Rosco

From the list: Phobophobia- Fear of phobias. How screwed up is that?

Ok, so here goes with the first listen through; no Googling, reading other responses or other cheating… 1. Wonderful! I love this kind of stuff, though I don’t claim to be particularly knowledgeable about it. I guess bass players will figure large on this BFT; this is sounds like an early example of string bass (as opposed to brass). Anyway, joyful music whoever it is. 2. Some mighty slapping going on in the bass.. Pops Foster? This grooves! 3. Moving into the early swing era… still no idea. Good music though. 4: Ah! What’s this? I’m pretty sure I have this. Sounds Basie-ish. Got it. Track 4 from here. Walter Page on bass. 5: A leap forward in time here… hard to pin down but acoustically in sounds like a 70s recording, so some late period mainstreamers. Ooh, what’s the tune? I should know that. Nope. Can't think. 6: Woah. A piano virtuoso. Hines? Tatum? Is that Major Holley on bass? No, doesn’t sound like him… Oh! I might go for Holley’s prime influence, Slam Stewart playing with Art Tatum. Hell of a track anyway. 7. Well, the tune is ‘What Am I Here For?’ played as a bass feature. No idea. 8: ‘Sophisticated Lady’, piano and bowed bass. Well, it's these guys, track 10. Remarkable bass playing playing, even now. 9. Mid 40s swing-into-bop. Some familiar sounding voices but nothing springs to mind. 10. Stab in the dark but could this be very early Mingus playing with Lionel Hampton? A guess. 11. Can’t imagine this’ll be a mystery for long! ‘Night in Tunisia’ of course, from this classic album. Wonderful music. One of the great live albums. Curly Russell on bass. 12. ‘Nice Work if You Can Get It, ’ and it could only be our man here. Al McKibbon on bass. 13. Title track from this album. Percy Heath on bass. Amazing how interesting simply walking quarter notes through two choruses of a blues can be in the right hands. Lovely. 14. Nice warm trumpet (flugelhorn?), sounds a little like Clark Terry. Interesting line up; guitar in place of piano, no saxes. Nice interplay. Dunno. 15. Well there’s some wonderful playing here, no idea who it is. The only vibists from this period that spring to mind are Hampton and Red Norvo. 16. Familiar sounding theme, can’t place it. The piano is a little Oscar-ish. Monty Alexander perhaps? 17. Nice. Nothing hits me here. 18. More bowed bass. One of the more demanding disciplines of bass playing I would imagine, nicely done here. Nice strong tenor. Trumpet sure sounds familiar. Solid stuff. 19. Nice flute; a couple of phrases had a Dolphyesque angularity to them but I’m guessing it’s a little earlier than Eric. More vibes. Sounds like advanced mid-50s stuff, Teddy Charles or someone. Good solid disc. Five tracks I’ve nailed for sure but I would guess I’m not alone on those. A lot of bass solos! Didn’t see that coming! Will try and listen to disc 2 tomorrow.

September 7th- 1950: Sarah Vaughan records for Columbia 1956: John Coltrane, Hank Mobley, Al Cohn & Zoot Sims- Tenor Conclave (Prestige) 1971: Gary Burton- studio tracks from Alone at Last (Atlantic) 1972: Pat Martino- Live (Muse) 1993: (7th & 8th) Frank Wess- Tryin' to Make my Blues Turn Green (Concord)

Man... has she got a sister?! Congrats!

11. Uh… that would be me, I guess. I only have one CD by this band, Crossroads and it’s a nice album. Will have to get more. 12: Recognized Murray with almost the first note. He comes in for criticism, some of it not unfounded by I think he can be exciting to hear in the many contexts he’s chosen over the years. Didn’t associate Pullen with this kind of thing (or even the organ) but he sounds right at home and, once ID’d those clustered stabs and careening runs are total Pullen. This is another of those albums that has been on my wants list for a while (OOP? Or just an expensive Japanese import? Can’t recall). 13: And yet another from my wants list (seems as though the Soul Note catalog is in limbo at the moment). Very beautiful piece of music that conveys the tragic circumstances of its creation without being merely bleak. Surprised that Ford is the tenor; I like him but didn’t associate him with this. Again, thanks Marty. Interesting choices and a few more to add to the ‘must get’ list.

Again, a little late in posting these responses but… 1: What little Paquito I’ve heard has been in a more Latin style. Nice track. 2: I have the earlier version on Keys to the City but it didn’t click. MM is a fine pianist. Almost speculated that Tain Watts was the drummer. Glad I didn’t. That would have been embarrassing. ‘Days of Wine and Roses,’ huh? Hm, I sort of hear it but it would never have occurred to me. 3: Thanks for crediting me with ‘instant recognition’ of Lovano, but it actually took a couple of listens. Not familiar with Kolker but he sure holds his own in such fast company. 4: A nice tune and good arrangement. And, hey, how ‘bout that piano player? Nice choice. I like that this BFT isn’t just a ‘name that tune’ quiz, it also has some things that hopefully a few of us will get turned on to. 5: Cooks indeed. Two musicians I need to hear more of. 6: Again, Wallace isn’t I player I’m familiar with but he’s very interesting here. A definite Dolphy influence here, sounding a little (now that I listen to it again) like David Murray. Sco doesn’t sound quite himself here for reasons I can’t quite put my finger on; a little more subdued maybe, a less bright sound; anyway I kept thinking it might be Mike Stern. 7: ‘The piano style seems very familiar,’ I wrote. Yeah, I would hope so: I really like Barron. I have this album and for some reason it didn’t occur to me. Should’ve spotted Haden, too. Nice stuff. 8: Opinion was divided on this, but I quite liked it. Surprised that it was Bartz (although listening back I can hear his tone); in fact I’m surprised this was American musicians (well, ok, Holland excepted). 9: Yeah, Toots is probably one of the most distinctive voices in jazz. Blanchard’s new to me. Good track. 10: Yep, this is the one that drove me nuts! I recognised it almost straight away as a Jarrett tune and in my head I could hear Garbarek playing it. I just could not think what it was. The original (from Nude Ants and Personal Mountains) is a slow, lush ballad; this is transformed into a furious (as several have rightly pointed out) Rollinsesque sprint. Kind of a curious choice to interpret this way- somewhere between irony and parody- but very much like the irreverent approach Rollins often employed, particularly during the sixties. Jarrett has written some fine tunes and it’s a pity more players haven’t seen fit to reinterpret them. I remember this album coming out although I seem to recall the line-up not looking too promising… Not familiar with Garzone’s playing but on the basis of this I will be seeking out some of his work.

Wynton? Funk? What will Stanley Crouch say?

September 6th- 1927: Louis Armstrong's Hot 5 record 'The Last Time' issued on Columbia 1929: Luis Russell recrods for Okeh 1940: Sidney Bechet records for Victor 1946: Louis Armstrong records for Victor 1946: The Be-Bop Boys (Fats Navarro, Kenny Dorham, Sonny Stitt, Bud Powell, Kenny Clarke etc) record for Savoy 1957: Gil Evans- session for Gil Evans & Ten (Prestige) 1958: Ahmad Jamal at the Spotlite Club, Washington- Ahmad's Blues (Argo) 1960: Max Roach- session for We Insist! The Freedom Now Suite (Candid) 1960 (6th & 7th) Helen Humes- Songs I Like to Sing (Contemporary) 1961: Dave Brubeck & Carmen McRae at Basin St. East, NYC- Take Five (Columbia) 1961: Eric Dolphy at Berlingske Has, Copenhagen- three pieces spread across Eric Dolphy in Europe, Volumes 1-3 (Prestige/ New Jazz) 1962: Roland Kirk- session for Domino (Mercury) 1964: Duke Ellington- session for Mary Poppins (Reprise) 1972: Miles Davis- 'Rated X' from Get Up With It (Columbia) and, not entirely sure about this one- 1973: Art Ensemble of Chicago- Fanfare for the Warriors (Atlantic) (also seen this listed as Sep 5th and Sep 6th-8th)

12: An album that has been on my wants list for some time but have never gotten round to (hey, it’s a looooong list!! ) I don’t know why I heard a tenor on my first listen; it’s obviously two altos but one of them (Lasha?) has a much fatter sound. I thought you might have put this on here at this point to shake things up a little. It’s a lovely track, ‘thoughtful and melodic’ I said and despite being from the avant side of things I don’t hear this as being inaccessible. Interesting that some were put off by it. Proof that the 60s avant garde wasn’t all fire-breathing anarchy. 13: Had to be Basie. Lovely stuff. Kept us all guessing with the tenor players; Ammons I might have spotted on a good day, Auld is less familiar to me. 14: Another album from the wants list (I think it may be OOP, at least last time I tried). A fun Monkian track. Didn’t ID anyone here. What little Strozier I’ve heard I’ve liked. In tone he reminds me a little of Cannonball, but here his brief solo has more of a McLean-ish edge to it. Good piece. 15: Another gimme. Eveyone should own this marvellous music. 16: This was a track I didn’t care too much for. The writing is accomplished for sure, too restricted for my tastes though. Shaw had some fine musicians working with him of course, so I’d be interested in hearing some other things from this set. 17: I had no idea on this one. Not familiar with Davis’ playing but he sounds fine here and this another album I’d like to hear more of. Really shoulda spotted Woody Shaw! Those wonderful inside/ outside lines and glowing tone. Dang! 18: On the wants list. Strange, I’d always figured this album would be more ‘out’ (and from your comments it would seem so). It’s a fun track but it still seems to run out of steam a little after that spiky piano solo (I wasn’t alone in thinking of Jaki Byard) Really enjoyed my first BFT so thanks, Marty. There are some tracks here I’m going to have to follow up. More expense!

A little late in posting this as I’ve had too many distractions lately but I wanted to add some further thoughts to what was a thoroughly enjoyable set of music. 1: Should’ve taken a stab at an Ellington small group but didn’t. Cootie’s great on this. 2: Love this tune more each time I listen; am definitely adding this album to my wants list. Seems just about everyone ID’d Pepper; I should really have got Dorham, he’s pretty distinctive. Thanks for hipping me to this piece. 3: Looking back on my previous comments I was a little lukewarm on this; I have to say that this track that has really grown on me. I mentioned I found a ‘tentativeness’ to it; what I hear now is a careful building up of melodic cells and ideas, that culminate in a beautifully melodic yet advanced climax. It’s certainly not something I would have associated with Hawes (I really only know the earlier Contemporary albums) and indeed all three players sound much more ‘modern’ than I’m used to hearing them. After giving this a few listens it’s proved to be something of an ear-opener. 4: Interesting how many of us said ‘Django inspired’ but not just ‘Django’. I knew Reinhardt had recorded in a more modern idiom towards the end of his life but I’d always heard that the results were somewhat mixed. Not judging by this track which is very fine to these ears. Will be picking me up some late period Django on this basis of this track. 5: This was a gimme for me. Love this album. 6: Dang! I have this track on a compilation of Barnet, but it didn’t ring any bells. Marmarosa is great on this track (all the more when you consider he was just 17!). Apparently ‘The Moose’ was another of Dodo’s nicknames. I didn’t hear Basie so much in the piano as in that Greenesque rhythm guitar. 7: Another very interesting track. Listening back now the trumpet is obviously Byrd but it didn’t jump out at me before. I did speculate that the tenor may be Sam Rivers (or John Gilmore) and it’s interesting how advanced he sounds back in 1961. Oddly the only player I nailed here was Philly Joe. 8: Don’t have me enough Earl Hines. 9: Yay! Guessed Dickerson, although I only own one of his albums (‘For my Queen’) 10: I was one of those who guessed Mulligan for this. Don’t know much of this stuff, but I like the breeziness of this (like much West Coast jazz of the 50s). It still sounds like a derivation of ‘You Can Depend On Me’ in places. 11: I said I should’ve known who the trumpet and piano were and I really should have. Shame on me for not spotting either of those men as I like them both a lot. This is one of the Mitchell albums I don’t have. Will have to put that right. Damn straight ‘bout the rhythm section! Tight and loose at the same time and very swingin’. The kind of rhythm that just gets in you and moves your body.

In the mail this morning!

The original albums included in the box are: New Jazz Conceptions Everybody Digs Bill Evans Portait in Jazz Explorations Sunday at the Village Vanguard Waltz for Debby Moonbeams Know What I Mean? (with Cannonball Adderley) Interplay How My Heart Sings Trio at Shelly's Manne-Hole Plus tracks originally issued on the outtake compilations Peace Piece and Other Pieces The Interplay Sessions Time Remembered plus a whole disc's worth of unissued solo piano (this may have been issued separately since the box, not sure)

September 5th- 1937: Lionel Hampton records for Victor 1940: Duke Ellington records for Victor 1944: Woody Herman records for Decca 1945: Woody Herman records for Columbia 1946: Kenny Clarke's 52nd Street Boys (Fats Navarro, Kenny Dorham, Sonny Stitt, Bud Powell, etc) record for Swing 1950: Sarah Vaughan records for Columbia 1958: Ahmad Jamal at the Spotlite Club, Washington- Portfolio (Argo) [some tracks included on Cross Country Tour (Chess)]

I was slow in spotting this story, so apologies if it's been posted elsewhere... ... but it's too good to let slide... http://www.channelnewsasia.com/stories/ent.../161476/1/.html

Music is the healing force of the universe, as someone once said.

Weird... Just as I read those last few posts I was (and still am) listening to the long (15 minute) take of Now's the Time included on the Complete RCA Victor box set. There are whole stretches in the solo that sound almost exactly like early Ayler (when he was playing 'out' against conventional rhythm sections). There were certainly some influences going both ways between these two players (as there was between Ayler and Coltrane) that are still evident in Rollins' playing today. Ayler was a far more melodic and thematic player than many (still) give him credit for. In many ways, yes, he was the only logical step after Rollins. And Rollins, hip as he was, listened and absorbed.

Evans always sounded curiously anonymous playing electric. Herbie, Chick and Zawinul are all examples of musicians who retained- developed in fact- a 'voice' with the electric instrument quite distinct from the acoustic. One of my electric piano faves not mentioned so far is Herbie's playing on Joe Farrell's Moon Germs album. Don't be put off by it being a CTI album, it's a doozy, very much an extension of what Farrell (and Stanley Clarke) had been doing with RTF.

My TOCJ has 9 October 1957 for that session. Anyone know? ← Hm. I bought this yesterday (the Connoisseur version) which is why it wasn't on my files yet... The Conn has September 1st, but I'm not sure. Looking around online the discogs seem to be 50-50 on it. I think we have some 01/09- 09/10 confusion going on... ← In case you missed it, Couw, support for the September date from Mr. Fitzgerald http://www.organissimo.org/forum/index.php?showtopic=21646

September 2nd- 1952: Gerry Mulligan and Chet Baker at the Blackhawk, San Francisco- Gerry Mulligan Quartet featuring Chet Baker (Fantasy)

Thanks, Michael, very thorough (as usual!) Yes, I tend to take info from that site with a grain of salt (although Blue Note's own liner notes seem little better on occasion! )

Bought a couple of Blue Note CDs yesterday and am having some confusion over recording dates. The first is Grant Green’s Born to Be Blue . The personnel is Green, Ike Quebec (ts), Sonny Clark (p), Sam Jones (b), Louis Hayes (d) and the dates given are: December 11, 1961: Someday My Prince Will Come; Born to be Blue (2 takes); If I Should Lose You; Back in Your Own Back Yard; My One and Only Love; Cool Blues; Outer Space. March 1, 1962: Count Every Star. Now, the version of ‘Count Every Star’ is identical to the one issued on Ike Quebec’s Blue and Sentimental , where the date is given as December 23, 1961 . The rest of that album is from a separate session (a quartet with Paul Chambers & Philly Joe Jones), given as December 16, 1961. December 23, 1961 is also the date for Green’s Gooden’s Corner album, same personnel except without Quebec. Confusing enough but in an effort to clear it up, I consulted the Grant Green discography here which made things worse... On there, no Green session is listed for December 11, 1961. ‘Count Every Star’ is listed at the Gooden’s Corner session of December 23, 1961 (as on the Quebec CD). The remainder of the Born to be Blue session is listed as March 1, 1962 (the date the BtbB CD gives for ‘Count Every Star’ only). So… was the bulk of Born to be Blue recorded 12/11/61 or 3/1/62? Does ‘Count Every Star’ come from the 12/23/61 date (which makes Quebec’s only appearance on the session seem odd, although not impossible, of course) or 3/1/62? The other CD I purchased was Sonny Clark’s Sonny’s Crib . I bought the Connoisseur edition which gives the date as September 1st, 1957 ; However (as noted by Couw in the ‘Recorded this day’ thread) the TOCJ version lists October 9, 1957 . The online discographies seem 50-50 between the two dates. Anyone?

My TOCJ has 9 October 1957 for that session. Anyone know? ← Hm. I bought this yesterday (the Connoisseur version) which is why it wasn't on my files yet... The Conn has September 1st, but I'm not sure. Looking around online the discogs seem to be 50-50 on it. I think we have some 01/09- 09/10 confusion going on... I also bought a Grant Green which is confusing me too.

September 1st- 1935: Alix Combelle with le Quintette du Hot Club de France (Django Reinhardt, Stephane Grapelli, Joseph Reinhardt, Louis Vola) record for Ultraphone 1938: Django Reinhardt solo and with Stephane Grapelli on piano records for Decca France. 1947: Duke Ellington records for Columbia 1949: Louis Armstrong records for Decca 1949: Duke Ellington records for Columbia 1960: Tina Brooks- 1 track from Back to the Tracks (Blue Note) 1960: Jackie McLean- session for Jackie's Bag (Blue Note) 1967: Duke Ellington- another session for And His Mother Called Him Bill (RCA Victor) 1974: McCoy Tyner at Keystone Korner, San Francisco- two tracks from Atlantis (Milestone) 1979: Anthony Braxton in Willisau- Performance (Quartet) 1979 (hat Art) 1982: Miles Davis- two tracks from Star People (Columbia) 1992: (1st & 2nd) Steve Lacy 6- We See (hat Art)

August 31st- 1962: Ken McIntyre- one track issued on Year of the Iron Sheep (United Artists) and one unissued until The Complete United Artists Sessions (Blue Note) Missed this one yesterday but sessions went through to September 1st, so we're in the middle of it... 1994: Christian McBride- Gettin' to It (Verve)

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