tkeith

Holy cow! Did I do terrible on this one! Surprised that I had bad reactions to both Cherry and Clusone 3. Relistening to the last track now, and I'd never have guessed that was a French horn!

Apologies for being so late on this one. Life has been eating me up, but I'm bound and determined to catch up! As usual, no peakies. I "listened" to this once through during a power nap back when it was active. Track 1 First instinct says Hugh Ragin. I was leaning Abdullah Ibrahim during the piano intro, but that definitely sounds like Hugh's technique. Now I'm leaning maybe towards one of the other David Murray guys... seems a bit loose for Hugh, unless it's very early. Bobby Bradford, maybe? Any way you slice it, I'm loving it. Track 2 To my ear, this lacks what I loved about the first cut. It's too deliberate... hell, it just doesn't SWING! Track 3 Needle drop and vibes -- am I back in High School!? (fond memories) That's definitely Walt Dickerson. I think that's the title cut from Divine Gemini Track 4 Not sure, but it's very pleasant. Track 5 This is nice. Is this maybe one of those strange Roswell recordings? Almost doesn't sound irreverent enough to be Roswell. Track 6 I'm not crazy about this. Crazy technique, but I'm not sure it says anything. Track 7 No idea who it is, but it sounds like a modern guy playing in that older style to me. As such it's missing a bit of the feel it's shooting for. Still a fun ride, though. Track 8 Star Trek! Oh, wait... no. I dig that bass. It's interesting. It doesn't swing, but unapologetically so. This is what I *want* to hear when someone plays me Weather Report. I'm intrigued. Electronics are a bit much at times, but overall me likey! Track 9 No clue. I'm on the fence on this one. I like it, but there is similar stuff I like better and would go to first. Track 10 I wasn't crazy about the guitar, but LOVE the acoustic bass. I can't tell if I like the horn player for his raw edge or if I dislike him for his lack of professional technique. He sort of falls into that Jemeel Moondoc (whom I LOVE) category of a guy with edge but not a lot of polish. I don't get the same edge that I get from JM, though. Track 11 Hmmm. Reminiscent of some of Ray Anderson's projects, but the bone is not in-your-face enough. I like the overall feel, though. Not sure about the change in the middle, but it's maintaining my interest. Track 12 No clue. Not a style I dig, though. Track 13 I like this a lot. As much as I like the bone players who venture into freak altissimo, I like this guy for NOT doing that. It stays mostly in the pocket and does so with great effect. Nice!

Yikes! My schedule has been eating me alive -- is it too late to request a download?

Download, please

Download, please.

Good stuff, brothah!!! I'll put my ear to the Moholo tune and see if I can figure the bassist. I'll be very disappointed in myself if it's Johnny and I didn't pick it up. Just moved, so it'll be a bit before the time avails itself to me with the good sounds to check this out, but I'll try!

Spoonie Love from Up Above -- this was a THOROUGHLY enjoyable test. Back from hiatus... been a rough stretch, time-wise, but feels good to be back (for the moment). Track 1 -- Oh! I know this tune! That's Dick Griffin's Come Dance With Me. I have it on A Dream For Rahsaan. Recognized the tune immediately, but took me a bit to put the name to it. Guitarist is busy for my taste. This sounds like one of Jerry Gonzalez' Bands to me. That's Dick on trombone. Ugh... definitely Hilton Ruiz on piano -- I saw him make a fool of himself one night doing that stuff; not a fan. [second listen] Sam Rivers is the tenor player, but I don't know the trumpeter. I don't have this. Track 2 -- Quirky but likable. It's NOT Stanley Cowell -- somebody much more inside, maybe from the next generation? Very Tyner-esque, but a bit more locked in the tradition. The fleeting runs are very much out of McCoy, though. Feels a bit disjointed to me (which may be the intent). Could actually BE later McCoy, but I'm not that familiar with his more recent stuff -- it just hasn't held my interest. Track 3 -- I'm sensing a trend beginning. This doesn't do anything for me. No idea. Track 4 -- No clue. Quite a transition, though. Track 5 -- No idea, but that was a lot of fun. Track 6 -- Not sure. Not a bone player I'm overly familiar with. I'd definitely guess it's a younger guy. Track 7 -- I know that tenor. Maybe Carter Jefferson? The whole vibe is early-80s, but I can't really place any of them. Maybe McBee on bass, but there's a lick in there that... man... it's the guy, whoever he is, but I'm not confident that it's Cecil. This is up my alley. That sounds very much like Mr. Shaw on trumpet, which means it's quite likely I actually *have* this (I've been on a late 50s kick of late, so I'm off my game). If that's the case, McBee is likely and it could be Rene McLean on tenor if not CJ. The arrangement is the only part of this not doing a lot for me, but overall, I like this, even with the fuzz tones. Track 8 -- These seems to be trying too hard to be different, but I like anyway. Ah... they're trying to out-Monk Monk. Bye-Ah? I can never keep the names of my Monk tunes straight. No idea. Track 9 -- Old Man River... odd, but likable. Soprano isn't doing much for me. Very lick-driven. It's interesting, but I don't think I'll listen twice. Tenor reminds me of Bill Saxton. Drums are conjuring a Bugs Bunny cartoon for me -- has me smiling. Track 10 -- Strange version of Willow Weep For Me. I like the instrumental arrangement; could do without the vocals. Bass is very familiar; don't know the others, but I do like the instrumental portions of this a lot. Track 11 -- Again, just fun. Sounds like a band recording after the period when this style was really popular (meaning the sound of the recording seems to be somewhere in the 50s). Nothing earth-shattering, but a whole lotta fun. Track 12 -- Early impressions are Randy Weston on piano, but more likely someone playing like RW. Bass clarinetist has his Dolphy down... is this that Illinois Concert date? Yes, it is. This is one of his tunes... I forget the title. This is a strange record, but very enjoyable to hear Dolphy in this setting. Track 13 -- Love it already. Just love me some bass. Has a very Abdullah Ibrahim feel. Track 14 -- A bit reminiscent of Chico Freeman, which is to say, I love it. Thanks for the ear candy!

Sorry I didn't get to participate in this one. Some really beautiful stuff. I actually listened 3 times, but the only time I had the chance was when I was collapsing from exhaustion, so it didn't help me out much. Tracks 6-8 are all KILLIN'!!!!

Download please (should actually have time for these again starting late this week!)

DL please.

Download, please.

Huh, I almost guessed a Billy Pierce disciple on track 2. I'm quite disappointed I didn't get Les on track 9. I'm a big fan of him as both a player and a person. I'll have to lay my ear on that one again.

BFT 81 Tom, thanks for the extended test. I hope my commentary will not be too off-putting, as I just listen and write. You've introduced me to a large section of the music I am not familiar with and I appreciate the effort involved in creating the test. That said, we have decidedly divergent tastes -- which is fine, but is something to keep in mind while reading my commentary. This has been an interesting test. I've enjoyed the musicianship, though frankly, much of it strikes me as musicians I do not gravitate towards. There is not a thing technically wrong with it (quite the contrary) and the musicianship throughout is superb. Nonetheless, to my ear, there seems to be an element of fire absent. I know many don't like to judge that sort of thing, but that's at the heart of most of my listening; it's this fact that usually leads me to heated discussions with those in the Brecker camp. The common thread of the argument is that he does so much with so much ease that it sounds like he's not working hard. I don't hear it that way. I know these musicians are working hard, but it doesn't always hit that spot within me. Still, I have to say I enjoyed the program overall. In the end, because this seems to be largely a group of musicians that I don't tend towards, I'm not going to do very well with the names. Disc 1 Track 1 - This is very pleasant sounding, though I am put off by the obvious multi-tracking. It reminds me a lot of a Donny McCaslin's composing, but the tenor seems to have a more intense vibrato than DM. It's definitely a younger player because of that vibrato. I don't want to say it's overdone, but it's a stylistic choice I do not agree with. Or better put, it's somehow different when Johnny Griffin does it. The overall ensemble sound is too clean for my ears (this is a commentary on the recording process, NOT the musicianship, which is outstanding). I get the distinct impression that none of this music is from the same take, which sadly seems to be the modern approach to recording. Mtume describes this as overcoming the technical limitations of acoustic music. Mtume is full of shit. Track 2 - Nice recording sound. The piano is very clean. Also nice soprano sound. I'm not enamored of the composition, but it definitely shows some very respectful nods to tradition. This is very nice music, but to my ear lacks the blues. I have no guesses who this is. Track 3 - Kudos for different harmonic voicings. I'm not digging it, but I'll give them the marks for the attempt. Unfortunately, once the piano solo starts, it seems like we're back to the practice room. I'm quite certain this piano solo is not from the same take as the bass or drums -- it's very apparent from the drumming. It's technically proficient and perfect, but there's nothing to *grab* me. I was thinking earlier that this has the sound of one of Ralph Peterson's projects. Ralph is one of the bridges between the old and new ways of doing things -- I've seen him live when he swung like hell, but I've heard his studio stuff that just doesn't hit the same mark. This could be him. No idea who the alto player is. There is a local contingent studying the music of Lennie Tristano (and good for them); this reminds me of their exploits, but more polished. Track 4 - Obviously Lonnie's Lament. Not crazy about the clarinet, but I love the string arrangement. Unique take on the tune, for sure. I actually like the clarinet much more during the improv. No idea who this is. Track 5 - Typically I'm a sucker for Latin stuff, but something about this is just stiff. The percussion works, but the horns don't quite mix during the Latin sections. The swing section works well. That suggests these guys are more traditional than Latin. Not sure who the flugelhorn player is. Thomas Marriot was an early guess. I was reading Ellery Eskellin's blog yesterday and he was discussing an exercise he was doing to make his improvisations more melodic. He talked about how the modern musicians seem incredibly capable of stringing together impossible lines from their heroes of yesterday, but they seem to lack the innate sense of melody that existed in that music. The saxophonists here personify that phenomenon. I'm green with envy of the technique, but I'm not hearing a story. Track 6 - Bias alert: Acoustic guitar in Jazz rarely excites me. Accordion (or melodica, if that's what it is) is also rarely an appeal (the aforementioned Ellery Eskellin is an exception). This just doesn't resonate for me on any level until the trumpet solo begins. No idea who these folks are. Track 7 - A lot of time went into this composition and arrangement, but to my ear, it's neither Jazz nor interesting. This reminds me of a collegiate big band's performance. There is nothing wrong with any of the musicianship, it just fails to hold my interest. Track 8 - Recognized it as a pop-tune instantly, but I needed to hear the chorus to get The Long And Winding Road. I enjoy hearing people do this with a tune (for instance, Curtis Clark's take on With A Little Help From My Friends). The drums are unnecessarily stiff here. Could this be one of Avashi Cohen's projects? Don't recognize the horn players, but the bari speaks to me more than the alto. Alto seems to be stuck in a stream of learned patterns -- again, the melodic creativity is missing, though the musicianship is outstanding. Bari player doesn't have quite the polish of the alto player, but I'm getting more of a story. I like this probably tops since the first cut, but I'm desperately feeling the need to swing, shortly. Track 9 - Not quite what I had in mind, but thank you. The breakdown throws off the mojo -- it's too planned. Again, superior musicianship, but I'm not hearing the blues. What's the Prez line? "Sing me a *song*, baby." Track 10 - I'm just not feeling any part of this. Track 11 - I'm sorry, I just don't get it. Disc 2 Track 1 - Cedar Walton's Ojos De Rojo. It wasn't until this came on that I realized the similarity of the intro to Horace Silver's Room 608. I love this song. Saxophonist has some sick technique, and this is my favorite cut, yet; but I still feel like he's playing changes more than playing music. No idea who this is. To my ear, even on the head he's not playing the song, but the notes. I can't explain it in writing, I lack the training. A few months back I saw a local group playing an evening of Joe Henderson's music. It was pretty clear that the tenor player was deep in the midst of a "study" of Joe Henderson. Unfortunately, to my ear, it sounded as though he'd never just sat down with a drink and *listened* to any of that music. The heads were played exactly as written, but there was no element of soul. That's sort of where I'm left after hearing this. The saxophonists in this BFT all have what Derek Kwong once described to me as "that recordable sound". Track 2 - Uh-oh... synth. Thought me tea water was ready for a second. This reminds me of what the Brecker Brothers would have sounded like if they had played straight-ahead Jazz, and really, that's exactly what the modern Jazz seems to be, as opposed to being itself. Track 3 - I like the ensemble sound of this group. The tenor is over-affected in the way described myriad times above, but as an ensemble, this one works. The improv sections aren't quite as strong as the ensemble sections, but the overall ensemble sound remains strong. The bass and the guitar stand out in particular. Track 4 - The blending of the bass and the left-hand of the piano works very well, even when the line gets unnecessarily busy. Likewise, the harmony of the horns is precise, reminding me a lot of the early Marsalis Brothers' recordings. Unfortunately, the very thing that works so well on the head about the bass and piano becomes a distraction during the improv. Again, I'll bet cash money this tenor solo was not recorded at the same time as the rest of the music. Not only is it disconnected, it sounds specifically like no one is inspired. Track 5 - Three-point-seven (doesn't quite hit the mark of Four). Putting the scat in scat. Sorry, this one offends. Track 6 - By the time this gets going, I'm too frustrated. Track 7 - This is as abstract as the previous tune, but works better for me. There is a blending of the horns that somehow manages to emulate some of the 80s Horace Silver bands, but at the same time has an element of total abstraction. The over-control of the altissimo of the tenor aside, I'm liking this one a lot. No idea who it is. The bass misses for me, but I think it's just a stylistic clash more than anything else. This reminds me of something Joey Baron might do. Track 8 - Again, a lot of composition, but I'm not hearing the music. Each month, I get a stack of CDs not as good as what is in this BFT from record companies, none of which ever seems to make my playlists. It leads me to wonder where the hell the recorded future of this music is going. This is too George Winston and not enough Randy Weston. Track 9 - Liking this groove a lot, in spite of the piano. No idea who this is, but it works quite well. Another very accomplished technician, but the simplicity of the groove compliments it nicely. I'm guessing this player is older than most of those in this BFT. I almost wonder if it could be Eric Alexander, but doesn't quite have his finesse. Track 10 - Dude, you're killing me with the accordion. This one works, though, in spite of the accordion! Actually, I quite enjoyed the playing of the accordion, it's just the sound of the instrument that I find off-putting. Overall I like this quite a bit. No idea who. Track 11 - Giant Steps, and IMHO, the way it should be played -- as a ballad. No idea who, but I give him (or her) full credit.

Love a download. Thanks!

Download, please. I'm likely a sandbagger on this one; never a fan of the instrument.

Later Bah! I must be going through a phase -- I'm having a love-hate relationship with Ra. MartyJazz, no shame, I own Turkish Women, and should KNOW that! <LAME> Very surprised to find that's Junior Cook. Not used to him burning quite that much. But listening again, I keep waiting for the obligatory Coltrane run, and Junior just didn't do them, and for that, he needs to be more appreciated. I saw him once in Portsmouth, NH; a table of locals was being obnoxiously loud during Junior's rendition of Body And Soul. He asked them to be quiet ("You cats in the back hold it down."). Instead, they were obnoxious and he got *pissed*! He slapped the mic and hollered, "You want the mic!?" He went back to playing, but it was just... off -- it was clear he was fuming. He turned to the pianist, then the bassist and drummer, saying something briefly to each of them, then returning to his solo. As he reached the end of the chorus, he leaned to the mic and said, "Let 'em talk over this." The band kicked into a similar tempo to this cut and he pointed the bell of the horn directly at the table and just WAILED for about 5 minute. They tried to talk over him, but eventually gave up and asked for their check. It was quite beautiful.

One off listen this afternoon (procrastinating some school work -- yay me!). A lot of ground covered in this one. A lot of stuff I liked, but some stuff resonated less. A couple of things I'm itching to find out about. On my way to read up, now. Track 1 - no idea. Track 2 - fun, kind of bouncy. A Freddie Green sort of feel from the rhythm guitar, but doesn't sound like Basie to me. Track 3 - Unsure... something a little stiff about it (it's intentional, the drums), but it's not resonating for me. Piano is pretty bad-ass. Track 4 - Big sound. I'm leaning Billy Mitchell, but I don't recognize it. Mad soul! Track 5 - It's in interesting framework to the tune, but they seem in love with that and it doesn't quite work. Track 6 - Much love. McCoy influence on the piano, Elvin influence on the drums. I don't believe it's either of them, and something about the recording is screaming Mapleshade, but it's a needle drop. Dig it, but no idea. Track 7 - Clueless. Not sure about it; parts were nice, parts were loungie... Track 8 - I should like this more than I do -- I may just be in a mood. It's the electronic keys that are bugging me. Otherwise, I'm liking this very much. Yeah... there's those keys... I'm out. Could be Ra, but I'm not diggin' it. Track 9 - Not for me. Track 10 - It's Take The Coltrane (or should be) but I'm struggling with the 'who'. I recognize him, but... Man, these guys are ALL bad ass. Looking forward to the ID on this one. Track 11 - This would go well leading into something like Dennis Gonzalez. It's very interesting, but I want it to resolve to something more grooving and mysterious. Track 12 - No idea, not my bag. Track 13 - Could be later Johnny Griffin, it has that feel. The other guy could be Ricky Ford. It's not firing on all cylinders, but it's firing on some pretty solid ones. Ah! No, wait, it's the closer from this

Michael, Links in PM not working, and can't reply to the PM.

Looking forward to the needle drops -- download, please. Many thanks!

Just had a hunch and played #3 again. I was thinking of Henry Butler's record with the Oboe player on Impulse after reading some of the other comments, but as soon as I clicked play, it hit me! It's THIS!!!! I knew it was an L.A. connection, but boy, if I hadn't got that I'd have found a high bridge for sure!

First listen, no peaking, one shot... I dug a the newer stuff, but the older stuff was not only unfamiliar, it really didn't speak to me. #3 is going to piss me off, because I KNOW it's in my semi-regular rotation. Thanks for the test! 1 - First thought was Ra, but definitely not. No idea. I like it, but it leans almost toward poppishness. A good lead-in to the test. 2 - First thought on 'bone is that it's Derek Kwong, but it is not. My second thought is Dick Griffin, but it seems too out to be DG. FAT sound. Kuumba comes to mind, but it's far too reserved. Just not sure. I'd guess Frank, but with the caveat that I know I'm wrong. I feel like I SHOULD know this guy. No clues otherwise. 3 - I know this. Instantly I want to say Jesse Sharps. Hmmm... or maybe Charles Owens on one of the other Nimbus recordings. I have to think... shit, can't place it, but I know I have it. 4 - Not a clue. A bit more traditional than I tend to like my big bands. 5 - I got nothin'. 6 - Clueless. I was thinking maybe Roy Eldridge, but doesn't seem to burn quite as much. 7 - No idea. 8 - Tin Tin Deo. I recognize this, but can't place it. Could be somebody 'newer'... maybe Hilton Ruiz. It doesn't seem to grab me and hold me. The drummer seems a bit too... lackadaisical? The tune, to my ear, will always belong to the Tough Tenors. Pianist definitely has some sick chops (in fact, I don't think it is HR, because I'm really liking it, and he's not usually a guy I take to). 9 - Eronel, beautiful tune. Love the McPherson version with Clifford Jordan. In fact, that album made an appearance on a BFT not long ago. No clue on who. 10 - I like the instrumentation a lot, but the tenor player doesn't seem to be adding much to my ear. He's got some technique tricks, but I'm not hearing much of a story. Love the bowed... I think cello, but could well be bass. On the whole, the cut is a keeper, but it's all about the strings. 11 - I was nervous at first that someone was going to try to do Peace Piece. It's Prelude to a Kiss, but I'm not sure who is playing it. 12 - Right off the bat it sounds like Chico Freeman. Ah yes, it's Horace Silver's Peace, from this. Billy Hart gave it away (and India Navigation's brutal sound). Excellent record. 13 - This seems very familiar, too. I swear I just played this about a week ago, but damned if I can place it. Arggh! I'm definitely going to kick myself for this. Seems Dizzy-esque, but a brasher tone, and not quite Dizzy's effortlessness. 14 - Stolen Moments, obviously, but I'm not sure of the band. It's not doing it for me, though. Too damned compressed. Reminds me of that Bobby Hutcherson record with the L.A. Philharmonic. Sounds like Freddie Hubbard from the CTI years on trumpet, which would account for the over production. 15 - Not diggin' the organ in the early going here. Wow, that's two bones I would swear are Derek Kwong -- I must be having withdrawal. Could be Roswell, but I can't quite hear him in this setting. No idea on the others. 16 - When The Saints Go Marching In (You haven't heard this until you've heard Eddie Gale do it!). No clue who it is. It's not grabbing me, though... a bit more mustard than is necessary.

Excellent! Thanks Jeff! That month I shall become "the answer". (to the question of life, the universe, and everything)

Jeff, can you hook a brother up with February 2012 or is that too far out?

Download please. Thanks!

Wow! An absolute ball-buster! Usual disclaimers -- one and done, no peakies, not that there was anything uncovered. Track 1 -- Quirky beginnings. I thought there were bizarre, totally abstract vocals, but it turned out to be one of the myriad popups that opened as I was downloading subsequent tracks. No idea who the players are. The quirkiness didn't quite grab me. Track 2 -- Love it from the get go. Drums sound like maybe Muhammad Ali to me. Could be Noah Howard on alto, but I have no confidence in that guess. I don't recognize the trumpet (or is that a cornet?). Two basses? No idea for sure, but I want this. Track 3 -- Instantly love it. Very Coltrane-influenced tenor, but in a good way. At times has the chops of a Billy Pierce disciple, at other times, he's raw like Booker T. Sounds like he's listened to his share of Booker Ervin, too. No idea on the trumpet. In fact, I don't recognize any of them definitively, but I want this one, too! Track 4 -- Angularity abounds. This almost seems too learned to my ear. It's interesting, but it seems more about head than heart. Once it gets going, I'm in, but the de-duh phase left me feeling... I'm not sure. Love the tenor solo... DIRTY! In the end, I like it. No clue who, though... damnit, you're going to cost me money! Track 5 -- This reminds me of Jameel Moondoc, but much more polished. Damnit, I like this one, too. Track 6 -- There is nothing I don't love about this, except that I cannot identify it. Track 7 -- Reminiscent of Concerto De Aranjuez in the intro, but not once it gets going. The piano is really prominent in this recording... not sure if that's a clue as to who the leader is. The tune sounds like something Yusef would write, but the flute tone doesn't seem strong enough to be Yusef. Track 8 -- Beastly tenor sound! Maybe Odean Pope? Not sure of the drummer, but he's also a beast. Again, not positve on any of this. Track 9 -- No clue. At times seems like royalties are due Shepp, at others, Getz. Very few guys can pull off solo saxophone. This one doesn't quite hit its mark for me. Track 10 -- The riff is familiar, but can't say what it is. No clue. Track 11 -- Coltrane tune... Village Blues? No. One of the Mr. tunes... Mr. Syms? Different instrumentation. Not typically a clarinet fan, but I like this. Could this be Darryl Harper? Track 12 -- Another Coltrane guy. This guy is much more derivative. A lot of Rollins in him, too. I'm assuming a younger guy. I like this, but its derivative nature makes me less sold on it. In fact, by the end, he's practically channeling Rollins, but the tune is too 'composed'. I'm on the fence. Track 13 -- Lots of low end, nice. Reminds me of some of the early John Surman stuff. Lots of vocalizing from the bassist, which should be more of a clue than it is to me. Track 14 -- What's not to love about this? Reminds me a great deal of Pharoah's early 70s stuff during the intro. Horrendous sound on this recording... or is that potentially a Varitone? No idea what this is. Winston Mankunku Ngozi? Track 15 -- Instant love. No idea. Maybe Sonny Blount. Thanks for a killin' test. There is much in here I must acquire. A funny aside: I was listening through iTunes and after track 14, I knew the song in two notes. I couldn't believe it because it was an album I'd *literally* just digitized. As I was typing in elation at finally having nailed one on this test, I realized that when I imported the songs, iTunes (as it does) imported the last song first. I was, in fact, listening to my digitized copy of Charles Lloyd's Montreux 82. Ugh. rapidshare is free and works pretty well. I would assume you could zip the files prior to upload even with Mediafire, though. What operating system are you running?