tkeith

Hope folks don't mind, but given the hectic nature of the impending weekend, I'm going to post this today. Track 01 - Hannibals Carnivals - Ahmed Abdul-Malik - (1961) The Music Of Ahmed Abdul-Malik Eric Dixon - ts; Tommy Turrentine - tpt; Calo Scott - cello; Ahmed Abdul-Malik - b, oud; Bilal Abdurrahman - clt, perc; Andrew Cyrille - dr This came across my iPod in the car and, like the rest of you, I thought "Don't Stop The Carnival!" Abdul-Malik has been a recent find for me. I was very familiar with his work with Monk, but when I happened across his stuff as a leader, it was very ear opening. Andrew Cyrille on drums. In Andrew we trust. Track 02 - Lonely Woman - The Jazz Doctors - (1983) Intensive Care Billy Bang - vln; Frank Lowe - ts; Rafael Garrett - b; Dennis Charles - dr This is a tune my mind never lets me commit to memory. I always forget that it's Ornette's tune and never remember the name. I was listening to the MJQ version recently and really liked what they did with it. Working on the computer one day I had iTunes on shuffle and this version popped up. I immediately popped it on the iPod for the car, and when it popped up there I went through "What is this?" all over again. I got to see Bang/Lowe about 6 months before Frank died. He was not at all well, but what little he played sounded great. Bang was a treat in person, as well. Two guys I miss a lot and I consider Lowe a tremendous personal inspiration from a musical standpoint. Track 03 - 8 Bold Souls - Dervish - (1986) 8 Bold Souls Edward Wilkerson, Jr. - ts (solo); Mwata Bowden - ts; Richard Jess Brown, Jr. - b; Naomi Millender - Cello; Dashun Mosley - dr; Isaiah S. Jackson, Jr. - tbn; Robert Griffin, Jr. - tpt; Aaron Dodd - tuba Ed Wilkerson is a guy that my predecessor on Prime Cuts, Ken Eisen, turned me on to. We arrived at that conversation because of trumpeter Rod McGaha. I had turned Ken on to Jeff Coffin's Go-Round, and he was very impressed by Rod McGaha. He'd only heard him on Wilkerson's album and that got me to check him out. Naturally, I found the links to the Chicago crowd and was all in. Love me some Chicago musicians. Track 04 - Curtis Clark Quintet featuring Oliver Lake - - (2006) Live at Starbird Recital Hall, Portland, ME Oliver Lake - as; Matt Langley - ts; Curtis Clark - p; Jim Lyden - b; Jan Van Voorst Van Beest - dr I was very fortunate to find out about this show just days beforehand. It was not well publicized and the venue was rather hidden, but seeing Oliver Lake in close quarters was an experience. I had my PXR4 in my pocket and that's where this recording comes from. Matt Langley later told me that they had recorded the show. Jim Lyden recently posted a tune from that show on Youtube. You can hear it here. Track 05 - The Great Jazz Trio - Favors - (1978) At The Village Vanguard Hank Jones - p; Ron Carter - b; Tony Williams - dr This was one of those albums with the horrible, incongruous baseball covers. The music is excellent and to my ear this is the gem of the set. Hank Jones has got to be one of the most under appreciated pianists ever. Tony Williams, unlike a lot of his work of the period, is not overbearing here. This recording holds up well. Track 06 - Clifford Jordan - Abracadabra - (1978) Inward Fire Clifford Jordan (solo), Pat Patrick - ts; Dizzy Reece - tpt; Howard Johnson - tuba; Jimmy Ponder - g; Muhal Richard Abrams - p; Richard Davis - b; Grover Everette - dr; Azzedine Weston - cng; Donna Jewell Jordan - v Clifford is my guy. He was one of the first people I saw live and was my first bootlegged recording (with his permission). I was 12. This is not a great record, not even a particularly memorable Jordan outing. However, I love this song and the arrangement. Having this cast alone makes it worth owning. I do wish the Muse series would get reissued (this is a digitized needle drop). Part 2 to follow.

Your time period is correct, but you haven't named the musician, yet. I don't want to speculate on whether you're circling the right group, because that's rather subjective. A hint would be that focusing on the Caribbean might not be the most accurate approach.

Ding! Ding!

September is fine. In fact, that probably works better for me as participating in one is very hard for me that (this) month.

I'm okay with that, Jeff. Bill & Jim, to address the "What's the harm?" question, you have to look at what several of us have said. We feel a sense of obligation when someone has taken the time to compile a test. That means that if you send out a box set BFT, I'm going to listen to it all, that's just how I am. I'd love to hear all of that stuff, but what's the harm in spreading that out over 5 different BFTs?

I don't see where you indicated why this is your preference, and I'd be curious to know. I think you're addressing a slightly different point. If the question was whether you were required to include 2 CD's worth, then I could understand why you would be making these comments. But that's not the question. Obviously, you and everyone else is free to limit your test to 80 minutes (or less) when your turn rolls around... right? The question is, should everyone be limited to 80 minutes or less, and if they are allowed to make it 160 minutes, will that really cause you or anyone else any problems when you're not obligated to: a) sign up at all; b) participate, if you've signed up; and c) comment on every bit of the music if indeed you opt to participate? Jim, this was discussed in the old thread. I get your point, I just don't agree with it. It's a matter of wanting to honor the effort of the compiler. Starting today, I'm going to have negative time for about the next six weeks. I'm planning to participate in the next BFT. Listing to 75-80 minutes of music is something I might be able to do, splitting it into 3-4 listens and making comments. Now, double that to 3 hours and it's a burden, which the BFT shouldn't be. You're correct, I'm imposing that burden on myself, but I think most people would agree that a spare 75 minutes is easier to come up with than a spare 2-1/2 hours. There are no axes being ground here, it's just a discussion. Another way to look at it is this: Think of music in the day of the LP. You listened for 20 minutes, went to the john, got a sandwich, came back and listened to the other 20 minutes, and most of the music was high quality (in my collection, anyway). With the advent of the CD, musicians/producers felt the need to fill 60-80 minutes of space and, to my ear, the music has suffered. It's also more taxing to listen to that duration of music with no breaks. Yes, there may be 60 minutes of worthwhile material (hey, we've all enjoyed those unreleased and alternate take Blue Note tracks), when it was restricted to 45, the music released was consistently the best of the best. I would submit that the same is true for a BFT. I could have omitted Track 8, and perhaps Track 9 and the BFT would not have suffered. But again, it's all about preference. One other way to look at it: There have been some BFTs that I just don't take to (the Big Al felt about mine ). It's easier to plod through 80 minutes of music that is not my bag than it is to plod through 160. But now we're back to the desire to honor the compiler, and there we'll have to agree to disagree.

Yeah, if you don't take to those types of vocals, you definitely would not dig those cuts. I'm not a huge vocal fan, but what I like, I like. It has no rhyme nor reason, either. I love Lena Conquest, but also love Joe Lee Wilson. Oddly, I love Tony Bennett, but don't like Frank Sinatra. Gary Bartz vocals are some of my favorites, ever. I guess I tend toward the non-singer singers.

Motian is not a bad guess, but I prefer this guy. I stand corrected. I was just working on my reveal post and realized I had the wrong personnel. There were two dates with the saxophonist and I had the quartet personnel. The drummer is, in fact, Paul Motian.

I understand that point, Bill, but I've actually started to compile a list of songs in advance for my "next" BFT. I find that, in doing that, I don't lose out on those songs. I've bumped some of those tunes (one for the past 3 BFTs I've authored), but they're still on the list. I mean, I would have had a hard time lopping any of the tunes I put into #101 off the list, but had I been held to that standard, I could have done it. It's a double-edge sword. I imagine if I could retire tomorrow, I'd change my stance, but time is really a struggle for anything more than one disc for me... and yes, I'm a total hypocrite.

I'm totally behind limiting it to one disc. I'm also totally guilty of going over that on just about every test I've done. On this one, I thought of putting the excess on a "bonus disc". That's pushing it, but it's something I'd be okay with. In truth, a more steadfast limit would help me to limit the length of the BFT. Yes, this makes me a complete hypocrite, but I think it would strengthen the BFTs to limit them to one disc.

This one is going to surprise folks and the song title/origins is probably going to spark endless debate about which came first. However, it is not Don't Stop The Carnival. {and, of course, it is} Second Shepp guess. The good news is, this guy is still active and very valid and creative; I just wish he'd record more. Correct on Lake, correct on the archives, correct that it's not Turner. I'm a fan of this guy, but not of Turner. I will let him know about the comparison, though. Motian is not a bad guess, but I prefer this guy. Ding! Ding! Fair enough. I will say there is value in the other stuff. I didn't intend to do two discs, it just worked out that way.

Have I mentioned how glad I am that you're participating? I hope you'll stick around for more BFT's! +1

This should be a surprise based on the Manne comment. Brown is not a bad guess; definitely a guy out of that field, but maybe a tad later. Right neighborhood, wrong house. A bit more of a 'Jazz guy' than The Brain. Thank you, my brother.

Well played! Except that it's not DSTC! This one is going to give people fits! Made by a sax player sitting, actually, rather close to the sax players (AND the drummer). No, but there are times where Josh sounds EXACTLY like this guy (ID'd above). True enough, but this guy can squawk with the best of them when he wants to. Also, a clue is that the drummer is more noted for working with squawkers. I would say Dudu is a contemporary, though obviously in a bit different genre. Hey man, I can't fault you for your tastes. I cringe when something non-Ellington, pre-1940 makes a BFT. Been well received, actually. I will give the hint that this is a guy I ID'd on the first BFT I participated in. A truly unsung warrior of the music. Sadly Al, this is just the way my mind/ear works. No intent. Al, that tenor solo IS great. The best part about the primal scream is that it's just that. The singer is a pianist who is singing (rather than the other way around), so it's totally in the moment (which is perhaps what I love most about this cut).

Correct! Different time period. Correct. This one has been ID'd twice, now. THAT is a surprise to me. I will share this thought with the tenor player. No doubt he will be pleased. Not Larry. That creaky piano could be a clue, though. Correct! DEAR ORGANISSIMO FORUM, PLEASE STOP COMBINING MY POSTS! I'M A BIG BOY WITH A CERTAIN DEGREE OF TECH SAVVY; IF I WANT THIS TO HAPPEN, I WILL MAKE IT HAPPEN. THAT IS ALL. Ding! Ding! Correct. Hence the remark about the "creaky piano".

Ditto. And/or you can just keep me as the alternate. MG, I put you down for April, 2013. Thom, you're already down for August of this year. √. Forgot about that. (CRS setting in hard) Jeff, this was the message that had me thinking April, 2013. August 2013 is fine. As usual, in a pinch, I can always swap that to sub for a compiler unable to fulfill the need. To be honest, it's easier for me to compile September-through-June than to participate, but I'll always take whatever.

Not Billy. I see where the writing might take you down that direction, but this is a bit more out than BH. Another one that's going to surprise you. No JC on this BFT (though I considered it). People are going to either nail this one or be confused by it. It's a required recording from the period, IMHO, and the best recording of the tenor player, by far. This guy is one of the great unsung people in this music, and he should be a household name. Absolutely swings, always. You're going to want this one, but good luck finding it. Ding! Ding!

Ding! Ding! I did not, but you're correct. webbcity has ID'd this cut. Correct, a private recording and it IS Oliver Lake. This is maybe a hair outside of what you think of for this pianist, but only because of the way our minds seem to classify such things. It IS Clifford and you've really nailed where this recording fits. It's not a great record, but a really enjoyable one nonetheless. Correct! ID'd in the next post. Not Ricky. Negative. ID'd by two listeners thus far.

Well, yes... and no. It actually NOT Don't Stop The Carnival, but as we both know, it sure as hell is. This actually predates my earliest recording of the tune by Newk by a year. That's a hint. Spot on with Billy, but not the rest. Correct. Reasonably certain only you would get this. Eh, could be... Nope. Thought sure you'd nail the alto, and DEFINITELY should have nailed the tenor. You're going to be surprised by this one. It IS a great tune, and it IS Ron Carter. You're going to be shocked when you find out who this one is. And you WILL need to have it. Not sure if you know this guy, but he's definitely a guy who will maintain your interest. This is a sleeper cut. Gah! Stupid limitations on blocks of text. I'll post the rest of my responses to your responses later.

Jeff, I'm willing to defer my April spot and move to the end of the line so that webbcity can have a slot before he qualifies for AARP. Just let me know.

Yes, but in my mind, it'll always be the first track from here, an album I purchased for 88¢ at Looney Tunes in Boston. Also, in a private conversation, webbcity ID'd that and another song, but he's being shy... or just saving up for a one-shot post.

I have that JCO record -- shame on me. I clearly don't have the DiNovi record - shame on me again. And lastly, I have the Tucker cut on the Moody album... I need to go hide my head in deep sand.

Sorry for the delay, folks. I was away for part of the weekend and didn't want to walk on the previous test. I think everybody has it (Bill, your redux is in the mail) now. Feel free to let 'er rip.

Just a note: In deference to Dr. J I'm going to wait to start the discussion thread until he has a chance to post the reveal for BFT 100.

NOTE: Track 8 is NOT 65 minutes long. It's a glitch in the metadata that I didn't notice until I was burning the disc for Bill, and I was not able to fix it. It's under 9 minutes.