tkeith

D'oh! Sorry for my lack of participation this month (saw the answers when I got the e-mail or I would have just done it late). Life did NOT cooperate.

No surprise that the one guy I knew in the test was the one I salivated over. I just discovered Manglesdorff in the past few years. This was a good workout for the ears. Thanks!

In for a DL, please.

I didn't know anything for sure in this, though I may have some correct personnel guesses (pretty sure about the Kenny Wheeler cut). This was a bell curve listen for me. I liked, but didn't love, the first few. Then I was blissful for most of the middle, and that left me a bit wanting at the end. Overall, this is one of the best in awhile. No peaking, one listen: 1 - Instant love! Has that 60s movie soundtrack feel. Some of Shihab's stuff has that feel. I love this. Piano solo is a little off, but it doesn't detract from the feel. Hmm... trumpet, too. Something odd is happening here. These aren't heavy weights. They don't quite cut the improv, but I still love it. That sax almost sounds varitone-ish. 2 - More clarinet... I have really pissed off the universe. Shades of Illinois Jaquet, but I think it's someone playing in the style, because again, rhythmically, it's a little off. This reminds me of something The Humble Farmer would play (if you've heard his show, you get it), and in that context, it would be awesome. Here, it's just a little off. Again, striking me as second-tier players on a good day. (* note: I mean guys like the Danish Radio Big Band -- great players, better on their worst day than I'll ever be, but not in the same class as royalty like Booker Ervin or Johnny Griffin; certainly not intended as a slight) 3 - This has the feel of the Jazz Crusaders, but that doesn't sound like Wayne Henderson to me. Perhaps a European equivalent? I'm digging this test, thus far. 4 - Not sure, but off the bat, not liking the alto player. Too busy without really executing what s/he is going for. Sounds flat as hell to me. Hmmm... this sounds a lot like the Danish Radio Big Band, but not quite as polished to my ear. Other than the alto, I'm liking it, but my comments are taking on a similar thread. I'm thinking this is all European Jazz or something. 5 - Not digging the drums (or technically, the cymbals), but very much digging the baritone. It's not Shihab, but someone who likes him a great deal, and that's a good thing. Reminds me a lot of the Jimmy Giuffre cut The Boy Next Door from a few BFTs ago. 6 - Definitely going with my European Jazz thread guess. The alto player just doesn't... swing. The general feel of the tune is fun, but rhythmically, something is just off. 7 - Caravan. At least I was able to name a tune on this one. Eeesh! I like this arrangement, again, very 60s espionage. I was hoping this would be Shihab on soprano, because I'm really yearning for a Shihab cut now. But, it's too Coltrane influenced. That's not a bad thing, I like this tune a great deal. Again, something about the rhythmic execution has me thinking of that second-tier group of players. I like the interplay between the left-channel bassist and the piano. 8 - Pretty sure that's Kenny Wheeler on trumpet. Nearly certain at about 1:10. Now this alto player is a pro. Sounds much more like a first-tier player, but can't quite say who. Could this be Kenny Wheeler that I don't have? This must be fixed. Yes, there is nothing about this that I do not like. 9 - I'm in. Trying to find something I don't love, and it's not there. Shades of Charles Greenlee in the 'bone, but it's not him. Maybe Jimmy Heath on flute. Somebody with that same precision technique, but I think it's a saxophonist doubling on the flute. 10 - Man, the trombone is an instrument that's really grown on me over the years (thank you Frank Lacy and Derek Kwong!). Oh, 1:35 -- how much more can I possibly love this!?!? Sounds like an "out" Ricky Ford. I think it's an older player than that. Nothing I don't like about this. Maybe Hal Singer? I could eat this for dessert. Almost thinking John Handy on alto. Definitely someone I've heard. This is beautiful. Almost a little too bitey for John Handy. But someone with equivalent chops, not Dudu Pakwana or someone like that. I have to have this. 11 - Just hard for me to warm up to the clarinet. I like the overall feel, but that instrument... ugh! No idea, but I'd really prefer a saxophone here... or a trombone... or a kazoo. The playing is outstanding. There's a guy in Montreal who plays the bass clarinet like this (though his regular clarinet playing is much more traditional) named Matthieu Belanger. He's amazing and I can't figure out why nobody outside of Montreal knows about him. This player knows his Archie Shepp, which is terribly exciting. Man, there is nothing I don't love about the rest of the tune (and I love the PLAYING of that damned instrument). What IS this!?!?! Pianist loves his McCoy (who don't?). Oddly, some of the lines have me recalling, of all things, a Joe Jackson solo from Night and Day. Just realized the tune is a blatant rip-off of Herbie's Canteloupe Island (or Watermelon Man) and Afro Blue (just a pinch). Done VERY right, though. 12 - When the drums and bass come in, this sounds identical to Charles Tolliver's Paper Man (talking about the sound of the recording, not the music itself). Much love for this, as well. That bass is haunting. If I recall, Jimmy Hopps is the drummer on that Tolliver date, and this could well be him here. This is a very 70s feel, in the best possible way. It's not Stanley Cowell, but it seems like a contemporary. Bass has a heavy Stanley Clarke/Cecil McBee influence. (Sorry Cecil, but I'm thinking of the best Stanley Clarke.) I realize this stuff sort of paved the way for the smooth stuff that came later, which is too bad, but I love stuff like this. It has that mark of optimism that is so prevalent in all of Abdullah Ibrahim's music. MORE! This test is tickling my fancy as much as any I can remember. 13 - Not a great start. At 30 seconds, I'm thinking this needs to become something pretty soon. Those keys sound like Sun Ra on an off day after the stroke. This one is not touching me. Sounds like some of the John Surman stuff that never really reached me. The listening/interplay is interesting, but this strikes me as little more than research. 14 - Now this is hitting immediately. The tune reminds me of something Charlie Kohlhase would write, but this is older than that. I almost want to say Joe Harriott with Shane Keane, but I don't recognize it from any of the stuff I have. 15 - Audrey Hepburn running away from bad guys. This is interesting and I like it, but I'm not sure I'd listen to it a lot. It's influenced by that odd Kenton period, to my ear, but doesn't seem to be going anywhere. When it finally does, it seems to be someplace I'm not overly interested in. I would guess Braxton, but the soprano player is too rhythmic. I like it noisy, but this one just doesn't resonate with me at all. 16 - Here we go. First impressions are Chris McGregor but seems too tight. This has whatever the last cut was lacking. This has a tinge of Albert Ayler to it, but it sounds like it really matters to these guys; somehow the last track lacked that. That alto to the left could definitely be Dudu Pakwana. Overall an intensely pleasing BFT (particularly the mid-section!). Thanks! Hehe... I really wasn't kidding about the no peakies...

Track 7 happened upon my iPod in the car today. A drummer I work with sent me some stuff he thought I might like. I only ended up putting the Vijay on the iPod. Alas, I have not listened to it enough. Egad.

Spoiler Alert! A little old-fashioned cheating lead me to look further into my drum guesses. My fourth guess was correct. I went Tain, first. It's the opener from this: SPOILER ALERT!!!! I wondered about Michael Philip Mossman on trumpet, but then arrived at the right guy shortly before finding the answer.

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)

That's what she said.

Ditto. And/or you can just keep me as the alternate.

+1 DL for the guy from the great northern woods!

Jesus, I don't even have to put in the disclaimer about not reading the thread -- I got nothin'! Track 1 - I like the music better than the recording would lead me to believe I would. It's got that hyper-compressed sound that marked so much of the late 80s/early 90s recording. Something about those drums has me thinking either Cecil Brooks or Ralph Peterson. Very nice tune/arrangement. Not sure what this is, but I'm pretty confident with the drum guess. Track 2 - Not feeling this one. It's interesting on a cognitive level, but I'm not feeling it in the gut. No idea. Track 3 - Clueless. Not my bag. Track 4 - Something about this caught me immediately. I love the bass and the mix with the acoustic strings is nice. The tenor doesn't strike me as particularly unique -- more of that modern recordable sound. Reminds me of The Worst Pop Band Ever (a band I absolutely LOVE), but I don't think it's them. Track 5 - I was hoping this was going to be the trio because the beginning had a nice cook to it. The horns didn't really add all that much. It's nice music, but doesn't make much of an impression on me. The general feel reminds me of the early Marsalis Brothers quintets, but this is later than that, I think. Alto player isn't reaching me. Chops are there, but I'm not buying it. Brassy modern trumpet sound; not Terrence Blanchard, but that generation. The whole thing just feels too busy to me. Track 6 - No idea, but nice voicings in the arrangement. Seems too polite to be somebody like Louis Jordan, but that's what the arrangement reminds me of. The guitar must be the key, but it really doesn't fit to my ear. Track 7 - This is kind of where I thought Track 5 was going. Again, this hits me on more of a cognitive level, but I like this a lot. Reminds me of something Vijay Iyer might do, but it's not him. About 1:30 starts flirting with Matthew Shipp, but I don't think it's him, either. I like the sound of the bass on this recording; it's modern clean, but they haven't destroyed the nuance with extreme compression. Looking forward to the reveal on this one, like it a lot. Track 8 - Just not a fan of the instrument, nor the genre. Musicianship is amazing, though. Not going to make all 11:30, sorry. Track 9 - The unmistakeable vamp of Equinox. I like that this moves in its own direction. It's not my favorite version, but it's certainly its own version. Very patient improvisation. I think this is an older player, maybe somebody just behind Kenny Barron's generation. It's equal parts Randy Weston and Roland Hannah. I like this, but I can't put a finger on who it is. Thoughtful bass solo with really nice comping behind it. Yeah, I think I need this. Track 10 - Love the 'bone technique, but I'm not sure about the context. It's not a player I'm familiar with; the time is a bit stiff. The tune is quirky like something Dave Holland would write, but it's not him. Could be a later Mel Lewis project, but sounds a bit more modern than that (in terms of the recording). The horn arrangement almost sounds like synth to me (but then, I'm listening on a laptop). Drums work is definitely more modern than Mel, but this is certainly inspired by some of his later Jazz Orchestra arrangements. Track 11 - Electric bass, hurting my neck. In its own way, I like this (in spite of my bias against electric bass). The feel is similar to Roswell's Mali Cool. The drums have the sound of one of those Laswell recordings from the early 90s. This is very enjoyable, but I have no clue who it is. Track 12 - Don't know if it's on my end, but the bass is distorting like hell -- like being in a car with a cheap radio. This is an odd feel. Had that awkward yet swinging feel that Vince Guiraldi did so well. More clarinet, but this and the last tune are clarinet that I find pleasant (sort of like Darryl Harper's work, only this is more mainstream). Yeah, I like this, but again, no clue. Damn it, Spoon! You're pitching a shutout here! Thanks for the listen. Even though much of this is not in my field, it was a nice bath for my ears. The later stuff on this one really resonated, though.

Track 3 - How did I miss Don Byas?!?!?! My Dad will disown me! Track 15 - Well, sh!t. First, props to Michael Weiss for making me think it was Barry Harris. Second, props for making me looking like an even bigger @$$ for my comments about modern players.

And disc 2. Track 10 - Initial impression of the tenor is that the sound is Billy Pierce. Sadly, that's not going to narrow it down because most of the Berklee guys have that sound, now. Too pretty on the approach to be Billy. I like the tune, but I'm not hearing anything particularly original in the tone of the saxophonist, just that "recordable" sound. (Props to Derek Kwong for coining the usage of the term "recordable" in this context.) Reminds me of a Donny McCaslin tune. Track 11 - Have You Met Miss Jones. That tone sounds too strong to be someone who only seconds on the instrument. It sounds too modern to be Bob Wilbur, but that's where the arrangement had me leaning. Also sounds like a straight soprano to me. Could that be Shihab? Track 12 - Not a genre/period that's a strong point for me. I'll guess one of the later Woody Herman bands, just seems to have that feel. I hate to double guesses, but sounds like Slide Hampton on trombone to me. That's Dexter on tenor, so there goes the Woody Herman guess. I guess it could be a Slide Hampton band, too. Trumpet is somewhere between Woody Shaw and Oscar Brashear, but it's neither. Jack Walrath? This has to be a Slide Hampton band because that tune sounds almost exactly like Slide's NEW WORLD, recorded by Art Blakey with Billy Harper in 1968. Track 13 - A Child Is Born/Oleo. Tyner shakes hands with Bud Powell, but I'm not sure about the context. Track 14 - No clue, but I assume the vocalist is primarily a pianist. Track 15 - Laura/Cherokee. Quite the bop chops. The sound makes it difficult, but it could be Barry Harris. Definitely someone of that period, because the music sounds like it matters to him. I know that tends to rub people when I say that, but while many of the modern players can play it all inside and out, they don't play it with conviction. At least that's how I hear it. Track 16 - These Foolish Things. What happened there? Did we switch to an electric keyboard, or are there two pianists? Tea For Two. Excepting the very flashy flourishes at the end of These Foolish Things, this sure does sounds like Fatha Hines again. There's that strange vibrating sound again, almost like a synth overlaid with a grand piano. I saw Bruce Hornsby do that and damned near opened a vein on the spot. Everything Happens to Me, They Say It's Wonderful, there was another one in there before Everything that I missed. This dude is sick. Could be Phineas, but I'm staying with Fatha Hines. No, no I'm not. Hines wouldn't get so cute with the classical stuff. I have no clue who this is. Aki Takese? Somebody with crazy chops, that's for sure, but about 8 minutes in s/he is suffering from James Carter syndrome (look what I can do!). Track 17 - Willow Weep For Me. No idea. Track 18 - In a Sentimental Mood. I want to say Hank Jones, but I'm positive I'm wrong. I enjoyed this test a great deal. Lots of excellent stuff I was not familiar with, and even the stuff I was less in tune with was very good. Strong effort!

Finally getting around to this. No peeking, here's my thoughts on disc 1. Track 1 - Not sure how I feel about this. I want to like it, but in sections it sounds almost multi-tracked (because it's so stiff); it just doesn't seem to grab on any place till the 12/8 section just shy of the 3-minute mark. 3:44, he (she?) is on to something else. So it's St. Thomas. The voicings are reminiscent of Abdullah Ibrahim, but it's not him. Could be somebody else from South Africa. Alto sounds like Arthur Blythe, but more hell bent on licks. Maybe Dudu (though I don't think of him as a lick guy)? If it's not Arthur, it's likely he studied with him. Beefy tenor sound. I don't think it's Chico. It doesn't seem raw enough to be the South African guys. This guy has studied his Rollins, but it's definitely not Newk. Outside guess -- is this maybe one of Cecil Brooks' projects? Track 2 - Gah! Mingus tune but can't think of the name... Reincarnation of a Lovebird? No, Self-Portrait in Three Colors. There's George Adams. I assume this is either one of the recordings of Mingus' big band after he stopped playing or it's one of Gil Evan's projects. Track 3 - Autumn in New York. Shades of Jug and/or Ike Quebec, but it's neither. Fat MF sound. A definite influence on Ricky Ford. I want to know this guy, but I have the sneaking suspicion I don't. I'm not going to blame my allergies messing with my ears (though, that IS happening). I need to know who this is. Track 4 - Robbin's Nest. Something is making me lean Fatha Hines on piano -- those triplets. Sounds like Arnett Cobb on tenor. Decidedly older vibrato on the trumpet; I'm going to go with a hair-brained guess and say Benny Carter on trumpet. Don't know the bone. This many musicians of that period makes me think this one of the Norman Granz dates on Pablo. Don't know the muted trumpets. If I'm right about the other guesses, Al Grey might be a good guess on 'bone, but it didn't sound like Al to me. Track 5 - Sounds like Flora Purim on vocals. Sounds like George Coleman on tenor, which makes me think maybe Slide Hampton on trombone. With George and the genre, I'd have to guess that Hilton Ruiz is in there somewhere. I don't love the arrangement, but I'm a sucker for Latin, so I'm in. Track 6 - Stardust a la... sure as hell sounds like Parker on the intro, but it's not. So I'm going to say Sonny Stitt. I'm feeling more confident about that the longer this goes. Track 7 - Every Time We Say Goodbye. *Not* Coltrane. The lines sound like George Coleman to me, though I'm not overly familiar with his work on soprano. I'm pretty sure that's what this is, though. The circular breathing is another notch in favor of that guess. Could be Harold Mabern on piano, but this has more of a tendency to get cute... Hilton Ruiz? The open chords sure sound like Mabern. Sounds like a keyboard (as opposed to an acoustic piano). Track 8 - She sounds like Ruth Brown, but there is no confidence in that statement. Don't know on the alto. Raspy like one of the big tenor voices, but can't place any alto players with that much growl. Track 9 -Damn... can't come up with the title, but I've *played* this damned song. Shades of both Rouse and Pharoah. I'm going to say Chico Freeman. I definitely know this guy. Don't recognize the pianist; I think I'd have an easier time saying who he isn't than who he is. No idea on the bass. I rescind my earlier guess. Junior Cook on tenor.

download, please

Yeah, shocked nobody got Lacy. I figured I'd be way late on that one but that I might have a spike on the Horacee Arnold cut. The more I think I've figured out about this world, the less I actually understand.

Glad you like it, and you're right about one of the saxophonists - Sonny Stitt. The other one is not James Spaulding, but that's a great guess - that probably would have been my guess if I was hearing this cold. GAAAH!!! How could I miss STITT!?!?!??!?!

Apologies for the absence on the last BFT. Time has been less than fleeting, but as I was typing that in the sign-up thread for BFT 95, I realized I had no excuse not to take this BFT this morning. Covered a bit of ground, didn't you? I've been listening to a lot of older (REALLY older) stuff of late, but that didn't help me a bit. I only had two positive IDs on this, but one I have no clue what the record is. Thanks for the ear food on this chilly morning in the northeast. Now I have to go run (brrrr!!!!). BFT 94 Track 1 - Almost has that Johnny Griffin sound, but it's too sane. It's almost too polished. Sort of Branford meets JG. I feel like there *should* be recognition, there just isn't. Track 2 - Ain't Misbehavin'. I've been listening to a lot of stuff from this period lately, but I'm finding the sound quality hard to reconcile (and feeling very badly about that). Not a clue who we're hearing here. Track 3 - Steve Lacy. Can't place the tune, but that progression is grabbing me and yelling at me. Track 4 - A former student and member of the tribe told me once, "Keith, you know klezmer was initially a form of defense." Can't hear it now without hearing his remark in his voice and cracking up. No guesses. Track 5 - Not diggin' this. It sounds like something the WSQ could make work, but this is to that what Robert Cray is to Lightnin' Hopkins. I just want somebody to let loose and play like they give a damn. Is this overdubbed? Track 6 - Not a clue. Fits that Tom Rhodes bit about John Lee Hooker, though: "I LOVE John Lee Hooker, man... seen him four times, own 34 of his albums... near as I can tell, he's havin' some trouble with his lady." Track 7 - I was in love with this in about 2 seconds. That *is* a french horn I'm hearing, no? No guesses. Track 8 - No idea. It has that abstractness of Kenton, but lacks the 88 trumpets most of his arrangements have. Track 9 - Void of clues. Track 10 - Has the voicing of Gil Evans to my ear, but I'm not at all sure who this is. Bari player was an influence to James Carter, though. Trumpet is very familiar. The phrasing is similar to Kenny Dorham, but it's not him. A little like Art Farmer, but not quite. I like this a lot. Maybe it is Art Farmer? Track 11 - Sounds like one of Ken Vandermark's projects to me, but I'm not positive. Was that a cell phone at the end? Track 12 - Impressive musicianship. No guesses. Track 13 - I like the rhythm section, but the soprano isn't doing a thing for me. That's Billy Harper on tenor, which makes this very strange and instantly more interesting. Oh! Wait a minute. Of course! The marimba should have tipped me off sooner. It's The Actor from this. I never warmed up to Farrell on this, and I typically like him. It was the drumming that tipped me off. Something wasn't fitting with the Max-derivitive feel they had going. Track 14 - No clue Track 15 - First alto has parts Sonny Fortune and parts Sonny Criss. Second dude is an absolute mother****er! Maybe Jimmy Heath? (Though he doesn't seem to rush the tempo like Jimmy) Is this some bad ass Charles Earland record I desperately need and don't know about? The tune is rather silly, but then, it's not really about the tune. Track 16 - No idea, but I'm totally in. Love it.

DL, and apologies for my lack of participation in the past 2 BFTs. Time has NOT been on my side.

Forget what month I actually did it (89), but you can pencil me in there and I'll be happy to play wild card if necessary.

download, please.

I was going to guess Rudresh Mahanthappa on that track, because it reminded me of precisely why I am not a fan. Sorry to hear that's Bunky, whom I do like. I'll be glad when Rudresh's 15 minutes have passed.

I've listened three times... okay, that's not really accurate. I listened to tracks 1-6 and 14-16 (because of the numbering when I unzipped the file), then, because I've been sick, fell asleep during the rest. I put the test on a second time with the intention of sleeping and did just that after 3 tunes. Then I listened to the whole test one last time today. No peeking, this what my reactions were. Track 1 (7:42). Old school and digging it. I'm leaning Shihab, but seems a bit... lighter is the only term I can come up with -- just doesn't seem to have his bite. Wailing all around from the brass. Tenor could be Kamuca. Fat sound. I like this a lot. Track 2 (8:51). First impressions are Harold Vick. I'm not crazy about the chimes nor the band behind him, but the tenor is fat and strong. Also has that 70s/80s Strata-east/Muse sound to the recording. There's George Adams on tenor. That makes me reconsider. Could be Gil Evans. ** (re-listen) Track 3 (6:33). Another band track. It seems to be more of a harmony of color than a composition. Track 4. Clues not. I enjoy the violin, but the rhythm section just seems... goofy. Track 5. In the interest of full disclosure, I have a serious weakness for all things boogie woogie. Don't know who it is, but I can listen to this all day. Track 6. Predates me (and my general listening) so I have no guesses to offer. I like the tenor a lot (sounds very familiar actually). Track 7. Honeysuckle Rose? Yummy tenor. This is a weak time period for me to ID. I don't think it's any of the gods, but somebody I need to be more familiar with. Maybe Jacquet? Don't think so, but I dare not pass without a guess. Track 8 - This reminds me of some Lee Konitz I was listening to lately, but definitely is not him. Harsh recording sound. Odd changes, almost a Tom Waits feel because of the minimal resolution and lack of a defined resolution at the turnaround. Sounds like an older guy (or at least, not one of the younger guys). I say that because the breath is more convincing, as are the double-time runs. However, due to some fumbling transitions, I'm guessing that alto is not his (or her) first instrument. Perhaps a tenor player using the junior horn? I feel like I should know this tune. Something about the piano voicings has me thinking Mal Waldron, but overall, I'm thinking it's not him; lacks those definitive Mal lines. Track 9 - A little oboe in there. Nice, relaxed swinging feel. That piano solo isn't hitting for me. There is something just... awkward about it. Maybe George Russell? Elements of several guys in the trumpet... can't put my finger on him, though. Dry tenor sound, almost like J.R. Monterose, but not quite as beefy sounding. Well... that tuba certainly limits the options. Given the time period (based on the sound) I'm inclined to guess maybe Ray Draper. No idea on the bone or the oboe. Only oboe player coming to mind is Lateef, but it's most certainly not him. Overall, I like this. I'm intrigued. The ensemble portions are just beautiful. Track 10 - That's gotta be the Dirty Dozen Brass Band. Never really warmed up to the horn harmonies, but love the grooves. Love that nasty downward trail-off of the tuba leading into the solos. Track 11 - Gimme some wah! Heh! I could do without the harp. The tune is Jive Samba, unsambafied. I've just never warmed up to the harmonica (let alone an electrified one). I'm not in love with the soprano sound, but I dig the solo. Kind of sloppy and aggressive, like Sam Rivers light. Track 12 - David Murray. The tune is Santa Barbara and Crenshaw Follies -- first heard that on Home by the octet. Around the mid-80s there was some scuttlebutt that Murray couldn't read his own charts. I'd suggest this cut should put that to rest. It's from this. Never a huge Davis fan, but this record has some nice moments. Track 13 - Something about the sound on this is very distracting. Seems to be oscillating somewhat, like a failed, after-the-fact attempt at creating a stereo recording. No complaints on the music. Oh, that's Gilmore for sure, so this must be Sonny Blount. Gilmore is so bad-ass. Man, did anybody ever do that crazy, off-beat shuffle to more convincing effect than this band? I think not. Love firing on all cylinders. Track 14 (8:16). This one just isn't reaching me. There is impressive musicianship, but they're not staying within themselves and, to my ear, they can't quite cut the tempo (hell, who could?!). I'm not hearing a story -- very much what I hear in mainstream Jazz of today. Reminds me a lot of Greg Osby's stuff, but doesn't seem to be as rhythmically tight. Track 15 (10:24). Love the bass and the rhythm right off the bat, but don't care for the melody line as much. That combination makes me guess Dave Holland. Tenor sounds like one of the newer guys; lots of control throughout the range, to be detraction of emotion (seems like Lovano was one of the first guys to make a career of that). Maybe they just compressed the shit out of the recording, but this sounds like it could be Potter or Gary Thomas. I just want him to let it go a bit. In context, it's not unpleasant, but I'm looking for a little more Frank Wright and a little less practice room. Bass solo doesn't sounds quite as big in the low end as Dave Holland, but I'm digging that bass solo a lot. No idea who the muted trumpet is, but I dig him. Track 16 (6:35). I'm in. Brassy, growly 'bones and a Latin beat. What more do you need? Piano doesn't do a lot for me; given the context of the genre, I'll guess Hilton Ruiz. Reminiscent of Dick Griffin, but maybe a shade more technical. I'll stick with DG as a guess, though, because of it's raw honesty. Perhaps Bobby Sanabria on percussion? Overall, I'm digging this one quite a bit. Thanks for the challenging test. Most of it hit me in pleasurable places.

Love this stuff. Harper is my guy and I was thrilled to see how many nailed this. Very pleased to discover this. I'll be damned. There is much to love about HT, so I'm going to go back and dig this one again and see what I missed. This whole series is outstanding and has to make you wonder what is fair in this business if nobody knows Horace Tapscott.

Well, that explains that. I love Wheeler and his writing. This is obvious to me in hindsight. Wow. Scofield always seems to just miss my ear. Oddly, he bought some used records from my Dad via a personal add many, many years ago. His taste was excellent, but somehow the execution tends to miss me. A-HA!!!! I was right! On one of my iPods, I loaded up every tune in my collection with "blues" in the title for the commute (just on a whim). This was in there. This one kind of shocks me. I'm a huge JC fan, and usually gush when I hear him. This one missed me, though.