Milestones

Not Frisell on #3.

BillF did not have the correct tenor player on the J.J. Johnson track (#2). He guessed "Let's Call This" on #7, which mjzee later noted was actually "Think of One." The other guesses are correct.

One can hardly say that Frisell is not adaptable.

Track 4 is "Angel Eyes." The players have not yet been identified.

You did a full ID on Baron and Scofield. The Monk piece is indeed "Think of One," but it is not The Great Jazz Trio (although it is a trio of great players).

Of those responding so far, BillF has been doing quite well. Clearly folks are hearing Art Pepper on track #1.

Yes, that's what I remember.

Wasn't there a version by Clark Terry late in his career?

Right you are!

Anyone care to identify the guitarist on #6?

I love Eric Dolphy's playing here and almost everywhere. I was exposed to him pretty early, because I heard him on a lot on Mingus records. Back then, I thought the bass clarinet and alto sounded quite strange and even unpleasant; I always loved his work on flute. It took time, but I have come to recognize what an important figure he was and how he deserves to be heard on all instruments.

All 13 tracks are now available.

I know. I informed Thom a few minutes ago.

Welcome to BFT #209 and the third one that I have created. I would say that this is the easiest of the three, but I have never been mainly about making tough blindfold tests. The idea is to share and enjoy. I doubt this will spark a large number of responses on anything like the scale of Thom’s #208, but that’s OK. There are 13 tracks and a span of just under 50 years. http://thomkeith.net/index.php/blindfold-tests/

Does anyone know how many people have been awarded as NEA Jazz Master?

Clarke is so devoid of accomplishments? All that work with Chick Corea, several appearances with McCoy Tyner, Rite or Strings, Manhattan Project with Wayne Shorter. I've not followed him much as a leader, but the trio record with Hiromi is quite respectable. To my ears, he's rather impressive on both electric and acoustic.

I tend to agree with your original statement: "I feel like I am being suddenly snapped from a dreamworld into something much more literal." One recent album that I enjoyed was Charles Lloyd's Vanished Gardens, on which Lucinda Williams sang on half of the tracks.

Not a fan of "Nothing Like You" on Sorcerer. I never listen to that track. On the other hand, I recall liking Helen Merrill's vocal on the Lee Konitz album Rhapsody, which I think is the only vocal (other than Lee's odd scatting).

I certainly need to add that tune with James Newton to my collection. I'm a big fan, and he has not recorded enough as a jazz player.

It appears that "House" actually is Sonny, from a little-known record (to me) named The Cutting Edge.

#9 is " A House is Not a Home." This performance is very laid back. It sounds a bit like Sonny in "island" mode, but it's not intense enough to be him. I like the Jackie McLean version, which is very intense indeed.

Great show, as usual.

I'm an academic, and this kind of pretentious academic style makes me scream (and not with delight).

Seems way too stupid and absurd. Of course, there is no shortage of stupidity and absurdity.

I'm kind of intrigued by jazz artists covering Dylan. The attraction is usually to the words of the Nobel winner, but I can see how the Americana quality in much of his music appeals to Bill Frisell, who has covered Dylan a fair amount. I really like his take on "A Hard Rain's A-Gonna Fall." Then too there is the fine Dylan tribute by Jewels and Binoculars: Ships With Tattooed Sails.