tkeith

Wow... speechless.

I saw that interview, and the printed quote doesn't convey what was said. If anything, Alou was being condescending towards the play of his own team. His point was that the D.R. has the most talented team and simply didn't play up to the level they were capable of. I had no problem with his statement.

Woo-hoo! I get to be first. No pressure! I liked most of this a great deal. I'm itching to know about several of the cuts. I may actually have to spend some more time on this one, because some of it is great. But for part 1 (1-12), here goes: Track 1 -- Cold Duck Time. Not diggin' the interpretation of the head. If you think of the words "Cold Duck Time," Cold and Duck should be the same duration. This is being played in a way which rushes the Duck. I know that's nit-picky, but it gets back to the notion that a wind player should learn the words to a tune (though I'm not sure this tune actually has any). This isn't really being sold to me. I want to like it, and there are moments where it's clicking, but it's... I dunno, maybe they're trying to do too much with it? It just seems like the sax player is playing completely out of his element. Clearly *they* were having fun, and I guess that's enough. Not sure who, I'm guessing not 'name' players. Track 2 -- Bass line reminds me of Sun Ra's Discipline 27, but the head is different. Not sure if that's a plucked cello of just an off sounding bass taking the solo early on, but it's not really clicking. Then, I've never heard that format when it fully did. I like the sound of this recording and I'm going to guess it might be a Mapleshade date. Trumpet player is blowing now. What didn't hit me about track one is VERY present here. This grooves nicely. Trumpet player isn't hung up on the pretty shiny thing in his hands -- just playing, no bullshit. I recognize the drummer (I think), but can't put my finger on him. Maybe an outside guy playing really in the pocket, like Rashid Ali. Alto player sounds like he's more of an inside guy, definitely knows that stuff really well. I can't place this definitively, but I like this a lot. I assume the bass solo in the beginning was overdubbed. If so, I could live without that, otherwise, this is a keeper. Track 3 -- Another one that grabs me pretty quickly. Nice tone on the tenor and a pretty song, reminds me of something like Ronnie Matthews would write. I know this tenor and I'm digging him a bunch. Shades of Pharoah in there, but I don't think it's him. Aw!!! Lovin' this!!!! One of the post-Tyner piano guys, but not John Hicks. I like him, but not quite in the way I love Hicks. Again, sounds very familiar. Could it be Ronnie Matthews? Man, I GOTTA have this!!!! Maybe Chico Freeman, but sounds more ballsy. This is a great cut. Track 4 -- Dwight Trible covering Pharoah's YOU GOTTA HAVE FREEDOM. I'm not familiar with this, but I'm liking the modern west coast theme. I'm wondering if that last cut could have been my guy Jesse Sharps. Love the bass clari. I've never known Pharoah to play that, but this could certainly be him. This is rough, but raw and beautiful. Could that be Michael Session on bass clari? Track 5 -- Man! Why have I been putting this BFT off!?!??! This is friggin' gorgeous!!! Really nice 'bone sound, warm and fat. I know who it's NOT, and that's Lacy, Anderson or Harris. But I'm not sure who it IS. Guitar is a little up front in the mix (aren't they always?) at times, but overall, a pretty tasteful approach. Nice. I like that they let this groove and it isn't just the straight head-solo-solo-head approach, but it isn't over-orchestrated, either. This is really nice, too, but again, I have no idea, and that's starting to grate on me. I've NEVER dug four straight cuts in a BFT, and I'm not sure a bit about three of them! Why do the record companies never send me this kind of stuff for the show? I'm going to guess this is from the 80s. It's got that feel of some of the mid-80s stuff. Very nice. Track 6 -- This sounds like it's trying too hard to be deliberate. I'm not sure about this cut. Not a vibist I'm familiar with (unless he's intentionally trying to throw me off). That piano makes me think this is from the late 70s. I like the piano solo a lot. Hearing someone (I assume the vibes) counting makes me reiterate that this is trying to be too deliberate. Track 7 -- Not crazy about the head, but once the solos start, this is nice. Drums sound a little hyper-compressed, so I'll guess late 70s/early 80s. You can keep the clarinet. Maybe a Franklin Kiermeyer date, because the drums are a little too busy. The Zappa-ism in the middle loses me. I don't know, overall this one just seems like it's trying too hard to be different. Track 8 -- I've guessed four different songs and three players one minute in. I'm hearing all sorts of influences. Definitely some Blythe in there, some Strozier... maybe Bruce Williams? Seems a bit less funky than him, though. The tune is very modern and new age influenced. I like it, but I'm not sure how it would hold up to repeated listening. Track 9 -- Song is based loosely on Horace Silver's The Natives Are Restless Tonight. I'm pretty sure this is Horace Tapscott, though it's not something I have, and that makes me wonder... I thought I had him pretty well covered. On second listening, the piano sounds a little heavy-handed on the head for Tapscott, but the solo is definitely derivative. Track 10 -- This is nice, but it's not really my bag. A little too serene and new-agey. I'm going to guess an ECM recording. It's got that clean, hyper-compressed sound. Track 11 -- This one isn't resonating for me. Not a clarinet fan, and the stiff drums are off-putting. I'm thinking younger guys, trying for something different. They're achieving different, I'm just not convinced I care. Guitarist likes his Grant Green (and really, who don't!?). I'm guessing saxophonist doubling on clarinet, because, well, it sounds like it. Track 12 -- Maybe Joe McPhee on tenor. No idea about the clarinet. An odd recording. Not sure how I feel about it. I might love it if not for the electronics. Certainly unique. The more I'm listening, this guy doesn't sound as heavy as McPhee to me. Could be Daniel Carter, but again, doesn't sound strong enough to my ear.

Shit! #1, with him out of the lineup, the Skankees actually have a chance to be winners. #2, the jerk is on my fantasy team as one of my four keepers. Aaaaarghghghgh!!!!

You know, that was the one thing that didn't impress me in the least about Arizona -- very low HQ (Hottie Quotient). Fortunately, my wife was with me, so I was a happy man. But really, not an attractive populace. You have got to be kidding me!!! Where were you, staying in old age homes??? Perhaps. We stayed in Scottsdale and went to Hohokam and Scottsdale stadium. But everywhere we went, arts district, casino, restaurants... I'm telling you, the talent level was low (and the weight level was NOT). Loved the climate, but when it comes to gauging HQ, 'Zona is no Florida.

That'll go away in about two days.

You know, that was the one thing that didn't impress me in the least about Arizona -- very low HQ (Hottie Quotient). Fortunately, my wife was with me, so I was a happy man. But really, not an attractive populace.

Thanks... about to go plow... just punch me in the nuts.

Caught Dodgers/Giants Thursday. Both look like they have some talent in camp. Giants have a kid named Romo they should trade to the Yankees immediately so that the rest of the east thrives. It was a decent game until this guy showed up. Pretty sure Eddie Gaedel would have taken him deep.

Wow, odd that nearly everyone started with the bonus disc. I wanted to nail that Larry Young tune early, but never got back to listening before the HD died. After reading this, I probably would have been third, anyway. Definitely and ear workout and I'll be chewing on my collar waiting for the answers. Way to push the envelope by including a wide variety of music.

No peakies, mostly one-off listens. I mention this later, but I'd just started listening (started with bonus tracks) and responding when my laptop HD died. That sucked. Anyway, sorry for the delay. Track 1 - Boppish/Tristanoesque piece. Bone is not a guy I'm overly familiar with. Nice raspy tone at points, but overall seems to lag a bit behind the beat. Tenor sound is Marsh-like, but doesn't have Marsh's warmth. I want to say Konitz playing tenor, but doesn't seem to have the polish of Lee. Track 2 - Oh, yum! Trumpet has some Kenny Wheeler on him, but sounds more out than that. Dave Douglas, maybe? Altos sound like schooled guys, but one reminds me of Moondoc and the other of Rob Brown, but it's neither. Maybe a hyper-controlled Zorn? Recording sounds modern, but bassist reminds me of Nick Degeronimo -- but I would think him dead before this recording. Could this be a Whit Dickey record? Track 3 - This one isn't firing for me. Seems too learned and trying to be out. A lot of guys doing this now, taking that Tristano feel and playing the learned 'outside' style over it -- doesn't work for my ears. There's nothing *wrong* with this, and that's what's wrong. Just doesn't have fire. Track 4 - Electric bass... ugh. I'd like this better without the electric guitar and electric bass. This reminds me of one of Dennis Gonzalez' bands, but doesn't quite fire for me like that does (geez I'm a negative bastard!). Alto sounds like somebody who's listened to a lot of Grover Washington -- playing very exaggeratedly off the beat much of the time; kind of reminds me of Candy Dulfer. I'm going to take a SWACG (Sophisticated Wild-And-Crazy Guess) at the guitarist, but I'm sure I'm wrong -- I like my guess better than this -- and say Vernon Reid. Even some shades of Sonny Sharrock in there. Sounds like rock-leaning people trying to play an aggressive crossover. It sort of works at times, a bit like Material. Track 5 - Not sure I know this trumpeter. I like the mix with the strings, though. Has an ECM sound to the recording, which had me thinking Kenny Wheeler again, but it's not him -- missing that trademark sweet thing he gets up high. I like this. Track 6 - I think I know this guy, but I can't pin him down (on second listen, now). A bit of Ricky Ford, but cleaner. Must be one of those guys on the edge of my field of listening. Reminds me of an Ellery Eskelin record I just got off eMusic (haven't played it yet, just catalogued it). He plays one of the old Gene Ammons tunes and smokes it. This guy has a more muscular tone than EE, though. Track 7 - Eh... huh? No thanks. Track 8 - Crazy Rhythm. Love this tune. I was going to guess Zoot early on, but the rhythm isn't spot-on like Zoot. Valve trombone. No clue. Track 9 - Huh... shows up as "Track 2" in Quicktime. No idea, but reminds me a bit of Zappa's Jazz From Hell, which I never really cared for. Track 10 - Shows as "Track 3" in QT. This stuff would interest me in the right setting, but it's just not stuff I'd sit down and listen to. No idea. Track 11 - Shows as "Track 4" in QT. Not sure what it is, but the arrangements are by somebody who knows what he's doing. Very pro and tight. Sounds like Charles McPherson on alto to me. Not sure of the 'bone, at all. Modern tenor, don't care for him. Guessing a college boy -- totally loses the feel that was setup for him. Piano rings no bells. Track 12 - Shows as "Track 5" in QT. Different, but not reaching me. Sounds like it's trying to be 'out' but, I don't know -- I like the way Bindu does it, I guess. No guesses. BONUS DISC Track 13 - Yeah baby! That's what I'm talkin' about! Knew this in 2 notes, and started to type my response (started with the bonus), then my laptop took a dirt-nap the next day. Tender Feelings. My guy Tyrone on tenor (solo). I believe Herbert Morgan is the second tenor on this cut. I have this on the Mosaic set, but I think the album is Contrasts. Eddie Gladden and Eddie Wright. It's not Woody Shaw... hang on, it'll come to me... Hank White! These two sides (last two discs in the Mosaic set) are some of my favorite music ever. I was actually going to include a cut from this when I did my BFT. Great choice! Track 14 - Not sure... reminds me of that Anthony Ortega date with Chuck Domanico, but this guy sounds a little funkier than Anthony. I don't know *who* this is, but I like it a bunch. Track 15 - I like how this develops, but it takes awhile. This would be very interesting to watch live. Interesting and effective use of electronics, but tough to hear without seeing.

Wily Mo Kingman will never be a major part of any team's picture. He should have been demoted to the minors years ago, but the structure of his original deal was idiotic -- likely prevented an impressive career.

They're stockpiling those upper-middle-of-the-road OFs. I think Abreu is the best one they've gone after, yet, though. You think there's any chance Rivera would see some time at 1B?

It's a tie -- Billy Mitchell, J & B and Slam both from This Is Billy Mitchell. Oh YEAH, man!

Bobby Hutcherson's NOW, track SLOW CHANGE or HELLO TO THE WIND

Pops was not just a fan, but actually made his living busking.

To some extent, I think that happens anyway. I'm not sure the BFT needs and extended formal process. I'll only speak for me, but one of the reasons I like the BFT is that it is laid back; it's a relaxing experience where I can just listen and see what I recognize. If I, the participant, wish to turn it into an information quest, I can do that, or I can just listen and make my guesses. Either way, it won't affect the way I approach the BFT, but the Libertarian side of me starts to get concerned when something simple starts to become needlessly formalized.

It's possible that Henry's share was $380-million, but 700 is always the number I've heard.

My bad -- we'll make sure to talk about second division teams, too, from now on.

I'm in, but I'll wait for the digital version. Thanks for making it a one-disc affair -- I totally agree with your logic on this.

Much as I love 'Tek, I hope it's a cheap contract. Thanks for posting some Hot Stove news, Zen... refreshing. Now back to the previously scheduled mudslinging.

I guess few careers ever fell apart as quickly as Steve Blass's, and other hitters have just lost it too at an early age too, but this one seems more mysterious than some of the others. Probably just because it's the latest, though recalling that baby face of his when he homered in the World Series as a kid is part of it too. I hope he figures it out, but he has so far to go just to be plain old awful right now. Agreed. He was such a dominating force of natural talent when he arrived, you really hate to see it come to this. It'd be nice to see him figure it out.

Don't look at Rice's grounded into double numbers then. Right-handed power-hitters tend to hit into a lot of double plays. Particularly in a park with short infield grass.

Back atcha. Evans had an overrated arm. Very strong, but his accuracy was suspect (note the throw to 1B in game 6, 1975). I saw him do that more times than I can mention here. I like Dewey, but people who rave about his arm are looking at the numbers, not the games. Rice did *not* have a good arm, but that prompted people to run on him, and when they did, he could cut them down with accuracy. He didn't get lucky like Manny, he actually could hit a target.

Cerone was with Toronto when Munson died. I believe it was Jerry Narron who did that. I'm on the fence about Munson; he falls into that Garvey category for me. But I'd have no objection if he were in.