tkeith

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

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

Wow! Not what I was anticipating when I saw who made this test up! I'm not even certain why, probably because I typically identify most with your commentary on these. There wasn't a lot of familiar ground here for me, but I gave what thoughts I could. 1 - Sounds a bit like Jon Hendricks doing a commercial. Be that correct? 2 - Not sure how I feel about this. Reminds me of Stevie Wonder's TALKING BOOK in terms of the music. The vocals are a style that doesn't usually speak to me (that arranged vocal sound made popular by groups like The Manhattan Transfer). Not really feeling the post-Coltrane soprano. Obviously a good player, but this isn't doing a helluva lot for me. I'm not hearing a lot of originality -- someone out of that Liebman school (or the man himself), I'm guessing. 3 - This has the sound of The Crusaders in the beginning. Reminiscent of Soul Shadows and/or Better Not Look Down. It's not that, though. Tune sure sounds a lot like Stevie's I Was Made To Love Her. 4 - This speaks more to me than the other stuff. Has that Cosby/junkyard sound. Bari tone reminds me of Ronnie Ross. 5 - Funny, I was going to say it sounded like somebody wearing black face trying to sound like a black performer of the period. 6 - Sounds a bit like Nat King Cole, but nowhere near as polished. I like it. Nice, easy, laid-back swing to it. 7 - This is lots of things I like. The percussion reminds me of Hum-Allah, Hum-Allah, Hum-Allah. The vocals have that nice, 70's throwback harmony. Rhodes, hell, I'm in. 8 - Trippy latin feel. Seemingly not someone I know. The feel reminds me of Bobbi Humphrey, but it's not her. It definitely seems to be someone more out of that hardcore Latin genre. Loving that nasty tenor, a lot. Sounds like it could be Stubblefield. Is this a Jerry Gonzalez project? Huh... now it sounds like an angry Hank Mobley... I don't think it's Stub, but I love it anyway. 9 - Hmmm. Ray Charles and Aretha Franklin? Is this one of those awful, done after they're dead, things like Starbuck's did with Basie and Ray? It's neat at first, but the notion disturbs me. Or it i just a commercial? 10 - Sure sounds like Jug to me. But the lines sound like Lester Young. That's two names I would never think I would put together. It's not Quinichette, the tone is too clean. I'm positive I have this. I should be able to nail the tune, but I suck. 11 - Egad. There is much I don't love about this. It's like someone trying to do Stevie Wonder as children's music. Not diggin' it at all. Didn't make it to 6 minutes, sorry. 12 - Lazy Bones. Somewhat familiar vocalist, but can't name her. I like the doo-wop voices mixing with the muted 'bone -- cool effect. 13 - Kenton, Artistry in Rhythm. No idea what the recording is, but it is NOT Live at the Tropicana. 14 - Some Shades of Eddie Harris in there. I can't tell if it's Eddie or not. Just as I'm about to commit, he convinces me not to, but I think it is. I like it in a guilty sort of way. The same way I get into Lenny Pickett on SNL, or John Wayne movies. Don't know the tune, but I assume it's a pop vocal from the way in which he's sort of speaking the words. Thanks for the unanticipated non-standard BFT!

Somehow I didn't get in on this one. Can you hook a brother up with a download?

Man, this is *perfect*! This is how I would describe Bill Saxton on Dick Griffin's NOW IS THE TIME. Did you ever NAIL this one.

Wow. I haven't had a BFT hit me in such diverse ways in ages. Some of this I loved. Some of this made me want to kick woodland animals. It's always good to be exposed to new music, but some of this really rubbed me in the wrong ways. However, the stuff that resonated falls into the "must have" category. You've successfully extracted a reaction from me. I apologize in advance is some of the comments are too strong. Here it be: Track 1 - A happy bop theme to start us off. Tenor and trumpet sound mildly familiar. I don't know this band. The players all strike me as maybe a tick shy of certified bad asses, but I like this a lot. Well, the piano not so much, but the rest of it I'm in. The arrangement seems a little stagnant. I mean, with all those instruments, it seems like it could present a bigger sound. Track 2 - That's a manly tone. It's not somebody I'm all that familiar with, but I'd say he owes a nod to Illinois Jacquet. Tune seems familiar, but this is not a strong genre for me. Track 3 - Head lasts an awful long time and really doesn't go very far. Alto sounds like Desmond in the upper register, but not at all in other registers, so I don't know. I don't care for the tune at all. Track 4 - Mechanical as hell. Reminds me of Zappa's Jazz From Hell in that regard. Didn't make it all the way through, just not my bag. Track 5 - A little hand jive... I like this, but the trumpet seems a little preoccupied with technique at times. Overall, it works, though. Could be Harold Mabern on piano. Tenor is almost clunky, but in a good way. Makes me think of someone like Ron Bridgewater. Not Harold Mabern, but somebody very much out of that school. I think it's maybe a little later than the Bridgewater Brothers, but I like this. Trumpet seems like one of the Wynton contemporaries to me. Maybe Marlon Jordan or somebody like that, though I'm taking to him more than I typically do those guys. Jack Walrath? The only thing that isn't hitting for me is I want the drums to go ON to something (and I didn't care for the A train quote, but now I'm just nitpicking). Track 6 - This just isn't firing for me. Too flowery and I'm just not buying it. Track 7 - Man, I've been missing these guys every time, but I like this style. I'll guess Alan Eager because it seems no matter who I guess when I hear this type of tone/style, I'm wrong and it ends up being him. Pianist owes Basie some royalties. Now the tenor sounds like Lester Young in the deliberate approach to the rhythm, but the band just doesn't seem to swing enough for that to be the case. Track 8 - That trumpet (seems like there may have been two) sure sounds like Roy Eldredge to me, but again, the band doesn't seem to swing enough for that to be the case. Track 9 - I like this in spite of the technocrat tenor. He has a bigger, warmer sound than most who play like this. However, he definitely comes out of that Brecker generation. In the beginning I had hopes this was going to be an Ahmed Abdul-Malik cut. The tenor is staying close enough to the rhythm of the accompaniment (meaning he's not getting lost in the technique stuff, though he flirts with it), and that's why this works for me. It's interesting and I want to know more about it. Can't hear the bass too well on my laptop speakers, but what I CAN hear, I like. Track 10 - No idea. Doesn't seem like a player from the generation of this music, but a more modern player playing in the style. Not really hitting it for me. Track 11 - Man, I swear I know this tune. I like the song, and I'm digging the piano. A little Dear Old Stockholm thrown in the middle there. I like the drums, too -- this is *alive*. I want this. Track 12 - Sounds a lot like B.B. King's guitar, there. Sounds like Bob Berg on tenor to me. This isn't really pulling off what it's trying to be. Drums are stiff like the Cray Band. I'm almost positive it's Bob Berg. Guitar isn't over-amplified enough to be B.B. (and it doesn't seem to bite enough to be him). This one doesn't really strike it for me, either. If it IS B.B., it's him on an off day. The blues doesn't work unless somebody gives a shit, and I'm not hearing that anyone here does. Track 13 - No clue, outside my realm. Track 14 - Well, I've got the song, anyway. Somebody has worked awfully hard to get Ellington's trinkle down. So much so that I'm wondering if this is some perverse remix. Okay, this is bizarre... what the hell was going in the beginning? Now that piano is decidedly not him. Almost sounds like Art Tatum or Oscar Peterson there at times. Some strange festival jam? Drums almost sound like Jimmy Cobb to me. The arrangement is Duke, but that's not his guys in there. Could be Norris Turney on lead making one of the later bands. Now I'm getting a Phineas vibe, which has me leaning towards Tatum, again. Intrigued. Track 15 - This is NOT speaking to me (well, unless you count telling me to kill the neighbor's dog). At 1:30, I'm yelling at it to go somewhere. Herky jerky, but I don't get the point. Had to fast forward into the solos, and I'm sorry I did. Hits me like Rudresh on alto, and this is doing less than nothing for me. I love this done right. This ain't it. Track 16 - I respect the technique, I'm just not interested.

Damnit! I have that Baikida Carrol record. Need to dig that out. Really blew it on that "guy" playing tenor. And naturally, I have the McPhee thing that I had such a negative reaction to (and love it and most anything by JM). I prefer the one-off reactions, but man, they can be fickle! And, of course, I nail Dennis Gonzalez, but overlook the fact that I own (and love) that record. I love the tune Camel, though seeing YAE perform that live, it's tough to accept the studio version.

If SHE endorses it, I'm definitely in for a DL.

Always heard him announced on recordings as Don "Moy AY"

Testify, brother.

Track 8 at times had me thinking Carlos Ward, but at other times thinking of Anthony Ortega. The only thing I'm positive of is that is neither of them. I think I shall go drink, now.

Getting in rather early this month (or it ain't happenin'!). I liked this one quite a bit. A lot of music right off the fringe of my regular listening path and though I nailed nothing, there's a lot I want to add to my collection! Track 1 - Reminiscent of Trane's SELFLESSNESS once it gets going. Seems like it is shooting for that feel of either that or Ascension. I like this. The tenor's technique is a bit clunky, but the honesty cannot be denied. Some shades of Reverend Frank, but a guy coming more out of the tradition (in terms of tone) than that. Very dramatic and not something I'd just throw on, but something I'd like to add to my collection. Track 2 - I'm so bad at vibes! It's not Walt, Bobby or Khan, so I'm somewhat at a loss. I dig the contrast between the very straight-forward swinging drums/bass and the angular vibes. Track 3 - A little cross listening. Tenor sounds a bit more modern in terms of technique, but his tone has some nice shades of Johnny Griffin in it. No guesses. I liked this but not as much as the first two. Track 4 - This is interesting but doesn't seem to have the bite of the first three tunes. Seems to be modern players playing in a classical-influenced style. Ivo Perelman? Seems less influenced by the Hebreic tradition than his stuff, but musically strikes a similar chord with me. Track 5 - No idea what this is but love the feel. Almost a bit soundtrackish, but it's got a great feel. This would be really fun to see live (assuming the "sound engineer" didn't ruin it). That left-hand reminds me a bit of Horace Parlan, but it's someone newer than that, I think. Alto has some shades of Dudu or Sonny Criss, but it's neither. I couldn't ID a clarinet to save my life. Track 6 - Very cool. No idea who, but there are certainly shades of DDBB. Track 7 - At least I'll get one song title correct. Somebody doing a pretty good McCoy impression. It's not quite the heavy hand of 60s McCoy, but not the light, tinkling sound he developed later. This is a respectful tribute to my ear. Maybe one of Warren Smith's projects? Track 8 - Nice, bizarre take on Blue Monk. Not sure who it is. Track 9 - No idea. I like the looseness of it and the fact that they're leaving lots of space while exploring their ideas. Track 10 - I know it's not what I think it is, but it sounds a lot like Matt Langley to me. That would mean it was Charlie Kohlhase, but I'm positive that's not what it is. I love this, and must have it! Track 11 - I liked the beginning of this but as it got going, it doesn't seem to really get it's feet. It has a Keith Jarrett quality to it, but not in a good way. It also sounds like an electronic keyboard and not a real piano. Actually listened all the way through before I realized I'd missed it. Completely ignored it, and I think that says something. Track 12 - Instant love. Big, fat warm trumpet sound. Is this Dennis Gonzalez? This is gorgeous! Track 13 - Love the song, hate so many of the versions. This one doesn't hit me in the right spot, but traditional vocals rarely do. This isn't so much traditional, but for the liberties in the arrangement, the singer isn't really adding much to the tune to my ear. Track 14 - Loved the bass, but felt kind of let down when the piano came in. Bass had really set a mood and then the tune just doesn't go there. Somebody outside the realm of my listening. Seems rather studied.

Gah! Christ! I have this! Shame on me.

Gah! Nevermind, my feeble middle-aged mind and memory failed me. A search for "A-Train" + "Sun Ra" + Blumenthal found me my answer. It's the Montreux album. I guess Blumenthal's association had convinced me it was in Boston. Ordered, waiting for delivery. If you're not familiar, give it a go!

When I was in college, the radio station had a double LP (as I recall) of Sun Ra and the Arkestra Live in Boston. Bob Blumenthal did the liner notes and there was an absolutely killer version of Take the A Train at about 380 bpm featuring John Gilmore (happy birthday, btw) a capella. Anybody familiar with this? Even better, any idea where I could score a copy? I don't even know where to begin looking (although I'm thinking about placing a call to that college radio station!).

Interesting that I had the polar opposite take on these two tunes, Jeff. Outstanding! And here I was thinking I'd created a new adjective!!!! After reading the first couple of comments, I was happy to see someone throw Hines' name out there. I like him a lot, but this didn't seem to hit me like him, but I can see where his name would come up. Ugh... at work, and this isn't making sense. I don't know if Hines was a guess, but after reading several comments, the thought of Fatha Hines on an off day came to mind.

Okay, finally got around to it (Septembers suck for me!). One listen, no peaks. This was an interesting test for me. A lot of familiar sounding stuff, but nothing that I nailed. A couple of things I'm guessing I have and don't realize it. One thing these tests always accomplish is make me realize just how vast available field of documented music is (and how little of it I've actually heard!). Thanks for workout. Track 1 - Very modern style, but very much acknowledging the Tristano school. Unfortunately, there is little in the tenor player's sound or approach to distinguish him or her to my ear. Track 2 - Just Friends. Not my bag, but a very interesting arrangement. Mad tight! I like the bass solo in terms of ideas, but I wish he had a thicker tone. No idea who this is, but my guess is it's a working band to be this tight. Track 3 - Hmmm... Live! Older, buzzy-style trumpet sound. It's somebody I've heard (I think in other BFTs), but that style always makes me think of Ruby Braff. I don't believe that's who it is here, though. I'll lay good money it's an older player, though, and not a younger person playing that style; there's too much truth in the tone for that. Track 4 - Again, mad chops. It's more traditional preference, but it reminds me of the way Benny Golson would approach this kind of tune. There is a uniqueness in the tone, but I can't claim to know who it is. I guess that it's a tweener; not a legend like Golson, but not a real young guy, either. Somebody on par with Eric Alexander, but I'd guess a shade older. Track 5 - Very bandy. It's not unpleasant, it just isn't grabbing me. The arrangement is rather unspectacular, which would not be an issue, but it doesn't really swing, either. Hmmm... maybe I just took a misery pill without realizing it, because I'm really disliking the sound of that tenor, too. Trumpet interlude at about 1:55 is nice. I'm warming up to the tenor ideas, but that tone... it seems to have the inward focus of Hank Mobley, but with the opposite effect. Could this be Joe Lovano? This one isn't reaching me. Track 6 - Huh, this one is hitting across the board for me. It reminds me of Cedar Walton's bands of the 70s. Crap! The horns spoiled my mojo! It's got that fun bounce of some of Walton's later compositions. An outside guess on the alto would be Charles McPherson. It doesn't seem to have Charles flawless time, but it could be a more recent recording, so I'll guess him. It's not Cedar, but a very capable pianist from the tradition. Don't recognize the trumpet, but he's not really resonating. The approach is mellow like later Art Farmer, but really doesn't have the same story. Bobby Shew? Track 7 - More dense band arrangements. It's interesting to hear that Kentonian density in a modern setting. The arrangement on the head didn't wow me, but now that we're into it, I love what they're doing behind the soloist. Strong 'bone solo. I like the tenor solo, but I detect nothing unique about the player. Coltrane-inspired tenor #32491? Track 8 - I'm am ALL in, here. Swings it's ever-lovin' ass off, and that's enough, sometimes. Love it all. Not particularly sure who I'm hearing, but both tenor and trumpet sound familiar. No clue on the bari. Track 9 - Well, that's royalty. Paul Gonzalves on tenor and, like Robert Klein, I can't stop my leg. The drummer is a bitch! Sounds like Philly Joe. That sounds like Clark Terry to me on trumpet, but it's pretty fiery... I'll stay with that guess, but this is BURNIN'. Some of those chords are Ellington-esque, but I think it's an homage, because the general feel of the piano seems more like Wynton Kelly to me. Man, I NEED this. Throw out all the textbooks and practice room nonsense, THIS is what Jazz is, kids! Track 10 - This has a fun feel to me. Similar to some of the TV themes of the 60s. The feel is similar to Maynard's bands of that era as it gets going, but that trumpet has far too much taste to be MF. I like this. Track 11 - Good, tight, straight ahead Jazz. Very much like the Jazztet, but not them. This is a band I should know, particularly that trumpet, but I can't commit. Track 12 - Left channel tenor needs to forget the post-Coltrane stuff. This is burning, but lay off the rehashed Coltrane-isms, dude. I'm guessing a Berklee guy because he has that Billy Pierce sound, but doesn't seem as personal as BP to me. I like his playing, I just want to hear more of the individual. Could even be Eric Alexander the way he navigates the changes, but at this pace, I'm losing the sense of this player and just hearing the practice room. This is a long-standing issue for me with ALL modern players. Right channel tenor doesn't seem quite as accomplished in terms of technique, and though out of the same sort of schooling, seems more in touch with the source of the tradition. Maybe Josh Redman? A very clean sound, lots of proficiency, but to my ear, this guy is closer to what I hear as Jazz. The recording is uber compressed, which does not help this process of identification. Gah! Engineers!!!!! It's clearly a modern group of players. For me, it's the drummer that makes this succeed. The rest of the rhythm section strikes me as just kind of there. Both these bastards can play! When they trade fours, the differences in their sounds compliment one another nicely. I'm almost convinced that the left channel is Alexander, now. The right channel reminds me a lot of Ricky Ford, but a lot cleaner. I should probably know the tune, but don't. Very nice head. Track 13 - The drums set this up to be more of a burner, but it settles in to that west coast big band thing. It's nice, just didn't go where I figured it was going. Tone says Kamuca to me. Sick chops, but not my genre of choice. I side with Horace Silver on this stuff. Track 14 - Brubeckian take on All The Things You Are. I like the idea, but that piano is making me a little nuts. This is clearly a private stock recording, so I want to be careful here. If this were multi-tracked, I'd be muting the piano track; it just isn't working. The right-hand is doing some nice stuff. The left-hand is completely off-putting (maybe it's the way the drums are being so rigid, I dunno). Nope... it's the chording. Didn't make it all the way through.

The acknowledgement is ample, sir; there will be other BFTs. If you like what you heard, though, I recommend you check out the link for Prime Cuts below.

Thank you for your ears, sir!

I couldn't agree more. I've been saying that for over three decades and I'm still amazed how few people are aware of this record (I mean, LOOK AT THAT RHYTHM SECTION!!!!).

DL, my brother, s'il vous plait

McHenry is kind of an enigma to me. He's a great player and I love his sound, but I agree with what you say about hearing him on record. Sometimes live, he seems to fall back on his ability to play like others, and when you can play like Bill McHenry, that's a mistake. He can do an uncanny Dexter Gordon and a perfect Warne Marsh. I'm most excited when he does Bill McHenry, though. I could be mistaken about all of that, but that's how I hear it. When he stays within Bill McHenry, he's downright scary!

Bill, I seem to have missed the link on this one. I checked my private messages, but I got nada.

I didn't notice, but I know what you mean. I frequently feel that way after I read what I wrote. I always just react to what I hear, but sometimes when I read it, I feel like I'm harder on what I heard than I should have been.

Track 07 - Bill McHenry - My Melancholy Baby - (2009) Live at the Village Vanguard Bill McHenry - ts; Duane Eubanks - tpt; Andrew D'Angelo - as; Ben Street - b; Paul Motian - dr I discovered Bill McHenry a few years back when I attended the Maine Jazz Camp. Everybody was talking about him and I'd never heard of him. I was very excited to be going to see William Parker at the end of the week at the Deer Isle Jazz Festival (sadly, nobody knew who the hell I was talking about). I found out a day before that McHenry was also playing. McHenry is from that area, so it was a local boy returns home situation. This is a nice, representative recording of Bill. He's got his own voice and I can't ask for much more than that. My only complaint is that sometimes he opts not to use it, instead slipping some hero worship into his playing (playing a tune like Dexter, for example). He's a terrific musician who should be more committed to his own sound and let the audience come to him instead of the other way around. Track 08 - Noah Howard - Ole Negro - (1969) The Black Ark Noah Howard - as; Earl Cross - tpt; Arthur Doyle - ts; Leslie Waldron - p; Norris Jones (Sirone) - b; Mohammed Ali - dr; Juma - cng I discovered Noah Howard as an eMusic recommendation, and boy was I glad. He was another of those guys who just slipped below my radar for too long. This, IMHO, is one of his better recordings; slightly more accessible without compromising the fire within. Track 09 - The Leaders - Hip Dripper - (1989) Unforeseen Blessings Chico Freeman - ts; Arthur Blythe - as; Lester Bowie - tpt; Kirk Lightsey - p; Cecil McBee - b; Don Moye - dr What is not to love about this lineup? My only complaint is that some of the tunes are too damned short. It seems like it wasn't so much of a cohesive project as a collection of material that was released. However, given the personnel, that still makes it pretty awesome. My favorite track is Lester's interpretation of Blueberry Hill. He just made that du-wop stuff so damned interesting! Track 10 - Buck Hill - Little Bossa - (1979) Scope Buck Hill - ts; Kenny Barron - p; Buster Williams - b; Billy Hart - dr One of my favorite albums from childhood. Took forever for it to come out on CD, but it holds up well. This album and the previous year's This Is Buck Hill were both outstanding. To my ear, this is the better outing, though. Such a great rhythm section and Hill is in top form, with a fresh, unique voice. There is not a bad track on this album. Track 11 - Billy Mitchell - Be My Guest - (1978) The Colossus of Detroit Despite the terrible sound (for some reason this Xanadu recording makes Billy sound like he's in a clothes-filled closet), this is an absolute bitch of a record. I haven't found much Billy Mitchell that I don't love, and this is just good, ol' fashioned swinging Jazz from note one. Again, not available on CD that I'm aware of. Great personnel playing great music and meaning it. You can't ask for more than that. Track 12 - Dick Griffin - Now Is The Time - (1979) Now Is The Time Dick Griffin - tbn; Bill Saxton - ss; Clifford Jordan - ts; Hubert Eves - ep; Don Smith - p, v; Calvin Hill - b; Billy Hart, Freddie Waits - dr; Lawrence Killian - perc I was at Looney Tunes in Boston when I found this. They had a used copy I was looking at for $1.99 (about the peak of my price range if I wanted more than one album at that time). I found a sealed copy for $1.88 and bought it. Years later, they cleaned up the sound and released it on CD, sadly, broken into two sections; 1/2 the album paired with The Eighth Wonder and 1/2 paired with A Dream For Rahsaan. Of those DG releases, I prefer this one the most. More great work from Clifford (The Queen is one of his best ballads ever) and some solid work from then youngster Bill Saxton. This is another all-in line-up for me. I've always loved the way keyboardist Don Smith hits that high wail towards the end of the tune. I just couldn't end this test any other way.