1. “HFR” (Stan Hunter). Stan Hunter and Sonny Fortune, Trip on the Strip (1966). Hunter (organ), Fortune (alto sax), Sherman Suber (guitar), John Royal (drums).
One of those Prestige dates that never got OJC-ed somehow. Hunter does seem to have a pretty personal style, but, to my ears, this is about where Fortune is coming from — and where he’s going.
2. “Jim’s Idea” (“Jim Daddy” Walker). Recorded 1944. Available on Pete Brown: The Classics Chronological Series – 1029 (Pete Brown: 1942-1945). Walker (guitar), Brown (alto sax), John Levy (bass), Eddie Nicholson (drums).
Of it’s time, but looking forward to the future. Brown sounds just so powerful here. And, as the “other Jim” (in this context) noted, yes, this could almost be Lockjaw. Shame that Brown’s health declined so precipitously as it did in the 50s. But there’s a lot of 30s and 40s material to explore.
3. “Karachi” (James Taylor). Gene Shaw, Debut in Blues (1963). Gene Shaw (trumpet), Herb Wise (trombone), Jay Peters (tenor sax), James Taylor (piano), Sid Robinson (bass), Jerold Donovan (drums).
The band of 1957-1958 is one of my favorite Mingus ensembles, with Shafi Hadi and Clarence “Gene” Shaw being the primary reasons why. Shaw’s Argo records were just listings in a discography for the longest time. But, I have to say, they exceeded expectations when I heard them. I don’t know if any of these other Chicago guys played with Sun Ra, but I do hear how this is kind of Sun Ra adjacent. Does anybody here know much about the other members of this band?
4. “The Oom Is Blues” (Charlie Mariano; arranged by Mariano, conducted by Quincy Jones). Quincy Jones, Go West, Man! (1957). Pepper Adams (baritone sax), Walter Benton (tenor sax), Buddy Collette (tenor sax), Bill Perkins (tenor sax), Carl Perkins (piano), Leroy Vinnegar (bass), Shelly Manne (drums).
Who knows what Quincy really contributed to this, but I won’t cast aspersions here. This is probably the first time I really heard the Lucky Thompson roots in Benton’s playing. Adams sounds great. Carl Perkins sounds great. I mean, Quincy probably didn’t need to do much given who’s on the call sheet!
5. “Blue Bossa” (Kenny Dorham). Eddie Daniels & Bucky Pizzarelli, Blue Bossa [aka A Flower For All Seasons] (1973). Daniels (bass clarinet), Pizzarelli (guitar).
I had originally thought to include Daniels the tenor player in this BFT, but I went with this track instead. I’m still undecided on this one; interesting to read the candid responses to it. I picking up some f what they’re laying down. But I am a sucker for a bass clarinet.
6. “Buena Vista Swing” (Leandro Guerrero). Recorded ca. 1950. Available on Pachuco Boogie (Historic Mexican American Music, Volume 10). Leandro Guerrero (accordion), Frank Corrales (guitar), Willie Gonzalez (bass).
Great anthology featuring the Don Tosti recordings. But I picked this one because of its explicit connections to the norteño music that was so much a part of the daily soundtrack in the Dallas neighborhood where I grew up.
7. “Jambalaya” (Hank Williams). Roy Clark & Joe Pass Play Hank Williams (1994). Clark (guitar), Pass (guitar), Jim Hughart (bass), Colin Bailey (drums).
I understand the criticisms leveled at this, but I still think it’s fun to hear Clark shred.
8. “Teheran” (Friedrich Gulda). Friedrich Gulda, At Birdland (1958). Idrees Sulieman (trumpet), Jimmy Cleveland (trombone), Phil Woods (alto sax), Seldon Powell (tenor sax), Gulds (piano), Aaron Bell (bass), Nick Stabulas (drums).
A little stiff and maybe even shrill in spots, but worth it for Powell’s solo. One of those players whose own leader dates are fine, but who seems to shine most when he guests.
9. “Taurus the 20th” (Rufus Harley). Rufus Harley, Scotch & Soul (1966). Harley (tenor sax), Oliver Collins (piano), James Glenn (bass), Billy Abner (drums).
As soon as you learn it’s a Philly thing, you can’t unheard the Philly-ness of it. Oliver Collins went on to play with Monnette Sudler.
10. “Canon” (Charles Mingus). Robert Ottaviano & Alexander Hawkins, Charlie’s Blue Skylight (2022). Ottaviano (saxophones).
Ottaviano has a pretty extensive discography that merits exploration. that includes this record as well as some 90s duets with Mal Waldron and a Steve Lacy “songbook” with Hawkins again and Glenn Ferris on trombone (Forgotten Matches. The Worlds Of Steve Lacy (1934 - 2004)).
11. “Bridge Call” (Ken Stubbs). First House, Erendira (1986). Stubbs (alto saxophone), Django Bates (piano), Mick Hutton (bass), Martin France (drums).
Lovely composition, IMO. Bates takes the solo honors, sounding just Jarrett-like enough. I fid the little bit of sour savor in Stubbs’ tone appealing, even if his ideas aren’t as strong.
12. “O Desayo” (Clifford Thornton). Clifford Thornton, The Gardens of Harlem (1975). Jack Jeffers (conductor). Solists are Thornton (cornet) and Roland Alexander (tenor sax). Ensemble also features Carla Bley (piano), Bob Stewart (tuba), Charles Stevens & Janice Robinson (trombones), Michael Ridley, Ted Daniel, Hannibal Peterson, and Leo Smith (trumpet and flugelhorn), Gregory Williams and John Thompson (french horns), George Barrow, Pat Patrick, Dewey Redman, and Carlos Ward (woodwinds), Andy Gonzalez (bass), Art Lewis (drums), and Laxmi G. Tewari, Asante Darkwa, Milton Cardona, Gene Golden, Jerry González, A. Kobena Adzenyah, and Vincent Jorge (percussion).
Fantastic record that remains strangely overlooked and filed under “hen’s teeth”, especially given how much interest there is now in the New York loft activities of that era. Really, all of the JCOA records are must-haves.
13. “10 Ribs and All/Carrot Pod Pod” (John Paul Jones, Jimmy Page). Led Zeppelin, Presence [outtake] (1976). Jones (piano, bass), Page (guitar), John Bonham (drums).
Apparently the chords here are derived from a hym or spiritual — Jones was a church organist early in his career — but I don’t think the songwriters have ever divulged which one. Superb piano playing, and proof that these Viking wannabes (and unrepentant plagiarists) could be tasteful when they wanted to.
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My copy arrived last week direct from the publisher. I've just flipped through it, but it looks like the authors really did their homework. Case in point: some discussion of Kenny's brother Joel and the efforts he made to raise K.D's profile.