jeffcrom

Let me add my thanks for this fascinating thread.

I dug deep to find just the right record for this Sunday morning: Tyree Glenn at the Roundtable (Roulette). Hank Jones sounds really good.

Always liked William Smith's work. My wife and I have discussed retiring to Northwest Washington at some point, and I've got to say that your posts here are very encouraging to me. The music scene in Seattle seems so much more interesting than in here in Atlanta.

Brother Jack McDuff - Screamin' (Prestige mono)

Some Friday night comfort food: Shirley Scott - Blue Seven (Prestige mono)

New York Contemporary Five - Consequences (Japanese Fontana)

That's the one.

Yep, that's Carisi's frequent partner Galbraith on guitar.

Yes and yes. This Luis Gasca album is the source of track 8. The album is either untitled, called Luis Gasca, or called For Those Who Chant. Really - it's hard to tell, especially since my copy does not have Gasca's name on the cover like your picture has. Track 8 is, in my opinion, by far the best of the four long tracks on this album. Young Mr. Hubbard is indeed the trumpet player on the Charlie Persip album.

In case it might pique anyone's interest, here is the final lineup: Moon and Sand I’ll Be Around Jazz Waltz for a Friend Blackberry Winter Sonata for Clarinet and Piano Baggage Room Blues Intermission Swing Music (from The Sand Castle) I See It Now Air for Saxophone It’s So Peaceful In the Country The Winter of My Discontent While We’re Young All the Cats Join In

Thanks again for listening.

Joe Albany - Birdtown Birds (Inner City)

I wasn't aware of Sandke's work on Bix - thanks. I just found his website - I'll try to get a copy. And I'm glad someone besides me transcribed this solo - I thought about it, but it made my head hurt.

The 90s track is New York all the way - nothing British about it, and not Skidmore. It's an album that I was extremely excited about when it first came out - several of these giants had been kind of under the radar for awhile. Yeah, I love Carisi's stuff, hard as it is to find. When I do the reveal (I hate using that word as a noun!), I'm thinking some folks may seek out the album that track came from. Glad you enjoyed the earlier stuff, too.

I wanted to chime in on Bix. The first book on jazz I ever read was Ralph Berton's "Remembering Bix," mentioned above - pretty wild stuff for a 15-year-old budding jazz fan. About the same time I bought the Milestone "two-fer" Bix Beiderbecke and the Chicago Cornets. It only took until the second track ("Jazz Me Blues") for me to "get it." His solo on that tune got under my skin instantly, and I've loved Bix ever since. About ten years ago I picked up a used copy of one of the several "complete" Bix sets - the nine-disc Italian IRD box. It's probably not the definitive set, but it sounds pretty good and is plenty good enough for me. Today I listened to disc 7, from 1928. It's all Whiteman stuff except for two tracks each by Frank Trumbauer and by Bix and His Gang. I was struck by several things: Bix's "Louisiana" solo (both takes) is totally fresh and modern 80 years later. It's loose and free rhythmically, and contains surprising twists of phrase and note choices. I can "hear" it coming out of the bell of some young trumpet player today. I listened to "'Tain't So Honey, 'Tain't So" several times, and I still don't know what the hell Bix is doing rhythmically. It's so complex that it would be a transcriber's nightmare. As has been said above, there are some really bad songs and real period-piece arrangements here. But even some that don't have Bix solos have him playing lead trumpet in some passages. Arranger Bill Challis knew what he was doing - he would put Bix on top of the trumpet section to give it a different color and a rhythmic lift that the other trumpet players couldn't provide. And I'd forgotten how Bing Crosby changed pop singing just by singing in a relaxed, straightforward light baritone rather than in the horrible androgynous tenor most male pop singers of the time affected. And it's worth sitting through the painful first three and a half minutes of "Sweet Sue" to get to Bix's 32-bar solo. Take my word for it.

This dispassionate observer with no vested interest in this transaction says that somebody should snatch up this great set.

The first thing I thought of was the Blue Note Jazzmen, led at various sessions by James P. Johnson, Edmond Hall, and Sidney DeParis. They were the focus of a now out of print Mosaic box, but you should still be able to find this CD. The are a little more "Dixieland-ish" than the Port of Harlem guys, but it's music of very high quality, with maybe a little of the same feel.

Okay boys and girls, the allotted time for BFT 71 is half over. Many tracks have been completely or partially identified, but I'd love to read more comments about any or all of them.

Damn. Link is gone. Try this.

Ouch!

Fletcher Henderson - The Crown King of Swing (Savoy)

Mezz Mezzrow/Frankie Newton - The Big Apple (French RCA). I don't much like Mezzrow's playing, but he sure hired some good musicians. The first session here, from 1934, has Benny Carter, Bud Freeman, Willie The Lion Smith, and Chick Webb, among others.

Gil Evans - Live at the 1976 Jazz Jamboree (Poljazz) Edit: This album is also called Synthetic Evans - my copy doesn't say that on the jacket, but it does on the label.

Not Woody Shaw either - way less well known. It's not quite time for more hints yet, but it will be soon.... I've heard Joe on Luis Gasca's LP, but I don't recall it sounding like this... So I have to guess Terumasa Hino, who was WAY into this Miles in the Sky bag at one time. You got it, although you didn't think you did. It's Luis Gasca. Anyone familiar with the album? This track does have a somewhat different feel from the rest of the album.