felser

Here is the link to BFT 201. 13 selections, recorded between 1956 and 1996. Even my friend Dan Gould may like a couple of them. Just under 80 minutes. #12 is more a point of personal privilege, reflecting my mood (though I sadly know the answer to the question it asks), rather than something to stump or excite the crew, but it's only 3 minutes long. I would have normally put it last, but I don't think any song could bear the weight of following the last cut, #13. Looking forward to your thoughts on these! http://thomkeith.net/index.php/blindfold-tests/

I'm also not a Concord guy. To me, they generally tended to neuter their artists somehow, I think especially of Art Blakey compared to what he did on other labels, even in the same time period, but also people like Joanne Brackeen. The one LP I remember finding satisfying was the Harold Land/Blue Mitchell 'Mapenzi' LP, and truth be told, that was mainly due to one cut, Lightsey's "Habiba". I'm up for that.

He was on quite a roll at that point, classic album after classic album from the late 60's to the mid 70's.

I have Blue Autumn. I don't find it as satisfying as most of his other later quintet albums largely due to repertoire.

It's a tough neighborhood, not for the faint of heart. We all find that out soon enough. But that also makes it invigorating if you are wired for it.

I really like those Wolf and Muddy albums where Cosey lets loose. Some critics hate them but the point is they aren't blues albums per se.

Much love for the Land and for the Griffin Tokyo set, and nice to see some exposure for the Visitors album.

They did, the whole series is beautifully executed. My favorite is the Barbara Lewis set.

Just our household with a simplified menu. Just give me turkey, stuffing, gravy, then a nap in front of a football game, and I'm good. Still much for which to give thanks, even in 2020.

+1 on both observations.

I have the Ruppli Prestige book (and the 1988 version of the Blue Note book and the Verve Vol. 2 and the Savoy), and have the Japanese Riverside book. All worthwhile - I've spent many hours in the Blue Note over the past 25 years.

The Blythe is a landmark album. Love the Freeman and the Coleman. Someone needs to rescue the India Navigation catalog.

I did, too. Great, very underrated drummer. Gene Rush played (beautifully) on the incredible early Lloyd McNeill albums, 'Washington Suite' and 'Aisha'. Not otherwise familiar with him.

For that matter, I'm sitting here, working and listening to the new Mingus live 1964/1975 issue on Sunnyside, and realize that 'Changes 1/2' are also nowhere in sight on that 70's list. Another example of an excellent 70's ECM session largely overlooked (along with those Liebman/Beirach Lookout Farms) is Julian Priester's "Love Love", which is akin to and at least matches anything Herbie Hancock released in the 70's. I guess we could just do this on and on (for that matter, I'm game).

Looks like August, September, and November.

I like the title track of For Losers quite a bit. The rest of the album holds little appeal for me. The key cuts on Kwanza go down better as bonus cuts on The Way Ahead. IMO. They clash with the For Losers type outtakes which complete Kwanza. Yasmina is a winner.

The Hoffman Forum - where every issue of every recording ever made is a rare and precious treasure. BTW, the ebay listing is gone.

Buck Hill also, right?

9 of the 10 titles were on Columbia or ECM. Guess the critics never heard Charles Tolliver or Billy Harper.

Ebay has some very reasonably priced. Great CD.

And Lloyd McNeill.