Stereojack

BFT #36 Let me start by saying that the theme of this BFT was a real challenge. I got a couple of pretty obvious ones, but I was stumped by many. 1. I think this is the Clarke-Boland big band, and if it is, that would be Derek Humble on alto, Ake Persson on trombone, Sahib Shihab on bari. 2. A nice track, sounds like it was probably recorded in the 1960’s. Fine musicians all around, but no clue who they are. Cecil Payne on bari? 3. Probably a 50’s date, the feel is very much out of Basie, maybe this is an Ernie Wilkins chart? I get the feeling this may be one of those all star sessions on Savoy, the tenor might be Frank Foster, but the bari? 4. Cool, sweet, possibly west coast. Or are we in Sweden with Lars Gullin and Arne Domnerus? Very nice, lovely bari playing. Nice tenor too, can’t come up with a name. Now the pianist sounds like it could be Claude Williamson or Pete Jolly, but I’m gonna stick with the Swedes on this one. 5. Now this is familiar – I’m sure I’ve heard (and might even have) this record. Ballsy bari player – Nick Brignola? 6. This is puzzling. The alto is a little off-kilter, in a nice sort of way. The bari player is OK, but I don’t dig the tenor at all. Interesting piano-less ensemble, nice chart, well played. 7. We’ve gone back to the early days of bebop for this one, the trombone is very J.J.-like (there might be a good reason for that). Leo Parker on bari? Excellent vintage track! 8. The tune is “Centerpiece” aka “Keester Parade”. This track seems kinda rote to me; they never rise above the mundane. 9. A Horace Silver-styled introduction leads in to “Blue Bossa”, a tune that has been played to death. This version smokes, however. Really fine trombone player, possibly Bill Watrous. There’s a younger guy that sounds like Watrous, I think his name is John Allred. This could be him. I like the soprano, and wonder if the bari might be Ronnie Cuber. Here’s a perfect example of musicians making something special out of warhorse material! 10. Weird ping-pong stereo separation on this, suggesting that it might have been recorded in the late 50’s. Again, a fine trombone player. This BFT could also double as a trombone sampler! Oh, that tenor is so familiar, a nice R&B inflected style with a strong blues feeling. The short bari solo is a teaser. Liked this, no clues. 11. This sounds like Gerry Mulligan to me. Most likely it’s Bob Brookmeyer on valve trombone, maybe Gene Quill on alto, Gerry on bari, not sure about the trumpet, although I like his playing. I think I’m hearing two tenor solos, or maybe the one guy changes his sound slightly midstream. Might this be from Gerry’s Pacific Jazz big band album? I seem to recall that Allen Eager was on that. 12. “The Champ” An aggressive tenor solo, but not too imaginative. Another good bari player, not turning on any light bulbs in my brain. A nice drum solo – this guy has a nice snare sound. I’m reminded of Nick Fatool a little, but I think that this is a more modern drummer than Nick. 13. Dammit, I’m hearing this track for the third time, and I still can’t identify this very familiar tune! Is it a Benny Golson composition? I think the bari is Pepper Adams, strong solo. Art Farmer on trumpet (or fluegelhorn) seems right. I’m sure I know this pianist, I swear I’ve got this album! Is the tune "Fair Weather"? 14. Now this has to be Gerry Mulligan! If so, then I’m all wrong about #11. Or maybe it’s somebody playing a Mulligan tune? Can’t place anybody here. 15. “Little Old Lady”, Hoagy Carmichael’s tune. No names are popping up here, although I like the track overall. The calypso feeling is nice. John Surman on bari? I seem to recall an LP he made that had some calypso tunes on it. Understandably, the tenor recalls Sonny Rollins a little. This track grew on me after a few listens. 16. I knew Serge Chaloff had to show up eventually, and here he is. This must be one of the Savoy sides. Again, a nice trombone player, Earl Swope maybe? Good bop trumpet – Red Rodney? And there’s the unmistakeable Serge! I put off typing up my responses for several days because I was so mystified by this BFT. I’m guessing that “Tooter” is a bari player? Well done. Now I can go back and read everybody else’s responses!

Friend, Cliff Buddy Arnold DaFoe, Daniel

Woody Herman Chubby Jackson Rod Taylor

McLean Stevenson Wayne Rogers Larry Linville

The original hit version was by James Waynes (aka Wee Willie Wayne), recorded for the Sittin' In With label in 1951. I suspect the song may be older than that, but Waynes' is the version that Longhair & Booker are covering.

Bert Ernie Mr. Martini

Webster, Ben Dick Cheney Sean Connery

Sister Mary Elephant Father Guido Sarducci Brother Juniper

Craig Stevens S. J. Perelman List, Garrett

Obviously Sanders was a great admirer of Trane prior to becoming a member of his band, although the influence is more apparent on the ESP record than on any of his collaborations with Trane. In regards to "Seattle", the points that you bring up demonstrate quite clearly why McCoy and Elvin left the band. They must have felt out of place in the new format, and I believe thay did confirm that in interviews at the time. The one time I saw Trane, as mentioned earlier, Elvin did not even appear until well into the first set. Rashied Ali was the only drummer when they began. Perhaps showing up late that night was just typical of Elvin's erratic behavior, and in some way this may have been, at least in part, why Trane felt it necessary to add a second drummer. Didn't want to fire Elvin, especially since he loved Elvin's playing, but Elvin had become unreliable. Just speculating here. The one duet Trane and Elvin made, "Vigil", might have become a whole album if things had been different. As for McCoy, and I've thought this for some time, the stripping down of the harmonic chord-oriented basis of the music that began years earlier may also have presented a challenge for him. As much as I love his playing, there are times on many quartet performances when I wish he would just lay out and let the others go free. Personally, I never thought that Alice added much to the group, although for obvious personal reasons, it must have been convenient for Trane to have her in the band.

One thing I'd like to add - it's never Trane's playing that bugs me, it's usually the setting, particularly Sanders' very aggressive caterwauling. I think I understand the intention to some degree. I've always felt that they were attempting to capture the free abandon associated with the santified church and the release that it accomplishes within those who participate, either as listeners or players. Trane's playing in every period is always thoughtful and engaging, even at its most extreme, but I'd rather hear it without the distractions. This is why I like "Interstellar Space" so much. It is pure and uncluttered, yet very intense. For the record, I do like some of Sanders' other records, especially "Tauhid", "Karma", and the underrated ESP album, on which he most closely resembles Trane.

There are no wrong opinions. The sound of the electric piano in R&B (can anyone imagine Marvin Gaye's "Grapevine" without it?) is great, but I'd rather have Bill Evans, Cedar Walton and Tommy Flanagan stick to the acoustic instrument.

Well, excu-u-u-se me for my limitations! When I use the term "late Trane", I am referring specifically to the period when he added Pharoah Sanders to the band, beginning with "Meditations". The only time I saw Coltrane live was in late 1965 at the Jazz Workshop in Boston. At the time, the most recent records available featured the classic quartet ("Ascension" may have already been released, I can't remember, but that was a special record event, anyway), and we were surprised as we walked in the door and found that we were about to see the John Coltrane Sextet. Nobody was prepared for what happened that night, and I have relived that evening in my mind many times since then. When "Meditations" was released a few months later, I dutifully bought it, and I discovered that it had been recorded the week before I saw the band. Each of the subsequent releases that came in the following two years, and I valiantly kept up with them, confirmed for me (although it took years to admit it to myself) that the full-blown sonic assault of the band with Sanders just doesn't speak to me. By the time "Interstellar Space" was released many years later, I just wasn't interested, which is why it took so long for me to catch up with it. It's easy to look back and evaluate things from a historical standpoint. We have far more pieces of the puzzle (or tapestry, if you will) now, and can get a much clearer picture of Trane's development. It's easy for some people to take what seems to me to be a position of intellectual superiority, but following things in real time as they are/were happening is quite a different ball game. I now realize that to categorize "late Trane" with a broad brush stroke is oversimplification. I don't need that pointed out to me, thank you very much. I like "Expressions" and "Live at the Vanguard Again", but don't care for "Meditations", "Om", "Seattle Concert" , "Kulu Se Mama" or "Live in Japan" very much. That's just me.

Having been a Trane admirer since about 1964, by the time this came out in the 1970's, I had come to the conclusion that the later Trane, that is the post-classic quartet period, just didn't appeal to me. So I ignored this, assuming that it would be too "out" for my sensibilities. Over the years I kept hearing about this, however, and how special it was thought of by people. By the time I did catch up with it, in the 90's, I was astonished with it. It is very lucid, clear and focussed, and downright beautiful in places. It is a most inspired performance, and I wonder why it took so long for them to get this one out.

Slam Stewart Sly Stone Sammy Spear

Then you are on my list, Mike, along with: Kevin Bresnahan Jazzshrink Martyjazz Stevebop Dmitry all 3 members of Organissimo, who Kevin brought in when they were in town Michael Weiss, who I believe has been in the store Big Al (haven't figured out who you are yet, but I'm sure we've spoken)

At the end of "Bluing", recorded in 1951, Miles chastises Art Blakey for screwing up the ending.

Kenny Rogers Roy Rogers Trigger Alpert

Smith & Wesson Wesson Oil Olive Oyl

Mr. Clean Dirty Dingus McGhee Filthy McNasty

Original New York Blue Note LP's were pressed by a company named Plastilyte. The ear symbol on the runoff groove area indicates that this is a Plastilyte pressing.

Adam Ant Aunt Bee Butterfly McQueen

Johnny Board Bill Baird Bird

Blue Mitchell Mitchell Ayres Roy Ayers

Bram Stoker Bela Lugosi Christopher Lee