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Actually, I'm not very surprised. I always liked Mendes and have been exploring Latin music a lot lately and intending to get properly into him soon. This will encourage me to do that sooner, rather than later. Thanks. MG This is a good starting place. 48 cuts, all from the prime A&M era, including the one from this BFT.

Bob Dylan - "Like a Rolling Stone" Simon & Garfunkel - "Sounds of Silence" Byrds - "Eight Miles High" Byrds - "Renaissance Fair" We Five - "You Let a Love Burn Out" H.P. Lovecraft - "Wayfaring Stranger" Quicksilver Messenger Service - "The Fool" Jimi Hendrix - "All Along The Watchtower" Jefferson Airplane - "Wooden Ships" Santana - "Every Step of the Way" Wishbone Ash - "Phoenix" Labelle - "Phoenix (The Amazing Flight of a Lone Star)" Gil Scott-Heron - "Peace Be With You Brother" U2 - "I Will Follow" Bangles - "Hazy Shade of Winter" Neil Young - "Rockin' in the Free World"

Thanks, so glad you're enjoying it! I did give some thought to flow, nice that it was recognized.

I find late Pepper really grabs me. I admire 50's Pepper, relish 70's-80's Pepper

Yes. Rest is excellent if you like Trible (and liked Thomas). I do and did.

Milestone Bartz. Yes, Trible. The interesting names are the tenor player and pianist. Thrilled that you share the love for the Callier cut!

I own a half dozen of these cuts that I didn't ID (Cowell. Muhammad which I reakky liked, Hill, Mitchell-Ruff, Lytle. Whitaker, Klemmer), plus the Blakey I ID'd, but primarily come away wondering "who in the world is D.B. Shrier and how do I get that album"?

'One Step Beyond' and 'Jacknife'.

Yes!

Glad you're enjoying it, thanks. #6 is not Bridgewater, and it not being Bridgewater is one of the specifics I designed into this BFT (I certainly would have guessed Bridgewater if I didn't know better)! What I'm saying makes little sense now, but will be clearer at the reveal when I explain it.

Thank you for your kind words! You are correct on #3. I always thought that was a magical little track, may be the first thing I ever heard by Hubbard.

I remember talking to Bryan Carrott at a recording session many years ago about the Ralph Peterson Fo'tet recordings he played on. I mentioned that I found Don Byron's playing to be more interesting than Steve Wilson's in that group. He didn't comment at all, good or bad, about Byron, but praised Wilson as someone who was gaining a reputation as a guy who you could count on to come in and take care of business in any situation. So there is also that to be said about professionalism.

If being a dedicated follower of an artist, it`s sometimes hard to follow certain turns of the artist`s career - collectors are sometimes endangered to be trapped in a romantistic view.....to me it was priceless to witness some of my "heroes" simply being glad to be served some quality food, raising my awareness they are doing this for living (beneath an artistic merit)... Thanks for the previous explanation. It's very helpful, though painful to read.

Here is the link. Let me know of any issues - looking forward to hearing your thoughts on the music! http://www.thomkeith.com/bft129.html

Maybe he needed it. Jim, please explain for the benefit if us non-musicians. Needed it artistically? Financially? Professionally? In terms of legacy? BTW, I agree with what Larry hears in the late McLean. It all sounds fine, but I never find myself going back to it. In contrast,I play later Billy Harper through about 2000 as much as I do his earlier recordings. Yes. Fot a long time Springsteen still brought it live even though the studio material was lame, but based on the last concert DVD, even the live shows seem to have lost the magic.

This one was dredged up from the deepest pits of musical hell:

I'm glad to know that, thank you.

I've never been wowed by any of what I heard on this label, even though the personnel stood out. I'm on the fence, probably leaning toward passing.

Very underrated guy and a favorite of mine. Way too young. R.I.P.

I have that plus Presenting Jackie McLean (with Donald Byrd, Mal Waldron, Doug Watkins and Ronald Tucker) on Ad Lib, which was a Japanese facsimile mini LP and I like them both. I like them fine, certainly on par with most of the Prestige dates.

i have dutifully bought them on LP and CD over the years, but have never found them compelling, likely in large part because of the stunning foresight and quality of the Blue Notes - the Steeplechases seemed like a retro move. They are fine for what they are, but I have always been more struck by what they weren't. I do like the 60's Left Banke material that came out on Steeplechase, but tend to go to the Prestige's more than the 70's Steeplechase's. And yet I love the 70's Steeplechases that Dexter did (though I find the Dexter/J-Mac date pretty by-the-numbers). Especially interested in differing thoughts on the 70's J-Mac Steeplechases, which may enable me to re-evaluate them.

I've always thought of this one as my favorite of his Prestige dates, probably due to Mal Waldron's imprint on the material and arrangements.