Big Al

Many thanks to everyone who played along. Track 1: Theme in Search of a Movie - Eddie Harris From The Electrifying Eddie Harris (Recorded April 20, 1967) Eddie Harris - electric tenor sax (yeah, the Varitone kind) Jodie Christian - piano Melvin Jackson - bass Richard Smith - drums Strings arranged by Arif Mardin For my 27th birthday, I wanted this CD because it also included the album Plug Me In. My dad has that album, and it was one of the first jazz albums I ever heard. I was just getting into jazz at the time, and my folks got me this CD. Popped it in, and this was the first song that played (well duh, it's the first song on the CD, ya dummy!). Both my folks and my in-laws were over that night, and for me, the party stopped while I stood there and dug this song. Right away, I thanked my folks heartily for this CD! I know I've told the story thousands of times, but I always love sayin' it: were it not for my dad's few jazz records (this, a couple of Blakey records, couple of Wes Montgomery Verve albums, Shorter's Schizophrenia), I might never have known what jazz was and is. As always, thanks Dad! Also, a word about Jodie Christian: the cat is WAAAAAAAAY underrated AFAIC. His solo here is a prime example of taste, space, phrasing, you name it, he does it beautifully. I haven't heard much of him, but I love his work with Eddie! Track 2: Togetherness - Blue Mitchell From Heads Up (Recorded November 17, 1967) Burt Collins, Blue Mitchell - trumpet Julian Priester - trombone Jerry Dodgion - alto sax Junior Cook - tenor sax Pepper Adams - bari sax McCoy Tyner - piano Gene Taylor - bass Al Foster - drums Jimmy Heath - arranger I'll be honest: the Blue Mitchell Mosaic doesn't do much for me. But this song does, as does the album from which it was drawn. I guess the presence of McCoy on piano was what caused a lot of folks to think this a Trane tune. I believe it! I could listen to vamps like this for hours on end, and in fact did just that one Saturday afternoon when I had to go in to work to reconstruct a data file. Sure made the afternoon go by that much quicker! Track 3: Fair Weather - Chet Baker From the soundtrack to 'Round Midnight (no idea when it was recorded) Written by Kenny Dorham Chet Baker - trumpet, vocal Herbie Hancock - piano Pierre Michelot - bass Billy Higgins - drums There is a gap of almost fifteen years between the time I first heard this soundtrack (summer 1990) and the time I finally saw the movie (sometime in 2005, I think). I always imagined this song taking place in a dimly lit club, Baker frail and struggling to get the words and the sounds out. Imagine my disappointment when only a small part of this track was used in the movie, and only then being played from a "Milestone" label record. I was in the church choir at the time, singing tenor. There was another man whose voice Baker's reminded me of. I once told him of my perception of the similarity, and he had no idea who I was talking about. Probably a good thing, since when it comes right down to it, neither did I: I was just getting into jazz, and knew nothing about the life and hard times of Chet Baker. Maybe I shoulda kept my mouth shut. Oh, to be able to follow one's own advice BEFORE opening one's mouth. Musically, AFAIC, this is about as close to a perfect performance as it gets. Chet sings this song like it's his epitaph. Herbie plays a solo so melodic, it's right up there with anything on Maiden Voyage. Billy Higgins, understated when he needs to be. These two came to be some of my favorites on their respective instruments. But I put this on here because it captures a moment in time for me: my sister had just moved away to college, and I was about to meet the woman who would become my wife. The phrase "There'll be fair weather, together, side by side" always gave me a good feeling, like something good was about to happen, that the present sadness of my sister moving away would soon subside. It did. Here it is seventeen years later and still a happily married man! Track 4: Mean to Me - Nat Adderley From Work Song (recorded January 25, 1960) Nat Adderley - cornet Wes Montgomery - guitar Keter Betts - bass Louis Hayes - drums Listening to jazz all these years, and I still don't know all the standards. As a result, I still get surprised when people name standards off a BFT like they were stating their own names! Wes Montgomery was the first jazz guitarist I ever heard (thanks again, Dad), so I wanted to put a song with him on a BFT. But what song? His sound is as unmistakeable as it gets. Then I finally heard the classic LP from which this song is drawn, and I've got my song. First of all, this doesn't even REMOTELY sound like Wes Montgomery, and it fooled damn near everyone who didn't already have this album. In retrospect, I wish I'd put another song from this album on the BFT. Not that this isn't a good song or anything; it's just that there are better songs on this album. Oh well, it fooled some of ya, so it's all good! Oh, and one more thing: I'm hardly an audiophile, but the hybrid SACD of this title is unreal. Phenomenal. Makes me finally understand what all the fuss is about. Track 5: Song for Jobim - Peter Leitch From Colours and Dimensions (recorded July 7 & 8, 1995) Peter Leitch - acoustic nylon-string guitar Claudio Roditi - flugelhorn Gary Bartz - alto sax Jed Levy - tenor sax, alto flute John Hicks - piano Rufus Reid - bass Marvin "Smitty" Smith - drums Another RVG production. This song was chosen simply for the feeling I got that was echoed by a lot of people: that feeling of warmth and familiarity, that everything is right with the world because a song as beautiful as this can be created. I mean, before I even heard the song, I figured with a title like "Song for Jobim," it had a 99% chance of being good. Turns out I still underestimated it! The rest of the album lives up to its title. If you can find it, it's well worth the money. Track 6: Valse - Antonio Carlos Jobim From Urubu (recorded October 1975) Antonio Carlos Jobim - Fender Rhodes piano Ron Carter - bass Orchestra arranged & conducted by Claus Ogerman From a song for Jobim to a song by Jobim! This album was a direct assault on those folks who thought Jobim was still just that "Girl from Ipanema" guy. He'd been showing some flashes of classical-inspired themes on previous albums (especially Jobim) and seemed to be moving further and further away from the samba rhythms and melodies he had perfected in the late 60's and 70's. This album was Jobim's musical FUCK THAT. The first half of the album features Jobim singing in Portugeuse only, without any samba-type rhythms, sometimes without a structure or chorus at all. Side two is like a straight classical suite. And how suite it is (har har). This track is from side two. All of the compositions from this album are wonderful (and would be settled down by the time he got to Terra Brasilis, my favorite Jobim album and his masterpiece, IMHO), but this tune sets a mood that just seems to climb and climb to the top of some proverbial mountain and hits its climax just as the sun peaks over the peak, with the ensuing quiet resembling the view from the top. Also, major props to my favorite arranger, Claus Ogerman, who knew better than anyone how to take Jobim's sketches and turn them into masterpieces. Track 7: Martha & Romao - Paul Desmond From From the Hot Afternoon (recorded June and August 1969) Paul Desmond - alto sax Edu Lobo - guitar Ron Carter - bass Airto Moreira - drums, percussion Orchestra arranged & conducted by Don Sebesky Desmond is another one I wanted to pay tribute to, but wanted to do so in a not-so-obvious setting. A lotta people picked him out anyway, but a good many of you enjoyed the setting as well. Well, all I can say is, go get this album because the rest of it is just like this track. Plus, you get the obligatory hilarious Gene Lees liner notes (I'm serious!), and as an added bonus, some of the songs are presented in their bare form, before the orchestra was overdubbed. And even though it has all the hallmarks of your typical CTI affair (strings, Ron Carter on bass, overdubbing, Taylor's name all over the proceedings, etc etc), this one is a notch higher than Desmond's other A&M/CTI albums because he sounds more at home in these surroundings. These musicians seem to be more sympathetic to Desmond's sensitive playing, as opposed to the all-star players that overwhelmed him on his other A&M/CTI albums. Plus, what can I say? I dig Don Sebesky. For the most part. Not everything he did was wonderful, but when he was on, he was damn-near brilliant. And I do mean Giant Box, an album I wish I'd had room for on this BFT (what, two CDs wasn't enough to bore people with?)

Yeah, I'd change my vote to Oblique if I could.

It's not Quinichette. I'm really surprised no one's ID'd the tenor! ?????? VERY Sweets! Totally agree with you about his second solo! Damn, you are THE closest anyone's gotten. And yes, it is an edit I did myself. It's the cousin to "Pass the Peas." Ain't it grand? Hope I haven't got any of the bold bits mixed up, or this post will look crazy. MG Nope, it all matched up perfectly! I'm glad you enjoyed it, and glad you got your guesses in! Answers tomorrow. I promise!

That, and you're the next person to hear that "Goin' Out of My Head" quote! "Maiden Voyage!" Woulda never thought of that, but now that you mention it, I can hear it, too! THIS is why I love the BFTs! Wow, I always figured Desmond had the most recognizable alto sound this side of Rabbit! I can understand folks not digging Sebesky, but I dig a lot of his stuff, as long he shows restraint. IMO, this album is a stellar example of restraint. Gotta break up the post again, darn quote count.

I've owned the LP for many years - always suspected it was Yusef, which was eventually confirmed to me by Dakota herself. Cover art on back of LP also suggests Yusef. I should be getting the LP in a few hours, so....good! Just got home with it, and see what you mean about the back cover art. Another visit to HPB, or another vinyl shop I need to be aware of?

Just you wait 'til you get to disc five. WHOA!!! Then there's the session that produced the nearly-28-minute "Stompin' at the Savoy" which is truly STOMPIN'! Agreed that it is an absolutely tremendous package, one of Verve's better efforts!

Absolutely love this album, probably my all-time favorite CTI album. IIRC, "Mean Lene" is a first-take!!!

Ryan's version was the only version I knew of for the longest time. Heck, he sounded like he was 92 back then!

I agree, and I hope so!

To those of you who own DIZ AND GETZ: Any of y'all find the track w/Mobley out-of-place on this album? Different fidelity, totally different sound and mood, IMHO.

RIP, and thanks for the great work with Miles.

I only have SNAP YOUR FINGERS, and I love the way Mitchell, Grey, & Hutch all play off each other beautifully!

I'm glad you posted this. I forgot that I PM'd you about this album a few months ago. Now I really can't wait to hear this!

That one's excellent and long overdue - but no bonus tracks! This was in the LPR series...; I've got it. Or am I mistaken? I believe you're mistaken. The only Burrell album in the LPR series was his Christmas album. EDIT: Shawn (and his lovely avatar , whoever it is!) beat me to it.

Just recently picked that one up and it smokes! Diz & Getz both playing their asses off! Getz/Gilberto will always be my favorite. But those "West Coast" albums (West Coast Jazz, The Steamer, and Award Winner) are not far behind. What a killer band on those albums, with Getz defining cool heat with his playing. Smooth, but in a good way. It's a pity Conte Candoli is only on the one album, but it's better than nothing. I also really dig Getz's work with Johnny Smith.

I don't particularly care for it. It's just as schmaltzy as you might imagine, and the songs themselves don't really lend themselves well to jazz interpretation. Desmond, especially and surprisingly, sounds rather uninspired. Now if you want a good Desmond title on A&M, seek out From the Hot Afternoon. Now there's a beauty of an album!

And some nice titles, too! Especially looking forward to the Burrell disc!

I guess things do have a way of working themselves out. I've been meaning to post the answers to this disc since I finished the first disc, and then life gets in the way as it usually does, and here we are. Thankfully, JSngry was able to post his usual terrific insights, so here we go again! You named the guitarist. "Cozy:" I never thought about it before, but that's a perfect word to describe this tune! It means you figured it out! Hafta re-check out WB sometime soon! Oddly enough, they did do a version of "Poinciana" which was my other choice from this band for this BFT. I am truly TRULY amazed that no one has figured this one out (title notwithstanding). I thought the bassist would've been immediately recognizable (it ain't Ron Carter), if not the lead guitar player. Wonders never cease, as the tracks with which I on planned faking everyone out are the ones everyone nails, and vice versa! Couldn't've said it better! You identified everyone except the piano player. And oh yeah: HELL YEAH indeed! I never noticed that until now. I don't think it's the recording: it sounds like my turntable hiccuping, as it is wont to do sometimes. Damn! Now I gotta go back and re-do the whole CD from whence this track came! Whyd'ya have to go and point that out now??? "Peas, Fred!" Nope, not Bobby, not Hamp. Did Hamp ever do any Rhodes albums? Now THAT'S something I'd like to hear! I HAFC™ what that meant, but I think it means that the chords go back and forth between major and minor within the same bar/line? Hell, I don't know! All's I know's I agree with you: sure is nice! Anytime, my friend! Sorry it took a little longer than I wanted it to, but at least it got there and now I can't wait to see what you have to say about #55, which is also a very fine collection of music!

Start a thread on this album (or on Getz's "West Coast" output, which would also encompass The Steamer and Award Winner) and I'll be glad to give you my opinion!

my baby (3 1/2) always asks me to put on some jazz music! As the father of a 13-year-old, trust me: that will end. Yup!

I was into the Ventures when I was 1. I even have the picture to prove it.

God, how many times have we seen this? Seems like it always follows a particular format: 1. Original poster asks a question about Wynton. If they're genuine, that's all it is: a simple question. If they're trolls, it's a statement instead of a question. 2. Some of the usual nonsense and BS follows, interspersed with the occasional heartfelt opinion which, unbeknownst to the opinion-maker and especially if that opinion is counter to the original post(er), will be taken as a personal attack. 3. The original poster then singles these few posters out for abuse without doing any research, but backing up their blanket condemnations with a simple and offhand "I know what I like, and I like what I know." (I have yet to see anyone follow that up with an opinion of the improved conditions of one's wardrobe, but that may be for a different time and space) 4. Targets of personal attacks try to calm the original poster by explaining that it's okay to disagree in a civil manner. 5. Original poster responds in a sarcastic manner. 6. Others gang up on the original poster, cuz they've seen this all before as well. 7. Original poster pleads innocence, attempting to put the blame for the acrimony upon those with whom he disagrees, saying it's THEIR fault this argument started. All the original poster was trying to do was start a simple conversation. And, oh by the way, the original poster is still right about everything and the other peons (like Chuck Nessa, f'rinstance) wouldn't know good music if they farted it out. And so it goes. The dishonor roll is littered with "original posters:" Conan (the original), hardbop Heaney, the WM troll over at JC (name escapes me since I don't go there), and now, apparently, bluenote82. And so it goes. This is the cycle that never ends, it just goes on and on my friends, some people started posting just because, and we'll keep right on replying forever just because this is the thread that doesn't end, it just goes on and on my friend......

How are your children?

Yeah, I've seen that. Beautiful, moving, and funny all at once!