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Posts posted by CardinalJazzFan

  1. 4 hours ago, JSngry said:

    Hell, I've owned it since then. And I STILL didn't get it here!!!!

    Gotta say, though, that at the time it seemed a little "anti-climactic" so, I've yet to revisit. Might do that again soon.

    I played it in the past week and was impressed by how good it is. 

    4 hours ago, felser said:

    I will need to find out more about Ed Palmero.  Not familiar with him at all.  I own six of the albums in the BFT (Muhal, Duke, Rahasaan, Either/Orchestra, Abdul-Malik, Mccoy) and didn't get any of them right.  The Teo Macero cut was interesting, but don't expect to ever come by the CD/

    Ed Palermo has had a big band for many years that has recorded many albums of mostly Frank Zappa compositions. I have not heard those albums  but have read about them. This album is supposedly his turn to his own compositions and jazz standards. 

  2. 1 hour ago, webbcity said:

    Wow, some really interesting reveals here. I can't believe #5 is Rahsaan!! I really liked that, even moreso when I went back later to relisten. Also surprised at #6, I didn't really care for that one but do generally dig Hemphill. #7 had my interest too. I should really be a lot more familiar with the Either/Orchestra than I am. There was a lot of great stuff here... I am also adding the Muhal and the Ahmed Abdul-Malik to my want list. Track 8 -- haha! :lol:

    Thanks so much for your efforts putting this all together. A fun BFT!

    Thank you! I am glad you enjoyed it. That Rahsaan album was so common in the mid-1970s, that I thought that everyone would know it. I guess my advanced age is showing. 

    Either/ Orchestra has several really good albums, including some of their later ones. After I saw them live I started to buy as many of their albums as I could find. 

    I have to admit that I was drawn to the Ed Palmero album by the cover and album title. 

  3. I have some work commitments which will prevent me from posting this Reveal until May 4, unless I post it today (April 29). I hope that the slightly early Reveal is all right. 

    I hope that you enjoy the album title and album artwork for Track 8 as much as I do. 


    ·         1.   The_Fire_This_Time.jpg


    Lester Bowie’s Brass Fantasy

    ·         Song: Siesta for the Fiesta

    ·         Album: The Fire This Time

    ·         Label: In and Out

    ·         Release Date: 1992

    ·       Recorded live on May 1, 1992 at the Moonwalker Club, Aarburg, Switzerland

    ·         Composer: Jimmie Lunceford


      Lester Bowie: trumpet

      Vincent Chancey: French horn

    ·  Frank Lacy: trombone

    ·  Luis Bonilla: trombone

    ·  E. J. Allen: trumpet

    ·  Gerald Brezel: trumpet

    ·  Tony Barrero: trumpet

    ·  Bob Stewart: tuba

    ·  Famoudou Don Moye: percussion

    ·  Vinnie Johnson: drum


    2.   R-3599983-1343149004-9396.jpeg.jpg


    Louisiana Sugar Babes

    Song: Willow Tree

    Album: I took this from Frog Spawn, a CD reissue of various artists on the Frog label.

    Release Date: 1928

    Label:  Victor

    Composer: Fats Waller/Andy Razaf


    James P. Johnson—Piano

    Fats Waller—Organ

    Garvin Bushnell—Clarinet

    Jabbo Smith—Cornet


    3. The_Hearinga_Suite.jpg

    Muhal Richard Abrams

    Song: Oldfotalk

    Album: The Hearinga Suite

    Release Date: 1989

    Label: Black Saint

    Composer: Muhal Richard Abrams



    4.   New_Orleans_Suite.jpg

    Duke Ellington

    Song: Bourbon Street Jingling Jollies

    Album: New Orleans Suite

    Release Year:  1970

    Label: Atlantic

    Composer: Duke Ellington



    • 5.   R-1471690-1222210735.jpeg.jpg

    • Rahsaan Roland Kirk

    Song: Anysha

    Album: Other Folks Music

    Release Date: 1976

    Label: Atlantic

    Composer: Trudy Pitts

    Arranger: Trudy Pitts




    6.  Julius_Hemphill_Big_Band.jpg

    Julius Hemphill

    Song: For Billie

    Album: Julius Hemphill Big Band

    Release Date: 1988

    Label: Elektra/Musician

    Composer: Julius Hemphill


    ·  Julius Hemphill - alto saxophone, soprano saxophone

    ·  John Purcell, John Stubblefield, Marty Ehrlich - alto saxophone, soprano saxophone, flute

    ·  J. D. Parran - baritone saxophone, flute

    ·  David Hines, Rasul Siddik - trumpet

    ·  Vincent Chancey - french horn

    ·  Frank Lacy - trombone

    ·  David Taylor - bass trombone

    ·  Bill Frisell, Jack Wilkins - guitar

    ·  Jerome Harris - electric bass

    ·  Ronnie Burrage - drums

    ·  Gordon Gottlieb - percussion




    7.  R-2547717-1289876964.jpeg.jpg



    Song: Born in a Suitcase

    Album: Radium

    Release Date: 1988

    Label: Accurate

    Composer: Russ Gershon




    8.  Ed%2BPalermo%2BBig%2BBand%2B-.jpg


    Ed Palermo Big Band

    Song: Laurie Frink

    Album: A Lousy Day in Harlem

    Release Date: 2019

    Label: Sky Cat

    Composer: Ed Palermo



    ED PALMERO-alto sax
    CLIFF LYONS - alto sax, clarinet
    PHIL CHESTER - alto sax, soprano sax, flute, piccolo
    BILL STRAUB - tenor sax, clarinet, flute
    BEN KONO - tenor sax, flute, oboe
    BARBARA CIFELLI - baritone sax, bass clarinet, Eb mutant clarinet


    MATT INGMAN (bass trombone)


    Electric Bass:


    LAURIE FRINK: Phil Chester, soprano sax; Bill Straub, tenor sax




    9. 61p4ZUG2EUL._SY355_.jpg


    Teo Macero

    Song: Soft Distance

    Album: Impressions of Miles Davis

    Release Date:  2000

    Label: Teo Records

    Composer: Teo Macero


    Paul Metzke-Guitar

    Michael Brecker-Tenor Saxophone

    Teo Macero-Keyboards

    Ron McClure-Bass

    Al Foster-Drums


    10. 41D8393N5PL.jpg



    Dr. John

    Song: Boxcar Boogie

    Album: The Brightest Smile in Town

    Release Date: 1989

    Label: Clean Cuts

    Composer: Dr. John (Mac Rebennack)

    Piano: Dr. John


    11. Spellbound_%28Ahmed_Abdul-Malik_album%29


    Ahmed Abdul-Malik

    Song: Song of Delilah

    Album: Spellbound

    Release Date: 1964

    Label: Status

    Composer: Victor Young/Ray Evans


    12.   Focal_Point_%28album%29.jpg


    McCoy Tyner

    Song: Theme For Nana

    Album: Focal Point

    Release Date: 1976

    Label: Milestone

    Composer: McCoy Tyner


    · McCoy Tyner: piano

    ·  Joe Ford: alto saxophone, soprano saxophone, flute

    ·  Gary Bartz: alto saxophone, soprano saxophone, clarinet

    ·  Ron Bridgewater: tenor saxophone, soprano saxophone

    ·  Charles Fambrough: bass

    ·  Eric Gravatt: drums

    ·  Guilherme Franco: conga, tabla, percussion


    13. R-1307619-1208338261.jpeg.jpg


    Carla Bley

    Song: Útviklingssang

    Album: Social Studies

    Release Date: 1981

    Label: Watt

    Composer: Carla Bley


  4. 20 hours ago, tkeith said:

    Track 01 - Sounds later than where it fits.  This reminds me of a conversation with an area saxophonist about playing with a big band where he dreaded playing In The Mood.  Years later, he played with another band in another state, it the experience was the opposite — it was FUN to play In The Mood.  He had the realization that the former band all hated that song as much as he did, and it showed.  While this sounds like a modern interpretation of this music, it’s clear that there is joy in the act of the players.  No guesses.  Could be a Lincoln Center project, but feels more real than that.

    Reply—There is a joyful, fun feeing to this performance, which is a live recording. 


    Track 02 - No idea what it is, but about a minute-and-a-half in I got a distinct animation vibe.  I don’t mean that as a criticism, it was more of a wistful rememberance of the cartoons of my youth.

    Reply—the old cartoons had jazz and classical music backgrounds. I think something was lost for kids when that stopped. 

    Track 03 - I enjoyed this, but other than the arco, can’t really say why in particular.  I know that I’m listening as I deal with some work BS, and it’s keeping me sane, so there is that.

    Reply—that is an interesting perspective on this track, to focus on the arco bass. 

    Track 04 - I like this.  Flute over the top of the smokey background.  This is nice

    Reply—smoky background. I like that. 

    Track 05 - I like this one, too, but the harp I could do without.  Nice brushwork.  I want to like the alto more than I do.  Has elements of a lot of guys, but can’t really match the sound.  Elements of Rahsaan, Blythe, Carl Grubbs… I don’t believe it’s any of them.  I like the overall tune, though.

    Reply—listen to the alto again. There are more than elements of one of the musicians you have mentioned. 

    Track 06 - I wasn’t sure I was going to like the arrangement at first, as it’s very dense, but by the later part of the song, I found I really liked it.  Has that David Murray density (maybe a Sam Rivers project?).  Lead alto is strong, though I find the improvisation meanders a bit.  Overall, still a very good listen.

    Reply-I am glad you like this. It is not Sam Rivers but lives in his neighborhood.


    Track 07 - Not sure what’s going on with this one.  Nothing ‘wrong’ with it, just doesn’t inspire me at all.  I like the minor feel of the tune, but it feels like the soloists don’t really build on that.  Notes more than music.  The trombone solo is STRONG.  Doesn’t quite bail out the wasted opportunity, but made me want to give it a second listen.  The feel change doesn’t completely work, but does have me wondering if this is a Ginger Baker project.

    Reply—Not a Ginger Baker project. Very interesting perspective on this 

    Track 08 - Feels like Fred Ho’s band to my ear.  Funny, I don’t think I’ve ever owned a Fred Ho album, but I always like what I hear when I hear it.  I should probably do something about that.  Ugh.  That soprano has the precise phrasing that drives me nuts about mondern, conservatory players.  Warmed over Wayne Shorter, and not the best Wayne at that.  Tenor solo is out of that school, but with a lot more fire.  I think the track works, but the soprano stands as a missed opportunity.

    Reply—not Fred Ho. I like your musician’s insights

    Track 09 - I’ll put this in the guilty pleasure category.  Like a lot fo Gato’s stuff, it’s got all of the post-production stuff I instinctively rail against, but I can’t help but have a soft spot for this.  Big-ish tenor sound (hard to tell with all the effects).  Has the strength of Dewey Redman, but I don’t have any knowledge of Dewey doing anything this electronic.  Has some of the quality of the soprano solo that rubbed me the wrong way, but this track works.  There’s a VERY commercial Bob Berg record like that I really like.  There’s that 70s, post-Coltrane line that every guy made a career of.  But, again, this works for me.  I’m thinking this is early enough that it was still more real.  Ah yes, likes him some Coltrane (who don’t?).  

    Reply—as you know by now, it is Michael Brecker on a Teo Macero album.

    What did you think about the guitar solo?

    Track 10 - Stark contrast.  No idea, just the straight-ahead ‘sort of a boo-gee woo-gee music’.  

    Reply—everyone may be surprised by who this is. 

    Track 11 - Bass hook, vampy feel.  You had me at hello.  Why is my mind thinking Yusef?  I think I have this, but damned if I’m going to peg it.   

    Reply—not Yusef. Glad you like it. I like all of this leader’s albums. 


    Track 12 - Very McCoy feel.  In fact, the melody borrows from Search For Peace.  Very pleasant, great feel.  Could actually be McCoy on piano.  Thinking maybe Franklin Kiermeyer on drums.  I’m going to withdraw my McCoy comment, the ideas are right, but at half speed.  It’s not a bad thing, but McCoy seemed to have a period where everything was MANY notes, and the sound of this recording would match that period.  

    Reply—it is McCoy, with Eric Gravatt on drums. As I say earlier, I saw McCoy about the time that this album was released. The entire album is very strong and focused.

    Track 13 - Has that Jan Garbarek feel.  Also a touch of Old and New Dreams.   A bit more dense than either of those, though.  Works, whatever it is.  Meh… now that it’s into the improv section, it’s lost what I liked.  Had that dirgy feel of the protest music coming out of South American conflict, but once the saxophone solo starts, the approach is a little too quiet storm over that feel they had created.

    Reply-Very intriguing comments.

    Carla Bley recorded protest music in her earlier career, but not on this album. But maybe that music permeates other music which she composed. It is an interesting thought.


    Definitely a challenging test — don’t think I got one player, let alone an actuall ID.   On the whole, a lot to like even though most is outside of my typical listening zone.  Thanks for sharing.

    Reply—thanks for that. I think you can identify Track 05 if you trust your instincts. 


    I was hearing Nance here, too.

    Jesus... mark the calendar -- I heard Brecker and didn't hate it.  I'd better take my temperature.


  5. Dan, I am sorry that you did not like the Blindfold Test. I am surprised that someone would not like the music played by an entire instrument, the flute in your case. I did not consciously try to include a lot of flute songs. To me, if it is good music it is good music, if played on a tenor saxophone, a flute. a French horn,  or a native tribal instrument from a remote area of Africa. I once tried to take a young woman to see Paul Butterfield in concert and she refused, saying that she did not listen to harmonica so I have run into this attitude before. It is not something I can identify with personally. But to each his own. 

  6. On 4/6/2020 at 2:47 PM, webbcity said:

    Here are my thoughts as they occurred to me while listening:

    Track 1 - Definitely has an infectious feel to it. Gotta love that walking tuba! This is not normally my kind of thing, but I like this. Holy trombone solo, Batman! Though I was a bit fearful when this track started I gotta admit its won me over! A cool modern version of music from another era. I wouldn't be surprised if some of these guys weren't avant-guardists, actually. Huh, maybe this is even Lester Bowie? I don't know the Brass Fantasy stuff super well, but that would not shock me.

    Reply--You figured out it was Lester Bowie. 

    Track 2 - This again is from an era and style I don't typically listen to. I appreciate it but it doesn't reach me as much as some other things do. But I like this overall. Not sure about that organ though.

    Reply--and the organist is an all time jazz great. This shows how Blindfold Tests can produce unfiltered opinions


    On 4/6/2020 at 2:47 PM, webbcity said:

    Track 3 - That's a great trumpet intro, very free and expressive. Oh wow, that's interesting... is that an electronic keyboard? Love the melody line that comes in with the horn & vibes. Really interesting orchestration...this is surprising. I thought it was going to go into a pretty straightforward big band thing but this is taking some really fascinating turns. I really dig this vibes player--that's a hell of a solo, some nice exploring. Trumpet player has a great sound. I think this might be a different trumpet player than who did the intro though? Hmmm...no, maybe not. Ooooh...cello! Hang on, if that's not Diedre Murray I'll eat my hat. Hold everything. It just hit me... is this Muhal?? I don't have this record, but I think I know this...one of his larger group recordings on Black Saint. I need this.

    Reply--you are the first to correctly identify the artist and label,

    Track 4 - You had me at flute. And now you have me again at: cool feel and horn backgrounds. This sounds vaguely Gerald Wilson-esque to me, but maybe that's because I just listened to some Gerald Wilson last night. I like this. Changing my mind about Wilson, he usually features more soloists and this seems to be all about the flute player, who is very good. Nice track.

    Reply--it is a nice track, and some Ellington which sounds different from a lot of his recordings. 

    Track 5 - So, fantastic piano intro, into... harp and cello, alright! And more flute, yeah that ain't bad. What a lush sound on this track. As it goes on, it's very pleasant but it's not totally grabbing me in terms of emotional impact. Ah, it finally really starts cooking at the 7 minute mark where they change up the feel-- suddenly the horn player is on fire and the whole thing lights up. I kinda wish they had done that a few minutes ago! :)

    Reply--I like this too. i am surprised that no  one has identified this. 

    On 4/6/2020 at 2:47 PM, webbcity said:

    Track 6 - I had to start this one over because I realized I was spacing out. There's a LOT going on here. I'm both intrigued by the arrangement and also feel like there's a bit too much going on. There's no space here at all, nothing to grab on to. I don't know what's going on with all those horn backgrounds...there's just way too much and they stick out like a sore thumb, leaving no room for the soloist or anything... yeah...I dunno...this is not working for me.

    Reply--I included this partly because I was curious how different people would react to it. 

    Track 7 - I love the piano player's approach on the intro--rootsy, not too flashy, just right. Reminds me of Waldron or Tapscott. Not sure that I absolutely love the composition, but the solos are fantastic. And here we come to the piano again, wow... yeah, I'm guessing the pianist must be the leader. That's where I'm hearing the overall concept coming from anyway. Again, holy trombone Batman! That's badass. Whoa. Definitely wasn't prepared for that change, just after the 5 min mark. Can't tell if that was really necessary. Overall I really like this track and this group though!

    Reply---the pianist is not the leader. I like this group very much. 

    Track 8 - This is a bit too over-produced for me, it almost has that GRP kind of feeling to it. A bit hipper than that, but I mean it's just too clean and "safe" I guess. The band is a little too uptight and the drummer's sense of swing is definitely not the same as mine. This one just isn't for me.

    Reply--i actually am in agreement that this is kind of clean and safe. But the energy brings me back to it. But it is on the edge of being too safe for me. 

    Track 9 - The sax player sounds familiar to me. Definitely a unique group sound here, I'm having trouble placing it in context...the sax player sounds more contemporary/smooth leaning, then there's the Bitches Brew-esque guitar, effected keys, the chordal stuff going on in the electric bass...I'm not sure what to make of this. There are hints of a "grittier" direction and that's what I'm trying to latch onto. I think I'm much more interested in what the rhythm section is doing than I am in the sax player, who definitely has a confident sound, but isn't really telling me a story and just doesn't seem to fit here. The guitarist, on the other hand, IS going somewhere. That's a great solo. I think this would be a much stronger track without the saxophonist. I hear a great group plus maybe a "guest saxophonist" who doesn't fit in, to my ears.

    Reply--I see that you later read the identification of this by others. The guitar solo is my favorite part of this track. 

    Track 10 - This is fun. Older style but it sounds like a more modern player. Not a style I'm super familiar with, but this is enjoyable.

    Reply--i think that the Reveal for this track will surprise many. 

    On 4/6/2020 at 2:47 PM, webbcity said:

    Track 11 - Cool instrumentation, once again. I do like the violinist a lot, and he/she sounds vaguely familiar somehow. I dig the subdued feel of this, it cooks along nicely. The piano solo is very tasty indeed. Okay, that other instrument, what is that...is that a kora? Really great flute solo at the end. This is pure class. It alternately sounds like something from around 1960, and then something from this decade. Really love this track.

    Reply--I love this track too, and your comments are spot on. 

    Track 12 - You like flute, and so do I. :) This is a nice track with a bit of a spiritual feel to it, I love the sections where they hang out on the pedal and it builds. Very Tyner-esque. Okay, hang on-- that IS The Real McCoy. Hell yes...this is really good. No guess on the other players. I like the drummer's feel a lot, the production is a bit interesting in the bass drum department, which makes me think Cobham or someone like that, but I dunno...it actually doesn't really sound like him. Anyway, this is great.

    Reply--It is Eric Gravatt on drums. This is from a Tyner album which may have been lost in the shuffle of his many Milestone albums, but which I think is one of the best of them. 

    Track 13 - That's definitely Steve Swallow on bass. This must be Carla Bley. I'm no expert, but it has that feel to it. I've had trouble getting into her stuff, but I think that's my own personal problem honestly. This is a really nice track. She has such a strong concept and sound. Even if it doesn't always appeal to me personally, I have a lot of respect for it. Sometimes I just have to make myself sit down and listen to it. I love what's BETWEEN the notes here, that's where the interest is. 

    Reply--This track is one of my favorite Carla Bley recordings. 

    Some really great stuff here, a diverse and engaging set of music for sure! Thanks so much for your efforts in putting this together! 

    10 mins later: Oh wow, now that I see what has been guessed... that doesn't seem surprising on #11 at all. Based on this, and what little bits I've heard from him before, I definitely need to check more of his stuff out. Can't believe I didn't get #4! And I now know why the sax player on #9 didn't speak to me at all... :)

    Reply--Thanks for the nice comments. The other recordings of Ahmed Abdul-Malik are very much worth checking out. 

  7. 1 hour ago, Hot Ptah said:

    This is a really good BFT, Cardinal Jazz Fan. I will post some detailed comments later in the month but I want to let you know that I am enjoying it. 


    Thank you. I appreciate your nice thoughts and look forward to your comments. I also want to thank you for letting me use your office today in my working visit to Kansas City while you are working from home! 

  8. 43 minutes ago, EKE BBB said:

    My goodness... this is "Willow Tree" from the March 27, 1928 session of the Lousiana Sugar Babes. Fats on organ, Garvin Bushell on clarinet, Jabbo Smith on cornet and the greatest of them all, James P. Johnson at the piano. Wonderful selection!

    Yes, you have identified it.

    James P. Johnson and Fats Waller on one song, two jazz giants together. 

  9. 34 minutes ago, Milestones said:

    #12 is "Theme for Nana" by Tyner with Joe Ford on flute.  The album is Focal Point.

    I have this record.  I've been listening to a ton of Tyner's music lately, but had not gotten around to this one.  It looks like it's underrated.  

    Good stuff, and thanks for including the great McCoy Tyner.

    That is all true. Focal Point is one of my favorite Milestone Tyners. Every track is memorable and performed very well. It is a fun album to listen to. A lot of it is more uptempo than "Theme For Nana."

    I saw the  Focal Point band live in the mid-1970s, and it was one of the best McCoy Tyner concerts I ever went to. The band was Joe Ford, Ron Bridgewater, Tyner, Charles Fambrough, Eric Gravatt, Guilherme Franco. (Gary Bartz plays on Focal Point and was not part of the live band when I saw them). 

  10. 18 minutes ago, JSngry said:

    Oh crap, it IS Teo on #9!

    This album: https://www.allmusic.com/album/impressions-of-miles-davis-mw0000316061

    and yes, I DO have that record, no wonder!!!!

    I bought all (or almost all) those Teo records on his label from CD Baby about a decade ago, jsut to see what they all were, because there were a LOT of them! And they turned out to be a pretty interesting lot too.

    From what i can tell, since Teo was doing Miles' records, he had a really unique insight into what was being done what that music, not just the playing of it, but in particualr, how the records were being made (because he was the one making them!). Also gotta figure that Teo had some kind of studio time allotteed to him for his own discretionary use (Bob Belden had an arrangement with Blue Note where he'd get paid in studio time for at least some of his other work for the label, and he'd use that time to record his own projects, only a few of which were eve officially released), so there's that.

    Access to Miles, access to studio time, you know that automatically means access to players, right?

    What really made me add Teo to the guess-mix, though, was the simple sound of the record. It's got that older analogue sound (probably tape hiss out the ass b/c it was certainly not recorded for an actually intended release) and, sorry aobut Paul Metzger, don't really know too much about him, but damn, that dude sounds like he's getting ready to play on "He Loved him Madly", ya' know? That sound. And nobody outside of Miles' immediate orb would have been going there like that. I mean, maybe, but...not really. Teo almost certainly would have had to be within smelling distance of it, if not actually the one making the odor!

    But...I've slowly become aware that that last period of pre-retirement Miles had a LOT of ripple effect in the Japanese market. A little bit of it made it out here in the US, but I keep finding (at irregular intervals), these mid-70s Japanese records that have SOME kind of connection. And when felser said Paul Metzger, I started Discog-ing him, the first thing I checked out was a Sam Morrison record, becuase that guy was in Miles' very last live band, and that was part of that ripple effect.

    Anyway...yeah. Teo. Teo an deeper than might be thought.

    oh god, you know what happened? I youtubed the Phil Woods cut to compare, in seperate tab, and did not shut the BFT off, nor did I start the YT videos. so I'm thinkin a-HA! when in reality...noooooo....

    OOOOOOOPS!!!!! :g

    Those are some very insightful thoughts about the Teo Macero album. Now that you have articulated them, it strikes me that much of the album has the feeling of someone who was part of the 1970s Miles “immediate orb” as you put it. 

    That is a funny story about having Phil Woods on hand at the same time! That explains it. 

  11. 52 minutes ago, JSngry said:

    Window open, let's play!

    TRACK ONE - Tuba! VERY assertive trombone. I've gone from thinking older band to newer, very Ra-ish in that way. Ultimately no idea, but show bizness, bay-bay! And now, ladies and gentlemen...

    TRACK TWO - "Willow Tree", I recognize the song from both Gil & Thad/Mel...with the organ, I'm thinking it's Fats himself?

    TRACK THREE - Spiky AND bouncy on that intro!!! I like the writing. Latter-day Gerald Wilson, maybe? But maybe not so much. doesn't sound like players he uses, voicings, yes, blend, no.

    TRACK FOUR - Duke. "Bourbon Street Jingling Jollies", from New Orleans Suite.One for the ages, imo.So many colors, so much depth to the orchestration, just....beautiful.

    TRACK FIVE - hmmmm...sounds like Chico Hamilton + harp and minus Chico...keep waiting for it to turn into something else, but it's not going to, is it...oh wow, an ALTO solo! Norris Turney again? Arthur Blythe? Bobby Watson? Some New London Jazz guy? The sound is identifiable, sorta, but maybe not at this age or in this context, at least not for me? I think I could like it, maybe?

    TRACK SIX - Phil Woods? Definitely Phil Woods-ish, but with a touch of Hank Crawford sprinkled on for that Jenny Saykwah aftertaste. Geez, those woodwind voicings are close...no room for error, pitch-wise...oh geez, that IS Phil Woods, that tribute to Oliver Nelson he dod. that explains EVERYTHING, then. It's heartfelt for sure, I mean, how could it not be? Woods saw some of these guys SO up-close and behind the scenes...he knew what he was going on and who he would love, and Oliver Nelson had to have been one of them. That would have explained those voicings too, Woods arranged the album, too, right? So he knew how Nelson worked that,, literally knew from exposure and being in there with it. Ok, Phil Woods, then.

    TRACK SEVEN - Randy Weston? Sounds like a band that would have liked to have played together more than they probably actually di...and I mean that as a compliment in the face of economic realities. But no, not Randy Weston? God, i wish that bigger bands had chances to play live regularly, it makes SUCH a difference when you have a band whose spirit is true. Ok, that head is familiar, not sure why they shifted the groove there, it doesn't add anything, really. Muhal, maybe, judging from how it ends up?

    TRACK EIGHT - Sounds like Los Angeles. Not that it is, just sounds like that, that post-Kenton thing with a "lab band" type of proficiency/propensity, writing and playing...and recording. I like that when it works, and this works. Don't know that I'd leave the house to hear it, but since I'm not having to do that for this, hey! Saul Goode!

    TRACK NINE - Every BFT has at least one "oh crap, I KNOW I've heard this one somewhere before" cut. Here it is. Sounds very much "of its time" and I mean that in the best possible way. Guitar is definitely going for a Dominique Gaumont/Reggie Lucas/Pete Cosey thing, so from that time, and that circle, I'd guess. The obvious guess is Brecker, but that does not sound like Brecker of that time to me, not on the finer points. Interesting...many possibilities, maybe up to and including Teo Macero? Or a record made for the Japanese market? I like it, definitely like it.

    TRACK TEN - Almost sounds like three hands, which would make it Buck Hammer? I've never heard his record, and probably still haven't!

    TRACK ELEVEN - YEAH! Balanced within itself. This is probably one of those "shoulda carpe-diem-ed when I had the chance" items": https://www.dustygroove.com/item/719497?sf=ray+nance&incl_oos=1&incl_cs=1&kwfilter=ray+nance&sort_order=artisan

    TRACK TWELVE - No idea, but surely that's McCoy? Also sounds like one of his compositions, but drawing a blank on the name of it.

    TRACK THIRTEEN - not in the mood for this right now..or am I? I think i can be...ok, I will be....and now I am. It's that tempo and that one chord. This is understanding how music works, not just how it sounds or feels, but what you need to do to get it to do all that. And the tenor player is taking their time. Hell, EVERYBODY is.Weighty without being burdensome, quite the opposite.

    Pretty damn nice compilation here, and thanks for not includinf Denny McLain!


    Replies to your comments:

    1.This has been identified as Lester Bowie's Brass Fantasy playing a Jimmie Lunceford song. So it is a mixture of older and newer. 

    2. It is Fats himself, with another jazz giant on this track too. 

    3. It is not Gerald Wilson. That is an interesting comparison to this artist. 

    4. Yes, you have identified it. I think that the New Orleans Suite album by Duke Ellington is all just wonderful. 

    5. I am surprised that no one has identified this artist yet. Your guesses are not correct. 

    6. The artist would be surprised to know that he had been compared to Phil Woods and Oliver Nelson, I believe. 

    7. This is not Randy Weston or Muhal Richard Abrams. Your comments are so interesting because this is a band which actually did perform very often together both live and in the studio. 

    8. Again, your comments are interesting because the bandleader is from the urban northeast of the United States, and has no Los Angeles connection that I know of.

    9. You hit the nail on the head. It is Teo Macero leading the album. It is Michael Brecker on saxophone. I am impressed that you thought of Teo Macero. However, this is from many years later than the mid-1970s era which it is evoking.  

    10. It is not Buck Hammer. It is someone who you might not think of playing in this way.

    11. Yes, you have identified it!

    12. It is a McCoy Tyner composition from an album in his name. 

    13. Those are some insightful comments! This is one of my favorite recordings ever by Carla Bley, who has been previously identified. 

    16 minutes ago, Milestones said:

    Duke with New Orleans Suite....I have not heard that one in ages.  I do recall it having some prominent flute, which is the only record of his for which that is true (as far as I know).

    On #11 Ahmed Abdul-Malik makes perfect sense. 

    Flute is also prominent on Duke Ellington's "70th Birthday Concert" but not in this arranged way. 

  12. 1 hour ago, medjuck said:

    It sure sounds like Ray Nance to me on number 11  (Delilah) though I don't think I've ever heard Nance with a group this modern and I have no idea who anyone else is.   

    It is Ray Nance on #11. 

    3 hours ago, Milestones said:



    1)    “Siesta for the Fiesta”—Lester Bowie Brass Fantasy


    2)    That sure sounds like the Ellington orchestra—early stuff, I’d say mid-30s or earlier.  But the wrinkle is the presence of organ.  Duke meets Fats Waller?


    3)    Not bad, pretty laid back.  The sound reminds me a bit of John Lewis writing for a larger ensemble.  That could even be Milt Jackson.  It picks up and get punchier during the trumpet solo.  It seems to be a full big band, plus some strings. 


    4)    This must be Duke again.  This is familiar, and it sounds like something off Far East Suite—except it isn’t (unless it’s a bonus track).  Cool stuff...I like hearing flute in jazz.


    5)     This reminds me of Tyner’s Fly With the Wind album, although it certainly is not that.  Maybe James Newton on flute, though it doesn’t sound much like him.  Not bad.  Bass is rather prominent.  Maybe the bassist’s record?


    6)     Very mellow, but it sounds like low-end Third Stream or soundtrack music.


    7)    More modern (I’m guessing ) big band.  Some interesting writing, and a nice sudden shift into a funky section just past the 5-miute mark.  But I have no idea who this might be.


    8)    I see you favor the big band sound. Pretty good track.  I’m not much up on big band stuff from the last 2-3 decades, just Carla Bley, Gerald Wilson, occasional forays by Dave Holland and McCoy Tyner.  Nothing suggests it’s any of them. 


    9)    This could be Barbieri, or perhaps it’s Brecker (whom I know better for his more mainstream work).  Whatever it may be, this is what decent “fusion” sounds like.


    10)                        Fun stuff, but I would certainly have a hard time identifying a boogie woogie pianist.


    11)                        Flute seems to be another thread running through this BFT.  I have heard many versions of “Delilah,” but not this one.  Stephane Grappelli on violin?  Ray Nance?  Then we have some…oud?  I like this!


    12)            Imagine, more flute!  I’m thinking James Spaulding.  I’ve heard plenty of his fine playing on Blue Note, where unfortunately he was never a leader.  Perhaps later Spaulding.  Oh man, on piano that has to be the one and only McCoy Tyner.  I don’t recall Spaulding and Tyner meeting up post-1960s. I would have to think it is the flute player’s date.  In any case, this is sterling stuff.


    13)            "Útviklingssang” by Carla Bley.  This might be the version from Social Studies, or possibly a different one.  I’m a big fan of her music, and this is one of my favorite pieces by her.




    Overall, this is a great BFT—lots of wonderful music.


    Replies to your Comments:

    Thank you for the positive comments. It is nice to hear that you enjoyed it. 

     1. You have identified the song title and artist. As Lester Bowie does not play his usual slurs and other effects, I thought that no one would identify it. 

    2. Fats Waller is on this one, Duke Ellington is not. There is another jazz giant on it. 

    3. It is a big band, but not with any of the musicians you have named. I think that the musicians would be pleased to be compared to John Lewis and Milt Jackson. 

    4. It is Duke Ellington. Not the Far East Suite, but you are in the right era of Duke.  

    5. Those are interesting comparisons, but you have not named the artists. It is not the bass player's record. This is one of those albums I thought that everyone owns. I guess I am getting old and not everyone has the common jazz albums of my youth!

    6. It is not in the Third Stream or soundtrack genres. The artist would find that interesting I think. 

    7. It is a more modern group. 

    8. It is not any of the bands you named. I do like big bands.

    9. You have identified Michael Brecker as the tenor saxophone player here. He is in a sideman role on this album. 

    10. The pianist may surprise you on this one. 

    11. It is "Delilah" with Ray Nance on violin.

    12. I think this is sterling too. It is McCoy Tyner, but not James Spaulding. It is not the flute player's date. 

    13. Yes, that is the song title, the artist and you named the album (Social Studies).


    You are quite good at identifying these songs! 








  13. 2 hours ago, felser said:

    Here is my track by track commentary.  Overall, the BFT had a great flow to it, really good as a listening experience, thanks!  Really looking forward to the ID's on 8,9, and 11.

    1 - good, Basie-ish big band.  Seems to be a backward-looking arrangement, with the growling horns and such.  I'm not particularly knowledgeable in this sub-genre, but enjoy it well enough.


    2 - Old!  does not speak to me.


    3 - It's an interesting cut, yet feels disjointed to me in some ways.  Not something I would return to.


    4 -Nice track, but largely background music for me.


    5 - I like this more than I would expect to, though I think it would benefit from brevity.


    6 - I like the arrangement, not really in on the sax player.


    7 - Nice cut.  More "out" than I would have expected from the opening.  I wouldn't mind owning this.


    8 – Nice cut, modern without being out.  I really really like this one a lot.  Strong soloing, arranging, ensemble playing.  First class performance all around.


    9 – Very strong tenor playing, reminds me of Gato Barbieri.   Good cut.  Would really enjoy checking out whatever album this is on.   Guitar playing is as much rock as jazz, but more controlled than, say, early Larry Coryell, and works for me very well.    Drummer listened intently to what Tony Williams was doing in the late 60’s with Miles and with the Lifetime.  Cut growns on me as it goes on.  I’m going to stick with a guess of Gato Barbieri with, say, Paul Metzke on guitar.  Whatever it is, I’m in.


    10 – Boogie woogie!   Certainly enjoyable, though those sorts of things all tend to sound the same to me.


    11 – I like this.  What interesting instrumentation, and “Delilah” is a marvelous song.  Hope I own this somewhere already!


    12 – Nice cut, though it fades into the background for me.


    13 – Well played, though not something I would listen to repeatedly.  Michael Brecker, maybe?  I always respect him, though he generally leaves me cold. 


    Thanks for these reactions. You actually guessed a musician correctly and I thought no one would get him. Guitarist Paul Metzke on #9. Your other guesses were not correct but I liked reading your impressions of the music. 

  14. 45 minutes ago, tkeith said:

    Wowsers!  Kamasi got me (sort of), again!  And SHAME on me for not getting Lacy.  I have the record, but play Moods more.  Still, that's an inexcusable miss.

    This Kamasi album is surprisingly good. He is not a gimmick. He is the real thing. He may get people to listen to him because of his strings and choir, but they are used much less on this new album. There is a lot of straightahead jazz on the new album, with compelling solos. I hear a sound, a feel, to his music now that is more like the old jazz we love, compared to some of the young technicians and their clinical, cold sound.

  15. 1.  1.     https://images-na.ssl-images-amazon.com/images/I/517KnB6RolL.jpg


    1. Song:  I’m Shooting High

    Artist: Catherine Russell

    Album: Bring It Back

    Label and Year: Jazz Village, 2014

    Composers: Ted Koehler/Jimmy McHugh

    Catherine Russell-Vocals

    Matt Munisteri-Guitar

    Mark Shane-Piano

    Lee Hudson-Bass

    Mark McLean-Drums

    Jon-Erik Kellso-Trumpet

    Brian Pareschi-Trumpet

    John Allred-Trombone

    Dan Block-Alto Saxophone

    Andy Farber-Tenor Saxophone

    Mark Lopeman-Baritone Saxophone

    Catherine Russell is the daughter of Luis Russell, the big band leader and musical director for Louis Armstrong. She began her solo career in the 2000s, and has recorded several albums which I think are excellent. It could be that her singing is better than her sidemen, as some members here found the backing to be like a not entirely successful recreation of an earlier time.


    2.  https://images-na.ssl-images-amazon.com/images/I/91i%2BHu-U7DL._SL1500_.jpg




    Song: Uptown

    Artist: McCoy Tyner

    Album: Inner Voices

    Label and Year:  Milestones, 1978

    Composer: McCoy Tyner

    Arranger:  McCoy Tyner

    Solos—Alex Foster—Tenor Saxophone, McCoy Tyner—Piano, Jon Faddis—Trumpet

    Cecil Bridgewater, Eddie Preston, Ernie Royal, Jon Faddis—Trumpets

    Charles Stephens, Dick Griffin, Earl McIntyre, Janice Robinson—Trombones

    Jerry Dodgion, Joe Ford—Alto Saxophones

    Alex Foster—Tenor Saxophone

    Ed Xiques—Baritone Saxophone

    Earl Klugh—Guitar

    McCoy Tyner—Piano

    Ron Carter—Bass

    Eric Gravatt--Drums

    I love this recording, from its energy, the arrangement, the solos by Alex Foster and Jon Faddis--it all clicks for me.


    3.  https://images-na.ssl-images-amazon.com/images/I/71SfPBiK%2BUL._SL1200_.jpg




    Song: Sabiduria

    Artist: Eddie Palmieri

    Album: Sabiduria/Wisdom

    Label and Year:  Ropeadope, 2017

    Composer: Eddie Palmieri

    Arranger: Eddie Palmieri

    Eddie Palmieri--Piano

    Ronnie Cuber—Baritone Saxophone (solo)
    David Spinozza—Guitar (solo)
    Joe Locke—Vibes

    Luques Curtis—Bass

    Marcus Miller—Electric Bass
    Bernard Purdie--Drums
    Obed Calvaire--Drums
    Little Johnny Rivero--Congas
    Anthony Carrillo—Bongos, Cowbell
    Luis Quintero--Timbales
    Iwao Sado—Bata Drums

    This is from a very recent Eddie Palmieri album which I think is very strong overall. This Track did not seem to get much approval from the members who commented, though.

    4. 51-XXwyVcEL.jpg

    Song:  Axulito

    Artist: Mario Bauza and his Afro-Cuban Jazz Orchestra

    Album:  Tanga

    Label and Year:  Messidor, 1999

    Composer: Ray Santos

    Arranger:   Ray Santos

    Solos: Dioris Rivera—Tenor Saxophone, Conrad Herwig—Trombone, Stanton Davis--Trumpet

    Victor Paz, Ross Konikoff, Stanton Davis, Larry Lunetta—Trumpets

    Tracy Turner, Gregory Williams—French Horns

    Conrad Herwig, Gerry Chamberlain, Bruce Eidem, Douglas Perviance—Trombones

    Nathan Durham-Bass Trombone

    Rolando Briceno, Eddie Alex—Alto Saxophones

    Enrique Fernandez—Tenor Saxophone, Flute

    Dioris Rivera—Tenor Saxophone

    Jerome Richardson—Tenor Saxophone

    Pablo Calogero—Baritone Saxophone

    Marcus Persiani—Piano

    Guillhermo Edgehill—Bass

    Juan “Papo” Pepin—Congas

    Carlos “Patato” Valdez—Congas, Guiro

    Joe Gonzales—Bongos, Cowbell

    Bobby Sanabria—Drums, Timbales, Cascara

    Mario Bauza—Musical Director

    I heard this song in the background at a Mexican restaurant while I was planning this Blindfold Test. It made me think of the excellent albums which Mario Bauza released in the 1990s.


    5. https://images-na.ssl-images-amazon.com/images/I/61vLDT9dnFL._SL1217_.jpg




    Song: Hub-Tones

    Artist: Kamasi Washington

    Album: Heaven and Earth

    Label and Year: Young Turks Recordings, 2018

    Composer: Freddie Hubbard

    Arranger:  Kamasi Washington

    Kamasi Washington-Tenor Saxophone

    Dontae Winslow-Trumpet

    Ryan Porter-Trombone

    Cameron Graves-Piano

    Brandon Coleman-Organ, Keyboards

    Miles Mosley-Bass

    Ronald Bruner, Jr.-Drums

    Tony Austin-Drums

    Allakoi Peete-Percussion

    Kahlil Cummings-Percussion

    I think that this new Kamasi Washington album is very enjoyable to listen to, and is mostly successful, (except for a few songs which seem overarranged with strings to me). This is one of my favorites from the album.


    6.  https://images-na.ssl-images-amazon.com/images/I/91bjlQ53-3L._SL1500_.jpg




    Song: De Pois Do Amor, O Vazio (After Love, Emptiness)

    Artist:  Wayne Shorter

    Album: Odyssey of Iska

    Label and Year:  Blue Note, Recorded August, 1970, Released 1971

    Composer: Robert C. Thomas

    Wayne Shorter—Soprano Saxophone

    Dave Friedman—Vibes, Marimba

    Gene Bertoncini—Guitar

    Ron Carter, Cecil McBee—Bass

    Alphonse Mouzon, Billy Hart—Drums

    Frank Cuomo—Percussion, Drums

      I love this lyrical Wayne Shorter performance, released after Weather Report was underway.






    7.  https://images-na.ssl-images-amazon.com/images/I/61yAgNQtYHL._SS500.jpg




    Song: Dreaming of the Master

    Artist: Art Ensemble of Chicago

    Album:  Nice Guys

    Label and Year:  ECM, 1979

    Composer:  Joseph Jarman

    Roscoe Mitchell—Saxophone Soloist.


    Lester Bowie—Trumpet

    Roscoe Mitchell—Saxophones

    Joseph Jarman—Saxophones

    Malachi Favors—Bass

    Don Moye—Drums, Percussion

    The credits list many other instruments played by members of the group, but I do not hear them on this particular track.

    This is the concluding selection on their ECM album "Nice Guys." I loved the Art Ensemble of Chicago and I think that this is one of their better studio selections. Roscoe Mitchell is smoking in his solo work here.




    8.  https://images-na.ssl-images-amazon.com/images/I/51lJ83Ms5UL.jpg




    Song: Snurdy McGurdy and Her Dancin’ Shoes

    Artist: Roscoe Mitchell

    Album: Snurdy McGurdy and Her Dancin’ Shoes

    Label and Year:  Nessa, 1981

    Composer: Roscoe Mitchell

    Roscoe Mitchell—Tenor Saxophone

    Hugh Ragin—Trumpet

    A.Spencer Barefield—Guitar

    Jaribu Shahid—Bass

    Tani Tabbal--Drums

    Here is a Roscoe Mitchell solo album from a few years after "Nice Guys." It is interesting to compare his soloing on the two tracks, I think. This album was released on the label owned by board member Chuck Nessa.


    9.  https://images-na.ssl-images-amazon.com/images/I/91d4MjCm%2BwL._SX425_.jpg



    Song: Exaltation/Religious Experience/Major

    Artist: Carla Bley

    Album:  The Carla Bley Big Band Goes to Church

    Label and Year: Watt, 1996

    Composer: Exaltation composed by Carl Ruggle

     Religious Experience/Major composed by Carla Bley

    Arranger: Carla Bley

    Recorded live at Chiesa San Francesco Al Prato, Umbria Jazz, Perugia, Italy

    Soloists:  Wolfgang Puschnig—Alto Saxophone, Dennis Mackrel—Drums,

    Lew Soloff—Trumpet, Wolfgang Puschnig—Alto Saxophone


    Lew Soloff, Guy Barker, Claude Deppa, Steve Waterman—Trumpets

    Gary Valente, Pete Beauchill, Chris Dean—Trombones

    Richard Henry—Bass Trombone

    Roger Jannotta—Soprano and Alto Saxophones, Flute

    Wolfgang Puschnig—Alto Saxophone

    Andy Sheppard, Jerry Underwood—Tenor Saxophones

    Julian Arguelies—Baritone Saxophone

    Karen Mantler—Organ, Harmonica

    Carla Bley—Piano

    Steve Swallow—Bass

    Dennis Mackrel--Drums

    This is from one of my favorite Carla Bley big band albums. At first I thought it was Carla on organ, but a reading of the liner notes shows that it is her daughter, Karen Mantler, on organ.

    My cover of the CD has very shiny gold lettering, which I cannot find in any online image of the album cover.



    Song: If You Could See Me Now

    Artist: John Lewis

    Album:  CD Only Bonus Track to The Wonderful World of Jazz

    Label and Year:  Atlantic.

    This track was recorded in 1960.

    The original album was released in 1961. This CD Only Bonus Track was first released in 1988.

    Composer: Tadd Dameron.

    John Lewis—Piano

    Jim Hall—Guitar

    George Duvivier—Bass

    Connie Kay--Drums

    I love the sound and depth of this track. There is something about veterans playing with purpose, which young technicians cannot attain. I like George Duvivier's sound on bass on this track.


    11.  https://images-na.ssl-images-amazon.com/images/I/51WHtMAM%2BLL._SS500.jpg




    Song: Was It Something I Said? 

    Artist: Yoko Miwa

    Album: Pathways

    Label and Year: Ocean Blue Tear Music, 2017

    Composer: Yoko Miwa.

    Yoko Miwa—Piano

    Will Slater—Bass

    Scott Goulding—Drums

    Yoko Miwa is a 48 year old Japanese pianist, who is new to me. I am very favorably impressed with all of this recent album.


    12.  https://images-na.ssl-images-amazon.com/images/I/51NCoSgJToL.jpg



    Song: Random Vibrations

    Artist: Frank Ku-Umba Lacy

    Album: Tonal Weights and Blue Fire

    Label and Year: Tutu Records, 1991

    Composer: Frank Lacy.

    Frank Lacy—Trombone, keyboards

    Fred Hopkins—Bass

    Michael Carvin—Drums

    I love the sound of Frank Lacy's trombone and Fred Hopkins' bass on this selection. It was a great loss when Hopkins passed away at a relatively young age. I think that this is one of Lacy's more successful albums.


    13.   https://images-na.ssl-images-amazon.com/images/I/61ZympWAs9L._SS500.jpg



    Song: Shepp’s Way

    Artist: Charlie Haden

    Album: The Golden Number

    Label and Year: A&M Horizon, 1977

    Composer: Charlie Haden.

    Charlie Haden—Bass

    Archie Shepp—Tenor Saxophone

    I love everything about this track. I have always liked Charlie Haden's sound and playing. Archie Shepp really impresses me here as well.

  16. 1 hour ago, JSngry said:

    That is correct. It is a bonus track only on the CD reissue.

    4 hours ago, tkeith said:

    Late to the dance, here.  Sorry.  This one hit some strange areas, but also some areas that REALLY struck a note with me (especially where it wound up!).

    Track 01 - Seems like a remake (sort of like the ones you see on YouTube of bands redoing music from the 20s and/or modern tunes in that style.  Accomplished musicians, but not sure how frequently I would spin this.

    Track 02 - Now this is right in the happy zone.  Decidedly Tyner-esque feel.  Some touches of Charles Brackeen in the cry of that tenor, but the player seems more out of that Liebman set than CB.  That bass sound is off-putting.  I don't think it's the player, but the recording.  If not McCoy, somebody that owes a HUGE debt.  Possibly Franklin Kiermyer on drums?  I want to guess Jon Faddis on trumpet because of the heavy Dizzy influence, but seems to have more taste than JF, and his sound isn't so... well... ugly (never sold on JF).

    Track 03 - Very little of this pocket of the genre reaches me (Peter Apfelbaum is a noted exception).  It just doesn't seem to... swing.  Love the growl of the bari against the more trebly sound of the guitar.  Underwhelmed by the improvisational segments.  This type of music should have a fun feel to it... to my ear, it's missing here.  It seems more forced than fun.

    Track 04 - I like this one better than the last, but it suffers from a bit of the same issue, to my ear.  This stuff is brutal to read and difficult to play.  When the right band does it, though, it has the feel of fun that it's supposed to inspire.  This track comes closer, but still seems to miss by a bit.

    Track 05 - This one is as cerebral/technical as either of the last two, but it works much better, IMO.  Can't put my finger on why, but I'm not focused on the counting so much (though that's definitely in there), it just seems to have a more lyrical underpinning, in spite of all that technique.  Mild, Woody-esque trumpet sound (flugel?); whatever, it works well against the tension build by the piano comping, without feeling frenetic.  Even when it gets loco, it's still within itself.  Reminds me of a Jimmy Owens album I have (and, of course, later Miles).  Not completely sold on the use of effects, but it still works.  For this style of tenor playing, I'm less bothered by the effects (in much the same way I appreciate Bob Berg's more commercial/smoothish recordings more than his straight-ahead endeavors).  The feel works, but it goes on too long, and when the tenor gets into the repetitive articulation, my interest wanes.  

    Track 06 - A little too late-70s Weather Report-ish for my liking.  Definitely hear the Bitches Brew influence on this, but lacks the same fire.

    Track 07 - Aw yeah!  That's the AEC, baby!  I think this is from one of the Dreaming Of The Masters sets, but can't recall which one.  Man, LOVE when these guys lock into that groove!  A little sleuthing tells me I have the right song but the wrong date.  It appears to be the last track from this.  Joseph Jarman is a baaaaaaaaaaad man.

    Track 08 - This one is interesting.  I first, I was thinking a Billy Bang date, has that feel.  But, alas... no Billy.  I'm not sure I'm entirely sold, but this one WILL get another listen or two, for sure.  It's busy, but in an interesting way.  Compositionally, it's kind of Braxtonian, which ordinarily would lead me to click fast forward, but this one interests me.

    Track 09 - I want to like this more than I do.  There's a lot here I SHOULD like, but it seems to be taking forever to unfold.  Has the feel of Old and New Dreams larger projects (like the one with Dewey Redman, Ballad of the Fallen), but never seems to quite develop to that point.  Not sure who this is, but I don't think it's that band.

    Track 10 - Does Tad Dameron ever NOT work?  I don't have any guesses, but I completely love everything about this.

    Track 11 - No clue, but it's a BFT... so... I'm guessing it's Gene Harris.  Maybe Ben Riley on drums?

    Track 12 - Liking this loads.  A lot of thoughts as to who it might be, but keep talking myself out of all of them (David Harris, Frank Lacy).  This one works.  Has the feel of a Peter Warren date.

    Track 13 - Well, there's Mr. Shepp, and unmistakable as only he can be.  This is older, because he's got a certain bite that is missing in his more recent recordings.  I'll guess this is around 1976.  I had a date from the late 80s (may still have it) with Richard Davis, but this has it ALL over that date.  Man!  I love Shepp!  

    Thanks for the sounds!

    Track 2: you are correct on Jon Faddis as the trumpet soloist. As others have pointed out, it is McCoy Tyner. 

    Very interesting comments on 3, 4 and 5. When you see the Reveal I think you may be surprised. 

    Track 6: This has been identified as a 1971 solo album by Wayne Shorter, so your comments are apt.

    Track 7: you have correctly identified it. Roscoe Mitchell is identified as the saxophone soloist in every source I have read.

    Track 8: I think you may be surprised at who this is.

    Track 9: very interesting to think of Ballad of the Fallen in relation to this.

    Track 10: I agree with you about how good this is.

    Track 11: not Gene Harris!

    Track 12: don’t talk yourself out of all of them.

    Track 13: It is Archie Shepp. If you don’t have this album, I think you would really enjoy all of it.


  17. On 10/24/2018 at 9:39 AM, Hot Ptah said:

    I find Track 1 very interesting. The vocalist has the genuine old jazz sound and phrasing. I like her singing very much. The band is playing in the style of her era, but it sounds like a very contemporary recreation to me. The guitarist does not quite get the sound of the earlier era. This almost sounds to me like the soundtrack for the "Bird" film, in which Charlie Parker's solos were overdubbed over contemporary rhythm section playing.


    Track 2 is the only non-vocal selection from McCoy Tyner's Milestone album, "Inner Voices". I have always liked this track a lot. McCoy was on a roll with many excellent albums for Milestone at the time. He added a choir of wordless vocals to the rest of the songs on this album, which were not doo wop or pop oriented. Some people did not like the backing vocals, so this album is not remembered so much today. Oddly, I think that the only other recordings which use vocals in this way are the recent Kamasi Washington albums, although Kamasi's choirs sing words sometimes.


    Track 3 is unusual to me. It ends with what sounds like authentic Latin percussion, not jazz musicians trying to play Latin percussion, but real Latin percussionists. But the rest of the track does not sound much like a Latin jazz combination. So who could this be?

    Track 4 is the real thing, some very hot Latin jazz. I don't know who it is, but I love it.

    I know the artists and albums on Tracks 5, 6, 7. 8, 9, and 13. We appear to have some very similar tastes. I will hold off on identifying them until others have had a chance to comment.

    Track 10 is so tasteful and deep. The musicians are not young. They have lived, and are telling a story as they play. I have no idea who this is, but I like it a lot.

    Track 11 is a fairly standard mainstream piano trio track, so I wonder if there is some curve you are throwing  us that I am not picking up on.

    Track 12 is a great trombone track. I like the bassist and drummer a lot. I will want to buy this after the Reveal.

    This is a most enjoyable Blindfold Test, with many excellent tracks.

    Those are interesting thoughts about Track 1. The musicians are contemporary. The vocalist has a history which fits somewhat into your thoughts and which does not fit somewhat too. 

    I had not thought of the similarities between McCoy Tyner’s use of a vocal choir  on the album that Track 2 comes from, and Kamasi Washington’s recent uses of a vocal choir, 

    I think that you will find the identifications for Tracks 3 and 4 to be very interesting.

    i like your insights about Track 10. I agree with them. There is something about seasoned musicians playing with purpose, that younger technicians often do not get to.

  18. On 10/23/2018 at 2:17 PM, Milestones said:

    I got a few of these when it was first posted, and I was close on #2 (knew it was Tyner) and #3 (knew it was Haden and thought it was Ornette).  

    Track #2 is "Uptown" from Tyner's Inner Voices

    Track #5 is "Hub-Tones" by Kamasi Washington.

    Track #6 is "De Pois do Amor" from Wayne Shorter's Odyssey of Iska.

    Track #7 is "Dreaming of the Master" by Art Ensemble of Chicago.

    Track #9 is "Exaltation/Religious Experience" by Carla Bley Big Band.

    Track #13 is "Shepp's Way" by Charlie Haden and Archie Shepp (The Golden Number)



    All of those identifications are correct.

    i like Track 6 as it is one of the times when Wayne Shorter did not compromise and also played accessible music which my mother likes to overhear. She does not know much about jazz.

    Track 7 features Lester Bowie, the pride of my home town St. Louis.

  19.  LXfFw64.jpg


    1. Song Title:   Green Night and Orange Bright

    Artist:   Tom Talbert.

    Album:   Bix Duke Fats

    Label:     Modern Concepts

    Year of Release:  1956

    Composer:   Tom Talbert

    Arranger:     Tom Talbert

    Conductor:   Tom Talbert


    Alto Sax (solo):    Herb Geller

    Alto Sax and flute:  Joe Soldo

    Tenor Sax and Clarinet:  Aaron Sachs

    Baritone Sax and Bass Clarinet:  Danny Bank

    Trumpet:  Joe Wilder

    Trombone:  Eddie Bert

    French Horn:  Jim Buffington

    Guitar:  Barry Galbraith

    Piano:  Claude Williamson

    Bass:   Oscar Pettiford

    Drums:  Osie Johnson


    This is the only Tom Talbert composition on the album. All of the other songs are composed by Bix, Duke or Fats.


    2. R-2777312-1300718035.jpeg.jpg


    Song Title: Avalon

    Artist:  Harry “Sweets” Edison

    Album:  Edison’s Lights

    Label:    Pablo

    Year of Release:  1976

    Composer:  Jolson/De Sylva/Rose

    Producer:  Norman Granz


    Trumpet:  Harry “Sweets” Edison

    Tenor Sax:  Eddie “Lockjaw” Davis

    Piano:  Count Basie

    Bass:  John Heard

    Drums:  Jimmie Smith


    I think that this track is a little bit surprising. It is a later example of Count Basie loosening up and playing without his usual restraint. When I saw him live in the mid to late 1970s, he never soloed like this.


    3.  394166.jpg


    Song Title:  Limehouse Blues

    Artist:     Phil Woods and Lew Tabackin

    Album:  Phil Woods/Lew Tabackin

    Label:    Omnisound

    Year of Release:  1981

    Composer:   Furber/Braham

    Producer:  Bill Goodwin


    Alto Sax:  Phil Woods

    Tenor Sax:  Lew Tabackin

    Piano:  Jimmy Rowles

    Bass:  Michael Moore

    Drums:  Bill Goodwin





    4. 41BQYWDFPRL.jpg


    Song Title:  Tanjah

    Artist:   Randy Weston

    Album:   Tanjah

    Label:     Polydor

    Year of Release:   1974

    Composer:   Randy Weston

    Arranger and Conductor:  Melba Liston

    Producer:     Randy Weston


    Piano:  Randy Weston

    Oud, Arabic Narration: Ahmed Abdul-Malik  (Soloist)

    Alto Sax, Piccolo:  Norris Turney

    Tenor Sax, Flute:   Billy Harper (Soloist)

    Tenor Sax, Soprano Sax, Clarinet:  Budd Johnson

    Baritone Sax, Bass Clarinet, Flute:  Danny Bank

    Trumpets, Flugelhorns: Ray Copeland, Jon Faddis, Ernie Royal

    Trombone:  Al Grey

    Bass Trombone:  Jack Jeffers

    French Horn:  Julius Watkins

    Bass:  Ron Carter

    Drums: Rudy Collins

    Conga, Kakabar:  Azzedin Weston  (Soloist)

    Conga, Spanish Narration:  Candido Camero:  (Soloist)

    Timbales, Marimba: Omar Clay

    Ashiko Drum: Taiwo Yusve Divall

    Percussion:  Earl Williams




    5. 51jqI%2BoEHKL.jpg


    Song Title:  Hello Little Girl

    Artist:   Duke Ellington

    Album:   Ellington Jazz Party

    Label:     Columbia

    Year of Release:  1959

    Composer:  Duke Ellington


    Piano:  Jimmy Jones

    Trumpet Soloist:  Dizzy Gillespie

    Vocal:  Jimmy Rushing

    Trumpets: Ray Nance, Clark Terry, Cat Anderson, Shorty Baker, Andres Ford

    Trombones:  Britt Woodman, Quentin Jackson, John Sanders

    Saxophones:  Johnny Hodges, Russell Procope, Paul Gonsalves, Jimmy Hamilton,

    Harry Carney

    Bass:  Jimmy Woode

    Drums:  Sam Woodyard





    Song Title: Most Gentlemen Don’t Like Love

    Artist:  Betty Carter

    Album:  Now It’s My Turn

    Label:    Roulette

    Year of Release:   1976

    Composer:  Cole Porter


    Vocal:  Betty Carter

    Piano:  John Hicks

    Bass:    Walter Booker

    Drums:  Eddie Moore


    I saw Betty Carter with John Hicks live, in the mid to late 1970s. They were great live. Then the next time I saw her live, she had Mulgrew Miller on piano.



    7.  The_Carnegie_Hall_Concerts_January_1943.


    Song Title:  Boy Meets Horn

    Artist:   Duke Ellington

    Album:  The Duke Ellington Carnegie Hall Concerts: January 1943

    Label:    Prestige

    Year of Release:   1977

    Composer:   Duke Ellington/Rex Stewart

    Piano: Duke Ellington

    Cornet: Rex Stewart (Soloist)

    Trumpets:  Ray Nance, Shorty Baker, Wallace Jones

    Trombones: Lawrence Brown, Joe Nanton , Juan Tizol

    Saxophones: Johnny Hodges, Otto Hardwicke, Ben Webster,

    Chauncy Haughton, Harry Carney

    Guitar:  Fred Guy

    Bass: Junior Raglin

    Drums: Sonny Greer

    I have wondered if Lester Bowie was familiar with this track, or with Rex Stewart’s playing in general.



    8. philwoodssextet_livefromtheshowboat.jpg


    Song Title: Django’s Castle (All Mine Almost)

    Artist:  Phil Woods

    Album:  The Phil Woods Six “Live” From the Showboat

    Label:     RCA

    Year of Release:   1977

    Composer:  Django Reinhardt

    Arranger:    Harry Leahey

    Recorded live at the Showboat Lounge, Silver Springs, Maryland, November, 1976.


    Alto Sax:  Phil Woods

    Guitar:      Harry Leahey

    Piano:       Mike Melillo

    Bass:         Steve Gilmore

    Drums:      Bill Goodwin

    Percussion:  Alyrio Lima


    I saw Phil Woods live many times from the late 1970s into the 1990s, and he was never a disappointment. He was always a great live performer in those years, whenever I saw him. This entire 2 LP live album is excellent, in my humble opinion.


    9.   John_McLaughlin_Belo_Horizonte.jpg


    Song Title:  Very Early

    Artist:   John McLaughlin

    Album:  Belo Horizonte

    Label:    Warner Brothers

    Year of Release:  1981

    Composer:  Bill Evans


    Guitar:  John McLaughlin


    I think that for John McLaughlin, this is uncharacteristically concise and simply beautiful.



    10.  Electric_Bath.jpg


    Song Title:  Open Beauty

    Artist:          Don Ellis

    Album:        Electric Bath

    Label:          Columbia

    Year of Release:   1967

    Composer: Don Ellis


    Alto Saxophone, Flute, Soprano Saxophone – Joe Roccisano, Ruben Leon

    Tenor Saxophone, Flute, Clarinet – Ron Starr

    Tenor Saxophone, Flute, Piccolo Flute, Clarinet – Ira Schulman

    Baritone Saxophone, Flute, Bass Clarinet – John Magruder

    Trumpet – Don Ellis, Alan Weight, Bob Harmon, Ed Warren, Glenn Stuart

    Trombone – Dave Sanchez, Ron Myers, Terry Woodson

    Piano, Clavinet, Electric Piano [Fender] – Mike Lang

    Bass – Dave Parlato, Frank De La Rosa

    Bass, Sitar – Ray Neapolitan

    Drums – Steve Bohannon

    Congas, Bongos – Chino Valdes

    Timbales, Vibraphone, Percussion [Miscellaneous] – Mark Stevens  

    Percussion [Miscellaneous] – Alan Estes

    This was such an unusual sound in 1967, and it does not seem like it really influenced the later fusion music all that much. This era of Don Ellis seems unique to me.


    11.  CBLEY.PHAINES_EscalatorOverTheHill3LPfro


    Song Title:  A.I.R. (All India Radio)

    Artist:   Carla Bley

    Album:  Escalator Over The Hill

    Label:    JCOA

    Year of Release:  1971

    Composer:  Carla Bley


    Desert Band of Musicians:

    Trumpet:  Don Cherry

    Violin:     Leroy Jenkins

    Cello:      Calo Scott

    Clarinet: Souren Baronian

    Acoustic Guitar:  Sam Brown

    Organ:  Carla Bley

    Bass: Ron McClure

    Drums:  Paul Motian






    12.  CBLEY.PHAINES_EscalatorOverTheHill3LPfro


    Song Title:   Rawalpindi Blues

    Artist:   Carla Bley

    Album:  Escalator Over The Hill

    Label:    JCOA

    Year of Release:  1971

    Composer:  Carla Bley

    Lyrics:  Paul Haines


    Jack’s Traveling Band:

    Guitar:  John McLaughlin

    Bass, Vocal:  Jack Bruce

    Organ:  Carla Bley

    Drums:  Paul Motian


    Desert Band and Sand Shepherd:

    Trumpet, Vocal:  Don Cherry

    Violin:   Leroy Jenkins

    Cello:  Calo Scott

    Clarinet: Souren Baronian

    Acoustic Guitar:  Sam Brown

    Organ:  Carla Bley

    Bass: Ron McClure

    Drums:  Paul Motian


    NOTE:  Tracks 11 and 12 make up all of Side 5 of the original vinyl LP issue of “Escalator Over The Hill.” We have discussed these tracks at some length in the Discussion for this Blindfold Test.



    13.  The_Montreux_Berlin_Concerts.jpg


    Song Title:  H-46M…B-BW4 (as titled on the original vinyl release, with a diagram in the title)

    Opus 40(0)  (as titled on the Mosaic box set reissue)

    Artist:   Anthony Braxton

    Album:   The Montreux/Berlin Concerts, reissued on Mosaic’s The Complete Arista Recordings of Anthony Braxton

    Label:   Arista

    Year of Release:  1977

    Composer:  Anthony Braxton

    Recorded at the Montreux Jazz Festival, July 20, 1975


    Alto Sax:  Anthony Braxton

    Trumpet:  Kenny Wheeler

    Bass:  Dave Holland

    Drums, Percussion, Gongs:  Barry Altschul


    14.   R-2389367-1281194730.jpeg.jpg


    Song Title:  Fusion

    Artist:    Teo Macero

    Album:   Teo Macero Conducts the London Philharmonic Orchestra Featuring the Lounge Lizards-Fusion

    Label:     Europa

    Year of Release:  1984

    Recorded:  1982

    Composer:   Teo Macero

    Composition Year:  1954

    Conductor:   Teo Macero


    Orchestra:  The London Philharmonic Orchestra

    Guitar:   Ryo Kawasaki

    Alto Sax:  John Lurie

    Trombone:  Peter Zummo

    Piano:  Evan Lurie

    Bass:  Tony Garnier

    Drums:  Douglas Bowne


    In the CD liner notes, the following appears:


    FUSION was originally performed at Columbia University, New York City, on April 23, 1956. Howard Shanet conducted the Columbia University Orchestra and a Jazz quintet.


    It was later performed at Carnegie Hall, on January 11, 1958. Leonard Bernstein conducted the New York Philharmonic Orchestra and a Jazz quintet featuring Art Farmer, John La Porta, Don Butterfield, Wendell Marshall, and Ed Shaughnessy.”


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