randyhersom

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.

Yes, put it up and pin it!

Yeah, Satch, Richard Davis, David Murray too.

Can anyone beat Pops, Billy Harper, Randy Weston, David Murray?

Nah, Bird, Al Haig, Harry Belafonte, Dylan is the one I had discovered.

Charlie Parker to Bob Dylan in 4!

You can also link Duke to Cecil through 'Trane.

Satchmo to ... Pharaoh Sanders in 4 Keith Jarrett, Art Pepper, Emily Remler and Larry Young, each in 5 Hank Garland and Ralph Towner,each in 6

My google says it's What A Wonderful World that Spaulding plays on. Thats a very powerful fact in this game. Much of the Blue Note roster also in three or four steps. Max Roach is the link for mikeweil's quiz. I think its OK to post interesting quizzes even if you don't have a solution for an unsolved one. Keeps the thread going. Satchmo to Charles Gayle in five.

Is the rest of the album of this character and mood? Cuz I sure liked this track enough to wanna get the album! Some darker moments, some more aggressive moments, some moments where the addition of a string trio gives the music an icy beauty. In my opinion this track is representative of its high quality, but is more polished and immediately accessible than much of the album. The Penguin Guide mentioned a couple of other tracks as favorites and did not mention this one. Maybe you should check out some 30 second samples if Amazon or CDUniverse has any available. You might also conside Rarum - Selected Recordings which includes this track.

Thanks mikeweil, I'll fix the flub on the credits.

The way you play is name an artist who recorded with Satchmo, then an artist who recorded with the previous artist, until you reach your target name. You can post just names, but if challenged, be prepared to name the recording. I can do Satchmo to Sun Ra in six steps two different ways, and Satchmo to Cecil Taylor in four. In both cases I'm counting both beginning and ending steps. After you solve, post a new challenge for the rest of us.

The only overriding theme was “things I love”. A couple recurring themes were emphasizing similarities between different stylistic eras and the fact that I had greater familiarity with recordings of the seventies than most other periods. My favorites tend to be those with a hypnotic groove, and highly dramatic music. I value exuberance and emotion over polish and craftsmanship, and I’m not picky about recording quality. It’s been very enjoyable to quietly watch the discussion thread. The level of knowledge here is indeed highly impressive. DISC ONE: 1) James Moody and His Modernists: Moody's All Frantic from James Moody 1948-1949 (Classics, originally on Blue Note), Oct 25, 1948 Dave Burns, Elmon Wright – trumpets Ernie Henry – alto James Moody – tenor Cecil Payne – bari James Forman – piano Nelson Boyd – bass Art Blakey - drums Chano Pozo – bongos I wish the sound was a hair better, but I always loved the raw energy of this track. It’s a little “out there” in its way. When I did a radio show, I would often use it as a bridge between bop or hard bop and freer pieces. 2) Woody Shaw: Obsequious from Love Dance (Muse) November 1975 Steve Turre – trombone Rene McLean – soprano and alto Billy Harper – tenor Joe Bonner – piano Cecil McBee – bass Victor Lewis – drums Guilherme Franco – percussion Tony Water – congas To me the ultimate in uptempo hard bop excitement. The theme just drives so hard. Composed by Larry Young and available in a few different versions, this is the one I first got to know and love. 3) Bobby Hutcherson: Ghetto Lights from Dialogue (Blue Note) April 3, 1965 Freddie Hubbard – trumpet Sam Rivers – soprano sax Bobby Hutcherson – vibes Andrew Hill – piano Richard Davis – bass Joe Chambers – drums This Andrew Hill composition is very expressive, with an optimistic sound and Monk in its soul. Freddie Hubbard absolutely kills. It’s just so delightfully off-kilter in some undefinable way. The leader has been hopelessly upstaged before he even begins his solo, but still finds some nice things to say. 4) Jackie McLean & Michael Carvin – De I A Comahlee Ah from Antiquity (Steeplechase) August 16, 1974 Jackie McLean – Alto, voice, other instruments Michael Carvin – drums, voice, other instruments The seventies were a time of increased awareness of the African roots of jazz. This catchy chant tune is the highlight of Jackie McLean’s most direct exploration of those roots. Play it twice and you’ll be singing along. 5) Mal Waldron and Gary Peacock: Heart of the Matter from First Encounter (Catalyst) LP copyrighted in 1976, AMG says recorded March 8, 1971. Never on CD Mal Waldron – piano Gary Peacock - bass Hiroshi Murakami - drums This is very much Mal’s style taken to an extreme. The first side of this album has two great tunes and I agonized over which one to include. This is the one I love more, even though the other, She Walks In Beauty, may be more accessible and melodic. I first got into jazz through Keith Jarrett’s solo concerts and am a sucker for hypnotic, percussive ostinatos. The Japanese drummer contributes plenty of energy to the proceedings. 6) Jane Bunnett: The Water is Wide from The Water is Wide (Evidence) August 18-19, 1993 Jane Bunnett – soprano Don Pullen – piano Kieran Overs – bass Billy Hart - drums Sheila Jordan, Jeanne Lee – vocals Upon reading that a recording existed of Sheila Jordan and Jeanne Lee singing together, I knew I had to own it. Throw in Don Pullen and the opportunity to hear a soprano saxist that I had read good things about and never heard and you’ve got a very soulful listening experience. 7) Johnny Griffin: Soft and Furry from Change of Pace (Riverside) February 1961 Johnny Griffin – tenor Julius Watkins – french horn Larry Gales or Bill Lee – bass Ben Riley – drums The theme statement is so good. I first heard this in a longer live version and I just wanted them to keep playing the theme, the heck with solos. 8) John Carter-Bobby Bradford Quartet: Abstractions for Three Lovers from Flight for Four (Flying Dutchman/Novus) April 3, 1969 John Carter – alto Bobby Bradford – trumpet Tom Williamson – bass Bruz Freeman – drums Once again the hypnotic beginning and ending draws you in. I still tend to find some Eric Dolphy and Ornette Coleman harsh at times, but the lovely sounds here benefit from the trails they blazed. I definitely intended to frame this with non “avant-garde” tracks to lure in some cautious listeners. 9) Duke Ellington: The Star Crossed Lovers from The Great Paris Concert (Atlantic) February 1963 Duke Ellington – piano Johnny Hodges - alto Russell Procope – clarinet, alto Jimmy Hamilton – clarinet, tenor Paul Gonsalves – tenor Harry Carney – baritone, clarinets Cootie Williams, Cat Anderson, Roy Burrowes – trumpet Ray Nance - cornet, violin Lawrence Brown, Buster Cooper, Chuck Connors – trombone Ernie Shepard – bass Sam Woodyard - drums The way Johnny Hodges wails on the climactic notes has always had a grip on me. 10) John Coltrane: Body and Soul from Coltrane’s Sound (Atlantic) Oct 24, 1960 John Coltrane – tenor McCoy Tyner – piano Steve Davis – bass Elvin Jones - drums McCoy Tyner’s hypnotic piano chords at the beginning were the first thing I fell for here. This is just behind Africa as my favorite ‘Trane, with Living Space right up there too. 7 11) Joe Lee Wilson: Crucificado from What Would It Be Without You (Survival/Knit Classics) August 31, 1975 Joe Lee Wilson – vocals Monty Waters – alto, soprano Ryo Kawasaki – guitar Ronnie Boykins – bass George Avaloz – drums Rashied Ali – congas I was familiar with and enjoyed Archie Shepp’s version of this with composer Dave Burrell on piano, before I heard Joe Lee Wilson’s version. Both are great, but the all-out singing makes this the one I return to more often. By happy accident, the last three tracks on Disc One form a kind of “passing it down” chain. Coltrane played in Johnny Hodges band, and Rashied Ali played in Coltrane’s. Anybody for a good game of “Six Degrees of Satchmo?” DISC TWO: 1) Gil Evans: Las Vegas Tango from The Individualism of Gil Evans (Verve) April 6, 1964 Gil Evans - piano Johnny Coles, Bernie Glow – trumpet Jimmy Cleveland, Tony Studd – trombone Ray Alonge – french horn Bill Barber – tuba Garvin Bushell, Eric Dolphy, Bob Tricario, Steve Lacy – reeds and woodwinds Kenny Burrell – guitar Ron Carter, Paul Chambers – Bass Elvin Jones – drums Late night romanticism from a master. Jimmy Cleveland’s the main soloist here. Not much Dolphy and Lacy on display, but this track might be a killer jazz trivia question. Is this indeed the only time the two played together? 2) Betty Carter: Deep Night from The Audience with Betty Carter (Bet?Car/Verve) December 6-8 1979 Betty Carter – vocals John Hicks – piano Curtis Lundy – bass Kenneth Washington - drums Betty is one of five artists, along with Sun Ra, Santana, Max Roach and a local NC band called Tornado, that I saw play at least three times. One of them was in the tour, but not the concert, that produced this exquisite live album. She asked a lot of her players, as evidenced by the tightness of the tricky tempo changes here. She was a consummate entertainer and knew just what the effect of singing “deep, deep, deep … deep night” in that voice was. 3) Andy Bey and the Bey Sisters: Night Song from Andy Bey and the Bey Sisters (Prestige/OJC) August 20, 1964 Andy Bey piano, vocals Salome Bey, Geraldine Bey – vocals Jerome Richardson – flute, tenor Kenny Burrell – guitar Richard Davis – bass Osie Johnson – drums Continuing the mood with a recent acquisition. Now! Hear! is the name of the original LP which is coupled with the subsequent Round Midnight LP on the above CD. 4) Walt Dickerson: Warm Up from Peace (Steeplechase) November 14, 1976 Walt Dickerson – vibes Lisle Atkinson – bass Andrew Cyrille – drums Walt likes to get a deep, soulful, vocal quality out of his bass players that contrasts with the clear crisp sound of his instrument but is absolutely appropriate to what he’s doing on the vibes. This short bonus track didn’t make it on to the two track original album, but if gives a short taste of what the longer Chant of Peace and Universal Peace have to offer. This is the album that started my Walt Dickerson collection. I now have all of his albums, including two that haven’t made it to CD to my knowledge, Unity and Jazz Impressions of Lawrence of Arabia. He never recorded as a sideman and hasn’t had a commercial release since 1982. 5) Terje Rypdal: Return of Per Ulv from If Mountains Could Sing (ECM) January or June 1994 Terje Rypdal – guitar Bjorn Kjellemyr – bass Audun Kleive – drums I did want to include a European artist in my compilation. I became a big Terje Rypdal fan back in the mid 70’s with side one of Whenever I Seem To Be Far Away, which was as much progressive rock as it was jazz. Upon hearing this album, this opening track grabbed me right away. P. S. So many people mistook this for “smooth jazz” during the discussion, that I felt like I needed some extra listens and words. As the opening track of an album that is certainly not a smooth jazz album, I think the artist wanted something that would lure people in. He has crafted an attractive melody with which to do this. He plays the melody straight, the bass comes in to state it’s part of the melody, then he repeats the melody statement, perhaps a little less straight this time. The bass takes a short solo, then Terje starts his solo in fourths (about 2:13), the same interval that provided the crushing climax to his early and great “Silver Bird is Heading for the Sun”. About 30 seconds later, there’s what can only be described as an anguished cry from the guitar. The whole solo is pretty damn subversive for “smooth jazz” if you ask me. The man doesn’t just bend notes, he tortures them. It’s not the blues, any blues in it has been filtered through several layers of rock. Now it’s back to the melody to conclude one of the artist’s gentler performances, but one that still has the patented flash of case hardened steel. 6) Michael Howell: The Call from In The Silence (Milestone) April 1974 Michael Howell – guitar Bennie Maupin – bass clarinet Henry Franklin – bass Ndugu (Leon Chancler) – drums Kenneth Nash – congas, percussion Organic, acoustic funk. Maybe even greaze. Bass clarinet rarely sounds this good or fits this well for me. Michael made three very good albums that haven’t been issued on CD as far as I know. In addition to this and one other Milestone, there’s a Catalyst solo acoustic guitar set where he covers McCoy Tyner’s Sama Layuca and Stevie Wonder’s Creepin’ very nicely. I think he went mainly into production/engineering after that. Unless it’s someone else by the same name, he popped up again in 1996 on a David “Bubba” Brooks CD. P. S. Unlike many who commented, I quite like the bass playing. It reminds me of Charlie Haden’s playing on De Drums, De Drums and some of the Jarrett American quartet’s other funkier moments. 7) Randy Weston: Mystery of Love from Carnival (Freedom) July 5, 1974 Randy Weston – piano Billy Harper – flute William Allen – bass Don Moye – drums, percussion Steve Berrios – congas, percussion One of my earliest jazz albums, the exotic, swaying groove here is still one of my favorites. Randy Weston recorded this many times, but this is the one I keep coming back to. Recorded live at the Montreux Jazz Festival 1974. 8) Keith Jarrett: Great Bird from Death and the Flower or 73/74 (Impulse) Oct 9-10 1974 Keith Jarrett – piano, soprano Dewey Redman – tenor Charlie Haden – bass Paul Motian – drums Guilherme Franco – percussion Another early discovery, one of my most played LP sides where this track followed the exquisite Prayer, a duet between Keith Jarrett and Charlie Haden. People have criticized Jarrett for playing soprano sax on recordings, but for me it’s impossible to imagine this music without the soprano sax overdubs. Here we get the Jarrett and the American Quartet’s lyricism and propulsiveness all in the same track. 9) Max Roach: It’s Time from Max Roach Quartet Live in Tokyo Volume 1 (Denon) January 21, 1977 Max Roach – drums Billy Harper – tenor Cecil Bridgewater - trumpet Reggie Workman - bass Even though Odean Pope played very well with Max over a longer period, I still think that Max’s quartet with Billy Harper was the best band he had after the fifties. The two Live in Tokyo LPs have been my most hotly pursued collectors items until my recent good fortune in finding them at a great price on eBay. I remember watching this live quartet for the second time in the 70s and feeling that Cecil Bridgewater had made a big breakthrough in expressiveness, and I hear that here too. He reached a point pretty close to where the other three players already were. For a while I believed that this was briefly released on CD, but these days I’m not so sure. 10) Stan Getz: Another World from Another World (Columbia) 1978 or 1977 Stan Getz – tenor with digital delay He never did it before, and he never did it again. Stan Getz’s improvisation using a digital delay processor is an entrancing piece of music with a real sense of excitement and discovery. From Stan’s own liner notes: “Something unexpectedly exciting happened almost immediately, as I discovered that the delay enabled me to build chords, put note upon note and build harmony on top of harmony simultaneously and spontaneously.” 11) Sun Ra Quartet: Exactly Like You from New Steps (Horo) January 1978 Sun Ra – keyboards John Gilmore – tenor, percussion Michael Ray – trumpet, percussion Luqman Ali - drums Once I stumbled on the delicious irony of taking it outside with Stan Getz and bringing it back inside with Sun Ra, I knew that’s how Blindfold Test #6 had to end. I met Michael Ray at WRTI in Philadelphia in the seventies and got to hear some amazing live tapes he did with a local band called Up from the Cellar, Down from the Attic. His playing on this two record set is wonderful, as is that of the rest of the quartet. Not released on CD as far as I know. P.S. added after viewing the discussion: Yeah, would have been nice if Sunny called up Ronnie Boykins instead of playing keyboard bass one handed, (or pedals two footed, not sure). But the amateurism translates into the humongous innocence of the man that pestered Columbia records with his steadfast belief that Nuclear War (lyrics: If they push that button, your ass gotta go, and what you gonna do without your ass) was a top ten hit. Without that innocence, no Space Is The Place, no walking out into the crowd and hugging concertgoers, no Ra, Sun listing in the Philly phonebook, no Pharoah’s Den convenience store, hand colored Saturn LP covers, etc. If it’s not your thing, that’s fine, but it was never Sun Ra’s intention to make the follow up to Sidewinder or So What.

I downloaded 3 Westbrook Music Theater albums from emusic before they imposed the download limits. Only remember listening to one of them so far. What's the word on Westbrook Music Theater?

Walt Dickerson is so underrated that I really didn't try very hard to limit my consideration to only his 60's albums. To My Queen is a major triumph, and I wouldn't want to be without any of them. Bobby Hutcherson certainly put out a very large body of fine work during the decade, but Walt's originality and lyricism tip the scales for me.

Twenty-two participants and one moderator have participated in the discussion thread of Blindfold Test #6 so far.

It's official. 100% of the artists have been successfully identified. I'm inclined to move the answers thread up to Monday morning. I still want to allow the weekend for those who haven't posted yet.

1-5 is the one I'm referring to. See if you can identify either of the other two musicians. The more famous one is co-leader.

No that clearly says John Carter & Bobby Bradford Quartet on the album cover.