Hot Ptah

Those details are not entirely correct. I have the original LP booklet. For example, on "Rawalpindi Blues" , only the following musicians play on it: John McLaughlin--guitar, Carla Bley--organ, piano, Jack Bruce-bass, Paul Motian--drums. It sounds like a guitar power trio song with a little keyboard backing. It definitely does not feature the expanded ensemble in the details of the Discogs information.

Mike, I am having difficulty identifying the vibes players, except for Milt Jackson on #12. This is one of the most enjoyable BFTs ever, for sheer listening pleasure. It will have a permanent place in my car for music while I drive. It is rare that anything attains this status!

There's a nice example of Mel Powell's post-jazz work here: http://www.berkshirerecordoutlet.com/search.php?row=0&brocode=131709&stocknum=&text=&filter=all&submit=Search It makes for a seriously refreshing, warm, and delightful contrast to the other works on the disc. Jim, I could not access this music from your link. Is your remark tongue in cheek?

Is #12 Milt Jackson from the Modern Jazz Quartet's Germany 1956-58, Lost Tapes series?

Track #4 can be found on an Evidence CD with two Sun Ra albums, Angels and Demons At Play, and Nubians of Plutonia. I think it is essential. I am glad you liked my comment about my irresponsible spending on a lot of Sun Ra albums at once. You may not be surprised that this was far from the only time I did something like this.

I have been in touch in the past few days with Les Thimmig, about the student performance of "Airegin" on #13. He wrote this arrangement of "Airegin". He commented that "every note on the record was written: no improvising whatsoever". So anyone who found the arrangement stronger than the improvisation on that track--there was no improvisation.

I bought many discounted cut out Blue Note LPs in the late 1970s, of the big name's major releases--Blakey, Silver etc. It did not seem to me that they were still in print.

I am glad you enjoyed this one. Did anyone notice that Milford Graves is the drummer on the Montego Joe track, no. 7? This was recorded about the same time that he was also recording avant garde albums.

I thought that his playing on that James P. Johnson track had a certain haunting quality which was quite memorable. Thanks for your kind comments. That first Sun Ra is not so easy to find--it's on Horo.

I Googled the names of the four student saxophonists on #13, and some of them are now playing professionally. Thanks for your kind comments about the BFT. I am glad that you enjoyed it. That happens to me so often with these BFTs that I no longer find it remarkable. Thanks for your nice comments about my BFT. I am glad that you enjoyed it. Now you know how I feel. I can rarely identify anything on any BFT, but I still enjoy them. .

I thought you would identify Montego Joe!

And I was worried about who I might have given too much credit... I feel good about my characterization of Frankie Newton, although bad that I didn't get him (and embarrassed that I didn't get James P.) but - who the heck is Jess Pickett? A pseudonym for James P.? "J.P."? No matter - That's an interesting composition. I have been reading online that Eubie Blake first recorded "The Dream" in 1898 and that he learned it directly from the composer, ragtime pianist Jess Pickett, who never recorded it himself. Who composed "The Dream" has been discussed quite a lot online. Here are just a few examples. Apparently Eubie Blake credited it to Jess Pickett. http://groups.yahoo.com/neo/groups/EliteSyncopations/conversations/topics/12887 http://parlorsongs.com/insearch/ragtime/ragtime.php http://en.wikipedia.org/wiki/Jazz_(Ry_Cooder_album)

And I was worried about who I might have given too much credit... I feel good about my characterization of Frankie Newton, although bad that I didn't get him (and embarrassed that I didn't get James P.) but - who the heck is Jess Pickett? A pseudonym for James P.? "J.P."? No matter - That's an interesting composition. I have been reading online that Eubie Blake first recorded "The Dream" in 1898 and that he learned it directly from the composer, ragtime pianist Jess Pickett, who never recorded it himself.

8. Bookie Please (John Hicks), by John Hicks, from Inc. 1 (DIW, 1985) John Hicks—piano; Walter Booker—bass; Idris Muhammad—drums 9. Rokhev (John Zorn), by John Zorn, from Bar Kokhba (Tzadik, 1996) Mark Feldman—violin; Erik Friedlander—cello; Greg Cohen—bass. John Zorn—producer, composer. 10. You Can’t Name Your Own Tune (Barry Altschul), by Barry Altschul, from You Can’t Name Your Own Tune, (Muse, 1977) Sam Rivers—tenor saxophone; George Lewis—trombone; Muhal Richard Abrams—piano; Dave Holland—bass; Barry Altschul—drums. This album was reissued on CD in 2000 on the 32 Jazz label. Kevin Calabro writes in the liner notes that no one at 32 Jazz liked or knew much about avant garde jazz, so this album was not reissued on CD for a long time. As Mr. Calabro puts it, the album was ultimately reissued on CD because: “Finally, after getting in a bit of an online disagreement with record producer Chuck Nessa (who called us out for our ignorance), I decided to see what all the fuss was about.” Way to go, Chuck Nessa! 11. St. Louis Blues (Handy), by Sun Ra, from St. Louis Blues-Solo Piano (Improvising Artists Inc., 1978) Sun Ra—solo piano. Recorded at Axis-in-Soho, New York City, July 3, 1977. 12. A Sassy Samba (Jimmy Heath), by Pat Metheny and the Heath Brothers, from The Move To the Groove Sessions (West Wind 2130, recorded January 28, 1983, in Cannes, France, at the Palais De Congress). Jimmy Heath—tenor saxophone, Pat Metheny—guitar, guitar synthesizer; Percy Heath-bass; Albert “Tootie” Heath—drums. I think that the Heath Brothers recorded a much better version of this song, with a much more infectious groove, as the opening track of their 1980 Columbia album, Live at the Public Theater. 13. Airegin (Sonny Rollins), by the University of Wisconsin-Madison Saxophone Quartet, from Collage-Performances by Students of the University of Wisconsin-Madison School of Music (2001) Morgan Luker—soprano saxophone; Brian Lee—alto saxophone; Ryan Meisel—tenor saxophone; Lucila Ciocoletto—baritone saxophone Arranged by Les Thimmig. This is a 2 CD set released by the University of Wisconsin School of Music, of classical and jazz performances by students in the School of Music. Professor Les Thimmig’s bio is at http://music.wisc.edu/faculty/bio?faculty_id=55 14. Lament (J.J. Johnson), by Tommy Flanagan, from Trinity (1975) Tommy Flanagan—solo piano. As Jim R. has pointed out, this song is mislabeled as “Palama” on the cover of the 1990 CD reissue on the Music Heritage Society (MHS) label. That is the CD reissue which this recording is taken from. 15. Sansanah (John Zorn), from Bar Kokhba (Tzadik, 1996) Mark Feldman—violin; Chris Speed—clarinet; John Medeski—piano. John Zorn—producer, composer. I thought that it would fool everyone that Tracks 9 and 15 came from the same album, but Spontooneous figured it out. This 2 CD set, of 25 songs by different groups of musicians, called the Masada Chamber Ensembles, is varied,.and to my ears, quite beautiful.

Thanks to all who participated and made such interesting and insightful comments. 1. Yeah Man (Fletcher Henderson), by Sun Ra, from Unity (Horo, 1978) Recorded live at Storyville, New York City, October 24-27, 1977 Sun Ra-organ; Michael Ray-trumpet; Ahmed Abdullah-trumpet; Akh Tal Ebah-trumpet; Craig Harris-trombone; Charles Stephens-trombone; Vincent Chancey-french horn; Emmett McDonald-bass horn; Marshall Allen-alto saxophone; Danny Davis-alto saxophone; John Gilmore-tenor saxophone, clarinet; Danny Ray Thompson-baritone saxophone; Eloe Omoe-bass clarinet; James Jacson- bassoon; Richard Williams-bass; Thomas Hunter-drums; Luqman Ali (Edward Skinner)-drums; Atakatune-percussion; Eddie Thomas-percussion. Solos: John Gilmore-clarinet, tenor saxophone. 2. St. James Infirmary (Joe Primrose), by Artie Shaw and his Orchestra, from Swing That Music-The Big Bands, The Soloists and the Singers, 1929-1956 (Smithsonian box set, released 1993) Recorded November 12, 1941 (Victor 27895) Lee Castle, Max Kaminsky, Steve Lipkins (trumpets), “Hot Lips” Page (trumpet, vocal), Jack Jenney, Ray Conniff, Morey Samel (trombones), Artie Shaw (clarinet), Les Robinson, Chuck DiMaggio (alto saxophones), Georgie Auld, Mickey Folus (tenor saxophones), Artie Baker (baritone saxophone), Leo Persner, Bernie Tinterow, Raoul Poliakine, Leonard Posner, Max Berman, Irving Raymond, Bill Ehrenkranz, Alex Beller, Truman Boardman (violins), Morris Kohn, Sam Rosenblum, Lenny Atkins (violas), Fred Goerner, George Taliarkin, Ed Sodero (cellos), Johnny Guarnieri (piano), Mike Bryan (guitar), Eddie McKinney (bass), Dave Tough (drums). Solos—Artie Shaw (clarinet), Hot Lips Page (vocal), Georgie Auld (tenor saxophone), Johnny Guarnieri (piano), Ray Conniff (trombone), Artie Shaw (clarinet), Hot Lips Page (trumpet) This song has been reissued several times. I know it is part of the Artie Shaw Mosaic box (which I do not have). I encountered it on a Smithsonian box set of swing era recordings. 3. The Dream (Jess Pickett), by James P. Johnson, from The Stinson Collectors Series (Col-CD-5611, released on CD, 1995) Recorded June, 1944. James P. Johnson—piano Frank Newton—trumpet Al Casey—guitar Pops Foster—bass Eddie Dougherty—drums No one identified James P. Johnson. 4. Evidence CD: Impulse LP: Watusa (Sun Ra), by Sun Ra, from Nubians of Plutonia (Saturn, recorded 1958 or 1959) Sun Ra-piano; Bill Fielder-trumpet; Marshall Allen-alto saxophone; John Gilmore-tenor saxophone; Ronnie Boykins-bass; Robert Barry-drums, percussion, Jim Herndon-percussion. I first heard this in the spring of 1978, on a two part radio show devoted to Sun Ra’s 1950s recordings, put together by two volunteer disc jockeys, on WORT-FM not-for-profit community radio, in Madison, Wisconsin. As a result of hearing these shows, my lifelong love of Sun Ra’s music commenced. A few weeks later, I moved to Ann Arbor, Michigan. It was truly irresponsible of me to buy all of the Sun Ra Impulse LP reissues at once, during my first week in Ann Arbor, at the Wazoo used music store. I should not have wasted my student loan money in that fashion. 5. Button Up Your Overcoat (Ray Henderson-Buddy DeSylva-Lew Brown), by Mel Powell, from Thigamagig (Vanguard VRS 8502), reissued on The Best Things in Life (Vanguard CD, 1999) Recorded August 24, 1954 Mel Powell—piano, Ruby Braff—trumpet, Bobby Donaldson-drums I checked out Mel Powell’s recordings from the 1950s because on March 4, 2010, Chuck Nessa posted on Organissimo.org, about Mel Powell’s recording of “Liza” from about the same time: “Liza by Mel Powell, Ruby Braff, Skeeter Best, Oscar Pettiford and Bobby Donaldson. Something like once a year I play this to remind me what I love. Been doing this for decades. It is sure to bring me out of any funk.” It hit me—if it has this effect on Chuck Nessa, I had better get running and go buy it. 6. Guanco Lament (Gil Lopez), by Eddie “Lockjaw” Davis, from Afro Jaws (Riverside, 1961). Eddie “Lockjaw” Davis—tenor saxophone; Clark Terry—trumpet (soloist); Ernie Royal, Phil Sunkel—trumpets; Lloyd Mayers—piano; Larry Gales—bass; Ben Riley—drums; Ray Barretto—congas “and his Latin percussion section”, who are Johnny Pacheco and Ray Mantilla. 7. Bata Blues (Roger Sanders), by Montego Joe, from Montego Joe/Wild and Warm (Prestige, 1965), reissued on Arriba Con Montego Joe (1994) Leonard Goines—trumpet; Al Gibbons—tenor saxophone, arranger; Arthur Jenkins—piano; Ed Thompson—bass; Milford Graves—drums; Montego Joe—congas; Sonny Morgan—percussion Pianist Arthur Jenkins played on some of Rahsaan Roland Kirk’s 1970s albums. I am otherwise not familiar with his work. No one identified this track.

You were not too late. I posted responses to your guesses. The Reveal will follow later today.

Thanksgiving, a tradition in the U.S.A.

I will need a disc and will communicate with the very gracious, generous Jeffcrom about it.

With the holiday weekend coming up, I will not have unfettered access to a computer long enough to post the Reveal in BFT 116 until Tuesday, December 3. I have to be in an all-encompassing work situation all day on Monday, December 2. But I will post the Reveal on December 3. So you have a few more days to post any comments or guesses.

page, No one is any good at this. We all make wild, wrong guesses, and just comment on our impressions about the music. That is the fun of it.