this, and that great Jacquet cut, check out James Carter’s take of it on Chasin’ The Gypsy!) Track 11 – Sounds like an Ornette cover to me, though I couldn’t name the tune. I like this a lot – pity about the sound. Alto has an underlying feel of strength in the tradition, but he’s definitely taking it out. Could be Sonny Simmons, but the tone sounds a bit… I don’t know… deeper? Drums remind me of Smiley Winters. I’d very much like to have this. Track 12 – It’ ain’t heavy, but I love it. This is a weird comparison, but this feel is how I hear Morphine. This works for me, though I haven’t a clue who it is. Track 13 – Seems a pretty good bet who the vocalist is. A strong assumption that he’s also the trumpet player. J Track 14 – I have an actual guess, but I’m not going to make. There is a woman in my region who plays and sings like this, and she’s very serious about it. I’m going to go pull a Pi and drill out the right side of my brain just to erase the horror I’m now experiencing.

Gah! I *have* Soul Fountain. Shame on me. Clifford is one of 'my guys'. I know there was no solo, but I should have had that.

I'll take a DL and promise to not wait until the 28th of the month this time!

Sorry to be so damned late. Somehow I got off the list (and off my schedule -- need to make up 106-108, too!) and then damned busy. Lots here for the ear, some resonating more than others. A few must haves that I can't wait to have ID'd. Nailed nothing, to the best of my knowledge. 1 – At first I couldn’t place what I was hearing (instrumentally), then I turned up the laptop. Startdust, not a clue who. 2 – I’m either going to love this or hate it. I’m leaning love, though first impressions of the tenor are that it’s too post-Coltrane influenced. Here’s the groove. I like this. Harmonies remind me of CB3 Sextet. Somebody pretty friggin’ accomplished on trumpet. I was thinking a bit like Oscar Brashear, but it’s not him. Tenor does strike me as too much out of that NEC/Berklee thing. Likes his Sonny Rollins a lot, but too much muscle memory on the licks. Maybe Hilton Ruiz on piano? Or perhaps someone from the next generation after him. Drum solo I could do without – not happening. Electric bass, and we’re done. Just can’t stomach the sound of that instrument. Bone player saves it. Like the Jazz side of Fred Wesley – I like what he has going on. 3 – Interesting take on the organ trio. Don’t know who it is, though. 4 – I’m liking this right off the bat. Understated head. Very clean alto sound, almost classical with the vibrato. Almost sounds like T on tenor at first, but too understated. My guess is these are not guys I know, but I like this a lot. 5 – I like the front line of tenor and flute. Those 70s drums are killing me, though (and whatever that guitarish sounding thing is). Very much digging this tune, though. [Hey Tim Webb, we should cover this!] Bizarre guess – is that George Adams on flute? Choppy like he sometimes plays it. Makes me wonder if this is Roy Haynes band from one of those Mainstream recordings. Seems like Roy would be more in my grill than this. And if George is on flute, who would be on tenor? (Unless it’s overdubbed) Or, option B, this is a South African band – that’s what the sax solo makes me think of (kind of Fela-ish). Now, I’m hearing a tenor in the head, but both sax solo sections sound like an alto to me. Is it just me? Definitely an out of tune alto there on the outchorus. Sort of like Byard Lancaster but with an Island/South African vibe to it. 6 – Misty, played a lot by someone with a shaky hand placing the needle! Something has me leaning Plas Johnson – very smoky, big sound. An old school pro, whomever it is. 7 – Don’t know, but not resonating. Misfire. 8 – Liking the bass line a lot. Having the bass and the piano in unison is a nice touch for this feel. Overall a very Crusaders feel on the head. Some homage to Benny Bailey in that trumpet. Lots of keys. There seems to be a slew of this sort of stuff out there I’ve only scratched the surface (or the subsurface) of. 9 – I like the vocalist’s voice, but man, the band is not supportive (on the head, anyway). I want to say I know the vocalist, but damn if I can place him. Tenor is another one of those guys I’m not real familiar with – maybe Red Holloway? 10 – Not a clue. 11 – Nice beginnings. I’m a fool to want this (no I’m not). Tenor playing it like a vocalist – perfect for a tune like this. Only guy I hear doing this now is James Carter. I’m digging this guys tone a LOT. Maybe Buddy Tate? Perhaps a bit more modern than Buddy. Can’t be Billy Mitchell – I don’t know of any Mitch I’m missing. He’s a bad man! Huh… not Houston Person? There’s shades of Jug, but it’s got more of that ballad stuff in the tone, but some modern licks, too. Jesus, what IS this!?!? Illinois Jacquet? 12 – Ooo! I like this right away. So, we know the song. A nice, understated voice. Not royalty, but very pleasing. Nice flute tone; solid. I’d guess a doubler, sax as the main instrument. Someone very versed in Bebop 101. Piano gets a little busy when the vocals return (almost like it was a different take). No guesses, but overall a very nice take on the tune. Possibly an instrumentalist doing the vocals? 13 – I just have a predilection against clarinet. This is by no means bad, I just can’t get beyond the instrument. 14 – Now this is a tune that just… eh… bugs me. But Gene Ammons killed the hell out of it. Vocalist seems like someone going for that Nat King Cole style in a du-wop setting. Ugh… the vocals, just… no. 15 – BWAHAHHAHA!!!! What a great intro!!! NICE! More electric bass. Grrr! Can’t put my ear to the tenor – she doesn’t let him breath at all. 16 – Dunno, but the sax in the beginning could be Louis Jordan. 17 – No idea.

Somehow I've fallen off the list. Can I get a DL, please?

Meppy Kwanamastis! I'll take a DL, please.