randyhersom

Patrick Brennan was a fascinating rarity. I recognized Marvin Blackman's name from a Tarika Blue album I like. I see it's on Bandcamp: https://patrickbrennansound.bandcamp.com/album/soup

Wikipedia says: In the early 1970s, Swallow switched exclusively to electric bass guitar, of which he prefers the five-string variety. It's possible they are wrong.

Acoustic bass guitar is really rare, I think it's an electric. I find him to be very recognizable on electric bass.

Jon Christensen is the drummer tkeith couldn't think of, I think. I like him. Arild is playing high notes on the bass, no violins on 8. I didn't pick up that there were 2 basses on the record date for 10, have to listen again for the bass(es).

This was nearly unguessable, but you guessed it. Awesome

Five Ralph Towner CDs released this century. All tend toward tasteful rather than groundbreaking, but worth checking out.

OK, I peeked. Great choice for crushing preconceptions.

Bley first recorded in 1953, so I wonder if the pianist on 4 really came before him. If so, Hank Jones could be in the mix.

Peacock on 3 means it might be the Paul Bley. Kikuchi is another vocalizer, I think. Other names I thought of for 8 were Gato Barbieri, Ivo Perelman and the Maneris.

1. I'm thinking Jackie McLean with Charles Tolliver. Yes that sounds an awful lot like a tenor, but Jackie always did. 2. Brandee Younger? Not a lot of harp between Dorothy Ashby and her that wasn't played by Alice Coltrane. 3. Nice open trio concept similar in feel to later Ahmad Jamal, but I don't think it's Ahmad. That's a lot of bass, makes me think of Buster Williams so maybe Kenny Barron 4. In a Sentimental Mood. Earl Hines did a couple of wonderful Duke Ellington solo collections, but this feels a little to modern to be the Fatha. Let's try Tommy Flanagan. 5. Nice panorama of earlier jazz styles. When I think of who could do this and who would do this, I come up with Duke Ellington. 6. Very pleasant. Sonny Fortune? 7. Synthesizer in the mix here. Not Hancock or George Duke, too laid back. Maybe Paul Bley? 8. Boy that sounds like Dewey Redman. Until it starts sounding like later Albert Ayler - like Live in Grenwich Village 9. Even more like Ahmad Jamal. I think this is a tune associated with him. 10. ECM Gary Burton and Steve Swallow? with Pat Metheny? 11. I think it's Pharaoh, even though those records with Michael White had a widespread influence, and it could be later. 12. Grooves so nicely that you have to pay sharp attention to convince yourself it's actually solo piano. A hint of gospel. No real clue, I'll throw out Stanley Cowell as a guess.

https://en.wikipedia.org/wiki/Paul_Plimley

Well I don't live in a police state and am doing what I can to keep it that way. But I think it's great that those who like Woods and Cole are speaking up. And I did note Woods' excellent taste in rhythm sections on Exhibit A.

I often saw him in the same light as Phil Woods, technical facility but not that much feeling. Collaborations with Eddie Jefferson are probably his high points.

My thoughts on 6 have shifted to the named bands like 8 Bold Souls or Dead Cat Bounce. The alto is very accomplished, but I don't think it's Threadgill.

Perugia is a long time favorite, I'm with JSngry and TKeith here. Julius Hemphill - Raw Materials and Residuals comes to mind for a later album that could be #6.

I couldn't help but smile and think of Harrison when "indeedy" was added to the Scrabble dictionary!

1. Familiar composition, played faster than I remember. Johnny Griffin comes to mind. 2. Yardbird Suite by a piano trio, Hampton Hawes, I think. 3. Sure sounds like Art Farmer. One of the many times I said that, I was actually right. 4. This is Roland Hanna playing a Duke Ellington composition from the album Perugia, recorded live at Montreux. I think it's Take the A Train, which may be Strayhorn. Recorded just after Duke's passing. 5. Jim Hall? 6. Charles Mingus? Quite possibly with Dolphy. 7. Someday My Prince Will Come on guitar, introduced by long bass solo. NHOP, maybe with Philip Catherine? 8. Expressive trombone intro, with Trane aware sax coming in later. The sax makes me lean away from J. J. Johnson and Slide Hampton, and I don't think it's Grachan Moncur. Steve Turre?

Thanks, Milestones

The partial theme was Jazz Firsts. I On three occasions I discovered that what I thought was a first was not, two of those three happened after the BFT was posted. I will be forever grateful to the late Harrison Ridley Jr. for encouraging and refining my appreciation of early jazz music both as an classroom instructor and a colleague at WRTI, the college radio station at Temple University which had an all jazz format at the time. 1. Louis Armstrong Hot Five - Heebie Jeebies 1926 Louis Armstrong cornet, Lil Hardin Armstrong Piano, Kid Ory trombone, Johnny Dodds on clarinet, and Johnny St. Cyr Guitar, Banjo Some sources have said that this track was the beginning of jazz scat singing. Just last night I looked at Wikipedia while gathering personnel, and saw the statement "Armstrong did not invent scat singing, because it was already practiced by many musicians in New Orleans during the early twentieth century". Digging a little further in https://web.archive.org/web/20071223035158/http://criticalinquiry.uchicago.edu/issues/v28/v28n3.edwards.html we find the specifics: Baudoin notes Don Redman, who recorded a scat break of "My Papa Doesn't Two-Time No Time" with Fletcher Henderson five months before "Heebie Jeebies." Will Friedwald, in Jazz Singing, points to vaudeville singer Gene Green's half-chorus of imitation-Chinese scat in his 1917 recording of "From Here to Shanghai," and mentions other overlooked figures including Cliff "Ukulele Ike" Edwards, who scatted on a December 1923 record of "Old Fashioned Love," and used to work in a theater accompanying silent movies "with his ukulele as well as with singing, vocal sound effects, and 'eefin'" (the word Edwards used before anyone had thought of 'scat')." In the late-1930s, the champion self-promoter and deft revisionary historian Jelly Roll Morton told Alan Lomax of his own role in the mode's origins more than twenty years earlier: "People believe Louis Armstrong originated scat. I must take that credit away from him, because I know better. Tony Jackson and myself were using scat for novelty back in 1906 and 1907 when Louis Armstrong was still in the orphan's home. 2. Duke Ellington - 05 - Creole Love Call 1928 The first here would be a jazz composition using entirely wordless vocals. A hit record in its time, and a recognized Elington classic. Bubber Miley, Louis Metcalf(t); Joe Nanton(tb); n/k(cl,as); Edgar Sampson(as); Otto Hardwick(cl,ss,as,bar,bsax); Duke Ellington(p); Fred Guy(bj); Mack Shaw(bb); Sonny Greer(d) Adelaide Hall(v) 3. Clarence Williams Shooting the Pistol 1927 The first jazz flute solo. I had thought that honor belonged to the next track for a number of years. Clarence Williams Piano, Albert Socarras Flute and sax 4. Benny Carter - Devil's Holiday (Carter) Benny Carter Alto Sax, Wayman Carver Flute 5. Jess Stacy - Barrelhouse 1935 Jess Stacy (piano), Israel Crosby (bass), Gene Krupa (drums) The first jazz recording with instrumentation of piano, bass and drums, a combination that would become commonplace. 6. Coleman Hawkins - Picasso Coleman Hawkins, Tenor Saxophone The first jazz solo saxophone recording 7. Coleman Hawkins - Woody 'n' You (Gillespie) Coleman Hawkins, Tenor Saxophone, Dizzy Gillespie Trumpet The first commercially recorded and released bebop record. There was a home recording of Bird and Diz the previous year that wasn't released until much later (if at all?) 8. Eddie Jefferson - Body and Soul I had seen sources that credit Eddie Jefferson's recording of Body and Soul as the first example of jazz vocalese, where lyrics are fashioned to the melody of an actual jazz solo. I knew this wasn't that recording because King Pleasure had a huge hit with Red Top not long after Eddie's original Body and Soul, and this was a much later recording. Then I found this in the Wikipedia for vocalese: However, Kurt Elling makes a point to recognize Bee Palmer, who sang lyrics to a Bix Beiderbecke and Frankie Trumbauer solo on "Singin' the Blues" as early as 1929. That's on Youtube: https://www.youtube.com/watch?v=8H4gY8hQqEs. I still would like to dig up the details on Eddie's original Body and Soul. Departing from the theme in order to increase the challenge of this BFT over the next three tracks 9 Gerry Gibbs - Love Letter to Dawna Bailey - Acoustic Bass – Derek "Oles" Oleszkiewicz, Drums, Cowbell, Wood Block, Gong, Bells, Chimes, Whistle, Sounds [Bike Horn], Glockenspiel [Glockenspiel Keyboard], Rainstick, Arranged By – Gerry Gibbs, Piano – Billy Childs, Soprano Saxophone, Tenor Saxophone – Ravi Coltrane, Vibraphone – Joe Locke, Violin – Mark Feldman I became aware of the leader during Michelle Coltrane's set at the High Point NC John Coltrane Festival - Gerry was Alice Coltrane's stepson and he and Michelle had grown up together. During the same festival, Ravi Coltrane played a set of his mother's music at the festival named for his father. I enjoyed the set and appreciated the subversiveness of the choice, I think John would have approved. 10. Francisco Mora Catlett - Saints at Congo Square - Afro Horn MX - JD Allen: tenor sax; Vincent Bowens: tenor sax; Alex Harding: britone sax; Aruan Ortiz: piano; Francisco Mora Catlett: drums, bata; Roman Diaz: congas, bata, voice. I came across this when checking out some JD allen titles mentioned on a thread here and searched Amazon Music for JD. Was fascinated that the leader had been a Sun Ra sideman. 11. Preservation - Nublu Orchestra conducted by Butch Morris — LIVE AT JAZZ FESTIVAL SAALFELDEN - Alto Saxophone – Jonathon Haffner Conductor – Butch Morris Cornet – Graham Haynes Drums – Kenny Wollesen Electric Bass – Michael Kiaer Guitar – Thor Madsen, Zeke Zima Percussion – Mauro Refosco Tenor Saxophone – Ilhan Ersahin Trumpet – Fabio Morgera, Kirk Knuffke JSngry correctly detected he influence of the modern classical field here. Starting out on cornet with his bassist brother Wilbur in David Murray's band, Lawrence D "Butch" Morris later created/explored his own new genre named conduction where his role was composer and conductor of works that included improvisation. 12. Cecil Taylor - Carol-Three Points Cecil Taylor piano, Buell Neidlinger bass, Denis Charles drums, Bill Barron tenor sax, Ted Curson trumpet I had the privilege of interviewing Ted Curson on WRTI in the late seventies. After the on-air interview was complete, Ted mentioned to me that when he was in Cecil's band, they had actually recorded free jazz before Ornette recorded the "Free Jazz" album, and that it wasn't released a the time, but had now come out in the "brown bag" 2 LP set on Blue Note. This is that track and Ted said it wasn't the whole track that was free, only part of it. So this returns to the theme, but not with absolute certainty. Opinions very welcome.

The theme is one that is affected by the discovery of new facts 1,2,3,5,6 and 7 fit the theme to the best of my knowledge 4 almost fits the theme 8 almost almost fits the theme 12 was intended to fit the theme, but there may be much discussion on whether it does,. 9,10 and 11 had different agendas and didn't even try to fit the theme,.

You continue to speak truth.

Not Gil Evans. Recorded this century.

JSngry always knows more than he reveals. Hope he's coming back for further comments.

The guitar player is not leader or composer. Glad it's coming through for you on second listen. Miles is not involved.