Big Al

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!

cheap cheep

Promise? I'm scared to death of birds (not Bird), and I'll pretend I have pet birds in my backyard/attic. Can this be used on multiple birds? Enquiring minds wanna know! Have I mentioned how much I love Oscar Peterson?

Another comment I forgot to add to the answers: a lot of people guessed something from KD's Afro Cuban for track 1, and truth be told, if this wasn't my BFT, that's what I would've guessed as well.

I saw him in Austin this past November. Imagine the hyper energy of one of his monologues going on for about an hour or so. It was a dream come true for me; I laughed my ass off, laughed so hard I almost passed out! I really should DVR his monologues!

In case anyone noticed, I completely skipped over the Miller track, which was actually track 5. Change has been made in the original post.

Was this recorded at the RCA studios (Webster Hall)? Sure sounds like it! Sez here that it was recorded at Fine Sound, NYC. Ok, I got to know where this one was recorded. Rudy's. No kiddin'. The liner note writer of the VME has a problem with that, but I actually dig the sound they got. Again, another one I'd like to hear in mono! DOH! I used to have this on LP, gave it to a guitarist friend as part of a "can't give you all the money, but..." deal for rent one month back in the day. A tribute to the Goodman.Christian stuff as I recall. Pretty sure that Woods is on clarinet here, dude. Not gonna bet the house on it, but will bet the back yard. I wanna agree with you on that, but the record sleeve says he only plays alto sax. But then, he's so buried in the mix, it's hard to tell. And if you can't believe what the record jacket tells you, then who can you believe?

Track 10: To Benny Golson - Russell Malone From Sweet Georgia Peach (recorded February 17-19, 1998) Russell Malone - guitar Kenny Barron - piano Ron Carter - bass Lewis Nash - drums Just a nice song from a very nice album. The quartet gels on every song, making it difficult to pick one song from this album, a favorite of mine for the last nine years. Track 11: Kissin' Cousins - Horace Silver From Silver 'n Brass (recorded January 17, 1975) Tom Harrell - trumpet Bob Berg - tenor sax Oscar Brashear, Bobby Bryant - trumpet & flugelhorn Vince DeRosa - French horn Frank Rosolino - trombone Maurice Spears - bass trombone Jerome Richardson, Buddy Collette - woodwinds Horace Silver - piano Bob Cranshaw - Fender bass Bernard Purdie - drums JSngry said it better than I could in his guess: HELL YEAH!!!! In looking up the discographical info on this, I realized this was the first of the Silver 'n series, as well as being the follow-up to my favorite Silver record, In Pursuit of the 27th Man. The groove says it all here! Track 12: Raggedy Ann - Lee Morgan From Take Twelve (recorded January 24, 1962) Lee Morgan - trumpet Clifford Jordan - tenor sax Barry Harris - piano Bob Cranshaw - bass Louis Hayes - drums This is starting to turn into a game of six degrees of separation: there's Cranshaw again! Once again, the groove says it all. I don't know how often they recorded together, but Morgan & Jordan sure make a nice front line, don't they? Louis Hayes is a perennial favorite, making this sound like a good Silver Quintet groove. Quite a few folks guessed this correctly, and I'm pretty sure everyone al least recognizd Morgan. Can't say that was unexpected, but with Morgan being one of my favorite trumpet players (I think I have more Morgan than any other trumpet player in my collection), trying to find that one track that might catch folks off guard was difficult. This one, however, has long been a favorite. In fact, I'm not sure I could tell you what the rest of the album is like! Track 13: De-Dar - Ben Webster From Ben Webster and Associates (recorded April 9, 1959) Ben Webster, Coleman Hawkins, Budd Johnson - tenor saxes Roy Eldridge - trumpet Les Spann - guitar Jimmy Jones - piano Ray Brown - bass Jo Jones - drums Let's call a blues, start with a simple riff, and take turns jamming. Easy right? Maybe, but how many folks could cram this much power into 4-1/2 minutes? Lotta folks correctly guessed Hawk, Roy, & Ben, but I don't remember anyone who didn't correctly identify the album identify Budd. And there's my man Jimmy Jones on the piano again. All kinds of sweet. Les Spann makes a great rhythm guitarist, Ray Brown settles into a groove so deep it's almost out the other side. And if that's not enough, how 'bout Jo Jones? Jo m-f-ing Jones, y'all!!!! My favorite moment in this song is when Roy comes screaming in and Jo Jones smacks the snare in response! OH yeah!!! Track 14: Passionova - Billy Mitchell From This is Billy Mitchell (recorded October 30, 1962) Billy Mitchell - tenor sax Dave Burns - trumpet Bobby Hutcherson - vibes Billy Wallace - piano Herman Wright - bass Otis Finch - drums Track 15: RBQ - Al Grey From Snap Your Fingers (recorded February 19, 1962) Al Grey - trombone Billy Mitchell - tenor sax Dave Burns - trumpet Bobby Hutcherson - vibes Floyd Morris - piano Herman Wright - bass Eddie Williams - drums I grouped these two tracks together because both tracks contain a few of the same players: Mitchell, Burns, and the big surprise Hutcherson, who very few folks recognized. This track was from very early in his career. The sound of these two albums is so similar, I keep them together in my collection. The first track, "Passionova," has been the favorite from this album since I first heard it, but the rest of the album is just as good. In fact, some of the tracks substitute an organ for the piano and don't include a trumpet. Nice change in color. When I first heard "RBQ," like a lot of you, I thought this was a Terry Gibbs Dream Band. Hard to believe such a big sound comes from so few instruments. I have to confess this is not my favorite Mitchell solo, as he sounds lost for the first few bars. But it all comes to a nice crashing end to finish it off! Track 16: Second Time Around - Bill Evans From Quintessence (recorded May 1976) Bill Evans - piano Ray Brown - bass Philly Joe Jones - drums The only trio track from an album that also features Harold Land and Kenny Burrell. I wanted to use one of the quintet tracks, but I enjoyed the light touch of this track, which feels like a throwaway, something played while unaware that the tape was still rolling. Wish I could find some background on this recording, since there are absolutely zero liner notes on the CD. I'm glad y'all enjoyed these tracks! Thanks for once again indulging me!

Track 1: Swahili - Clark Terry From Clark Terry (recorded January 3, 1955) Clark Terry - trumpet Jimmy Cleveland - trombone Cecil Payne - bari sax Horace Silver - piano Oscar Pettiford - cello Wendell Marshall - bass Art Blakey - drums Quincy Jones - arranger Presenting my all-time favorite drummer, the man whose drumming first attracted me to jazz, Art Blakey. On my first BFT, I specifically set out NOT to include anything by or with Blakey. And then I came to regret it once I sent all the discs out. Blakey, for me, IS jazz. His sound is unmistakeable (darn near everyone said the drums sound Blakey-ish, if they didn't outright identify him), and so, since I wanted this BFT to include some of my favorite players, I wanted to kick things off with the first jazzer that really made me sit up and pay attention. I was lucky enough to buy this VEE (RIP) a few months back. I had to go to the store, so I took this along for the ride. Can't remember the last time I cranked up a jazz tune this loud, but that bass ostinato, followed by Blakey picking up the beat, and then that cello riff (way to go JSngry, for picking up on that!), and then it just keeps building steam as Terry starts bobbing and weaving as Blakey chides him on! Helluva way to start an album, which made it a cool way to start a BFT, IMHO! Track 2: Saph - Illinois Jacquet from The Kid and the Brute (recorded December 13, 1954) Illinois Jacquet - tenor sax Russell Jacquet - trumpet Matthew Gee - trombone Leo Parker - bari sax John Acea - piano Al Lucas - bass Osie Johnson - drums Chino Pozo - conga This track was chosen because it, like the rest of the tracks on this wonderful VEE, seems to get overshadowed by its more famous (and deservedly so) powerhouse jams with Ben Webster. But this track proves that not only was Jacquet a great tenor sax player, but he was quite the arranger, too! Apologies on the sound quality on this one, I actually attempted to bring the sound level down on this one, but this is as far as I could go! Track 3: Gal from Joes - Johnny Hodges From Johnny Hodges with Billy Strayhorn and The Orchestra (recorded "probably" December 11, 1961, don't why they said "probably") Johnny Hodges - alto sax and leader Cat Anderson, Shorty Baker, Bill Berry, Ed Mullens - trumpets Lawrence Brown, Quentin Jackson - trombones Chuck Connors - bass trombone Russell Procope - clarinet, alto sax Jimmy Hamilton - clarinet, tenor sax Paul Gonsalves - tenor sax Harry Carney - bari sax, bass clarinet Jimmy Jones - piano Aaron Bell - bass Sam Woodyard - drums Billy Strayhorn - arranger, conductor I've always wondered if this album was Johnny Hodges' way of sniping at his boss for putting out an album called Duke Ellington and His Orchestra featuring Paul Gonsalves and letting Paulie get all the solos. On this album, Paulie is relegated to the section, and Rabbit gets all the solos! Just speculating.... I can't begin to tell you how much I love this album, other than to say I like this album more than any other Ellington album. Everything about this album is pure magic, and I believe a lot of that credit goes to the man who shares the title of this album: Billy Strayhorn. It's a shame he didn't play the piano on this album, but then again I'm not complaining: Jimmy Jones has always been one of my favorite piano players, so any chance I get to spotlight him, I'm grabbing it! Nice memory attached to this album: I was in Montreal for a weekend and found this little book/music store. They didn't have many CDs, but they sure had a lot of jazz CDs; looking back, I wish I'd taken advantage of the favorable exchange rate and grabbed a whole bunch of those discs (some, IIRC, are long OOP, but I'm going from memory). Anyway, I was just about to leave when they started playing this album. Stopped me dead in my tracks (I neglected to bring this CD with me on my trip), so I grabbed a book, sat down, and stayed there for the duration of the album! The high point was during this song, "Tailor Made," which features a screeching Cat Anderson solo. Never seen a store clear out so fast! I picked this song, "Gal from Joes," just because it seemed the less obvious. A lot of the other tracks are classic Ellingtonia, but this one never seemed to get much attention. I particularly love the section where the bass trombones and trumpets build a little climax there in the middle! A lot of folks correctly surmised this was an Ellington bunch, a few of you correctly identified Jimmy Jones on the piano, but nobody identified the album. Understandable, given the amount of Duke and Duke-related records out there, but do yourself a favor: GET this one. Strays brought out the best in Rabbit, and IMHO, this beats out any of the albums on the Hodges Mosaic (which I love, don't get me wrong). Track 4: Mulligan Stew - Gene Krupa from Gene Krupa Plays Gerry Mulligan Arrangements (recorded October 20, 1958) Al DiRisi, Ernie Royal, Doc Severinsen, Al Stewart - trumpets Eddie Bert, Billy Byers, Jimmy Cleveland, Kai Winding - trombones Sam Marowitz, Phil Woods - alto saxes Frank Socolow, Eddie Wasserman - tenor saxes Danny Bank - bari sax Hank Jones - piano Barry Galbraith - guitar Jimmy Gannon - bass Gene Krupa - drums Gerry Mulligan - arranger, conductor Chosen because I'm a nut for big bands, plain and simple. I bought this CD sight unseen when it came out as a VBR a few years back, loved it on first listen, and it's never grown old. It was difficult choosing one track from this album; trust me, if you like this tune, get the CD because the whole album is this good! I picked this one for the ending. What a buildup! My only real gripe is with the stereo spread; what I wouldn't give to hear this one in mono for that nice organic feeling. (As a side note, I heard this track on the radio one morning; I love it when the radio plays a jazz song I actually recognize!) Just about everyone recognized Phil Woods, but no one recognized the album. I hope this track leads some of y'all to help Verve clean up their stockpile of this CD! Track 5: Runnin' Wild - Glenn Miller and his Orchestra From The Popular Recordings, but I'll bet you could find it on just about any Miller comp. I can't list the personnel or the recording date because I no longer have this CD. What you're hearing was from a cassette dub from the CD itself. Some of y'all commented on how nice it sounded, so I thank you for that. Anyone surprised by this answer? I know the general consensus is that Glenn Miller couldn't swing, and this song is my "Oh yeah?" to that. There's a difference between "couldn't" and "didn't." Pity Miller didn't swing like this more often, but I understand you gotta pay the band, so..... Track 6: On a Misty Night - Tadd Dameron from The Magic Touch (recorded 1962; can't believe that's all the CD says! Orrin's not doing his job!) Clark Terry, Ernie Royal, Charlie Shavers - trumpets Jimmy Cleveland, Britt Woodman - trombones Julius Watkins - French horn Leo Wright, Jerry Dodgion - alto saxes Johnny Griffin, Jerome Richardson - tenor sax Tate Houston - bari sax Bill Evans - piano Ron Carter - bass Philly Joe Jones - drums Tadd Dameron - arranger, conductor I seem to be overlapping players here: third time for Cleveland, second time for Terry, Royal. Later, we'll be hearing from Bill Evans, Ron Carter, Philly Joe, and Julius Watkins. And who knows who else? I can tell you this wasn't planned, but I guess you can expect these things to happen when you put a whole lotta big bands on your BFT. There are countless reasons I included this tune: first and foremost because it lifts my spirits every time I hear it. It sounds like the celebration of a man finally overcoming his demons and living to tell about it (oh, if only....). Second, although I love the album from which it came, I actually first heard it on the box set The Riverside Records Story, and so many of those songs bring back happy memories of a particularly happy time in my life. In fact, I'm more used to having this song be followed by Kenny Dorham's "My Old Flame" than "Fontainebleau." Third, have I mentioned how much I love big bands? Just about everyone nailed this one, whether they knew who the band was or not. And Johnny Griffin was instantly recognizable. No big surprise there: hell, even I would've been able to identify him! But he, like Blakey, has that sound that is instantly recognizable! Track 7 "Boomerang" by Blue Mitchell from Out of the Blue (recorded December 1958) Blue Mitchell - trumpet Benny Golson - tenor sax Wynton Kelly - piano Sam Jones - bass Art Blakey - drums I've always said that Sam Jones and Art Blakey were woefully underrecorded together in their careers. Individually, they were formidable, and this track is included because they are my favorites on their respective instruments. Taken together, something extra-magical happens: Cannonball's Something Else and Grant Green's Nigeria are the only two times I can think of where they were recorded together. I went through a serious Blue Mitchell jones which, thankfully, coincided with the big Concord sale. I was able to scoop up every Blue Mitchell Riverside CD. For my money, this series of albums smoke his Blue Note albums. IMO, his voice is still very much individual; by the time he got to Blue Note, he sounds like he's trying too hard to re-create the Horace Silver Quintet. However, this track sounds as close to the Jazz Messengers as he ever got. The presence of Benny Golson, whom everyone and their dog identified, certainly helped! Track 8 "Gemini" by Jimmy Heath from Triple Threat (recorded January 4, 1962) Jimmy Heath - tenor sax Freddie Hubbard - trumpet Julius Watkins - French horn Cedar Walton - piano Percy Heath - bass Albert "Tootie" Heath - drums Thought I could sneak this in and see if anyone would guess the Cannonball Adderley band. I never learn. Just about everyone aced this one. Jimmy Heath was the other artist for whom I was glad Concord had that sale, as I was able to get all of those, too! What a talent: tenor sax, composer, arranger. Of the three, I think I enjoy his arranging skills the most. He takes this sextet and makes it sound HUGE! Consistently!!! I'll never understand why Fantasy released all of Heath's CDs as Limited Edition OJCs. These deserve to stay in print; hopefully, Concord got that message when folks (myself included) started grabbing these like hotcakes during their recent sale. Track 9 "As Long As I Live" by Kenny Burrell from A Generation Ago Today (recorded December 20, 1966) Kenny Burrell - guitar Phil Woods - alto sax Mike Mainieri - vibes Ron Carter - bass Grady Tate - drums The memory is at a good friend's house, looking at his massive CD collection; my son, who was four at the time, is with my friend's wife, and she is keeping him entertained, for which I am completely in her debt; I'm sure this was not part of her plan that evening. My friend asks if I've ever heard this album and he puts it on. Instantly, I fell in love with it. Unfortunately, he was playing a Japanese digipak of the album; it's OOP here in the States (still is). You can imagine how happy I was to find this marvelous-sounding vinyl copy a few months back! If it sounds maudlin to say that when I hear this song now, it is with a sense of melancholia as my friend's wife passed away, then I apologize. The memory of that night and what she did for me and my son is one I'll always cherish, and every time I hear this song, I think of that night. So this is my tribute to her, my small way of saying "thanks." Kenny Burrell without a piano is a setting of his that I most prefer, Midnight Blue being one of my other favorites in this setting. It's a pity the vibes are only featured on this one track, and then not very prominently. Phil Woods' alto is featured more prominently on the other tracks. Ron Carter and Grady Tate accompanied Wes Montgomery on his lone pianoless album (and my favorite Wes Montgomery album), Tequila. Their rapport is just as tight here as it was on the Wes album, and I can't help but wonder if they were featured as prominently on other albums (note to self: check that out)

"Barney Miller" theme! HA!!! I think you may be onto something there! You are correct in identifying Silver and it is definitely from the 70's, but neither Brecker Bro is on this. Nailed that one, too! Good call (again!). Preach, brother, PREACH!!! Again, he picks out Jimmy Jones! I think I've found a soul brother! Alright! Someone ID's Mitchell! Been a long time comin'! Interesting; this is my favorite Evans record from the 70's. Ah well, different strokes! Once again, great guesses! Thanks for playing along.

Ya, thanks Chas! The more the merrier! I'm glad you posted your guesses; they were a good read! EVERYBODY guesses Dizzy! Man, I guess I need to check out some Maynard albums, if they sound anything like this! TA-DAHHHH!!!! Someone correctly identifies the piano player! Good call! Nope, not Quincy's band, but it is Phil Woods. I never knew his sound was so readily identifiable! And you'd be correct! I'll say it again: Griff fools NOBODY! I'll say it again: Golson fools NOBODY! And yes, it's Blakey on the skins! Again, good call! Not Cedar, though. DING! DING! DING! Nailed it! I'll have to dig out J.J. INC. again to see if I hear the similarity. Heck, man, great guesses all around!

CRUD!!! I can't believe I forgot to comment on Ubu's wonderful comments! Sorry, man! He definitely has a sound that is unmistakeable, that's for sure! Y'know, I would've never equated this arrangement with a Trane arrangement, but I guess this isn't that far removed from the modal vamp of a "My Favorite Things." Interesting call! Yes it is, and yes it is! Once again, it ain't Sweets, but I agree with your sentiment! HA! Fooled someone else with the sax player! I figured I'd get some grief about that bass sound. Not from that album, but from the same session. Good call! That seems to be the consensus, but that's alright with me. You liked it, and that's pretty much all I was hoping for!

One of these days, I must see what this "slab on the forehead" looks like; maybe it's like sleepin' with da fishies? Or, as we say here in the States (as we slap ourselves on the forehead), "D'OH!!!" Yes, there are two guitar players on this recording. I am really surprised no one's gotten this. I kinda figured more people had this album! Well done, though: it is Ellington at the keys along with one of his longtime "Gentlemen of Jazz" on the alto! Drat! I really thought I could slip JB by everyone, but alas I was wrong! Maybe I need a slab on the forehead! Date range is correct and it is definitely an electric bass! Correct all around! Way to go in identifying the guitar player! Precisely the effect I was hoping for! Once again, I greatly enjoyed your comments!