Well, it´s time to post the answers.
I hope you have enjoyed this BFT, have discovered new music and musicians or, at least, have felt the need to take some old discs from your shelves!
DISC 1, THE OFFICIAL BFT #13
1.- CLAUDE BOLLING BIG BAND
Cotton tail (Duke Ellington)
Jazz brunch. Live recording at the Meridien – Paris
Columbia, 1985
Jacques "Kako" Bessot (tp); Maurice Thomas (tp); Jean-Claude Verstraete (tp); André Paquinet (tb); Charles Verstraete (tb); Emile Vilain (tb) ; Jean Eteve (as); Pierre Schirrer (ts, ss) ; Dominique Vernhes (ts) ; Claude Tissendier (bs, cl) ; Claude Bolling (p); Pierre-Yves Sorin ( b ); Vincent Cordelette (d)
My BFT had to start with a Duke Ellington song. I bought this disc in a trip to Paris a few years ago, and have enjoyed it ever since. The whole disc is fantastic, full of swing and with very good arrangements and solos. Any further recommendations for Claude Bolling? brownie? (I also had "First class" with Stephane Grappelli and it´s another interesting one). Annette Lowman on some daring vocals, doing both vocalese (over the famous head line) and scat (right after this solo) on this track. Here´s here website: http://www.annettelowman.com/welcome.htm. She has also recorded with Archie Shepp, for instance.
http://www.allmusic.com/cg/amg.dll?p=amg&u...l=Aqjjw7i28g75r
2.- ELVIN JONES
Have you seen Elveen? (Nicholas Payton)
Youngblood
Enja, 1992
Nicholas Payton (tp); Joshua Redman (ts); Javon Jackson (ts); George Mraz ( b ); Elvin Jones (d)
I had decided to include a Elvin Jones leaded side long before he passed away, but now I´m even happier with my decission. In a reduced scale, his Jazz Machine was as wonderful and long lived school for new players as Blakey´s Jazz Messengers. This is a great disc, probably my favorite of him (I haven´t got the Mosaic, I know I´m missing many great sessions), where the machine regenerated with a new sound. Payton, Redman & Jackson, three Young Lions roaring! As liner notes don´t mention solos order, could anybody whose tenor is playing each? I guess Javon Jackson´s is first, as he´s got a bigger tone. And this disc includes some of my favorite Nicholas Payton solos.
http://www.allmusic.com/cg/amg.dll?p=amg&u...l=A8uaxqj1yojaa
3.- RENÉ THOMAS
L'imbécile (René Thomas)
The real cat (Jazz in Paris vol.16)
Barclay LP 84 / Universal, 1954
André Ross (ts); René Urtreger (p); René Thomas (g); Jean-Marie Ingrand ( b ); Jean-Louis Viale (d)
My discovery of this Belgian guitarist took place a few years ago with the other Jazz In Paris disc by his name ("Meeting Mr. Thomas") and was impressed by his very boppish playing. This CD combines two separate dates originally made for Barclay and Polydor. BTW: I still haven´t picked "Guitar groove", ubu ...but I know I should.
http://www.allmusic.com/cg/amg.dll?p=amg&u...l=A6p9yxd7b3olg
4.- CLIFFORD BROWN (GIGI GRYCE - CLIFFORD BROWN SEXTET)
Salute to the band box (Gigi Gryce)
The complete Paris Sessions vol.2
Vogue / BMG France, 1953
Clifford Brown (tp); Gigi Gryce (as); Henri Renaud (p); Jimmy Gourley (g) ; Pierre Michelot ( b ); Jean-Louis Viale (d)
Brownie... nuff said!
http://www.allmusic.com/cg/amg.dll?p=amg&u...l=A5pkzu3ejan6k
5.- J.J. JOHNSON
Deak (J.J. Johnson)
Pinnacles
Fantasy / OJC, 1979
J.J. Johnson (tb); Oscar Brashear (tp); Joe Henderson (ts); Tommy Flanagan (p); Ron Carter ( b ); Billy Higgins (d)
JJ was out of the scene for a seven years period, from 1970 to 1976. This is one of the albums he did after his comeback (this one for Milestone, a few others for Pablo). I´m not very fond of electric keyboards, electric bass or exotic percussion, so I shouldn´t like this CD because there´s plenty of them (Tommy Flannagan shows a big arsenal of electric keyboards in half of the selections). However, I find it very pleasant and it contains some good JJ, Oscar Brashear and Joe Henderson solos (not in "Dreak" for the later).
http://www.allmusic.com/cg/amg.dll?p=amg&u...l=Ac098s31ya3zg
6.- DONALD LAMBERT
Hallellujah (Vincent Youmans/Leon Robin/Clifford Grey)
Recorded 1959-1961
Storyville, 1961
Donald Lambert (p)
A very recommendable disc by one of the (sadly) most underrated and underrecorded stride pianists, Donald Lambert, the Lamb. From the very good Dick Wellstood´s liner notes: "Hallelujah: this is Lambert´s major effort on this record. After playing the verse, which is pretty even if it goes on a bit, Lambert plays nine choruses as follows:
(1) he states the melody with no attempt at fancy harmonies
(2) here comes the Jersey Rocket again, with his tricky bass line and some fancy reharmonization. How clean Lambert could play on good days!
(3) now we get syncopations in the bass and some tricky phrasing. Notice how the bass carefully outlines the tonic triad just before the bridge
(4) we change key for the interpolation of the Marine´s Hymn. Wonder who was in the house that night
(5) we play a chorus similar in feeling to #2. After the bridge Lambert adds what I like to think of as a drunker waterfall
(6) after a fancy bridge, he closes with swinging "shout" figures in the right hand, and one would expect him to end there, but he doesn´t
(7) and now the Mexican brass make their appearance; and the waterfall again
(8) the waterfall keeps up good-naturedly and gets Lambert a little fuddled, so that he goes to the bridge eight bars too son. But no one cared that night, and I don´t care now (9) more shout figures, a fancy bridge, and some Walleresque wallpaper to close. What a lovely rich way to play the piano. It has been lost to us, probably in accordance with the operation of Wellstood´s law, which is that we get what we deserve..."
http://www.allmusic.com/cg/amg.dll?p=amg&u...l=A68rv284l054a
7.- PAOLO FRESU
Que reste t´il de nos amours (Charles Trenet)
Mèlos
BMG France, 2000
Paolo Fresu (tp); Roberto Cipelli (p); Attilio Zanchi ( b ); Ettore Fioravanti (d)
This prolific Italian trumpet player came out of Enrico Rava´s Sienna Summer Jazz Seminars. I find his style highly indebted to 50s Miles (as most of the participants, now I see... ). He has mantained a very stable quintet since more than fifteen years ago: tenor and soprano saxophonist Tino Tracanna, pianist Roberto Cipelli, bassist Attilo Zanchi and drummer Ettore Fioravanti. This 2000 release is not one of his most known CDs, such as Mamut, Ballads or Ensalada Mistica. ""Que reste t´il de nos amours" shows him with the rhythm section alone. Another European musician to follow. couw, tell us why you hate Fresu.
8.- EDDIE LOCKJAW DAVIS - BUDDY TATE - COLEMAN HAWKINS - ARNETT COBB
Lester leaps in (Lester Young)
Very saxy
Prestige / OJC, 1959
Eddie Lockjaw Davis (ts); Coleman Hawkins (ts); Arnett Cobb (ts); Buddy Tate (ts); Shirley Scott (org); George Duvivier ( b ); Arthur Edgehill (d)
A more than highly recommendable blowin´ session. Not a tenor contest or a battle of saxes, by any means. As the liner notes state "when four veterans like Hawk (55 at the time), Tate (49), Davis (38) or Cobb (41) get together, no longer young bucks who have to promote themselves, they still like to assert their musical masculinity. It is like four old friends in their shirtsleeves or T-shirts, having and old fashioned bull session over beer and pretzels or an equivalent. There is talk of old times, back-slapping, head-shaking, low humor and high hilarity. Troubles of the present are forgotten temporarily as old bonds are reweaved". The order of the solos is (surely many of you have already identified them): Davis, Cobb, Tate, Hawkins (followed by four bar exchanges in same order). In fact this is a Lockjaw Davis Quartet date, with bassist George Duvivier, drummer Arthur Edgehill, and organist Shirley Scott (whose Hammond gives a groovy background for the reeds).
http://www.allmusic.com/cg/amg.dll?p=amg&u...l=A0vdaylm8xpsb
9.- JOHNNY DODDS - SIPPIE WALLACE
I´m a might tight woman (Thomas)
Blue clarinet stomp
Victor / Frog, 1929
Natty Dominique (cnt); Johnny Dodds (cl); Honore Dutrey (tb); Sippie Wallace (p, voc)
My intention was to include some early NO clarinetist and some early female blues vocalist, avoiding more obvious and easily recognizable choices as Bessie -well, now I see Bessie was not so recognizable -. It was easy to pick a song with both, as many, many early blues sides are fulfilled with top-notch jazz instrumentalists. Not one of the most outstanding or recognizable Dodds works, but a nice track, featuring other two NO heroes, Natty Dominique and Honore Dutrey.
http://www.allmusic.com/cg/amg.dll?p=amg&u...l=Ant2ibks9hakc
10.- CHANO DOMÍNGUEZ
Alma de mujer (Chano Domínguez)
En directo. Piano solo
Nuba Records, 1997
Chano Domínguez (p)
I wanted you to discover this Spanish pianist, one of the piers (another one´s Jorge Pardo) of the so-called Spanish Jazz-Flamenco movement. He is a very capable player, highly technically skilled and Monk-influenced, in spite of some mannerisms and gimmicks when playing live (I´ve seen him playing solo or in small ensembles four times). If you can find it, this double CD of solo piano is a great choice to start, as it´s not as Flamenco oriented as other releases and it doesn´t include any Flamenco chant or clapping. "Alma de mujer" a song "por colombianas" is evocative of his Spanish cultural background.
http://www.allmusic.com/cg/amg.dll?p=amg&u...l=Ay3ke4j475wa4
11.- ROY HARGROVE QUINTET
Valse hot (Sonny Rollins)
With the tenors of our time
Verve, 1994
Roy Hargrove (tp); Brandford Marsalis (ts); Ron Blake (ts); Cyrus Chestnut (p); Rodney Whitaker ( b ); Gregory Hutchinson (d)
Probably my favorite Sonny Rollins composition. This disc was part of a 100 CDs collection that Verve and Time Life put out in Spain a few years ago, with original discs and covers, including some rare and even to my knowledge OOP discs. My first release leaded by a Young Lion, as well: Roy Hargrove quintet with Blake, Chestnut, Whitaker and Hutchinson. I discovered who Brandford Marsalis, Roy, Ron Blake and Cyrus Chestnut were here. The rest of the tracks also include Johnny Griffin, Joe Henderson, Joshua Redman and Stanley Turrentine. Sorry to hear many listeners didn´t like the track, as it´s an old fav o´mine.
http://www.allmusic.com/cg/amg.dll?p=amg&u...l=Ay69as36ua3mg
12.- DAVID MURRAY AND THE LOW CLASS CONSPIRACY
Flowers for Albert (David Murray)
Flowers for Albert
West Wind, 1977
David Murray (ts); Don Pullen (p); Butch Morris (cnt); Fred Hopkins ( b ); Stanley Crouch (d)
This music was recorded on August 18, 1977 at the Bimhuis, Amsterdam. This CD, released on 1990, consists of the material on the DAVID MURRAY AND LOW CLASS CONSPIRACY LIVE vols. 1 & 2 LP volumes, with ""Dewey's Circle"" omitted. It has no connection with the earlier issued album of the same name. The eight notes melodic line, repeated ad nauseam with horns almost out of tune, may perforate your brain till you shout ""Stop!"" and it does, as it´s a very short track.
Cover:
http://members.tripod.com/go54321/dm/ww2039.jpg
13.- GEORGE SHEARING QUINTET WITH NANCY WILSON
The things we did last summer (Cahn/Styne)
The swingin´s mutual
Capitol, 1960
Nancy Wilson (voc); George Shearing (p); Warren Chaisson (vib); Dick Garcia (g); Ralph Pena ( b ); Vernell Fournier (d); Armando Peraza (per)
Guessed it would be easily nailed (and it has been!!!) as I think it has been recently reissued. Nice vocals and a great pianist, somehow neglected due to his more commercial side. But a guy who composed "Lullaby of Birdland" (one of my all-time favorites, just listen to THE VERSION with Clifford Brown and Sarah Vaughan) deserved to be included here!
http://www.allmusic.com/cg/amg.dll?p=amg&u...l=Axev8b5p4bsqf
14.- ERSKINE HAWKINS AND HIS ORCHESTRA
Tuxedo junction (Bill Johnson/Julian Dash/Erskine Hawkins)
1938-1945: The original Tuxedo Junction
RCA-Bluebird, 1939
Erskine Hawkins (tp); Sam Lowe (tp); Wilbur Bascomb (tp); Marcellus Green (tp); Edward Sims (tb); Robert Range (tb); William Johnson (as); Jimmy Mitchelle (as); Julian Dash (ts); Heywood Henry (cl, bs); Avery Parrish (p); William McLemore (g); Leemie Stanfield ( b ); James Morrison (d)
Another tribute to bing bands, in concrete to a lesser-known orchestra. Despite creating three significative hits, all three included in this disc (Tuxedo Junction, After hours and Tippin´ in), the Erskine Hawkins Orchestra never received more than an aside comment in jazz books. Maybe this is because they played almost entirely for black audiencies. So, although the band was highly popular with that following, it simply did not generate anything like the publicity given to comparable white groups. Yet for nearly a decade it suceeded Chick Webb´s band as the favorite at Savoy Ballroom.
Tuxedo junction was named for a street-car terminal near a dance pavillion where young EH had made on of his first public appearances on trumpet. Put together in an oral arrangement by Hawkins and saxophonists Dash and Johnson, it was a great hit with dancers (and even more when Glenn Miller did his copycat version the following year). Introduced and concluded by EH, it features Bill Johnson on alto, Heywood Henry on clarinet and Dud Bascomb on a memorable chorus (Bascomb´s inventive and lyrical style impressed many other trumpeters among them reputedly Dizzy and Clifford) this track became the band´s theme and opening track in concerts. So, it should have been the first in the disc and not the last one, but again, I wanted to start this BFT with EKE!
http://www.allmusic.com/cg/amg.dll?p=amg&u...l=Agr4zeflk7gfo
THANKS FOR LISTENING!!!
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