tkeith

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.

I'll take a download and the one on the right. Thanks!

First listen, no peaking. This is a nice test. A lot of the soprano didn't appeal to me, but there's an awful lot to like about this BFT. Thanks! Track 1 - I like this a lot. I tend to prefer my sax quartets a little dirtier (like the WSQ), but this is quite beautiful and the vocals really give it a unique flavor. No idea who it is, but liking it a lot. Track 2 - Sounds like Charles Lloyd to me. A bit more bite than his recent stuff, but definitely has that modern ECM sound (of course, I'm listening on phones). Definitely Charles. Not sure who the others are. I like this, though; so far you're two for two. Something about the bass is reminding me a great deal of Ron Carter, but that doesn't seem right at all. Okay, not during the solo. I'll take a shot in the dark: Miroslav Vitous? First track was a bit short, this one runs long around 13 minutes (just not a fan of slap guitar harmonics, though clearly, I'm in the minority based on the crowd reaction). Is it possible that that's Metheny? Track 3 - No idea, but this one missed me completely. Track 4 - I'm in. I swear I was listening to this recently. I recognize that crying melody. Love that tone. A bit like Billy Mitchell, but more forceful. I'm leaning Illinois Jacquet (a guy I'm only recently getting more familiar with). Some touches of Lockjaw, but not enough triplets. Track 5 - This is so completely unfair -- I was listening to Lacy and Gil Evans yesterday, and no other soprano is going to please me at this point. This is pleasant, but the sax isn't really reaching me. Yeah, piano solo lost me, too. Track 6 - Oh now, why would you go there? Actually, I'm digging the sinister bells. Ah! Yes! This is Gil Evans covering Billy Harper's Priestess. I think it's from this: http://homepage2.nifty.com/Average/mirror/disk/d041.html. And there's bad Billy -- LOVE that guy! Great tune and a bitch of a brass section (Hannibal!). I've heard and seen guesses of other players being Harper, but for the life of me I don't see how anyone can make that particular error. So unique, if only in sound. Track 7 - This is much more my speed. Fat Pharoah-like tone, but it's not him. Yeah, they're ripping of My Favorite Things, but I dig it. I don't think the piano is an A-List guy; the rhythm seems a little off at times (but I still dig it, kind of the way Carl Grubbs playing is sometimes). Not sure of the trumpet, again, not sure he's a big name; beautiful solo, though. I love the simplicity employed (much like McCoy's piano solo on MFT). The saxophonist reminds me a lot of Bjorn Almgren. Track 8 - This sounds very similar to one of the albums I included on my BFT -- Tomasz Stanko, another guy I'm only recently getting familiar with. At times this guy flirts with Kenny Wheeler, but I don't think it's him. I'll throw Stanko out as a guess. This is a little tamer than what I lean towards, but still, I like this a lot. Track 9 - This has the flavor of either a jam or a pick-up band. Maybe even a bandstand (by a group member) recording. The drummers are bringing nothing to the party. The trap kit start to kick in a bit towards the middle of the trumpet solo, but it just doesn't seem to be clicking. No guesses. Track 10 - Doesn't hit me. Jan Garbarek? Track 11 - The sound reminds me of the Tapscott sessions, but the playing seems too frenetic, not rooted enough in the blues. Yet, the sound is dead on. I'll kick myself if it's HT and I don't get it. I'll chance it and guess Tapscott, but I'm not sure which volume.

To each his own. I do tend towards the Impulse!-Coltrane and beyond (including post) but only when it's done right. Also, that was the general trend of this test, not all that I listen to. I tried to stay inside as past BFTs (mine) have been either ignored or maligned for being too "out" (though really, they weren't that out). You seem to have missed the last three cuts, though. I'm thinking #13 might fit your current listening.

On a similar note to Jeff's last comment, how the hell did I miss Hawk? (relistening now) Keee-RIST! I should have to turn my headphones over, sit in a corner and THINK about what I've done.

DL would be luscious.

Good to have you back, Al! Here's the link to #89: https://rapidshare.com/files/161461388/BFT__89.zip

Wow... just, wow. I stand in awe.

Thanks for the positive feedback -- it was fun to put together. Niko, I really wish you'd left out that news link... sort of put a damper on my Friday evening. It's bad enough to watch talentless rock bands in my area make more money than any of my projects (or my day job), but that one really hurts for some reason. I wish I knew the answer, but we really ought to treat our creative folks better.

Well, let's get this party started! Another test filled with stuff I'm unfamiliar with, but I really enjoyed a great deal of this. Track 1 - Is that a tune I know or is it just that it's reminiscent of The Kicker in 3? Can't put my finger on what or why, but something about the drummer's snare is just rubbing me the wrong way. I was thinking maybe it was Cecil Brooks, III, but the time doesn't seem quite steady enough. Not sure on the trumpet. Tenor player knows his Joe Henderson, but I'm not quite buying it. He gets some fire and some nice lines going in the last chorus. On the whole, this sounds to me like guys after that era trying to play the style (post-Blue Note guys hugging the past). I'm going to guess Herman Foster on piano. Track 2 - I don't care for the harmony in the brass, but I like the bari work in the arrangement. I don't recognize the piano player at all. Nor the guitarist, but his solo strikes me a bit more. The drummer is steady and not in the way; lays down a nice groove. I like the arrangement on the "shout" chorus much more than that on the head. No guesses. Track 3 - Mono recording (or converted after the fact, but on the headphones, it's a VERY obvious change). This is the best track, yet. He's got a more honest swing to it. Tune sounds a tad familiar. A bit reminiscent of Golson, but not as fiery. Second guy almost had me thinking of Zoot for second; maybe Kamuca? I don't have a lot of this sort of thing in my collection, but I like this. All the solos are honest (meaning no BS), particularly the trombone. Track 4 - On the head I was thinking there was nothing I didn't like about this. But neither solo resonated with me. It seems like a more modern group; the players seem way too focused on the "right" notes. Track 5 - A bit like Wardell, but not quite as ballsy a sound. My fingers hurt listening to the pianist -- FLYIN'! Is that the same tenor coming back later? Sounds like a young Gene Ammons here. Track 6 - Somebody owes Freddie Green royalties. Not really sure enough to place guesses, but this is fun, in a very good way. Not sure how much it would hold my attention on repeated listening, though. Track 7 - Very west-coastie. Too much to please me. Could be Pepper on tenor. Track 8 - Even though the arrangement reminds me a lot of some of Maynard's early 60s bands, I like this a lot. The more I'm hearing the arrangement, the saxes sound EXACTLY like that band, but the brass seems way too controlled. Track 9 - Makin' Whoopie (a song that should have been retired permanently after Ray Charles and Betty Carter *killed* it! -- though that version desperately cried for a Fathead solo!). Some shades of both Kenny Barron and Hank Jones, but the chord voicings aren't right for either of them. Track 10 - I recognize this. My Dad had this when I was young, but I'm not sure what it is. I *KNOW* I've heard this. Given that and the decidedly KC sound, I'm going to say Buddy Tate, but not with any degree of confidence. Track 11 - Frig. Some damned bop tune whose title I can't think of. Red Cross is cropping into my mind, but that's way wrong. Damn it! This is one of my *favorite* bop tunes, too! Shades of Criss in the alto, but I don't think it's him; it's somebody younger. Could be Ralph Peterson on drums. The ideas are McPherson-esque, but it's not him. Bass player seems out of context. Oh! I just had it! DAMN! The alto player can play his ass off, but I'm guessing a younger guy (meaning "contemporary"). Damnit. That song is one of those one-word titles, but I can't come up with it. AH!!!! Have the sox-yankees game on in the background and took the phones off during #12 to listen to my wife, and Jerry Remy said, "In the next segment of --" and I screamed, "THAT'S IT! SEGMENT!" My wife is calling the Twinkie truck as I type... women just don't understand. Track 12 - Intro had a nice Louis Jordan feel, but alas, the band took that away. First impressions of the alto is a young Phil Woods. Again, somebody owes Basie some royalties. Sounds like one of those Kenton saxophonists, but I can't recall the name. Not Trujillo... Track 13 - Another of those tunes whose name is going to piss me off! [laughter] Relaxin' At Camarillo! There, Damnit! Not a guitarist I know, but thoughtful player. Shades of Yusef, but not so brutish. I dig this guy, though. Thanks for a fun listen. Very curious to know the tenor on #13, in fact, I may revisit this one and do some sleuthing before the month is over.

Track 08 - Love and Hate - Grachan Moncur III - Exploration (2004) Grachan Moncur III - trombone; John Clark - French horn; Gary Bartz - alto; Billy Harper - tenor; Gary Smulyan - bari; Tim Hagans - trumpet; Ray Drummond - bass; Andrew Cyrille - drums I was destined to buy this record the first time I saw it: Harper, Bartz AND Cyrille? I buy anything with Andrew Cyrille -- that's a rule. And I'm a Harper sycophant and collector (I became quite upset when someone claimed in a past BFT that the tenor player, Bob Berg I think, sounded like Harper. AU CONTRAIRE! Don't you blaspheme in this thread!), so I had to include a tune with him. Moncur is a great writer and somehow has managed to remain vastly under recorded and/or recognized. This is a very solid album throughout and I highly recommend it. Track 09 - The Camel - Michael Carvin - The Camel (1975) Cecil Bridgewater - trumpet; Sonny Fortune - alto; Ron Burton - piano; Calvin Hill - bass; Michael Carvin - drums Our first blatant repeat of personnel. Bridgewater was on some great stuff in the 70s, but nobody seems to remember. Likewise Michael Carvin. I've been amassing Hannibal recordings whenever possible, and Michael Carvin seems to drive most of those. Ron Burton is on my short list of necessary pianists, and his work here further justifies that. I'm not a fan of Sonny Fortune, but he works in this setting. Track 10 - Calvary - Dadisi Komolafe - Hassan's Walk (1983) Dadesi Komolafe - alto; Rickey Kelley - vibes; Eric Tillman - piano; Roberto Miguel Miranda - bass; Sonship Theus - drums And blatant repeat number two. I'd actually forgotten Dadisi was on the Nate Morgan cut when I picked it, but I felt both tunes were worthy of the BFT. Plus I thought it'd be neat to see if people would hear him consistently. My first exposure to this tune was a live performance by James Williams with Bill Pierce, Richard Hollyday, John Lockwood and Billy Higgins at The Willow. My father recognized it as being a Billy Harper tune (not really, but he did receive credit on a couple of albums), and that was what furthered my interest in Harper; it had started with Woody Shaw's Love Dance. I like this version because it's completely different. Another winner from Nimbus West. Track 11 - Two Songs - Sam Sherry & Ursa Major - Echoes of the Prophet: Songs Inspired by Kahlil Gibran (2005) Bill Pierce - tenor; Scott Reeves - alto flugelhorn; Mark Kleinhaut - guitar; Sam Sherry - bass; Billy Arnold - drums This was the stumper. I figured some might get Pierce, but was curious what the overall reaction would be. Sam is a friend and has been a very supportive influence for me as a musician. He's a super nice guy and a solid bass player. Ironically, there is another version of this featuring David Wells on tenor that I think is even stronger, but it has not been released. Regarding composing, Sam told me, "The first 200 are the hardest, so get started." Track 12 - Not So Softly - Lauren Sevian - Blueprint (2007) Lauren Sevian - bari; George Colligan - piano; Boris Kozlov - bass; Jonathan Blake - drums How many of you asked, "Who IS this *guy*?" Women in Jazz fight enough bias, but there's a new flock playing the shit out of this music. Sevian is a perfect example. She's an incredible musician, has a great sound, and oh by the way is really hot. I hesitate to include that because I'm sure she (and others) have to deal with that shit all the time instead of being assessed for their musicianship, but it sort of underscores the marketing of the music. On the downside, as if there wasn't enough competition to sell your music, now you have to deal with the "sex sells" mentality of national production. That said, if it produces music like this, give me a whole lot more of it. This whole disc is killin'. Lauren also works with the Mingus Big Band, though she's been getting more recognition as one of the horn players in Denis Leary's road show, which is sad. Track 13 - A Lark In The Dark - Tomasz Stanko - From The Green Hill (1998) Tomasz Stanko - trumpet; John Surman - bari; Michelle Makarski - violin; Dino Saluzzi - bandoneon; Anders Jormin - bass; Jon Christensen - drums This one caught me by surprise. A friend had this album on a shuffled iPod set as we were hanging out. Each time a tune from this album came up, it got my attention and I had to ask, "What is this?" It got to be really funny after the third time, so I just assumed (correctly except for one tune) when I had that reaction that it was this. I only knew Stanko by name, and this impressed me. Different without being obnoxious about it. Track 14 - Jammin' Uptown - Alvin Queen - Jammin' Uptown (2008) Manny Boyd - woodwinds; Terence Blanchard - trumpet; Robin Eubanks - trombone; John Hicks - piano; Ray Drummond - bass; Alvin Queen - drums I thought sure this had been in a blindfold test, but I couldn't find it. I was visiting my Dad and he had this one. I had to borrow it immediately -- such a bitchin' tune! Most of these guys are guys that typically play too far in the boundaries (the horn players) for my taste as a rule, but when you throw in my guy (John Hicks), this one just WORKS!

BFT #89 Reveal Track 01 - Peter's Waltz - Sahib Shihab Quintet - Seeds (1968) Sahib Shihab - bari; Fats Sadi - vibes, perc; Francy Boland - piano; Jean Warland - bass; Kenny Clarke - drums Shihab is the classic underrated guy. Seems nobody outside of the insiders really knows about him, but he swings like hell and has one of the most original voices ever to come through the instrument. I had him on some things when I was younger, most notably an Art Farmer album on Soul Note, but recently discovered the European sessions he did. That's an area that I'm really building my familiarity of; my Dad introduced me to the music and he had a bias against most of the Europeans, so it took me till middle age to have the resources to discover some of this stuff on my own. Track 02 - Shew-In - Bobby Shew - Breakfast Wine (1985) Bobby Shew - trumpet; Makoto Ozone - piano; John Pattitucci - bass; Sherman Ferguson - drums When I was a kid I used to tape Eric in the Evening on WGBH out of Boston and Carl Watanabe on WEVO out of Concord, NH. Carl played a live set from Makoto Ozone one night with a bitchin' version of What Is This Thing Called Love, followed by this tune. I knew nothing of Bobby Shew at the time except that he was Ozone's favorite trumpet player (it's in the introduction to the tune) and one day I just happened across this recording. I actually like Ozone's version better, but it's really a great tune. I recently contacted Bobby about this tune (transcribing the changes was giving me fits) and he informed me it's actually Ozone's tune (which would explain the complexity of the changes). Mr. Shew was very helpful and said he would send me a copy of the lead sheet when he comes across it. Track 03 - Six Bits Blues - Max Roach Quartet - Chattahoochie Red (1981) Cecil Bridgewater - trumpet; Odean Pope - tenor; Calvin Hill - bass; Max Roach - drums From the Max Quartet record they have not bothered to re-issue on CD, and to my ear, it's the best one. A lot of great playing by all involved on this album and some very unique interpretation of some standards (Round Midnight, Giant Steps), though what else would you expect from Max? I got my copy from the Cadence record sale for, I think, $2. Track 04 - El Hombre - Pat Martino - El Hombre (1967) Pat Martino - guitar; Danny Turner - flute; Trudy Pitts - organ; Vance Anderson - bongos; Abdu Johnson - congas; Mitch Fine - drums; Martino is another guy I'm not incredibly familiar with. I have some of his stuff, but don't listen to it that often. Mostly I knew him from his work with Stan Clarke and Chick Corea, but I happened upon this one by accident. I heard this cut at a friends house and immediately went out and got this. It's a very solid album, but this tune just fires on all cylinders. Track 05 - Mrufa - Nate Morgan - Journey Into Nigritia (1983) Dadisi Komolafe - alto; Nate Morgan - piano; Jeff Littleton - bass; Fritz Wise - drums Ken Eisen, my predecessor hosting Prime Cuts, is a huge fan of all things Tapscott and used to play a lot of the Nimbus stuff on the show. I'd heard a ton about this and happened upon a copy one day while least expecting it. Why more people don't know Nate Morgan is beyond me. Dadisi, too. I've yet to find a Nimbus recording that disappointed me (though there are moments on Billie Harris' album that come close). Track 06 - Calypso in Roma - Don Pullen - Jazz A Confronto 21 (1975) George Adams - woodwinds; Don Pullen - piano; David Williams - bass; Dannie Richmond - drums Awhile back I found a website from the original owner/producer of this series. He still had a bunch of these albums that he was selling (for QUITE a sum), and I contacted him to ask if he planned to release them on CD. He replied saying he had no intention of doing so. I've heard otherwise from the rumor mill, but a used book store stop turned up a bunch of these, so now it's less urgent. This is some of the best work of the Adams-Pullen unit before they got more commercial. While I love Cameron Brown, I do prefer David Williams. Track 07 - Powerful Paul Robeson - Clifford Jordan - Remembering Meme (1976) Clifford Jordan - tenor; Roy Burrowes - trumpet; Chris Anderson - piano; Wilbur Ware - bass; George Avaloz - drums; Hank Diamond Smith, Boo Boo Monk - vocals I assumed this would be a gimme. I bought this as a kid at Looney Tunes in Boston. Clifford was always a favorite and I was blown away by the vocalese interpretation of his solos (this and Prayer to the People) on this record. The drummer always drove me nuts, but Clifford is outstanding on this session. The harmonies of Hank Diamond Smith and Boo Boo Monk on this are right up my alley, too. I will post the rest when the site lets me post without combining the two posts (that's not frustrating).

Ding! Ding! Sonny Fortune is correct! Not Sullivan, though. http://www.allmusic.com/album/camel-r136478 Yip.

Ding! Ding! Right on both Stanko and Christensen.