Dan Gould

An interesting idea no one has done before - though the current version of my next effort does include the same standard by two artists. I fear that people will prefer the "wrong" one from my perspective. I recall one BFT by MartyJazz - my former south Florida neighbor - who I think selected all originals based on recognizable standards (whatever the heck those are called) or else he chose all originals based on the same standard? Can't recall, but we've never had a single BFT composed of the same song.

Are you saying you didn't instantly "hear" the song when you read that she had died? I also heard "Jump" the moment I heard Eddie Van Halen died. Brains are funny that way. Or maybe its just me.

Why Van Halen, the band and the musician, didn't exactly thrill me: I only really knew of them from 1984 and that #1 hit became so ubiquitous and is one of the most annoying tunes in rock history, IMHO. most importantly, reading the NYT obit I recognize the reason his guitar playing annoyed - the lack of the blues-rootedness of Clapton et al. Anyway, RIP.

Thinking about my *awesome* BFT planned for January and I am wondering how both compilers and participants view the issue of using originals vs standards. Standards allow people to feel good to ID a tune (sometimes, and I notice a lot of hardbop "standards" just frustrate people. Okay, they frustrate me.) Of course if your BFT is less mainstream and more "out" originals are inevitable. I know some prefer standards on new CDs by unknowns, to judge how they handle the repertoire. So what do you few guys think?

Big thumbs up for Queen Sylvia and Big Leon Brooks. Too bad there are so few recordings of either of them.

I am well aware Brad. It was a joke.

And RBG's passing claims its first judicial victim.

Well then you can pee on the flames. Or save some of that water.

Did they combine the "hit one for the sick kid" with the "called shot"?

Yeah but you can't tell if he's pointing at the pitcher, centerfield bleachers, what. This is Gehrig himself saying that's what happened. and apparently unheard for 80 odd years!

Lou Gehrig stating that the Babe really did "call" his shot

#1 - I liked this until the soprano took 'flight' - note running on a soprano just grates these ears, sorry. #3 - Coral Reefer Band? #4 - Billie Jo's Bounce? Somehow I like this, though not something I'd play often by any stretch. Would have liked to hear this tune played by Gatemouth Brown but I think he always chose an Ellington or Basie number for his jazz tracks(?). #7 - Best track so far but I have to say I just really, really prefer tenor to baritone on this type of organ soul jazz tune. #10 - per most everybody, this is Weston and Harper, and I must say that my curiosity is piqued for the rest of the album, so thanks for that. #11 - My friend Mr. Felser said he loves this, so in keeping with binding precedent, I do ... not. #14 - I am unfamiliar with Holy Land played with strings, but that's Cedar for sure (the kind of piano I far prefer to #11). #16 - I haven't pulled the trigger on the Desmond Mosaic but this makes me want to figure out how to pay for it sooner than I planned. thanks for the sneak peek. Thanks for an interesting compilation.

Yoko Ono and Charles Manson disciple, Squeaky Fromme will sing on “Helter Skelter”

Well he behaved in a Neanderthal way Tuesday night, and Neanderthal genes seem to have an effect on severity: https://malaysia.news.yahoo.com/dna-neanderthals-covid-more-severe-003031185.html So ... hope springs eternal!

Even on a BFT that didn't hit many high points for me, there's an album that I have - verifying that old "rule": At Top Of The Gate Gifted many, many moons ago, I think by someone who isn't active anymore - Dr. J maybe?

On a separate issue, can I ask when you were in Milwaukee and when you left?

That is worrisome. Be safe Matthew and good luck.

Probably though I suspect longer BFTs with many long tracks doesn't help either. (I always end up longer than a single CD but try to stick with shorter tracks.)

Hmmm ... A CD length BFT. Must be mostly short tracks. Maybe more people will respond.

Too bad not many participants ... and where is the BFT Grand Poobah?

Credit when it is due: Media Mail (LP) arrived Simi Valley CA September 28, at local PO October 1 for delivery today. Original delivery estimate was Monday. I am certain that somehow this must have gotten on a plane when it was supposed to take the scenic route across country.

You're worse than I am on not consulting the liners: With that, Thelonious bid farewell, Danny paid his fee in cash, and his brother shuttled the band back to the Jazz Workshop with plenty of time to spare. A couple of days later, an incensed Jules Colomby called Danny asking for the money. “I told him I paid Monk. He asks, ‘What about my commission?’ I said, ‘Well Mr. Colomby, I never had a signed contract. So if you want your commission you should talk to Mr. Monk.’” Scher would grow up to become one of the most successful concert promoters on the West Coast.

The fact of what was happening in the prior few months, as well as at the moment in Palo Alto/East Palo Alto is in the liners. I don't think that there's anything there about the band knowing about it or reacting to it. For that matter, I always thought people onstage with spotlights on them can't really see the audience, so knowledge of how mixed the crowd was would be limited to the first row or two? And one other thought is, what was Monk's audience at regular club gigs? Wasn't it mixed already? If it was, then seeing a mixed audience (if they could) from the stage wouldn't necessarily mean anything. That's an aspect you don't read that much about ... It is noticed now that white fans (especially outside of major cities) are the ones supporting the music. When did that really start? Obviously Monk was "old hat" at that point ... and rock/soul/whatever Miles was doing was what was popular among young people (minorities?). Going off on a tangent here ... CJ: Please write what you feel. I'm just giving you my reaction ...

Well since nobody seems to know I guess this LP is the ultimate BFT track source.

Thanks for sharing. I think you should reconsider your racial commentary, particularly the final sentence: "The fact the group was able to promote racial harmony in a community and country in turmoil was clearly inspiring to them as they gave the audience at Palo Alto High School a sparkling show." I don't think there's any basis for this - that they were promoting any racial harmony, nor that it was the source of the good feelings in the music. Is anyone from the band quoted (I cop to not reading the liners yet, only all the reporting before the CD was issued)? Did they know about East Palo Alto and the issues there? Personally my thought was, how often did they have a gig at a high school? Maybe they were inspired because they weren't in a formal concert hall or in a noisy bar, but in a school auditorium. Maybe that inspired them? I personally perceive it to be two separate stories - a young high school kid pulling off the unexpected, and by promoting in both cities, getting a crowd curious enough to turn out and wait to see if Monk would show - and Monk's group putting on a fine concert. That's the cherry on top of this musical sundae.