Milestones

9. Decent tenor ballad…no guesses. 10. Randy Weston with Billy Harper. I think it’s “Blues to Senegal” From Roots of the Blues, the last great Weston record that I know of. You can’t go wrong with Weston and Harper. 11. Some cool piano work, and what a fine pulsing bass. This one has me quite intrigued. The pianist is certainly Tyner-influenced. Maybe Eddie Gomez on bass. 12. Some funky stuff…no guesses here. Not quite my thing, but these sound like talented players. 13. Seems too much like smooth jazz…sorry. 14. Man, I know this piece, though I don’t think I know this version. A very intriguing mix. Has a bit of a Blue Note sound, then you have strings (modest number, I think) used quite well. Now a bass solo taking center stage. Good piano solo. Subtle drum solo. It’s a Blakey number, I’m thinking. The strings sure give it a different quality. Really nice piece! 15. And now for something completely different. Thinking Art Ensemble of Chicago. Is it just trumpet-bass-drums? Doesn’t quite sound like Lester Bowie. Opens and closes pretty wacky, but rather straight in the middle. 16. “Take Five,” the jazz tune everyone knows. Not Brubeck. It sounds like Paul Desmond with Jim Hall. Overall, a great BFT. I really like your choices, and I’m hoping someone figures out #14. #13 is Miles? Really? My least favorite track on the BFT, and it's Miles? To be fair, Miles did have some forgettable moments.

Providing my responses without looking at what others have set down. 1. Some standard. “Getting Sentimental over You”? Nice mainstream stuff, but can’t make a guess. 2. “Born to be Blue.” Singer does sound familiar, but just don’t know. 3. Ralph Towner and Gary Burton. I believe it’s “The Donkey Jamboree” from Slide Show. This may be one of my favorite duo records or all time—really fine throughout, and this is a fun track! Maybe there’s an overdub here, but Towner could probably produce two sounds at once. 4. A Bird tune. “Is that Billie’s Bounce?” Some serious hillbilly twang. And now fiddles take over! Pretty enjoyable, whoever it is. Are they country musicians playing jazz? 5. “All the Things You Are.” I’m sure that’s Gary Burton and Hank Garland. I’ve heard a couple of tracks from the record before, which some claim to be a real classic. I think I need to hear the whole thing, and I might agree. 6. This sounds like Juan Tizol and a tune similar to “Caravan.” It could be the Ellington Orchestra, or perhaps an offshoot. Then again, that sounds like Webster, or perhaps Gonsalves. Sounds like Hodges too. 7. This is certainly organ and guitar driven soul jazz. And now we get a thick baritone. It’s good stuff, though I’m guessing it’s relatively modern stuff…guys emulating Grant Green, Big John Patton, early Benson, etc. Maybe Joey DeFrancesco. And I know this tune…I know it…know it. “Coming Home Baby”? 8. Nice little relaxed piece, even pop-oriented. Kind of sounds like Ron Carter on bass. Given the prominence, it’s likely his date. I’ve heard plenty of Carter leader dates, but not this one…so it may not be him.

Some pretty cool stuff, especially the solo Kuhn and the Nat Adderley session.

Yes, please vote in Wayne Shorter.

I like the idea of Horace's music played by a 4-man front line and congas. Some of Herwig's Latin stuff reaches 5-star quality. But his more mainstream records--such as New York Breed--are also worth hearing.

We Want Miles is the one I keep coming back to. Star People (studio) is not bad, especially the lengthy title track.

I love it, but I wish there were actually a few teenagers like the ones depicted.

When I was young I thought she was sexy in The Avengers--a most common feeling. I did not see her in a lot of stuff otherwise--the so-so Bond picture (she was the best thing about it) and an appearance on TV in King Lear (with Olivier, no less). R.I.P. Diana Rigg (Mrs. Peel)

I just listened to this, for the first time in maybe 40 years. The Blues Project was an obscure but admired group from the 1960s that mixed jazz, blues, rock, etc--pretty much the precursor to Blood, Sweat & Tears (literally, since Al Kooper and Steve Katz were in the band). Al Kooper actually said that a good jazz player listening to "The Flute Thing " would probably vomit! I think it's a pretty cool tune and it sounds like a first-cousin to a Horace Silver piece or something in that vein.

Happy birthday indeed! What are you called when you hit 90? I know at age 80 it's octogenarian.

1) “Summertime.” The performance feels pretty laid back, maybe too much so to justify the length of 10 + minutes. The opening made me think of Yusef Lateef on oboe, but not really his sound. For that matter, it may not be oboe. 2) I’m almost never good at identifying solo piano. Undoubtedly Konitz on #13. I browsed a bit and looked at Thom's comments. I have to say this is unfamiliar stuff, and I expect to bomb on this one.

It's a shame that Garzone has had a pretty invisible career. He's an impressive player with skills and qualities similar to Lovano. You made the right move by including him in a BFT that features so many outstanding tenor players.

It sounds like just about the entirety of the Changes records. "Fables of Faubus" takes the place of "Orange was the Color."

Like Jimmy Cobb (probably more so), Persip was rather under-rated. I'm with those who regard The Quest as a great album. He's also the drummer on the first great Randy Weston record: Litlte Niles. R.I.P. Charlie/Charli

Now we have it--that is Joe Lovano playing "Donna Lee," which is of course usually uptempo. It's found on the album Bird Songs.

My offhand guess is that this is the usual length for a Frisell album: 65-70 minutes.

If it comes to universal, it is perhaps more useful to think of that kind of success belonging as much (or more) to individual pieces rather than specific performances. These include both standards and jazz compositions. Thus we would be thinking of "St. Louis Blues," "One O'Clock Jump," "I Got Rhythm," "Take the A Train," "Body and Soul," "Round Midnight," and "So What."

I'm afraid I must ask, who is Bob Meyer?

Tonight I went on Facebook and watched and listened to Bill Frisell spin the 4 vinyl sides of his new record, Valentine. It's a trio record with Rudy Royston and Thomas Morgan. It was a great experience, and this is a fine record from start to finish. It's good to hear him commit this trio to vinyl (of course there are the digital versions as well), and this is so much more compelling than the duo records with Morgan. It's probably his best group project in a decade (I did greatly enjoy the solo Music Is).

It seems to me the issue is a thorny one. Jazz has rarely, if ever, managed to attain huge recognition with anything post-1960. I would still consider the 1960s to be one of the great decades for jazz music. But for rock, pop, and folk, that decade is simply THE GREATEST of the 20th Century. There are phenomenal stone cold classics like "A Hard Day's Night, "My Generation," "Cherish," "Like a "Rolling Stone," "Good Vibrations," "A Change is Gonna Come," "Groovin," "Light my Fire," and I could name a hundred more. They evoke time and place, yet also timelessness and usually pure joy. There are many jazz masterpieces since 1960, but they can't begin to have the impact of the songs I have named.

Anyone know what happened to comments on news stories at Yahoo? They don't seem to be present at all anymore. Isn't the input of the ordinary person part of living in a democracy? Sure, you had some nutty comments, but also some astute ones. I usually got more out of the comments than the (typically) poorly-written Yahoo articles.

I don't think I'm getting the premise of this thread. It seems to be suggesting that great jazz virtually cuts off after 1960. No "stone cold classics" after that, or perhaps just a few? This is cutting off the most significant part of Coltrane's career. It cuts out virtually the entirety of Wes Montgomery, Wayne Shorter, Eric Dolphy, and many more. It pretty much suggests there are no "stone cold classics" in free jazz or fusion.

Speaking of McCoy, I would say "Passion Dance" and "Blues on the Corner," and possibly "Fly with the Wind" a bit later. They are pieces that are glorious to listen to, no matter how often I hear them. I would add Mingus' "Duke Ellington's Sound of Love," which in my book is one of the greatest pieces ever from one of the greatest artists in jazz history.

I've been listening to some of my personal playlists of Burrell. One features him playing the blues; another is his work in intimate settings (solo, duo, trio); I have two of him playing nothing but Ellington and Strayhorn. I have a total of 18 Kenny Burrell playlists.

10) Good modern tenor—perhaps Joshua Redman or Chris Potter. Or it could be someone lesser known. 11) Catchy little piece. It has some of those Americana qualities found in Bill Frisell and Charlie Hunter. Mark Feldman on violin? In any case, not bad. I like the violin as a change of pace in jazz. 12) Somehow this reminds me of Henry Threadgill or Art Ensemble of Chicago. Just the joyous rhythm of it. This is played very straight and doesn’t really have avant garde elements. Nice spirited performance to close out the BFT! I really love this Blindfold Test. Clearly we have pretty similar jazz tastes.