tkeith

No peaking, one listen over tea. Really like this collection! Thanks, Durium! 1 - Nice start. Love the bass. This bassist is very familiar, not so much in tone, but in terms of the approach to improvisation. Don't know, but this is yummy. 2 - Hmm... very clean recording. I'm guessing a younger trumpeter who has listened to a lot of Art Farmer (something for which I'm very thankful!). This is beautiful. Pianist doesn't strike much of a chord (oh, I'm killin' me), but doesn't detract, either. Something is making me want to say Jeremy Pelt. 3 - Any guesses would be just that, as I haven't a clue, but I like this a lot. Simple, understated and honestly swings; what more do you want? 4 - Odd recording. I want to like it, but something isn't gelling... almost seems like it may be overdubbed. There is something Ra-esque in those keys, but the tenor is throwing me off. Shades of a lot of guys, but too distinct to be any of them. You've stumped me. I think I'm going to be very surprised by this one as I feel like I should have gotten it. 5 - I love bass and love a bass duet. This one isn't taking me very far. I think there was another track from this record in a recent BFT (sounds very similar), but I can't recall who the personnel was, though I think one was Ron Carter, and I'm not convinced either of these guys is. This one sort of missed for me. 6 - Don't know the song Always makes me think of Wayne and Schuster: "Spock! You have no love! You have no hate! You have no envy! Isn't there anything you have!?" "I've got rhythm! [clap sets of the band], I've got music, I've got my gal, who could ask for anything more?" This is a swing player I'm not all that versed in, but he's a bad man. I have to guess Slam Stewart on bass because of the vintage (now watch it be Major Holley). I should know this tenor player. Golson comes out of this guy... seems too aggressive to be Wardell. Oh, I'll have this for the main course and dessert -- this guy is a beast. 7 - Love for Sale, quirky arrangement. I was thinking Barney Kessel for a bit, but seems busier. I don't think I know either of these guys. 8 - Oy. Branford plays a mean rendition of this in Sting's movie Bring On The Night. Not a clue who this is, but it's making me smile. Probably won't ever play it again, but kudos for the laugh. I can only net the composer with this one -- Hoyt Curtin -- which is good enough to win at bar trivia. 9 - No idea, but it's bass so I love it. Maybe Francois Rabbath? 10 - In love at 2 seconds. Canned drums are killing my buzz, but this still works because that is some badass bass. Shoot... what is that song? It's a pop tune... argh! This is yummy, too. Durium, helluva job!!! I can't wait to find out what this is -- really dig it. 11 - Nice, inoffensive, but not really maintaining my interest. 12 - Hehe... I was thinking how parts of this sounded like Barry Harris, but then I was leaning Tommy Flanagan, but it seemed to busy. Then I started thinking Hank Jones and let out a yell that probably has the neighbors dialing 9-1-1. A quick one, I am! It's Tadd's OUR DELIGHT, from this. 13 - I thought this was Clifford Jordan off the bat, but the tenor is all wrong for him. The sound is a bit Buddy Tate, but the ideas are too modern. Agile bassist. One of those Parker tunes, but damned if I can say which one. I should know this, maybe Ricky Ford? 14 - Piano duet, but not Tommy and Hank this time. Can't quite place the tune -- maybe two tune overlapped? Something a touch Ibrahimish about one of these guys, but I don't think it's him. One is very classically trained, sort of like Keith Jarrett. This one has me all messed up. At points I'm hearing Mal Warldron's Seagulls of Kristiansund, at other times John Lewis' Django, and even the quote of Mona Lisa. I haven't a clue, but my head hurts. 15 - My fingers cramp just listening to this. Sounds a lot like George Coleman's ideas, but lacks his sound, so I'm going to guess Eric Alexander on tenor. Although, the man's voice sounds like a black guy, so that's undoubtably wrong. DAMN YOU!

Wow, really shocked by some of the reveals. I skewered several players I consider royalty. Sometimes it bees that way, though. I'm going to have to lend my ears to some of these a second time.

+1 Gilmore's solo on Contemporary Focus is outstanding, as is Elvin's brief drum barrage. Also, T & A Blues is just a great title and another great solo from Gilmore.

From Eddie's Facebook I am trying to locate a photographer who took a picture of me playing with John Coltrane in the '60s. I believe his name is Ray. Eddie Gale Any ideas? Apologies if this is not in the correct forum area, I took a guess.

Al, kill me with a download. This one will destroy me (been checking Durium's blog).

Planned to do disc two later, because I felt like my reaction to disc one was vicious, and I feel bad about that. However, when I saw 5 pages of responses, I decided to trudge on, I'm just too curious. Disc 2 1 - Not feeling this in the early going, at all. Never really warmed up to soprano in the big band setting. Feels very soundtrackish to me. Maybe this comes out of watching Starsky & Hutch on DVD last night, but much of these discs has had that sound to me. If I'm watching a car chase, or story development, this would work, but it's not maintaining my interest simply as a listen. 2 - Oh no you dih'n't! That's Flowers For Albert as ska. Not sure what this is right off the bat, but it's one of my favorite David Murray tunes; and it's a disgrace that it doesn't get covered, ever. Ska is fun, but in fairness, if I didn't love David, I'd probably be harder on this. Sounds like Olu Dara on cornet. I'll say George Lewis on trombone, but not with confidence. I know it's NOT Ku-umba or Craig Harris. Not sure of the other tenor, but he's learning the humility of sharing a date with DM. Maybe Bill Saxton, but seems too reserved. 3 - Intro had me thinking "If I could save time in a bottle...," but no idea. Seems very over produced (which is tough to accomplish on a duet). 4 - Not sure, but I like it. Simple, with feeling. 5 - Drums make me think Smitty Smith, just because they're too busy and too aggressive. No idea the clarinet. Just has that busy, schooled sound. Not my bag. One of the disciples of Tyner. Reminds me a lot of the David Holland dates with Gary Thomas. 6 - Self-Portrait in 3 Colors. Not sure who, but it reminds me of the sound of Monk In Motian. I'd have to guess Bill Frisell. It's interesting, but not something I'd spin much. I respect the approach a great deal. 7 - One of my students once told me, "Klezmer was first developed as a form of defense." 8 - I'm a sucker for all latin music. I try to listen to the show on WBUR out of Boston on Saturday night when I can, but after about 3-4 songs, I have my fix and move on. Bari on top of latin -- you had me at hello. I always lean this way on that combination, but that sounds like Mario Rivera on bari, so I'd guess one of Tito's bands. 9 - Simple, honest swing. Wouldn't spin it much, but nice to listen to. 10 - Domo Arrigato, Mr. Roboto. Hmmm... how loudly can I project the notion of NO! 11 - I'm a sucker for arco bass and could listen to it all day long. Not sure who this is, but confident about who it isn't. 12 - realized that for some reason, the final 3 cuts weren't in my rotation, and went back (didn't start till after I'd reached the update). Recognized the tune, and assume it's the Xmas tune, but it does... hmmm... nothing for me. John Valby? 13 - When The Saints Go Marching Into The Remixed Hood. Doesn't touch me. Never a big fan of the many bad versions, and have heard some absolutely lovely versions. Oh, I'm out --- cannot abide rap (and the C is silent). 14 - Ah... so that'd be the Xmas tune. Just, why? Sorry for my embittered reactions to much of this, but they are honest. Thanks for the test, now off to read.

One-off listen, no peeking. There were a few moments I really dug on disc 1 and many I really didn't enjoy at all. I still offer thanks for the time spent creating the test; more comments in that regard after track feedback. 1 - No idea. Kinda stiff, pseudo-hip 50s/60s drumming. Sounds movie sound track-ish. 2 - Not my bag, baby. The concept is somewhat interesting, but remixed anything is swill of the highest order IMHO. I do find this more creative than the pop-ish efforts of the early 80s, but it really does nada for me. No idea who it is. Reminds me a bit of Miles' TUTU redone with a CGI mentality. 3 - No clue. I don't have a lot of this sort of stuff in my collection, but I do like it. 4 - Same as three in assessment. There used to be a local radio show on public radio where the guy would play a lot of stuff from this era. He's not on the local outlet anymore (long story: www.thehumblefarmer.com) so I don't get much exposure to this sort of stuff any longer. 5 - No guess. 6 - Differently interesting -- would be more so with real instruments instead of the canned drums. Our drummer likes to play that "remix" beat, but does so on a real kit. In the right spot, it works really well. This just strikes me as over-produced. 7 - Crepuscule With Nellie, I believe. Man, guy didn't write a bad tune, but digitized music collection has removed my ability to pair up the correct title with the correct melody. First few notes of the intro had me thinking Ibrahim, but I'm leaning to someone more toward the tradition. Hmmm... towards the middle I'm leaning Abdullah Ibrahim again. I'll stay there. 8 - This has the feel that I like about Masada. I'd appreciate this more live -- sounds like the animal sounds were instrument produced at first, but losing me now with the crowd sounds dubbed in. I just don't understand the need to do this. Like Billy Harper's latest effort -- it detracts from the music. Can't take the horse -- moving on. 9 - First impulse is that it's too clean. I recall reading a BFT given to David Liebman where he was very down on... either WSQ or one of Bluiett's other bands. He said, "Something like this has to be really tight for it to work." Proof to me that he doesn't get it. This is nice, inoffensive and technically correct in every way. I also find it rather boring and pedestrian. 10 - First impression was to rebel against the swirling sound, but he has Ra-like overtones. That's definitely John Gilmore. I don't have this, but it's got to be Sun Ra. I can't explain why the electronics work on this for me, but not on the other stuff, but it's just... different. I once played Richard Hollyday's Cape Verdean Blues (with Billy Pierce, James Williams, John Lockwood and Alan Dawson) back-to-back with Horace Silver's version. His reaction when to the latter sums it up better than I can: "There! Now you're talking! Sounds like somebody gives a shit." 11 - The song sounds familiar, like it might be a pop song. No idea of the players. It's listenable, but I'm not sure how often I'd spin it. The Bad Plus, maybe? 12 - Maybe I'm taking the easy way out, but sounds like early Duke to me. I can't say what, but I'm guessing late 20s. 13 - Can't explain why this rubs me, but it does. The recording is compressed, and the angular melody doesn't do much for me. Trumpet has an in-your-face sound/approach, which is at at times appealing, but the drums are grating. Tenor sounds like Brecker to me, simply because I'm having such an averse reaction to it. This is precisely the sort of Jazz I tend to avoid, but can't articulate why. 14 - Obviously Stormy Weather. Reminds me of some of those quirky Kenton dates. Interesting, but I wouldn't spin it often. No clue on the who. 15 - No clue. Fun, but not a lasting impression. 16 - Very likable. Basie-esque, but I don't believe it's actually the band. That's B.B. King. I assume this is from that same disc as the recording of Don't Get Around Much Anymore with some of the Ellington guys. B.B. made money, but this guy just gets me. No doubt this will rub some, but I think it's worth saying. If someone makes a BFT, I'll give them my time -- I think I owe them that when I choose to be a part of these. That said, this is a prime example of why I lobby to keep them to one disc. The general statement is not enhanced by the extra data, and when the test is off-putting to the listener, it makes it difficult to offer constructive commentary. Not sure a rule is necessary, but perhaps judicious restraint on the part of the participants. You can always sign up for a second test for that extra disc, and 80 minutes (for a one-and-out attempt) is not something a lot of us have just kicking around our day that we can just write off. My $.02.

Really surprised by Roscoe Mitchell. That did nothing for me. In the other direction, really surprised by Teo, whom I've never really dug, but to have him lead me to J.R. Monterose, well, I guess it's time to give Teo another listen. I'll just have to not watch Straight, No Chaser so I can avoid him revealing himself as a jive jack-ass.

Why you self-absorbed selfish little shit! *MY* 40th is in FEBRUARY!!!! (actually, it's cool -- I plan to be in an alcohol induced haze for as much of the month as is humanly possible; May is great. Thanks for doing this!)

I'm in -- download, please.

I knew better, Allen. As for attired, the first time I saw Rasul Siddik, he literally had dust in his dreads, but man, he played the shit out of that horn! MG -- you are correct, I once saw a slovenly tenor player with Cedar Walton who was just awful. I also saw James Carter dressed to the nines (also with Walton) playing his ass off. There is a national guy who plays in my area who plays in a very traditional style. A friend -- whom I like, but kind of clash with musically -- raved about how polished this guy was: "His slacks had a militaristic crease in them, and his suit fit perfectly. He played that way too -- he was unbelievable!" I listen to that same player and hear a guy playing what he has memorized in a practice room -- playing in an antiquated style that has very little to do with the current state of music. I don't care how a guy dresses, I just want him to push himself to his creative edge. Failure to do so results in the loss of my musical respect. Dressing shabbily does not.

About this we fully agree. As for the Wynton comment, because that's how I feel about his music. it's my opinion, not an attempt to be inflammatory. Funny, I was pretty hard on my description of Monder and very critical of Donny McCaslin, but that's not taken personal. I mention Wynton and I'm being negative. Perhaps we're accustomed to read into such statements. Player or audience, listen. About that we agree. Let me ask you, if Dexter Gordon were playing in sweat pants, would you listen? If Kenny G were playing in a tuxedo, would you listen? I didn't take it personally. I'm neither, you may have noticed, Wynton Marsalis, his agent, or his attorney . I just didn't want to open that can of worms. For the record the encounters I have had with Mr. Marsalis have been very pleasant and I admire him in many ways. I just don't want to veer off into a pro-Wynton---anti-Wynton thang. We've all had enough of that. Listen, man: I understand your passion and agree with some of your comments. It just was coming on a bit intense, which I'm sure was not meant to be inflammatory. So no offense taken here. Don't know much about McCaslin or Monder (I've met him, we're both guitarists and have mutual friends) except that they are good players, and that's always a good thing. I guess what I'm saying is that in my band I dress nicely and expect others too. Other bandleaders can do what they want---it's their business. I was just giving my opinion. Ain't no thing. Gotcha. That's totally legitimate. I don't typically dress like a slob, myself, though I won't say it's never happened. Play a lot of bar gigs and venues where it just doesn't matter (very much on the Bohemian side of the equation). I've played gigs in a suit that were bullshit, and I don't like to play bullshit, which is probably where the tense overtones come from.

This sounds very much like you are blaming faults in the music on the musicians' sartorial attitudes. They pay a lot of attention to their wardrobe and "as a consequence" you don't like their music? You're being argumentative. I said precisely what I mean. There are musicians whose music lacks the spark I seek as a listener. Many of them are the well dressed variety I see on the glossy, highly produced record covers. I'm not suggesting their wardrobe influences my ears, you are. I'm not concerned if you agree, I'm merely stating the way I see it. You're welcome to your own opinion, but don't put words in my mouth.

Since the neobopper debate seemed to evolve out of my comment, I'll address it in plain English. I'm not down on guys who wear suits, and certainly not down on them BECAUSE they wear suits. I'm down on the notion that it makes any difference in their playing. There is a specific group of guys (and naming one of them seemed to ruffle some feathers) who, in my estimation, seem to spend as much time worrying about their wardrobe as they do the music. As a consequence, I find their music uninteresting and programmatic. We can debate whether their wardrobe is a conscious choice or not, but I don't ever recall reading interviews in the NYT with Hank Mobley where he discussed his preference in underwear. The clothes may make the man, but they don't make the music. Here's a separate question: What about musicians (David S. Ware and William Parker come to mine) who wear African clothing? Eddie Gale and Dick Griffin frequently wear leather; is that appropriate dress? I'm sorry, but the topic seems fairly pointless if the music is good.

About this we fully agree. As for the Wynton comment, because that's how I feel about his music. it's my opinion, not an attempt to be inflammatory. Funny, I was pretty hard on my description of Monder and very critical of Donny McCaslin, but that's not taken personal. I mention Wynton and I'm being negative. Perhaps we're accustomed to read into such statements. Player or audience, listen. About that we agree. Let me ask you, if Dexter Gordon were playing in sweat pants, would you listen? If Kenny G were playing in a tuxedo, would you listen?

fasstrack -- we'll have to agree to disagree. Many audiences, particularly here in the northeast, are completely full of shit. I'm sorry you take exception to that, but it happens to be very true. I think we can all agree on one thing for sure, much of this depends on the venue. We definitely were conscious of dress when we played an auditorium gig at an area college, but the Sesame Street t-shirt gig was a bar gig (and I was sick -- I typically try not to fall into the description of Monder's outfit that I gave, as you noted, out of self-respect). Nonetheless, I've seen George Garzone play gigs in sweatpants and a sleeveless t-shirt where he blew the walls down. I've seen others (who shall remain nameless) wear beautiful suits and not say shit. I'll take the former, thank you. As for whether or not Jazz is a show, we're debating semantics, which is pointless. There are certainly those who consider it that way, but my mind tells me it is not. A show if rife with choreography; Jazz is (or should be) about spontaneity. Yes, you're presenting a 'product' but when you begin to think of it that way, the music suffers (see Marsalis, Wynton).

And I'd submit that Osby is a perfect example of a musician who should concentrate more on his musical statement than his wardrobe.

Fair enough, but we differ on one major point. I think Henry Threadgill would write his music if he were playing it to a tree -- the audience is irrelevant. To me, that attitude sets the dividing point of entertainment. I once finished a very intense solo which had grown into more of a collective improv with our trombonist complimenting what I was playing. He quickly picked up where I'd went off, headed in a very soulful/cerebral direction. He was in borderline pain and sweating profusely -- it was a beautiful musical moment. I typically kneel when another player is soloing, so I was in my crouch, re-establishing my bearings, and sweating pretty good myself. I looked at the bassist, who was in a similar Garrison-esque state, then behind me at the drummer, who had his head cocked to the side, listening as he complimented what was going on. I turned toward the audience (this was in a pub) to see their reaction, only to find that we were playing to an empty room as the bartender read her newspaper. There was no conscious effort to be entertaining, but it was definitely a creative high point for the band. I'll reiterate my assertion that music is not inherently 'entertainment'.

Then I submit it is not Jazz. Or rather, if Jazz has become a "show" then I don't want to play it. Jazz always was a show. Surely you can't believe that Armstrong, Ellington, Waller, Basie, Hampton, Goodman and so on and so on didn't know that they were putting on a show to entertain the public? Entertainment <> mindless entertainment. MG Sure, I'll by that. But if you're telling me that Coltrane was a show, I'm not going to agree. I've seen enough live music (Jazz and otherwise) to draw a distinction. David Lee Roth and Kiss were definitely shows. Air, Billy Bang, Billy Harper and Clifford Jordan definitely were not. Harper definitely dresses for the occasion, but that certainly doesn't relegate the music to "entertainment."

Then I submit it is not Jazz. Or rather, if Jazz has become a "show" then I don't want to play it.

I agree with most everything that's been said here. Of the current crop of younger players, I like him probably second best (to Abraham Burton). But at times I find him too clean. Also, I grew up a big George Coleman fan, and EA frequently plays too close to GC for me to appreciate -- I saw the original. That said, for that basically inside style, he's the guy that usually has me waiting to find how who the tenor player is when I hear him. A lot of this generation has that generic, 'recordable' tone -- his tends to be more unique and I find him more musical than a lot of guys who get more press. Much of that seems to stem from their being 'New York' guys while he's a 'Chicago' guy. Too damned bad the REAL music has been coming out of Chicago for the past 25 years.

I've played gigs where what we wore was a major part of the discussion, and we looked very "pro," but it was some jive-ass nonsense we were playing. I've played gigs in sweat pants and sesame street tee (which I'm currently wearing) that were lights out. The venue has a lot to do with it, but we typically dress casual. Musicians can perform nude if they're saying something, I couldn't care any less. I saw Donny McCaslin a few years back with Bruno Raberg, Ben Monder and some drummer named Giussepi something-or-other. Donny wore a turtle neck and dockers, Bruno had on a sweater, the drummer had a button up shirt by had not shaven in days and likely hadn't showered over the same period. I'm not sure he owned a hair brush. Ben Monder looked as if he'd crawled out of a foot locker 20 minutes before they hit. All the music that day came from the rhythm section, particularly drums and bass. I guess my point is, who cares what they were wearing? DM could not have looked more polite and presentable and that's precisely how he played it and it was boring as hell. Jazz is not a "show" like other forms of music tend to be. If you're that distracted by the outfits, there's a good chance you won't understand the music anyway.

As usual, Jim, always fun to read your responses.

I have the Argo reissue, but it's one of those that looks as if they made a bad photo copy of the original then used that for the cover. You can't even make out that it's Art holding his trumpet.

Yes, the sax player. I'll second the Brackeen recommendations. PM me the CB tune you were seeking -- I'm curious.