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thedwork
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Posts posted by thedwork
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although i love that band to death, nothing much beyond Steal Your Face ever got me too excited. Reckoning was cool...
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interesting thread and thoughts from folks here. but it seems to me like there's not enough focus. people who seem to be on the "conservative/traditional" side who argue against language "evolving" are widening the argument/topic wayyyyyy beyond what it seems to me the article's topic was in the OP: adding the occasional new word into the lexicon. that topic, imo, has basically nothing to do with using slang in a business situation, nor does it have anything to do w/ changing the "rules" of a language. words are added yet still adhere to the same rules as all the previous words in a language. if a rookie pitcher enters the game in the 8th inning he still has to throw over the plate. and as far as adjusting your language depending on your situation (business, family, late night hang, etc etc etc...), that's something everyone does all the time and it's somewhat simplistic to generalize about that. time and place. time and place man. different styles of speech are appropriate for different situations. and there's nothing wrong w/ that.
but the article in the OP doesn't really have anything to do w/ situational language use or rules of grammar. it's about the occasional added word to a particular language's lexicon. personally, i'm w/ the guy who said earlier in the thread (don't remember who it was...) that the only languages that don't [gain new words occasionally], are DEAD languages. i know that may not be technically correct ('dead languages' are ones that are no longer spoken, right?), but i agree w/ what i think was meant. now if we want to get into meaning, oh boy, look out
![:shrug[1]:](https://www.organissimo.org/forum/uploads/emoticons/default_shrug%5B1%5D.gif)
it's hard for me to believe that anyone here actually thinks that no new words should ever be added to English's general use for the rest of time. that would be rather prudish or, and i hate to use the word but i think it fits, stupid.
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Everybody I've ever known who looks like that is at heart a "creative uses for canned mushroom soup" type person, and this article feels like that to me.
Mind you, I have no objections to creative uses for canned mushroom soup!
Best to stick to the cans.
i'd say "Stay away from the cans!":
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it's ok. just like everything else, language evolves. the article was no revelation. but this quote is, to me, suspect:
'Scholars recently analyzed more than five million digitized books, about 4 percent of all the books ever printed. Publishing their findings in "Science," the researchers discovered that, by their estimation, “52 percent of the English lexicon – the majority of the words used in English books – consists of lexical ‘dark matter’ undocumented in standard references.'
am i reading that right? more than half of the words we read are "lexical dark matter," or neologisms? really? that seems a bit high to say the least.
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watching this again for the first time since it originally aired:
i've gone through 'bout the first 8 episodes or so (including the pilot of course) and it definitely has the regular "Lynchian" vibe going on that i remember feeling when it first aired. but i'm seeing other stuff i wasn't ready for or couldn't detect when i was younger. there's a huge "camp" element in there and a lot of comedy. also, there's a lot of staging/plot/dialogue/technical stuff that is very daytime soap. i feel like i'm returning to the first (only?) television avant-garde comedy/horror/soap mini-series. good stuff...
I went through the same experience a few years ago. I'm fairly sure it was a mention here about the Gold Box being on sale that made me revisit it. I too hadn't seen it since it aired, and I had never seen most of the second season as I bailed on it thinking it was getting too silly. I ended up absolutely loving the the second season (and the 1st too of course). I agree with everything you say above, especially about the soap opera look at times. Which I suppose means I've had some experience with them to know what that looks like...
:tup I actually saw the film 'Fire Walk With Me" prior to seeing the series, in hindsight not the best choice.
i actually haven't seen Fire Walk With Me yet!
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watching this again for the first time since it originally aired:
it completely blew my mind when i saw it back in the day, and i'm enjoying it almost as much now as i did then. but it's different than i remember. i've gone through 'bout the first 8 episodes or so (including the pilot of course) and it definitely has the regular "Lynchian" vibe going on that i remember feeling when it first aired. but i'm seeing other stuff i wasn't ready for or couldn't detect when i was younger. there's a huge "camp" element in there and a lot of comedy. also, there's a lot of staging/plot/dialogue/technical stuff that is very daytime soap. i feel like i'm returning to the first (only?) television avant-garde comedy/horror/soap mini-series. good stuff...
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Some interesting stuff here. Most of it I would never have guessed if you had given me a year. I'm disappointed that I was disappointed by Mark Turner and Fly, if that makes any sense.
that makes total sense.
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I shoulda gotten the Josh Abrams disc. I have that one!!!
give it a spin!
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Very interesting. The tracks that I thought sounded familiar were not. Although, I do have a couple of Richie Beirach LPs that I haven't listened to for ever. I need to correct that because based on track #9, the guy can really play piano. Also, I'm surpised that I wasn't more attracted to the Josh Abrams track. I have heard the CD, don't own, and remember liking it. I never bought it because, well, you just can't buy everything.
Thanks again for your efforts. I enjoyed the BFT alot.
you are most welcome NIS. of course i'm glad you enjoyed some of the music. couple things: Beirach is an interesting musician and i have an odd relationship to his playing. i LOVE the two solo piano recordings i have by him. they're real important to me. but a lot of his other stuff (group stuff, duos w/ Herwig, things with Leibman, sideman stuff, etc...) i don't always like. sometimes, but not often. so if you revisit the other LPs you have by him and don't get too excited, i'd say still try to get your hands on the solo piano recordings Sunday Songs and Self-Portraits. they're special.
also: you say some stuff sounded familiar but was not. i say even if you hadn't heard some of this stuff before, it could still be familiar
peace...
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There is so much I wanna get, and so many of these records I wanna explore but.... you put a CTI record on a BFT!!! That's like manna from Heaven for me!!! I'm a CTI fanatic and THIS has just shot to the top of my vinyl shopping list!!! Oh how I wish I'd had this information while I was in Austin this past weekend!
An EXCEPTIONAL BFT!!! One for the ages!
:party: Yea!!!
Track 12, Chris Potter. Shoulda known. Not one of my favorites, but I know I'm in the minority there. Ah well!
i hear you. i'm not crazy about everything i hear from him either, but when i do like him, for me he hits it outta the park. and this quartet he's playing w/ on this concert from youtube is about as good as it gets. i really think this group very... deep. they're diggin' deep and they arrive at some beautiful places. here's two more:
http://www.youtube.com/watch?v=H-rwYH_SJlU
http://www.youtube.com/watch?v=PwzKjgLcVig
personally, i just do not tire of listening to these. amazing music.
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Part 2:
Track 8 – Rob Mazurek: “Quietly Sleeping” from:
another one I thought someone might ID but maybe there aren’t as many “Chicago Scene” fanatics out there as I’d thought/hoped. Most of the rest of this particular recording is not much like this track. It’s some pretty difficult, idiosyncratic electro-acoustic improvised stuff. He’s one of my favorite creative experimental improvising artists. I came to him through Isotope 217, a group introduced to me by an old drummer friend.
Track 9 – Richie Beirach: “Inamorata” from:
solo piano recording of which about half are well known classical pieces which Beirach improvises over. This track, “Inamorata,” is a Beirach original. This album is my favorite solo piano recording ever. In my mind it’s a masterpiece. As is another solo piano recording of his, Self Portraits, though that recording is very different stylistically from this one…
Track 10 – Fly Trio: “Emergence/Resurgence” from:
three of my favorite modern players. I wouldn’t say this is an essential recording, but something about this track always intrigues me. It’s got a mystery to it, but at the same time it’s kind of calculating. The precision of the shifts, the musicality and the tachnique, just all so fine…
Track 11 – Josh Abrams: “Background Beneath” from:
anyone who has an interest in modern free playing and creative improvised music in general should buy this record. Amazing…
Track 12 – Chris Potter: “Iroquois” from… I believe it’s unreleased. Here’s my source:
http://www.youtube.com/watch?v=H6xnigsCEgU&feature=relmfu
I did some digging around the internets and am pretty sure this is an unreleased original by Potter that this particular quartet played live. I found some article/review of a gig by this group where the reviewer mentioned them playing a tune called “Iroquois” and got a confirmation from the person who uploaded this video. Sound quality is pretty good and this is another one I thought someone might ID. This was my way of getting Kevin Hays into the BFT. Wonderful pianist. And the entire first half of this performance for me is magic. Potter’s beautiful intro, the wonderfully playful and kind of childlike head, the ascending line that starts at 1:38 and leads to the break, and then it comes around again. And then the free blowing exchanges (over time) between Potter and Hays where the melody is never too far away. Just so fine in my mind. And when the time breaks and Hays plays, he gets quite third stream for a moment… not unlike something Beirach might have played. But like what someone here I think mentioned earlier, I also would’ve liked if Potter had continued the tune on his soprano through the end. I think it’s character fit the tune better. But he’s Chris Potter. The other three vids on youtube from this concert are all fantastic as well. watch them.
Track 13 – Sonny Rollins w/ Don Cherry: “You Are My Lucky Star” from:
not much needs to be said here. Amazing music. Figured some folks would recognize it. I’ll admit that if I didn’t own this record I would likely not have recognized anything here except for maybe picking out Cherry…
Track 14 – Allan Holdsworth: “Floppy Hat” from:
I used to be a guitar player so I was immediately aware of Holdsworth’s genius from the first time I heard him as a kid. Whether you like his music or not is a separate issue – if you play guitar, you realize quickly how special this man is. Other open-minded (and “open-eared”) musicians realize it as well. I listened to this track many times a day for possibly as long as a few years from high school into early college. I put it on every mixed tape I made for friends. It’s burned deep into my consciousness and represents time and place for me. It’s also apparently a good stumper for a BFT...
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Part One
(this program only allow a certain amount of images per posting, so i have to split this into two separate posts...):Track 1 – Bruce Katz: “Boppin’ Out Of The Abyss” from:
Figured there was a good chance no one would ID this one. But I also figured most would, for the most part, enjoy listening to it. I discovered Katz through the Ronnie Earl And Broadcasters blues band back in the 90s. They are essentially an instrumental modern blues quartet now since disbanded. Earl is an amazing guitarist but as important as his playing was/is, the rhythm section that included Katz was as essential in making that group what it was, imo. And Katz’s playing in jazz groups is excellent as well.
Track 2 – Joey Calderazzo: “The Oracle” from:
I really thought this one would get ID’d by a few folks. I came to Calderazzo the same way I figure most folks do – through the Branford Marsalis Quartet. This trio is w/ Tain and Pattitucci and I think the entire recording is terrific. Essentially no real weak spots throughout. Too bad this trio didn’t make more recordings. And as far as everyone here mentioning McCoy in relation to this track, I assume its title, “The Oracle,” refers to him.
Track 3 – Zirque Bonner: “Waltzirque” from a home recording made in Bonner’s home in Sedona, AZ.
This is Zirque’s tune. The group is Dominic Lalli on tenor, John Dworkin on guitar, Zirque on bass, and Frank Rosaly on drums. This one was pretty well guaranteed to have everyone stumped. It is not released, afaik. I wanted to include it as I feel it’s kind of a valuable recording since it’s got frank just before he moved to Chicago, and dominic before he left Arizona and started Big Gigantic. Both are pretty well known now (albeit for very different styles…) and this will be a funky little curio for anyone familiar w/ either of those two players. By the way, Zirque is a monster bassist and an amazingly cool person.
Track 4 – Nick Brignola & The Endangered Species: “Fast Food” from The Endangered Species.
Somewhat unknown recording by the great Brignola and a few other local Albany/Troy players: Chuck D’Aloia on guitar (writer of the track heard here), Rich Syracuse on bass, and Dave Calarco on drums. Another cool one for folks to have if they’re Brignola fans. I figured I’d choose one from the recording where Nick wasn’t on bari to trip folks up. Plus, D’Aloia was the big local guitar hero here for a while – w/ good reason. I was lucky to see him play live quite a bit. He’s moved West recently…
Track 5 – Jesse Van Ruller: “Christina” from:
another one I thought some here may have ID’d. maybe there were no guitarists playing this month? Terrific straight-ahead guitar playing. This entire recording is fantastic for this in the pocket vibe. And Ruller’s tone is beautiful.
Track 6 – Conrad Herwig: “With Every Breath” from:
always liked this record and I think Herwig is spectacular on trombone. Great tone, chops, ideas, etc etc etc… and Nussbaum is one of my favorite drummers so this album “feels” good.
Track 7 – Bill Charlap: “Fantastic Rhythm” from:
worthwhile tribute record to Strayhorn. The version of “Rain Check” with Lovano, Hank Jones and Paul Motian from the same record is also excellent. Really, really beautifully swinging take…
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Could track 14 be Bucky Pizzarelli?
hey Al. didn't notice you'd posted again that day. sorry for the delay. not Bucky...
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By "this site" you mean "that site," as in the site with the chart, right?
When I first read your post, I thought you were referring to organissimo and Jim.
Me too.
aaargggggggghhhhhh!!!!!!!@#$%^&*
i was most definitely not referring to organissimo and jim. i can see how it might read like that until you get further along in the post. don't scare me like that.
anyway, i assume if anyone here did what i did - look up the guy who runs/put together the site - and checked out a few of his things/writings, you'd pretty much come away w/ the same impression i did. or, if you're berigan, you've found you're new hero and a bunch o' new sites to quote and link to when you wanna try to stir up some bullshit or "prove" a point...
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very cursory research shows me that, more likely than not, a thorough investigation on this site and the guy who runs it would likely show him/it to be a far-right republican shill w/ all the regular connections and attitudes and beliefs: capitalism cannot be questioned, christianity is the way to go and is "under attack," liberalism is a mental disorder, etc etc etc...
reminds me of a chapter title from one of Franken's books: "How To Lie With Footnotes." sub the word statistics for footnotes in that chapter title and you've got my impression of the link supplied in the OP.
and why is this not in the politics section of the forum?
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excellent for the price.
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Well, I can't come up with anything for the trumpeter on #8, so I'm going to make my obligatory guess on #9 and say that it reminds me some of Bernardo Sassetti.
wow! track #9 is not Sassetti but thanks for guessing him. i'd never heard of him before so i went to amazon to listen to some stuff. i can see why you'd guess him for this BFT track. but more importantly, you've given me someone new to look out for and possibly purchase. fantastic stuff. i listened to some soundtrack stuff (Alice in particular, the first few tracks/cues reminding me of Newman's now somewhat omnipresent American Beauty score...), and some trio and solo playing. fantastic!
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I came in late so I've only had one good listen. I have to say that there probably isn't anything that I will rush out to buy BUT listening on the deck with a cold beer, this was a great soundtrack to a beautiful evening in Nebraska.
it's all about Nebraska man!
My favorite tracks were the three solos and the track that followed them.
I don't have anything like it in my collection but I'm always attracted to the style of playing as on track #7.
Track #8 is a pretty little piece. Sounds a little like Miles but I guess alot of them sound a little like Miles. Actually, this person kind of sounds familiar. I am going to listen some more to this and maybe it will come to me. Or maybe I'm just full of it.
i hope it comes to you. very creative player/artist.
Track #9 is another pretty piece that sound familiar. Very nice.
the whole recording is this lovely.
I am going to take a step back from my earlier comment. The album from track #10 is something I might have to check out further. I've listened to this one several times and it is really growing on me. I like the bass clarinet (that is what it is, no) to start with.
yep - bass clarinet. this is one of the strongest tracks from the album but i would say the entire thing is worth having. three of my favorite players forming a "super group" of sorts i'd say.
Thanks for the music, thework. I very much enjoyed the BFT.
you're welcome
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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.
i like the drummer's playing over the vamp and in general too. but i would say that i think he over-emphasizes, or "parrots," the hits through the head too much. i'd've preferred a little more straight time through that or less overt accents. but that's the anal-retentive control freak composer side of my personality coming through...
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.
i haven't looked back thru yet, but i think maybe evryone who has responded so far has mentioned Tyner. is that some kind of record? and yup - that closing vamp is a beautiful thing. "burning," as they say...
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.
yeah, the tenor, bass, and drummer you mention are all excellent musicians. and it was actually the bassist's date so too bad about not liking the recorded sound of his instrument. and this is his original composition. if i remember correctly, he played an electric upright for this recording. but that could be wrong...
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.
looking forward to giving some
and agian w/ the clarinet guess instead of soprano as it's listed in the notes. it really does sound like clarinet, doesn't it?!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.
another correct ID - it is, indeed, not Grant Green! couldn't resist the cheesy joke. forgive me? not an original from the guitarist.
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.
yup - another one you could maybe describe as "burning." i really like the bone player on this one - and the drummer and the pianist...
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.
yeah - this is very fine playing. obviously not pushing through any boundaries here. just superb interpretation and playing. don't know if it's a bosendorfer...
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.
yep - see my earlier responses to others about this track. i'll be interested to see the reactions to finding out who this is. ie: "Huh? never heard of him..." or, "Damn! How could I not recognize him!" or, "Oh. I've heard of him. Maybe I'll check him out..." we'll see. i see him as a very big fish (the biggest fish?) in a small to medium sized pond. not Wadada.
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.
yeah - it's very poetic in it's "only what's needed" vibe.
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.
i could see the letdown. and i myself may have felt that on the first couple listenings too. but as i keep hearing it (and other stuff by this group), i like it more. the shifts in feel and time are just so cool and precise, but still somehow loose.
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.
i agree the "free/straight head" is kinda bizarre and could be seen as a type of musical joke - but damn it's fucking cool as hell too, aint' it?! i fucking love the idea. it's almost like they did a "regular" take and used faders in the mix to create the effect of the "sections" trading off of each other. i also just really like the playing, writing, and tone of all these players.
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.
context is a bitch. somehow to my ear/sensibility this fits here. maybe 'cuz of some of the previous material in the BFT.
Good one, thedwork - I enjoyed it.
yea!
(Edited to add a missing pronoun.)
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excellent comments jeff. will get to responding sometime tomorrow...
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.)
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I don't get any comments to my guesses/ramblings?
of course you do
In the immortal words of Sweets, “Yes it’s me and I’m late again.” But the old lady lookin’ out the window knows better than to ask my opinion of the BFT because she already knows the clueless responses she’s gonna get!
Track 1: I’m gonna be bold and say this is the new incarnation of our gracious hosts with the drummer’s dad wailing away on the sax. I don’t know of any other organ group that sounds like Organissimo, so maybe Jim & Co. have a legitimate case against these guys if it isn’t Organissimo! Except that I don’t hear a guitar, so…. Oh heck, I don’t care. That’s my answer and I’m sticking with it!
i wish i had inside info on the Big O, but this in fact not a new incarnation of "Jim & Co."
Track 2: No clue, but it’s a piano trio. A very NICE piano trio! One that I might just seek out once this is all done! Won’t go so far as to say it’s the real thing, but all players are of one mindset of paying a well-executed tribute to the Tyner-Garrison-Jones rhythm section; they play as one, which is refreshing!
i agree. these three definitely play as a group on this track, and the rest of the record. this is probably the best cut on the cd but the rest is almost as good. for me, it's a keeper. lots of folks here mentioning Tyner on this one, and w/ good reason. though it is, of course, not him.
Track 3: AAARARRRRGGGHHHH!!!!!!! I’ve heard this before! I know I have! And I’m gonna freakin’ kick myself to the moon for not remembering who this is! Egad, I hope it occurs to me before this is all over with! OH! OH! OH!!!!! I know who it is! It’s that Joshua Redman record with Billy Higgins on drums, lemme see here….NO!!! SCRATCH THAT!!! It’s Joe Henderson from that Miles Davis record he did for Verve! THAT’S why it sounds familiar: because I stupidly traded it away years ago! {{{MEGA-SIGH}}} I never learn!!!
Yea! this comment is a beautiful thing and put a big smile across my face. all the guys you mention here - Higgins, J. Redman, and Henderson - are big influences here. especially on the tenor player and the drummer. and those two players are the reason i wanted to include this track in the BFT.
Track 4: No idea, but I am loving the fact that it’s a guitar in place of a piano for the chordal instrument. Some of my favorite jazz is like that. Clarinet, eh? Kenny Davern?
yeah, this guitarist is a terrific accompanist w/ a great harmonic sense and feel. and this tune is his own. excellent soloist as well. and i had to check my liner notes to make sure, but it lists soprano, not clarinet. though it certainly sounds like it could be. i'm pretty sure this guy played essentially all reeds so maybe it was just left off the notes? not Davern.
Track 5: Oh, where have I heard this tune before? I don’t know this particularly lovely version. Sounds like a tune from Herbie Hancock’s BLOW UP. Or a Joe Henderson tune. Sure is nice, though; the kinda thing that would provide the perfect soundscape for a walk in the autumn sunset.
yup. beautiful tune, played beautifully. i thought someone would be able to ID this artist. we'll. we maybe have a few stragglers left who could pull it out...
Track 6: Some good ol’ fashioned BOP! Wanna say this is one of JJ’s final recordings. Good stuff!
yeah - straight-ahead blowing on some nice changes. not JJ...
Track 7: Someone who loves him/her some Fatha or some Teddy Wilson. But it sounds like they’re playing an electric piano set to acoustic settings. Not sure why.
i don't have much, but all my money is on this definitely being played a real grand. this track came out on a tribute album w/ many different artists paying homage to one particular artist and, if i remember right, playing his tunes. i guess that's kind of a hint... but not a real good one.
Track 8: The brevity suggests a solo snippet or an interlude from one of Miles Davis’ Gil Evans records. Maybe one of the outtakes from the Miles/Gil box? But it sure makes a nice prelude to the next track, so good programming choice there, Dwork!
thanks man. i tried to create a "flow." your comment is similar to another poster so i'm gonna copy and paste my response: "yeah - the connection between Miles and the harmon-on-trumpet sound is tough to dissociate. but after you listen to this player for a while you start to recognize him fairly quickly. i know i do now. and yeah, it feels like "a prelude or coda to something," but it's its own track on the cd. this artist may have envisioned the whole cd as one long piece which would semi-explain the truncated feeling of this piece..."
Track 9: Couldn’t tell you who this is, but I can tell you the feeling that it evokes, which is one of wistful longing, and I usually only get that from certain George Winston albums. I’m not sure if this is him because I’m not THAT much of a GW collector. My only other guess would be Bill Evans, who also has that kind of power over me. It’s lovely, regardless, one that I’ll likely pursue after this is all over with!
real glad you enjoy this one Big Al. it is a beautiful thing. and i could see the Winston thing, but for me this is much more, and i dread using this word but it seems to fit here, sophisticated. there's more going on here harmonically, rhythmically, and conceptually than on Winston's stuff i'd say. for me this guy is "groovin' on a whole other plane" as Winwood would say. and i'd say you should definitely "pursue after this is all over with" as you mention 'cuz the rest of this cd is nothing but more of the same in terms of beauty. and the rest of the record is a bit more dense, but all still very beautiful.
Track 10: There’s a little run up the tenor sax when this thing really starts flying that suggests Sonny Rollins or a reasonable facsimile. (I’m starting to see a trend here!) Wait, maybe that’s a bass clarinet?
both bass clarinet and tenor. Not Rollins.
Track 11: Did Nicholas Payton, Russell Malone, & Christian McBride ever make another record besides the Herbie Hancock record? Ah well, guess it’s a moot point now that there’s a tenor sax goin’ at it. Well, who says it can’t be the same trio with an added horn? I can only dream!
"...To sleep, perchance to Dream; Ay, there's the rub."
Track 12: Well, we finally hit our first dud of the bunch for me. The alto sax is too wobbly for my tastes. (I know, I know, this coming from a guy who loves Dudu Phukwana’s squawking on Hugh Masekela’s HOME IS WHERE THE MUSIC IS) Actually, it’s a lotta things too much for my taste, and the piano player only seems to encourage him. Ah well, I know there’s a lotta folks who dig this, so that’s cool. I’ll just move on!
"Oh... Central America and whatnot. Moving on..." finally someone calls out a dud! the duderino. yup. if everyone liked the same stuff this would be an even weirder world than it already is.
Track 13: Ah HAH!!!! I knew I’d eventually hear it! Full disclosure time: in the midst of my tiredness last night, I opened up this thread, which is never a good idea because a) knowing the answers doesn’t help me and b) if I see something I’m gonna guess correctly, then that takes away the thrill of the discovery. I saw that someone had guessed Rollins/Cherry from “3 for Jazz,” which I have on the Sonny RCA box. Still, I thought it would go by me because I’ve listened to those particular tracks a total of zero times. However, now that I’m listening, I have to believe I woulda recognized Sonny, which woulda made me realize there’s no piano on this track, and then I woulda heard the drum solo and instantly KNOWN that was Smilin’ Billy, which woulda led me to realize that’s Don Cherry, which woulda led me to the conclusion that this was Sonny Rollins from the RCA box. But that’s as far as I woulda gotten. So, I get a point for guessing the players, but not the album, and I get another point for honesty. So there! (I consider this the BFT equivalent of NPR’s “Wait Wait Don’t Tell Me”)
Trebek says points allowed!
Track 14: There just isn’t enough acoustic guitar in jazz, as far as I’m concerned. I’m gonna guess Peter Leitch, and then I’m gonna seek this out once this is all over with. It’s been a loooooooooooong time since a BFT threatened my wallet this badly!
not Leitch. and as i said before, this one may really surprise folks. i've loved this track since i was a teenager but it is not at all the style he is known for...
Track 15: Wait…. That’s it???? There’s no track 15??? Aw man! Track 14 was such a lovely ending to a wonderful BFT, and it’s a testament to how much fun I was having that I’m this disappointed it’s over. Phooey! Guess I gotta go back and listen again!
After I read everyone’s comments.
And especially after I’ve kicked myself a few hundred times!
A fantastic BFT, thedwork!!! Gonna get a LOT of enjoyment out of repeated listenings to this one!
sooooooo glad to hear it Big Al. sharing music makes me happy, and when folks dig it, it's that much better...
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Sorry for the delay, I need to finalize my responses.
9. Listening to this one again, I'm wondering if it is Toshiko Akiyoshi.
not Toshiko.
10. I like this one. Starts off soft, then the bass then drums kick in and we're off. Again, I am clueless. Steve Lehman? Or John Carter?
yeah, this one's all about the rhythm section for me - the shifting feels/time. not Lehman or Carter, but Lehman is an excellent guess and i love that he is mentioned in my BFT...
11. Guitar and trumpets. Sounds like Jim Hall on guitar, but ?? on the trumpets.
not Hall but i can see how you'd think of him w/ that nice dry, but still full, sound and sweet comping.
12. Beautiful playing!!! Kinda Konitzish. But more biting. No clue. Geez, I'm terrible.....
definitely not Konitz. funny, someone guessed Konitz on the previous track...
13. Answer already given above in the thread. I'll have to revisit that album....
14. Beautiful, but again, I haven't a clue.
2nd person to the adjective "beautiful" to describe this track, and i'll say again that i agree. and not having a clue on this one is no surprise. i feel that folks here who know a little bit about this guy will be somewhat shocked. and folks here who count themselves as fans of, or knowledgable about, this guy but just don't know this track will also be very surprised.
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Time to finish this off...
8 Maybe trying a little too hard to sound like Miles, especially toward the end, but still a wonderful sound. Feels like a prelude or coda to something.
yeah - the connection between Miles and the harmon-on-trumpet sound is tough to dissociate. but after you listen to this player for a while you start to recognize him fairly quickly. i know i do now. and yeah, it feels like "a prelude or coda to something," but it's its own track on the cd. this artist may have envisioned the whole cd as one long piece which would semi-explain the truncated feeling of this piece...
9 This is some fairly recent pop tune, isn't it? And I'm dated by my failure to recognize it. These kids and their music today, I tell ya.... Once again, the ECM vibe.
i could agree w/ the "ECM vibe" i guess, but it's not a recent pop tune. i'll check liner notes (if i can find them
), but pretty sure this is an original.10 Doesn't do much for me. I've never responded well to the Breckeresque style of tenor playing.
Brecker, eh?
11 Trumpet sounds a little like Art Farmer. Hey, that's Lee Konitz, isn't it? (Or a very close disciple, such as Gary Foster.) I'm stumped. Maybe a recording from Europe, with Attila Zoller? Love the arrangement.
all good guesses and i can see how you'd think of a couple of those guys but none correct. and yeah, that arrangement is effin' cool, right?!
12 I like the soprano. I don't like the tenor, despite the beautiful tone -- he's too eager to bring it to a climax right NOW. Double entendre intended.
me too spontoon. i preferred the soprano playing in this performance to the tenor. i feel it fits the composition better. but this guy is rather - how shall i say - proficient on the tenor as well. i just love the head on this tune and the beginning interplay between the soprano and piano at the top of the solo section is beautiful to my ear.
13 Husky tenor. Cherryish trumpet. This is fun!
fun indeed. and the trumpet is very "cherry-ish." it is Don Cherry! 2nd ID of the BFT. points for the spontoon man...
14 Two guitarists, or one overdubbed? The beautiful tune sounds like it could be a movie theme. A sweet way to end.
pretty sure it's one overdubbed. agreed on the beauty. and i never thought of this as a possible movie theme, but now that you mention it, definitely
Thank you! Can't wait to see the answers.
for me, the coolest thing about these BFTs are the absent musicians that the present music brings to mind.
Yeah!
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Time to finish this off...
8 Maybe trying a little too hard to sound like Miles, especially toward the end, but still a wonderful sound. Feels like a prelude or coda to something.
9 This is some fairly recent pop tune, isn't it? And I'm dated by my failure to recognize it. These kids and their music today, I tell ya.... Once again, the ECM vibe.
10 Doesn't do much for me. I've never responded well to the Breckeresque style of tenor playing.
11 Trumpet sounds a little like Art Farmer. Hey, that's Lee Konitz, isn't it? (Or a very close disciple, such as Gary Foster.) I'm stumped. Maybe a recording from Europe, with Attila Zoller? Love the arrangement.
12 I like the soprano. I don't like the tenor, despite the beautiful tone -- he's too eager to bring it to a climax right NOW. Double entendre intended.
13 Husky tenor. Cherryish trumpet. This is fun!
14 Two guitarists, or one overdubbed? The beautiful tune sounds like it could be a movie theme. A sweet way to end.
Thank you! Can't wait to see the answers.
for me, the coolest thing about these BFTs are the absent musicians that the present music brings to mind.
Yeah!
awesome spontoon! just finishing up my lunch break @ work so can't respond in detail right now. will get back tonight...
Regarding Rodney King Thread
in Miscellaneous - Non-Political
Posted · Edited by thedwork
i agree that that Cage example is also another unfunny and unwitty quip. but it's soooooo zen. everything is as it should be, you know? go with the flow. like awesome dude...
was there just the right amount of pain for Rodney King?