Ken Dryden

Correct.

Correct.

Track 11 is not an Ellington or Strayhorn composition, though it is Ken Peplowski. Track 12 isn't by Pepper Adams. Track 13 isn't Phil Woods, though he was aware of this saxophonist. Track 14 should be easy to find on line, though I am not sure if it is in print. Track 15 isn't Keith Jarrett.

Milestones posted: Track #2 has a 50s vibes: a little mellow for bebop and too fast for cool. Nice tenor, and the trumpeter has some of the qualities of Miles. But no guesses here. Track #3 is Jackie McLean from an early session on Prestige--one that's not in my collection. I know he did a record with Ray Draper on tuba. Correct on all counts. Track #4 is a cool rendition of "Seven Steps to Heaven" on acoustic guitar. It sounds a bit like Charlie Byrd, but both the guitar work and the overall concept/sound suggest it's not him. Not Charlie Byrd, which you understood. Track #5 is, of course, "It Had to be You." No guess at all on the singer, who doesn't sound like he has much of a voice (but who am I to say?). Trombone work by J.J. Johnson? See Bill F's answer later in the thread. Track #6 is a nice grooving number--some virile tenor work and fine playing by the guitarist (both the solo and the comping), but he's not a really distinctive player like Wes, Kenny Burrell, or Jim Hall. Actually, the comping reminds me of Hall, but this guy goes for a bit more speed. I think he is a distinctive player... Track #7...oh, that's instantly recognizable as the gorgeous "Single Petal of a Rose." Very nice...I've got some fine versions (but none top Duke's original), but I can't recall any with trumpet in the spotlight. Clark Terry? I doubt that it is Clark. But this is lovely; this needs to be in my collection. Not the song you named, but you were in the neighborhood. Clark Terry would have been identifiable in a couple of notes due to his unique sound. Track #8 is "If I Were a Bell." Did Milt Jackson do this? But it's probably not such a famous player. See the answer in a later post. Track #9 is "Turn Out the Stars." The tenor reminds me a bit of Joe Lovano, but this is certainly not his version with Motian and Frisell. The pianist has listened to his Evans, but needs to slow down on the pace. Whether it's Lovano or someone else, he takes out the tune in fine fashion. Correct title, but it isn't Lovano or the saxophonist's date. That's it for now. I really like your choices. I've got several of the titles, but only on #3 am I certain of the artist. Thanks for your kind remarks. It was fun assembling this test. Bill F posted: Track 5 From Frank Rosolino's album Turn Me Loose! with unmistakable vocal by the man himself (and of course tbn), Victor Feldman pno, Chas Berhofer bs, Irving Cottler dms. Correct. Track 8 Lem Winchester on vibes from Winchester Special with pretty unmistakable (and not very much to my taste ) Art Taylor on drums, Tommy Flanagan pno, Wendell Marshall bs. Correct. Track 10 "Darn That Dream." Correct. Track 11 Possibly Tony Scott? Know the tune very well, but can't put a name to it. Not Tony Scott. Track 12 Charles Mingus' "Goodbye Pork Pie Hat". And who's that fine baritonist? Ronnie Cuber? Correct composer and song title, but it isn't Ronnie Cuber. Track 14 Albert Mangelsdorff and Lee Konitz, "Creole Love Call" Correct.

Correct, now which recording?

For your dining and dancing pleasure, here is BFT183, with 15 tracks. Have fun! http://thomkeith.net/index.php/blindfold-tests/

I've started requiring insurance for LPs after the USPS bent a package to hell, the buyer's photos were convincing. No complaints about that so far and if they destroy another LP, the buyer will collect $50 ffom the insurance, which is what I insure every shipment for that I send.

Felser's advice is spot on. That is the way to deal with dishonest sellers. Always use a credit card through Paypal so you have two layers of protection when dealing with a seller on such a platform the first time. Most people are honest and will try to accommodate reasonable claims.

The Complete Columbia Studio Recordings box didn't included Jackpot! Live in Las Vegas or any of the other live albums. It also omitted the recordings with Bill Smith and Gerry Mulligan.

Dave Brubeck was never happy with this LP because of the iffy piano that wouldn't hold its pitch.

According to discogs, 33 claim to own the US mono LP CL 2712.

Accoridng to the linterview with Juanita Smith in the recent CD set of Eric Dolphy's recordings for Douglas, he was showing signs of diabetes prior to leaving on the ill-fated tour of Europe with Charles Mingus in 1964, but nobody recognized them at the time.

Discogs has been helpful in many ways but lots of CDs that I own aren't in their database. Some contributors are sloppy or enter the bare minimum of information, while some of the Europeans seem to label almost everything as contemporary jazz.

I am heading to New York City to see Denny Zeitlin at Mezzrow, solo on May 1st & with his trio featuring Buster Williams and Matt Wilson on May 3rd. May 2 will be two sets by Bibby Watson's quartet at Smoke.

I saw Denny Zeitlin tonight for both sets at Mezzrow. Here is the playlist for both: Early: You And The Night And The Music Echo of a Kiss Tomas U.M.M.G. The Star-Crossed Lovers So Near So Far I Mean You Dancing In The Dark Paraphenalia Late: Dear Old Stockholm As Long As There's Music Johnny Come Lately I Should Care Deluge Isfahan The Man I Love 'Round Midnight ESP As terrific as the first set was, the late set was even better, particularly the wild versions of "Johnny Come Lately" and "The Man I Love." Spike Wilner told me that later this year monthly Smalls web subscribers (now $10 month) would also have access to archive performances from Mezzrow.

5/12's show will be devoted to Duke Ellington as well.

DennyI did a phone interview with Denny Zeitlin back on March 25 and turned it into two four hour Timeless Jazz broadcasts. He is appearing at Mezzrow May 1-4, with the first two nights being solo and the last two with Buster Williams and Matt Wilson. Denny liked the idea of my transcribing the interview to help make people aware of the performances, with so many competing clubs hosting great talent, too. I have interviewed Denny Zeitlin several times before and didn't get into his process of composing this time around, but I ended up transcribing around 50 or so minutes of the hour we talked. I'll be there for both sets on Wednesday and Friday, so I should be easy to spot, though my cat Dizzy won't be with me, stop by to say hi if you attend one of these sets. I'm still deciding who to see on Thursday and Saturday. https://www.allaboutjazz.com/denny-zeitlin-balancing-act-denny-zeitlin-by-ken-dryden.php I forgot to mention, all Mezzrow shows are webcast live at http://mezzrow.com

I am heading to New York City to see Denny Zeitlin at Mezzrow, solo on May 1st & with his trio featuring Buster Williams and Matt Wilson on May 3rd.

I have been retired almost four years and I agree that it is a challenge to catch up in my listening with all the new releases, reissues and purchases. But I'm still trying. I don't think that I have that much music originally issued on Black & White, so I look forward to this boxed set.

I've long owned all ten volumes of the Private Collection. Even though some of this music was likely recorded during rehearsals and not intended for release, I don't recall any weak tracks. Ellington sometimes liked to try out a new piece or arrangement, or focus on individual soloists. That kind of stuff has far more appeal that various bootlegs of broadcasts or audience tapes with wretched sound quality and sloppy editing.

The Paris CDR is the one I bought and it is a mess. At least one incomplete track, mediocre sound, plus the inclusion of Duke Ellington's weakest composition, featuring the worst male vocalist ever in his band, Tony Watkins, performing "One More Time (For The People)," a song Cootie Williams hated so much that he would storm off stage when it was called, according to Mercer Ellington in his bio of his father (co-written with Stanley Dance).

With Duke Ellington's 120th birthday being celebrated on April 29, 2019, I combed my collection to try to get a representative sampling of his recordings. I taped the first show and covered the early days up to the end of the Jimmy Blanton era in 1941. I tried to include a few lesser known works in addition to pieces which would remain part of his repertoire for years. I will pick up where I left off for the second show and may include music from as late as 1971. It airs live on WUTC.org Sunday, April 28th and May 5th from 3 to 5 pm EDT, with repeat broadcasts on the station's H-D2 channel on the following Wednesdays from 10 am to 12 noon EDT.

Squatty Roo has been notorious for reissuing more than a few lousy audience or broadcast recordings originally put out by bootleg labels like The Old Masters. I would be leary of anything issued on the label and would doubt that the Ellington estate is receiving any royalties. To top it off, the Squatty Roo releases I bought were CDRs with cheap, homemade single page fronts and tray cards.

Five minutes would be more than enough time to realize I didn't need to read any more...

The source tape has its share of flaws from aging, but it is a decent recording without a lot of crowd noise.