tkeith

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.

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!