JSngry

Oh no - GREAT guy, one of the best. I just didn't find much of interest in his teaching methods, although they were certainly sound for what they were going after. It's just that I was after something else, and his program just didn't go there. But many, MANY people benefitted enormously from having been under his tutelage. It just wasn't the way for me personally, which is what I meant by him not being a "favorite". I was all into Ornette, Ayler, late Trane, etc., and Rich, uh, wasn't. No negative reflection on the man or his talents intended at all. But fersure, Rich was a pussycat, a gas to be around, and one of the alltime GREAT storytellers, G & XXX alike. I NEVER turn my nose up at a good storyteller!

I don't think she's really in Russia. I think she hangs out at a bar in California. That head-tilt looks AWFULLY familiar...

Cool. I was just kinda concerned that perhaps you WERE offended in some way because you started two threads in the wake of BFT #4 about what should or shouldn't be included, and I kinda thought that you were riled ala Hardbop and were using them to express your indignation or some such. But if such was not the case, well, as Emily Litella said... FWIW, antagonism of any recipeient was most assuredly not my motivation in my selection. I knew that not everybody would like everything, and that some material would prove downright unenjoyable to some recipients (and that has proven to be the case with almost every selection, regardless of style!), yourself included. But I certainly wasn't trying to piss anybody off by their inclusion. If THAT had been a factor, I'd have included Arthur Doyle. Hell, he pisses ME off!

Yes. see HERE.

The Sound of the Wasp, I think. But I could be wrong.

And I know that you know.

I was only able to access "Hey Momma", but I really liked the youthful vigor and sincerity. Keep going!

The hint has been given!

I know that you know lots of songs, dude, but this ain't that, although THIS is...

Regarding JB (if that in fact is who it is) and "going outside even the widest definition of jazz", when the "supporting cast" (ie - arranger and bandleader) are revealed...

днём рождения!

If I'm wrong on this, I hope that Paul or somebody will correct me, but I think that the valve bone presents its player with some unique intonation challenges. When I was at NT, an instructor named Rich Matteson (some of you might have heard of him) played a lot of valve bone (and tuba!) before switching to euphonium almost exclusively. He wasn't a particular favorite of mine as either player or instructor, but I had the highest respect for his knowledge and abilities. I know he recorded some but on what instrument, I can't remember. but it would have been in the 70s. Think he did an album w/Phil Wilson fersure.

I'll take it. musicaconcarne@yahoo.com

That is what I'm looking for, and what I tried to provide. The "themes" and whatnot were secondary to "is this good?" THAT was the first consideration, then I went from there into conceptualization, sequencing, etc. But I included nothing that I didn't think was good music that some fellow jazzheads might find interesting. If you disagree, fine. To each their own, and no hard feelings whatsoever. But if the purpose of these tests is to be nothing more than a reinforcement of what everybody more or less already knows in terms of styles and such (we may not know all the players in the hardbop/soul/etc. genres, but we all know what the basic sound and concept of the music is, so it's no longer a matter of discovery as much as it is further exploration), then we might as well just form a trading circle and be done with it! Not that we haven't already... The tests are an excellent opportunity to TRULY discover. I'm waiting for somebody to do an all-Euro test - I'll fall on my ass on that one. I wish somebody would do an all pre-bop test - I'd screw that one up royally too. Same with a modern big-band test. And in all of these areas, the odds are good that I'd not like a fair percentage of the material included (especially the third one). But that's ok, because the very nature of the blindfold test is NOT to guess, it's to give and get totally subjective opinions uncolored by preconceptions. Of course, if the compiler wishes to focus on that which is more or less familair to everybody, that's cool too. I'll take some of that action too. I certainly haven't heard it all, nor do I know it all. Turn me on to something I've not yet discovered, and I'm a happy man. And if I actually like it, I'm a VERY happy man. Besides, free tunes is free tunes. Dan, I'm sorry if my selections left you (or anybody else) unhappy, but if you've read my posts over the years, you know that I have a lot of musical/jazzical interests besides what is mostly discussed here, as do many others (it's been very interesting to read how some people really like certain cuts and others really detest them, and the results haven't always been what I would have expected!). I don't know what you were expecting me to come up with, but it certainly wasn't going to be a selection of music focusing on any one era or genre. That's not me, and as somebody said somewhere in one of these discussions, these tests should provide a snapshot of who the compiler is musically - what they like, and what they think is special. I did exactly that, although by no means comprehensively. Not even two discs could cover that. So count your blessings! Face it - jazz is a huge music with an audience and a history and an audience that spans generations, cultures, ethnicities, nationalities, age groups, you name it. Hoping that everybody who has music that they think is special enough to be shared in a manner such as this is going to come up with stuff that's mostly all in the same bag is futile, and I think that's how it should be if it's going to remain honest. Do we really want this to be a "commercial" gig, where the object is to please everybody as much as possible even if it means selling short, or do we want it to be a thing that is wide open, where the opportunity to be aggravated might be high, but so is the opportunity for very pleasant surprises? I for one want it to be the latter. I'm signed up for #26. If anybody thinks they're not going to like what I might come up with, don't sign up for it, simple as that. No hard feelings - to think that I (or anybody) am going to suddenly develop a dislike for a person just because they don't like the same music as I do is just plain wack. I can tell you that it won't be anything like #4, because that one is over with, done did THAT, time for something different. HOW different, I don't have a clue, because that's a loooooong way off. But I can promise everybody that it won't be in any one bag. Which could mean anything, like I said, I don't know. It will depend on what I'm feeling at the time. But if it will soothe any "ruffled feathers", I'll promise right now to include at least ONE example each of a mainstream bop, swinging, tenor/organ thing by a player that everybody's at least HEARD of, a recording by a legend of hard bop, a thing that has been reissued by the Blue Note family but is no longer in-print, and a player that's been featured in a Mosaic set. Even though I did that on THIS test...

I had never heard of Jack Chick (makes for a funny source of a Shaft parody, btw), until I began a part-time job w/a mortgage company. People would actually send in various tracts with their payments, and Chick was a favorite! I was an immediate fan, becaise you just don't see shit like THAT every day!

Maybe not, Jim. I was operating on memory back then, and remembered a PJ/WP album with very broad red and bluish brushstrokes on a white backdrop saying "Bud Shank" & "Zimbo Trio" on the cover. But you're talking the experiences of a teenager in a cutout bin more than 30 years ago, so no telling what it REALLY said. I just Googlemoogled, and found nothing. Maybe there was a seperate Zimbo album with that cover in that bin in close proximity to this one: and my memory has combined them. Stranger things have happened...

It's not too late, Chris.

The Getz is good. I was hoping for "great", but I wasn't bummed with it or anything. Worth having. There were two Hubbards, one w/Jimmy Heath, the other w/Bennie Maupin. Both are really good.

Bnois King (a Dallas standby for as long as I can remember) fits into this category as well. Great blues player, great jazz player, totally at home either way. No albums of his own, though, at least not yet.

A younger, drunker me:

Brookmeyer continued to grow as a player and made good records well into the 60s before concentrating more on his writing. You can hear him w/Thad & Mel, and a really nifty quintet he had w/Clark Terry, Roger Kellaway, Bill Crow, and Dave Bailey. Or COULD hear if the Mainstream label was being reissued... Also, Clifford Thornton might be too much in the "unschooled free" bag for many here, but he made some very passionate music on the instrument. FREEDOM AND UNITY is all that's currently available, though.

Well, that's why they call it a "test", dude.

So THAT'S where my essay on colo-rectal self-examination went!

If niothing else, this can probably be seen as the unofficial last nail in the coffin for the hopes of the BNBB being revived. Were there any last hopes, though? Damn sure not any here.

DOH!!! How could I forget?