Hot Ptah

1 . Sun Ra and his Arkestra: “Blue Lou”, from Paris 1983 (Enterplanetary Koncepts, released December, 2015) Composed by Edgar Sampson/Irving Mills. From the Bandcamp page: A fabulous, previously unreleased live set recorded during a late 1983 European tour by Sun Ra and His Arkestra. Date and venue unknown. Likely personnel, based on other Arkestra gigs in Europe around this time: Sun Ra: piano, keyboards Marshall Allen: kora, flute, alto sax, percussion John Gilmore: tenor sax, clarinet, timbales Eloe Omoe: contra-alto clarinet, bass clarinet, alto sax, percussion Danny Ray Thompson: baritone sax, flute, percussion James Jacson: bassoon, Infinity-drums, flute Ronnie Brown: trumpet, flugelhorn Kwame Hadi: trumpet Tyrone Hill: trombone James Glass: electric guitar Rollo Radford: electric bass Clifford Jarvis: drums Marvin “Boogaloo” Smith: drums Chris Henderson: drums Atakatune (Stanley Morgan): conga Mastered by Peter Beckmann from an original soundboard tape from the collection of Hartmut Geerken. Additional audio restoration by Irwin Chusid. Special thanks to Peter Dennett. Issued under license from Sun Ra LLC. Cover art adapted from elements of various illustrations by Jim Flora/JimFlora.com, design by Irwin Chusid 2. Sun Ra—"Makeup", from A Fireside Chat With Lucifer (Saturn, 1983) Composed by Sun Ra. Sun Ra—Organ John Gilmore—Tenor Saxophone Samarai Celestial (Eric Walker)—Drums Atakatune (Stanley Morgan)—Percussion I cannot tell if there is a bass player on this track, or if Sun Ra is playing the bass parts on the organ. If there is a bass player on this track, these bassists have been credited as playing on some of the diverse tracks on this album: Hayes Burnett and possibly John Ore--Bass I was fortunate enough to purchase the original LPs of Sun Ra’s “A Fireside Chat With Lucifier” and “God Is More Than Love Can Ever Be,” at the same time, at Kansas City’s The Music Exchange, in the 1980s. 3. John Handy and Ali Akbar Khan: “Ganesha's Jubilee Dance,” from Karuna Supreme (MPS, 1976) Composed by Ali Akbar Khan/John Handy John Handy-Alto Saxophone Ali Akbar Khan—Sarod Zakir Hussain—Tabla Yogish S. Sahota-Tanpura 4. Joel Fass—“Once Upon a Time,” from Melody Messenger (2017) Composed by Strouse/Adams. Joel Fass—Guitar This is from a 2017 solo guitar album by Joel Fass, known as fasstrack when he was a member of the Organissimo.org board. 5. Mary Lou Williams—“Dat Dere,” from Free Spirits (Steeplechase, 1976) Composed by Bobby Timmons Mary Lou Williams—Piano Buster Williams—Bass Mickey Roker—Drums 6. Duke Ellington—“Le Sucrier Velours, Pt. 2”, from An Intimate Piano Session, (Storyville, recorded August, 1972, released 2017) Composed by Duke Ellington Duke Ellington—solo piano 7. Ricky Ford—“Moon Mist,” from Interpretations (Muse, 1982) Composed by Mercer Ellington. Ricky Ford—Tenor saxophone John Hicks—Piano Walter Booker—Bass James Cobb—Drums 8. Abdullah Ibrahim—“Cape Town,” from Ekaya (Ekapa, 1983) Composed by Abdullah Ibrahim. Carlos Ward--Alto Saxophone, Flute Ricky Ford—Tenor Saxophone Charles Davis--Baritone Saxophone Dick Griffin--Trombone Abdullah Ibrahim--Piano Cecil McBee--Bass Ben Riley--Drums 9. Kamasi Washington—“Humility,” from Harmony of Difference (Young Turks, 2017). Composed by Kamasi Washington. Kamasi Washington – Tenor Saxophone Terrace Martin –Alto Saxophone Brandon Coleman – Keyboards Cameron Graves – Piano Ryan Porter – Trombone Igmar Thomas – Trumpet Dontae Winslow – Trumpet Rickey Washington – Flute Matt Haze – Guitar Nick Mancini – Vibraphone Miles Mosley – Acoustic Bass Thundercat (Stephen Bruner) – Electric Bass Tony Austin – Drums, Percussion Ronald Bruner, Jr. – Drums, Percussion Artyom Manukyan – cello Peter Jacobson – cello Andrea Whitt – viola Molly Rogers – viola Chris Woods – violin Jen Simone – violin Paul Cartwright – violin Tylena Renga – violin Doctor Dawn Norfleet – choir Dexter Story – choir Dustin Warren – choir Jimetta Rose Smith – choir Mashica Winslow – choir Patrice Quinn – choir Steven Wayne – choir Taylor Graves – choir Thalma De Freitas – choir 10. Spanish Harlem Orchestra—“Perla Morena,” from Across 110th Street (Rykodisc, 2004) Composed by Oscar Hernandez. Oscar Hernández- Piano, musical director John Walsh, Raul Agraz, Pete Nater—Trumpets Jimmy Bosch, Dan Reagan--Trombones Mitch Frohman—Baritone Saxophone, Flute Ruben Rodriguez--Bass Hector "Maximo" Rodriguez--Bass. Pablo "Chino" Nuñez- Timbales Bobby Allende--Bongos, Congas George Delgado--Congas, Bongos Robert Quintero--Bongos 11. Willis Jackson—"On My Own", from The Big Horn: The History of Honkin’ and Screamin’ Saxophone (Originally released in 1950, reissued on Proper in 2003). Composed by Jimmy Cobb and Charles Kynard Willis Jackson—Tenor Saxophone Ben Kynard—Baritone Saxophone Andrew " Fats" Ford—Trumpet Booty Wood—Trombone Bill Doggett—Piano Leonard "Heavy" Swain—Bass Panama Francis--Drums 12. Earl Bostic—"Steam Whistle Jump", from The Big Horn: The History of Honkin’ and Screamin’ Saxophone (Originally released on King Records in 1952, reissued on Proper in 2003). Composed by Billy Strayhorn as "Take The A Train". Some of the King Records 45s list Earl Bostic as the composer, and some list Kay/Mann as the composer. Earl Bostic-Alto Saxophone Ray Felder-Tenor Saxophone Blue Mitchell-Trumpet Mickey Baker-Guitar Joe Knight-Piano Gene Redd-Vibes Ike Isaacs-Bass George Brown-Drums 13. Ike Turner—"Prancin’", from Blues Kingpins (Recorded for the Sue label in 1962, reissued on this Capital CD in 2003) Composed by Ike Turner. Ike Turner—Guitar McKinley Johnson-Trumpet Eddie Silvers and Rasheed Ishmael—Tenor Saxophones Marvin Warwick—Baritone Saxophone Fred Sample—Piano Jesse Knight, Jr.—Bass Thomas "TNT " Tribble--Drums 14. Project H—“A Bear’s Cage,” from We Live Among the Lines (The Project H, 2014) Composed by Ryan Heinlein. Clint Ashlock- Trumpet Ryan Heinlein-Trombone Brett Jackson- Woodwinds Jeff Stocks- Guitars Andrew Ouellette- Keyboards Dominique Sanders- Bass Matt Leifer- Drums 15. Jack DeJohnette’s Special Edition—“Tin Can Alley.” from Tin Can Alley (ECM, 1981) Composed by Jack DeJohnette. Chico Freeman—Tenor Saxophone John Purcell—Baritone Saxophone Peter Warren—Bass Jack DeJohnette--Drums

I do not want to derail the member’s Blindfold Test so I will send you a private message about this, Jim.

With April 1 falling on Sunday, and being a holiday with family events, I will post the Reveal on Monday, April 2.

I think that this was one of the goals of the original Blindfold Test, to get unexpected reactions to music when the listener did not know who they were listening to. i thought that this particular track was the most memorable from Kamasi’s 2017 release.

No, not Stanley Cowell.

No, sorry.

My daughter was cast as Henry VII in a high school production of Richard III.

I have you listed to present the August BFT, in the first post on this thread.

How about August? Will that work for you?

That is the correct album and artists. The song included here is “Ganesha’s Jubilee Dance.”

Jim, I understand what you are saying about Kamasi Washington. I heard the spiritual jazz era of the 1970s as it was happening. it is important to put Kamasi into historical context and find him wanting. On another level, a more superficial level, is he enjoyable to listen to, knowing that he is deribative? For me, the answer is yes, and to a greater extent than many other musicians who are plowing old ground.

I agree that what he does is rather derivative of a style of early 1970s jazz. For me, the jury is still out on whether he will be able to bring anything extra to it. I like the energy with which he brings it now, although I can recognize that he is not plowing new ground.

There are indeed many Sun Ra albums, and many with live performances of swing era material. This "Paris 1983" album, first released in December, 2015, is one of my favorite Sun Ra live albums. It did not seem to get a lot of attention when it was released. I think that the swing era material is performed more precisely and tightly on "Paris 1983" than on several other Sun Ra albums. Sun Ra's "Unity" album on Horo Records also has precisely performed swing era material. I was a big Jack DeJohnette fan in the late 1970s and early 1980s, and eagerly purchased his albums as they were released. "Tin Can Alley" did not disappoint! Ah, you are the only one to identify Kamasi Washington as the artist on Track 9. I am struck by Thom Keith's positive reaction to the track, in his comments. Now that the hype about Kamasi Washington's three CD set "The Epic" has died down, we can listen to Kamasi Washington and make up our minds about his current playing. "Humility" is from his 2017 EP release, "Harmony of Difference," on the Young Turks label.

Spoontaneous said that it comes from Abdullah Ibrahim's "Ekaya". That is the name of the album that it comes from. https://img.discogs.com/UPUEeskXyRBbcNsJR-jLKwiNdaw=/fit-in/598x600/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-2209705-1437329333-7874.jpeg.jpg

That’s it! Yes!

Larry, in the past few years you have presented many positive comments about young Chicago musicians, and motivated me to check them out. What you have done is the positive sort of thing I am talking about.

That is really true about Bobby Watson in Kansas City, sadly enough. One thing I take from this thread. How often do we discuss how much we like and positively appreciate new jazz--a new musician or group just becoming known, or a new album or song which we really like? I wish we would do more of that. It is important to place the lack of contribution of an artistically challenged musician into proper historical context. Do we often comment on something new which warrants our genuine praise?

Have you heard her play live recently? If in the 2016-2018 time period, she has not developed from when she was 15, that would be significant. I just wonder how many of us on this board have heard her play in the past two years. I have not. Are her live appearances in 2017 and 2018 just "fine" and nothing more? I have not heard her live in 2017 or 2018.

She has been playing professionally since she was 15. She is now 25 years old. Has anyone heard her recently? (I have not). I would imagine that many of our favorite musicians sounded quite different when they were 25, as opposed to when they were 15.

You are correct about 6. That is very interesting information about that album, which I enjoy a lot. Thank you for sharing that information. Track 1 is by a band which would probably not have fit easily with Lincoln Center.

6 is latter day solo Ellington. Now what is the song title and the album? 7 is not Ben Webster. As I have previously commented, I think that the saxophonist would take that as quite a compliment.

Did you try the link in Thom Keith's post, a few posts above yours? That one seems to work.