jeffcrom

If you do another Mary Osborne show, let me know. I have a (presumably) one-of-kind acetate, purchased in an Atlanta antique store, of a broadcast by Osborne's trio from 1947. She mostly features her singing in the 10-minute spot, but there are some nice guitar licks along the way.

Clare Fischer - One to Get Ready, Four to Go! (Revelation)

Art Ensemble of Chicago - People in Sorrow (Nessa) A truly magical album. As a young man searching for my own music, I listened to this one over and over again, trying to unlock its secrets. I hadn't spun it for awhile, but it was calling to me tonight. It's as beautiful as ever - thanks for releasing it in the U.S., Chuck. My copy has the even less readable yellow-on-white cover.

Could the trumpeter on track 8 be Wadada Leo Smith?

The “day or two” period in which I was planning to post the rest of my responses turned into a week or two. Darn you, real life! I haven't looked at this thread since my first post. Lots of excellent music in this BFT. As usual, I liked some of it more than others, but there was nothing I disliked. Except for track 13, which I’ve already posted about, I didn’t recognize anyone, except for maybe on track 8. 1. Loves me some B3! This cooks, but it cooks just enough “outside the box” that I really dig it. I like the fact the drummer was pretty restrained during his over-the-vamp solo. Yes to this track. 2. I hear Hancockian and Tynerian touches here and there, but I don’t know know who it is. (It’s not Herbie or McCoy.) Very good trio music. The coda gets pretty hot. 3. The first thing I noticed was the tenor player’s nice sound. Then I noticed what a good, assured player he was. Then I noticed that I hate the way the bassist was recorded. But he’s good, as is the drummer, and the track is good. I would have enjoyed a little more of a head of steam, but I suppose that’s not what the track was about, at least the these players. 4. Some mighty fine clarinet playing, but I don’t know by whom. Nice cooking tune with good playing all around. Looking forward to some answers on this one. 5. This almost has pieces of a couple different standards, but it’s probably an original by the guitarist. His or her sound reminded me of Grant Green’s but it’s not Grant, of course. A lovely piece of music, whoever it’s by. 6. Excellent, excellent! Nothing innovative here –just Jazz with a capital “J.” There’s nothing I don’t like here, but the alto player’s solo seemed particularly well-constructed to me. But it’s all good. Two thumbs up. 7. Some fine nouveau-stride playing – very entertaining. Is it played on a Bosendorfer piano? A couple of notes sound like they’re below the bottom note of a standard piano. Enjoyed this one. 8. Well, it sure sounds like Miles, but I can’t imagine what it is. I thought for a hot minute that it was one of those weird outtakes from the Miles/Gil Evans box, but I went through the box and couldn’t find anything like it. It sounds like Miles to me for several reasons, not least because he was the only trumpeter I've ever heard who got a completely “hollow” sound with a Harmon mute – everyone else has at least a little buzz in their sound with a stem-out Harmon. I’m looking forward to finding out about this. 9. Wow – gorgeous! I love the simplicity, with just the right amount of build near the end. This piece didn’t need to be any more than what it was. 10. Hmmm.... It’s good – nice sounds by everybody – but I kept waiting for it to go somewhere more. This track left me slightly disappointed. 11. Odd! They’re all good players, but the free/straight head is so bizarre that it sounds like a joke to me. Maybe I should give this one a few more listens. 12. This performance builds nicely. Strong, penetrating sound by the saxophonist, on both soprano and tenor. I like this. 13. See post #2. 14. This track got me thinking about context. My first reaction was, yeah this is nice – attractive and well-played – but I wouldn’t have to hear it again. But I realized that if it was, say, the last track of a beautiful, moving album, I’d really enjoy it. Hearing music in the context of a BFT test is a strange experience in some ways. Good one, thedwork - I enjoyed it. (Edited to add a missing pronoun.)

An ECM?!? Please turn in your Organissimo Forum membership card immediately!

Mick Goodrick - In Pas(s)ing, with John Surman, Eddie Gomez, and Jack DeJohnette, on awful, awful ECM.

John/Alice Coltrane - Cosmic Music (Impulse)

Max Roach featuring Anthony Braxton - One in Two - Two in One (Hat Hut)

The Keepnews/Grauer book, full of flaws and poorly-reproduced photographs, was extremely important to me. I checked it of my local library over and over again, wondering what those fascinating musicians sounded like.

John Tchicai/Andre Goudbeek Duo - Barefoot Dance (Marge)

When I was about 14, in the early 1970's, my grandmother gave me a box of 78s. It included all kinds of stuff, including a fair amount of instrumental swing. I still have "Pardon Me, Pretty Baby"/"Somebody Loves Me" by Benny Carter, "I Ain't Got Nobody"/"Lost In a Fog" by Coleman Hawkins and "Chop Chop"/Hamp's Boogie Woogie" by Lionel Hampton. Slightly later I read Ralph Berton's book Remembering Bix, and was so fascinated that I went out and bought the Milestone two-fer Bix Beiderbecke and the Chicago Cornets. By the second cut, "Jazz Me Blues," I "heard" Bix's message. I think my second jazz LP purchase was a Charlie Parker collection on Verve. I learned jazz more or less chronologically.

Happy birthday, Chuck. Thanks for your contributions here and to the jazz world at large.

Onzy Matthews - Blues With a Touch of Elegance (Capitol stereo)

I had not heard this, and it seems kind of unbelievable, given the complexity of Evans' charts. Where did you hear this? I could readily believe that he wasn't a fast reader at that point. Sidney Bechet couldn't read music, and I don't know if he knew the names of chords - he reportedly taught his musicians tunes they didn't know by running the arpeggios on his saxophone.

I was surprised that the promo article didn't mentioned the make and model of the horn, unless I missed it. I had to dig into the History Detective transcript to find it. It's a Beuscher Aristocrat - a nice horn at that time.

I have the LP, and it's the Ornette I listen to least. The two compositions are not well-conceived pieces of music, in my opinion.

I second that emotion.

Willie Humphrey - New Orleans Clarinet (Smoky Mary). Willie's first record date as leader, at the tender age of 73.

George Adams/Don Pullen - All That Funk (Palcoscenico). This Italian album appears to be a mono pressing; I wonder if the recording was originally made for a radio broadcast.

Gary Burton - Duster (RCA) Frank Strozier - Long Night (Jazzland). Found a copy of this recently-discussed record today. The cover is battered, but the record cleaned up very nicely.

I thought about this for awhile, and realized how many musicians I have wished would just stop talking.

Standard operating procedure for Mr. Crouch. Which brings me to what I'm listening to now: Conrad Silvert Presents Jazz at the Opera House (Columbia). A 1982 two-LP set drawn from a concert in San Francisco. I bought this back in the day, but haven't listened to any of it for awhile, and I'm surprised at how good most of it is. On hand are Herbie Hancock, Bobby Hutcherson, Wynton Marsalis, Wayne Shorter, Charlie Haden, and Tony Williams, among others. There's some great music here, and your comments about Crouch are interesting in light of the excellence of young Wynton M.'s playing here. If Crouch hadn't decided that that Marsalis was The Savior of Jazz, would his music developed differently? It's also interesting that the group shot on one of the inner sleeves pictures several musicians who don't appear on the album, like Pat Metheny and Carlos Santana. Jaco Pastorius is in the picture; he's not listed among the personnel, but he's on "Footprints," and even has a solo.

One of the very few groups/artists for which I've bought every release, from Point of No Return to Yes, We Can. Revue was their first really great album, in my opinion, and is still one of my favorites.

I've spun several discs of Ike Q. today. I just finished playing It Might As Well Be Spring - what a delight.