tkeith

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.

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).