JSngry

No idea if that's the same guy or not. Doesn't seem implausible, though, time/place/etc.: http://www.allmusic.com/artist/hank-levine-mn0000667972/credits

http://ultimateclassicrock.com/ginger-baker-elvin-jones/

It's Leo Records' money, right? I'd think they'd have a plan, having stayed in business this long.

I would allow for the possibility. http://www.ojaifestival.org/vijay-iyer-shares-2017-programming/

I bought it from the band when they were here a few weeks ago, like it a lot. It's got two remixes that don't do a thing for me, but the Friedman quartts are nice, and played strongly.

Central Time is usually not a problem like that, games are over around 10-10:30 skip the post-game, hit the Ambien, put something Pandora on the TV, set the sleep timer, get up between 5:30-6:30, it's all good. Am getting plenty full of Joe Buck and the tired Fox "tense fan" camerawork, SO tired of that. But these games have played well, last night in particular. Felt like the Cubs had it, but hmmm...one hit and one mistake, or the other way around, look out, really did have to watch to the very last out to make sure. That's a good baseball game.

Weeknight World Series games always viewed favorable here!

Just to be clear, the Mel Powell piece was composed in 1957. The recording heard here is from 1993. Powell does not play on it That's the Francesco Trio . It's David Abel on violin, Bonnie Hampton on cello, & Nathan Schwartz on piano. However, it's my understanding that Powell did work with the trio as they prepared their interpretations, at some level. This trio made two recordings on New World, both of which contain some pretty interesting music, as well as some less interesting music. But if you like this type of thing and find either or both at a carpe diem price, then by all means, do! It was on the second disc that I first heard Olly Wilson, and...one thing led to another. Not only does Powell have another piece on Vol. 2, he also did the cover painting. Anthony Davis has kept a low profile over the years, but has remained active as composer, and performer. I suppose it's safe to say that the "gigging musician" model is no longer his, no doubt by choice, but he can still be heard, and is on the new Wadada Leo Smith Cuneiform album, America's National Parks. The Hank Levine thing I bought just on a whim, but it turned out to have several moments of interest, like taking Nixon's 1962 "farewell" speech from the Californian gubanortial election and recasting it as a Vegas comedian's lounge act, complete with a laugh track.. I very recently came across a follow-up to this one Hank Levine album, but they wanted 7-8 bucks for it, and I don't know if there's that much comedy dollars in a sequel to this one. But I really like this Ike thing, that cut has summed up any number of days in my life over the last year or two...can't stop the drone, can't stop the pin noise, neither quite blocks the other out...

I would not have immediately made the association, but have heard enough of Allen's playing to have the light bulb go off immediately as soon as he commented on the track. Allen never plays the BFTs, ya' know, so when he did, and on just one cut, hey - dots connected at the service of sound, faster, even!

Clifford, is that Allen Lowe on #4?

Dude, the BFT is your platform to do with what you want. I got crap for putting Marvin Gaye on BFT #4, so that's ancient history, irrc. I've included all sorts of stuff on my previous tests, spoken word, commercials, Chipmunks B-Sides, Vanilla Fudge, just...stuff. Whatever you have at hand, if you want it in there to work with your flow, use it. By the same token, if you want to do a This Are My Jamz Cool Tunz Hitlistmixtape, do that to. Each presenter, do your thing. For this own specifically, I didn't go for "non-jazz" as much as I did musics that in a When Worlds Collide scenario (such as in a dream) could end up on or near or leaving fumes in your jazz. Afro-Euasian Eclipse Effect brought to you by Reese's Peanut Butter Cups. Think about it - what kind of a blindfold lets you pretty much see through it?

Is that you on #4, Allen?

Thanks for listening, that's more important than being or not being able to guess the artists. The answers thread lists where each track can be found. Most of the musical cuts should be easily available, although the Johnny Otis album appears to be vinyl-only.

Neophonic made it to CD

I liked the Wagner album, actually. It was mostly a lot quieter than I expected. Oh, already have them. I've had Massive Ambivalence about The Creative World for decades now, going back to Initial Indoctrination in 1970 and Full Deprogramming by 1975. Finally decided to confront it head-on and just bought the shit out of Stan Kenton records, legit and otherwise, a few years ago. Still have the Massive Ambivalence, but have accepted it as a Fact Of Life now, no longer conflicted, just accepting, totally comfortable with that, free at last.

I like the Soundcloud being right here in the thread. That's nice, makes it easy. Early voting has already begun in some states, might as well get started here, tonight! TRACK ONE - Not immediately known, but nevertheless familiar. Very Ornette-y, but not exactly so, something at least partially "European"? If that's not Don Cherry, why isn't it? And now a piano? The altoist, again, very Ornette-y, but not exactly so, pretty damn close, though, like he(?) had no choice inside him but to do that. John Tchichai, maybe? Now, who is the flutter-tonguing tenorist? No idea...I'd have liked more development out of the solo, solos, actually, but oh well. On the whole, I'd guess it to be late 1960s-mid-1970s at the latest. I like it, it's principled. TRACK TWO - Last summer, I think, I went on a Brubeck binge and hit on the albums he did with Bill Smith. This could be one of those, to be honest, there's very little about them I remember specifically except for one or two cuts, none of which is this. Don't particularly care for the clarinet once it goes into straight swing. If not Bill Smith,,,not Perry Robinson, surely not? But the piano does get kinda Brubecky, so...I don't know. Drummer has Occasional Bobby Durham Disease, though, and I wouldn't wish that on anybody, friend, for, known or unknown. On the solo, though, the crispness of attack does not disqualify Morello, although...I don't think so. But one never knows...In the end, there's a lot of ways I don't like clarinet played, and this is mostly one of them, except when it's not. TRACK THREE - Rhythm-a-ning-a-ning-a-ning-a-ning-a-ning. The beauty of improvisation is that you can get into a zone and really go places. The downside is that when you don't, there's always licks to fall back on, or, best case scenario, "vocabulary", you can hang out and be cool without really saying anything, just hang out and be cool. The reality is that a lot of times you end up with moments of inspiration and more moments of filler in between. This sounds like that, at least for the trumpet solo. The alto player is just already there, again, like he/she has no other choice. I don't hear decisions being made as much as I do instincts being acted on, and they're instincts based on a surround-sound environmental awareness. The alto player, I like. Overall, I hope everybody got out alive, but let's be real, nobody gets out alive in the end, right? I'd say the alto player stands/stood the best chance of any of them, though, he's ready to dodge and dart as needed. TRACK FOUR - Ok, sounds like an older recording, also sounds like David Murray's interior time and nannying vibrato. Is this some Jamaican cat or something? I've run into local cats like this, they got all the ideas, their fingers are right, their swing is good, but something happens on the way out where their interior time just gets...is "hinky" the right word? They always start right and land right, but in between, it's an adventure. The pianist is definitely from the neighborhood, and so's the tenor player, but the piano player can paint with the gloss when/as/if needed,t he tenor player, again, what choice does he/she have? Definitely a slice of some lives! TRACK FIVE - Would have liked this better if the guitarist's, hell, everybody's, time had been more flexible. The phrasing is varied, but it's all in-line pulse-wise. It's like, when you play "free" like they do on top, and then hit time, the time's already been there, so it's really redundant to play free, if that makes any sense, and then go back to quasi-free, you're not fooling anybody. Plus the texture never really varies for a bit of a long while. My impression is one of an ongoing sense of "here now"s without every really stepping back and hitting other where the "here" really is. Maybe there's not one, and maybe that's the point. If so, point made, but...breathe, ok? Metronomes don't breathe. TRACK SIX - Oh, I don't know, that tenor playing, either Brotz or Gary Windo? How do I not like this? And I really like that there's no drummer. Just having a drummer to have one is one more thing that can go wrong, and if nothing is going wrong, why ask for trouble? TRACK SEVEN - Like the tenor player's sense of pacing, seems a shame that it didn't really develop, guess a studio date has to have those constraints built in. OTOH, plan and play accordingly, perhaps? Anyway...seems to me that these days, the only reason to do a vamp-based structure like this is to either work it to death for, like an hour or three, or else put stuff on top of it that counters the vamp. This to me, is kind of, not no other options inside as much as it is no real choices available. It kinda starts in one place and more or less stays there the whole while. Maybe you had to be there? TRACK EIGHT - Writing! Honest-to-god specificity! Sounds kinda George Russell-ish, might even be him, don't know the record if it is. I like the pianist's comp, it's thinking about how there's more to a comp than just chords and groove, you can also frame with it. Jaki Byard was a master at that, Red Garland, Cecil, always. In fact, everybody sounds like they're contributing to what I said I felt was missing in #5 - an overall sense of where "there" was. Maybe not the most creative players individually, but as a group, hey, it works. More groups, please, a group can get you from all sides, whereas just having strong players leaves room for escape, and if you're bringing it to mean it, you do NOT want to let motherfuckers escape, you either scare 'em off or keep 'em in, none of this halfass shit, right? TRACK NINE - Those were the days! And again, a little bit of writing, direction, place, specific placements. And see, unlike #7, they know that they only gonna get so much time, so they adjust/play accordingly, make a full statement, then get out. Even if it's an LP, it's still a record, like a 78, you still gotta make it happen from beginning to end, carpe diem, carpe recordum, exactly, right? Focus, control, statement, 2 minutes, 2 hours, whatever, be there to be THERE, don't be there just because that's where you woke up this mornin', ya' know, any passed out wino can wake up, dig? Don't know what the entire record this is from is like, if it's all "this", then well...um...but really, this right here, this is a record all by itself. Whoever it is...yeah, this is worth the time. TRACK TEN - Now, this is worth listening to for me, because because there's no "Point A" that has me more or less knowing in advance what "Point B" will or will not be. There's no room to get comfortable, or worse, lazy, here, that's too easy. Both listening and playing, no room for squares, gotta keep rolling. And note how the time is not in-line, that shit breathes, picks up, pulls back, NOT a metronome. Lots of information in these few minutes, none of it accidental. "Liking" it is not the point until you can hear what "it" is, and I love it when stuff like this is not immediately apparent. I hear trombone...George Lewis? TRACK ELEVEN - "Think On Me", rendered by a combo that might be using the Chico Hamilton groups as a model? I like the bass player, and I like where the guitar player is working to. I like the drummer well enough too. The flutist actually sounds a bit familiar, maybe? But I think that's just me having Chico Hamilton flashbacks. TRACK TWELVE - I want to say Buddy Tate? I like the pacing, like it a lot. Not trying to play it all at once (not that that's even possible), and working with/around some core language motifs, fluidating them. It runs out of steam after while, but what doesn't? But now who's this on bari? The part of Leo Parker that didn't make it to the grave? There must be some special circumstances here? Should our gazes be averted? I want to hear the organ have some their ownself. Thanks for ease of access, ease of listening. Didn't identify anybody, but I only do that when I can, kinda prefer it when I can't, actually, makes responding to the actual music a lot easier. Good stuff!

I might prefer it on LP. The CD is wonderful in 15-20 minutes stretches, but all at once....a certain sameness sets in. It's a wonderful sameness, but, still...

That "Girl Talk" just works.

Jack Sheldon's on that record, and is not wasted, except when he's not used.

Terry Franconia seems like a nice guy, all things considered.

I like that he always had his own sound & time.

Everything you say could conceivably be true!