randyhersom

The album of Nielsen choral works on Chandos is definitely worth hearing.

2 has also been guessed correctly, and a couple others have had the same name come up multiple times. Bonus 2 is a sure thing. On 8 and Bonus 4 I consider it very likely that the correct artist has been guessed, but haven't been able to verfiy it by listening. Bonus 3 is not on Spring Heel Jack's Live or Amassed.

Yes, Jim, it's a nice Hampton Hawes album. Diaz doesn't solo, but he also doesn't interfere or rock it out, just comps tastefully. Diaz also made some contributions in computer programming. He co-wrote the Clipper programming language in the late 80s.

I'm a member right now, since eMusic went to the monthly allotments. Much good music to listen to, but the sound breaks up a lot during prime time listening hours. Burn's are 99 cents a track, more than I'm willing to pay. I nabbed the good two and thre track albums during a half price burn sale a couple years ago, then dropped the service. The best sign up deal is to buy the three month CD at Best Buy.

I decided to play my Mark Shim Blue Notes in search of 1-2. No luck there. The tenor clearly is capable of playing fast with great precision, allowing a tricky theme like that to come off.

I'm more likely to put on Allman Brothers and Hendrix. Yeah on Spirit, I had a crazy live album, Spirit of 76, that I'd love to see on CD.

I second that motion, any objections?

My second shot on 1-3 was closer, but not quite right.

I don't think Larry Young recorded as a sideman on organ with Woody Shaw. He played piano on Cassandrite.

If it isn't from Unity, it probably isn't Larry Young. Trumpet, tenor, organ and drums isn't a real common lineup. If I weren't standing by my guess, I'd seriously consider this possibility

Major congratulations, Jim.

1. My first thought was Gunter Hampel and Bobby Naughton, but I think this is a little more steeped in Blue Note tradition than that. Marty Ehrlich was the next name to come up. I don't know that he has recorded with this instrumental lineup, but I'm liking that guess. 2. Unusual piano sound. Maybe later Andrew Hill, like Dusk. 3. Almost certainly him. Either this or this. It's the first of those two, I was already picking up the tenor when I realized there was no guitar. 4. I'm thinking Flora Purim and Airto with Chick Corea and the original Return To Forever. If it's a later band they sure are wearing their influences on their sleeve. 5. Reminiscent of Arthur Blythe's Lenox Avenue Breakdown, but I don't think the instrumentation matches, I don't rememebr bari in that band. I definitely thought of Hamiet Bluiett at the beginning. I'm going with Henry Threadgill. Earthy, funky and just a little out. So far this test is very much to my tastes. Sangrey will dig it. 6. Sounds like seventies Woody Shaw to me. 7. The general vibe is Miles Second Quintet, but I don't think that's Miles. VSOP with Freddie Hubbard? Not sure I've heard Wayne as down and dirty as this solo gets about halfway through. The tenor switches to flute and blows that whole idea. Then the trumpet comes in much more reminiscent of Miles, as if to taunt me. 8. I like the sax's entrance. I'm having trouble picking which instrument, much less which player. First time through i was guessing Chick Corea, either Origin or live with Joe Henderson. Second time through, Clifford Jordan made more sense, but I'm far from sure. Not Joe. 9. Picturesque piano. Pretty sure it's this. Possibly the best track ever made by this very fine player. We sure like to play him a lot on the BFT. 10. McCoy Tyner comes to mind during the opening ensemble, specifically the band with George Adams. When I get to the piano solo I'm not thinking McCoy any more. The solo is either an extremely agile bari, or a tenor who sticks the lower range of the instrument. None of the high register ululations that George is known for, but I'm going with Don Pullen-George Adams. Second listen I'm pretty sure that the composition is McCoy's, but not his band. That's got to be a bari. Not Pullen-Adams then. Cecil Payne? 11. Nature Boy. I'm thinking that's a woman with a particularly deep voice, but that's not a certainty. It doesn't sound like Jimmy Scott. Quite possibly someone I haven't heard. Nature Boy usually isn't heard in this seventies-ish sort of arrangement. Cassandra Wilson? 12. Now this is this. I know it in an earlier version. I was sure it was the same artist but had to look up the album that it was re-recorded on. Bonus 1. Very persistent bowed bass. Henry Threadgill fits here too. I doubt they're both right, but so far I haven't come up with a better guess. On second listen I decided that an album I haven't heard in a long time, Charles Sullivan's Genesis was a better guess. Bonus 2. I know the composition right away but I need to hear the horn to know which version. Ah, a clarinet. It's this. Bonus 3. Way out lots of horns and drums, perhaps some electronics in the beginning beat. Spring Heel Jack perhaps, or maybe a European group like LJCO or Instabile. I'm going with Spring Heel Jack. Bonus 4. My first guess here was Jemeel Moondoc and the Jus Grew Orchestra, but it seems just a little tighter than I remember Spirit House being. At times reminiscent of the Mingus Carnegie Hall date, but the theme certainly isn't Perdido, and I don't think it's C Jam Blues. I love the combination of tight ensembles, swing and edgy playing here. Now I'm thinking it's one of the Mingus tribute bands, say Mingus Dynasty?

Don Grolnick - Medianoche Cameron Brown and Here and Now - Here and How! Owen Howard - Sojourn Hawkwind - Space Ritual BFT 8

Anyone who covers Sun Ra's Nuclear War won't hear any beef from me about sampling jazz covers.

The eagle has landed in Western NC. Sweeeeeet. Keeping my mouth shut for nine days will be difficult, but I'll honor the wishes of the compiler.

Throughout most of its history, a majority of classic jazz has been out of print. In 1976, about ten years after its release, Larry Young's Unity LP was a priced rarity. Those of us who have observed the scene for many years are quite impressed, nearly shocked, at how well Fantasy has been doing at keeping things in print. Blue Note does not do nearly as well, but may enhance the collectability of their products through such policies, and encourage the buy-it-while-you-see-it mindset. Verve is sitting on thousands of hours of prime American musical tradition which has very little chance of getting back in print under their stewardship. I'd like to see the Smithsonian get a hold of the Fantasy jazz catalog, either keeping it in print through on-demand CDRs or making it available for download.

... and I just picked up Balladyna on CD on another label.

I own Rubisa Patrol on CD.

Nice set. Seems to take off in the groove of track 1 from couw's BFT and work in that area. Mellow and a little lounge-y. Solos support the mood and composition, don't generally call attention to themselves. 1. Usually the modern synth jockeys don't go for real horns, so even though this sounds contemporary and from outside the jazz mainstream, I'm thinking the leader is associated more with the jazz mainstream than trance or house or lounge. I like the monolithic crunching beat. Graham Haynes? 2. Nice segue into a west coast feel, then another shift within the song itself. I don't recall Shorty Rogers or Bob Brookmeyer incorporating this much in the way of African elements. Maybe Duke Pearson? 3. Art Pepper? Plus Eleven? 4. It feels like Sonny Criss, but it's not the Sonny's Dream album, and I don't know of other larger groups featuring him except JATP. Not funky enough for Cannonball Adderley or Lou Donaldson. I'll guess Charles McPherson 5. Gerry Mulligan? 6. Shorty Rogers? 7. Cool vibes, and some voicings in the horns that remind me of Oliver Nelson's Stolen Moments. Oliver will be my guess, although that would likely make the vibist Lem Winchester, and this sounds too modern for him. 8. Cal Tjader? Not an overwhelmingly Latin feel. 9. I get the feel of a more avant-garde player holding back a bit here. Jimmy Guiffre on tenor? 10. Kip Hanrahan comes to mind here, although it could be someone identified with a more purely Latin style. 11. One of those segues that you have to look at the track number indicator to check. Very similar melody and groove. Tito Puente? 12. I have a feeling I'm falling for the bait, but I'm going with Stan Getz. 13. Hendrik Meurkens? Latin plus harmonica. I should listen closer, that could be a concertina or something. It's not a harmonica. The only name I know to try is Mat Matthews, who I've never heard. The tenor soloist is quite good. We've got ourselves a true connoisseiur of the squeeze box here. I don't know the names of enough accordianists to come up with enough guesses. I'm totally shooting in the dark here. 14. No real clue, but very nice. Richard Galliano? 15. No real clue, but very nice. Astor Piazzolla? 16. Seems to be an update of the smoky romanticism of Gil Evans, probably featuring one of the newer tenors. Joshua Redman perhaps? 17. Stanley Turrentine on CTI? 18. Short interlude for tenor and trumpet. Johnny Griffin? 19. Kinda reminiscent of Ghetto Lights. I'll guess Wynton Marsalis by a hair over Freddie Hubbard? 20. You expect to hear piano, not organ, on a Mose Allison date. I'm thinking not quite for various reasons on Kurt Elling, Jon Hendricks, Mark Murphy and even Trudy Pitts with Mr C. I guess that brings me back to Mose Allison. I've got very little confidence in my guesses, I'd be thrilled to get four right.

I think all of us moderators would love to hear late reactions to the disks from people who hadn't gotten a chance to listen before the next discussion thread began. Please feel free to comment on either the discussion thread or the answer thread. I'm in for a double, Jim, email to follow soon.

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...item=2594634419

I believe it came out under the title Nine To The Universe

Leon Spencer Bill Jennings?

The one before El Mirage, Land's End, I consider to be one of the great lost classics of pop/rock. I did find a compilation CD called Archive that had five of its best tracks among its 19 selections. I slipped Just This One Time into my wedding mix for its intense romanticism, even if it was a bit unrequited for the occasion.

Would you say that the strings on McCoy Tyner's Fly With the Wind exclude it from being a pure jazz context, or are you unfamiliar with that one Jim? I like the album, and like Cobham's playing on it. I am aware that some people consider it "lesser" McCoy.