Dan Gould

Can I borrow that as my new signature for the MLB thread?

We should send this thread to MC as proof that there is interest in a Three Sounds Select. You do understand, Conn., that you've knocked yourself down a few pegs in my eyes, replacing a full set of Sounds CDs with a single comp, right? Now we hear from Dan. What took you so long? Dan don't need no help in filling his Sounds collection. Dan could have helped promote these to the unitiated buyers. Promotion wasn't necessary when you got such a big response.

We should send this thread to MC as proof that there is interest in a Three Sounds Select. You do understand, Conn., that you've knocked yourself down a few pegs in my eyes, replacing a full set of Sounds CDs with a single comp, right? Now we hear from Dan. What took you so long? Dan don't need no help in filling his Sounds collection.

We should send this thread to MC as proof that there is interest in a Three Sounds Select. You do understand, Conn., that you've knocked yourself down a few pegs in my eyes, replacing a full set of Sounds CDs with a single comp, right?

I was sure you were going to spot it, Guy! Glad you hadn't dug it out in so long.

TRACK 8 "Checkered Hat" Norris Turney Big, Sweet 'N Blue (Mapleshade) Norris Turney, alto sax Larry Willis, piano Walter Booker, bass Jimmy Cobb, drums I was so glad that this track got a lot of strong reviews. Now go out and get the disc! This is a truly outstanding recording, start to finish, of Johnny Hodges' alto successor in the Ellington band. Must have music, imo. TRACK 9 "Swingin' At the Copper Rail" Buck Clayton with His All-Stars Songs for Swingers (Columbia) Clayton, trumpet Emmett Berry, trumpet Dickie Wells, trombone Earl Warren, alto sax and clarinet Buddy Tate, tenor Al Williams, piano Gene Ramey, bass Herbie Lovelle, drums Continuing with the swing oriented players. Great job from stereojack on this one, although the album isn't technically an official "Buck Clayton Jam Session" session, though I think many complained that this wasn't included in the Mosaic. So go and find a copy of the vinyl and slip a CDR into the Mosaic box. TRACK 10 "Joe's Blues" Joe Wilder Alone With Just My Dreams (Evening Star) Joe Wilder, trumpet James Williams, piano Jay Leonhart, bass Sherman Ferguson, drums Another swing stylist, this tune didn't exactly get universal raves but what can I say, I'm a sucker for downtempo blues. And with Michael Weiss giving his props to Joe, I thought it couldn't hurt to give folks a taste of one of his recent CDs. The cat can play, he always could, and you should check him out. TRACK 11 "Jive at Five" Paul Jeffrey Octet Live in the WKCR Studio 27 April, 1975 Paul Jeffrey, tenor sax Oliver Beener, trumpet John Clark, french horn Artie Simmons, trombone John Buckingham, tuba Jim Roberts, piano Matthias Pearson, bass Ronald Jackson, drums Bill Miller, conga The one universally rejected track. So why the heck did I choose it? Well for one thing, I wanted to wrap up the swing segment of the disc with a guy who was decidedly modernist in approach, and is someone that many people here have enjoyed in other contexts but may have no idea what happened to him. This being lifted from a reel-to-reel recording, I knew it wouldn't be identified by anyone (though I've actually provided a copy to Jim S., so apparently the performance was so bad he'd willfully forgotten he'd ever heard it.) The radio broadcast included "Minority", "Some Other Blues" and "Mr. P.C" but it remains a mystery as to how and why the group got this opportunity for a live, in-studio broadcast. Did they have an upcoming gig and wanted to run down the tunes? Did the Paul Jeffrey Octet play semi-regularly? One can blame the location for the crappy piano, but why was the band so ragged? TRACK 12 "Since I Fell For You" Barbara Dane Livin With the Blues (Dot) Barbara Dane, vocal Earl "Fatha" Hines, piano Benny Carter, trumpet Plas Johnson, tenor Herbie Harper, John Halliburton, trombone Shelly Manne, drums Leroy Vinnegar, bass Some liked the vocals, some didn't, but none of you guessed at what I wanted you to guess at: You were supposed to say that it must be Sweets Edison on trumpet and I was going to say "NO! This is the only recording Benny Carter ever made in which he stuck exclusively to trumpet!" But n-o-o-o-o-o-o-o! Anyway, who was Barbara Dane? She started out in this blues/jazz vein, by the 60s she turned to folk where she has stayed ever since. I believe she's still around even today. I haven't heard her work in her preferred genre, but based on this one album I wish she had recorded more. TRACK 13 "Blues Up and Down" Scott Hamilton & Harry Allen Heavy Juice (Concord) Hamilton and Allen, tenor sax John Bunch, piano Dennis Irwin, bass Chuck Riggs, drums A number of people figured that tracks 1 and 13 were the same group, though the tenors weren't the same pairs, but why did I choose to program Scott twice? Well, number one, I liked the idea of tying the disc together with a nice bow (Blues Up and Down knock off - Blues Up and Down). But I also wanted to give an example of Scott back when he was getting paired with swing masters (he also recorded with Buddy Tate a couple of times), to see if anyone (Jim S.) would make comments along the lines of "young guy being taken to school by an old guy who actually lived it" or something similar. Then, by wrapping things up with a recent Hamilton recording, see if anyone perceives a difference. For me, while Scott started out indebted to his musical elders, I have felt for quite some time that he has developed his own mature voice that is recognizable and very enjoyable. Oh well - another BFT rule: Don't plan on people discussing what you want them to discuss when you pick the track. From Scott Hamilton's development as an artist to Frank Morgan's approach to Wayne Shorter, it just doesn't work. Thanks again to everyone for participating, I had a blast reading the responses.

Note: Some images were grabbed from eBay, so they will likely disappear over time TRACK 1 "Great Scott" Flip Phillips & Scott Hamilton A Sound Investment (Concord) Phillips and Hamilton, tenor sax John Bunch, piano Phil Flanigin, bass Chris Flory, guitar Chuck Riggs, drums I figured it was time for Scott Hamilton to make an appearance on a BFT, and I liked using him so much, I did it twice . Actually, I had other reasons for opening and closing this disc with Scott, which I'll discuss at the end. For now let's just say Scott and I go way back. For the record, this is officially a Flip Phillips original though obviously based on the head of "Blues Up and Down". TRACK 2 "Gettin' To It" Chrstian McBride Gettin' To It (Verve) McBride, bass Roy Hargrove, trumpet, fluegelhorn Joshua Redman, tenor Steve Turre, trombone Cyrust Chestnut, piano Lewis Nash, drums Here's one that several people identified. We had a thread about "young lion LPs that stand the test of time" or something like that, and this is one of the discs I identified. All the youngsters sound very fine on this disc. TRACK 3 "Lone Star Shuffle" Shelley Carrol Shelley Carrol With Members of the Duke Ellington Orchestra (Leaning House Jazz) Carrol, tenor sax Barrie Lee Hall, Jr., trumpet Tommy James, piano Hasson Abul Ashak-Kar, bass Sebastian Whittaker, drums We start a little Lone Star state set with what else but the "Lone Star Shuffle". I honestly thought folks would nail this just by recognizing the tune and figuring out through AMG that no one other than composer Don Wilkerson have recorded this. Jim S. can tell you more about this musician, all I can say is, if you can find this CD (Leaning House closed up a while back) do not hesitate! TRACK 4 "Prince Albert" Paul Guerrero Quintet featuring Marchel Ivery and James Clay Texas Tenors (Jazz Mark Records) Ivery and Clay, tenor sax Paul Guerrero, drums Kirby Stewart, bass Floyd Darling, piano Well, I guess Jim S.'s identification chops really were off, cuz he just barely got one of these tenors (kudos to stereojack for guessing the other) and he was the one who's mention of this LP led me to find it and ultimately replace his worn out cassette. For shame, Jim, for shame! (Even if you did almost come up with the leader's name later on) TRACK 5 "Footprints" Frank Morgan Raising the Standard (HighNote) Frank Morgan, alto sax George Cables, piano Curtis Lundy, bass Billy Hart, drums I had a couple of reasons for programming Frank Morgan and this tune: First of all, I really love Frank Morgan's playing of late. His HighNote recordings are all highly recommended. Secondly, sometime fairly recently, I noticed Allen Lowe opining that Frank Morgan hasn't got the foggiest notion how to play/improvise on a Wayne Shorter tune (I'm paraphrasing, but you get the gist). So I was hoping that we might get some commentary on his approach to the tune. Unfortunately, only Jim S. got this one, and the reviews on the performance were kind of mixed overall. TRACK 6 "Moanin'" James Williams and Bobby Watson Soulful Serendipity (We Always Swing Jazz Series) Williams, piano Watson, alto sax (Pamela Watson sings on one tune on the CD) I figured this one would throw a lot of people off, even though I only became aware of this CD through a posting here. So congratulations to Flurin for nailing this one, and thanks to him for providing a link to where this CD can be purchased: here at CD Baby. And this CD deserves a wide audience. TRACK 7 "Please Send Me Someone to Love" Jimmy Smith Newport in New York '72, The Jimmy Smith Jam, Vol. 5 (Cobblestone) B.B. King, guitar Kenny Burrell, guitar Jimmy Smith, organ Joe Newman, Clark Terry, trumpet Illinois Jacquet, Zoot Sims, tenor sax Roy Haynes, drums Jimmy Smith, organ Well, I was smart enough to do a quick fade before the band came up and the announcements started, so of course a bunch of people got it anyway. I'm sure its bugging Jim R. that he said the guitarist was copping KB licks when its KB himself.

TRACK 10 "In a Mellow Tone" Ira Sullivan The Billy Taylor Trio Introduces Ira Sullivan (ABC-Paramount) Ira Sullivan, trumpet Billy Taylor, piano Ed Thigpen, drums Earl May, bass I know, I know, everyone heard a tenor on this track. Heck, I hear a tenor, too. But you know what? All the credits say trumpet. And that's a trumpet on the cover. So I'm going with what's in front of me. This was another of the "Chicago tracks" that made it through the final cuts, as I thought it would be interesting to hear Ira at such a young age (record date November 1956). Perhaps it was his young age that led Jim R. to make the comments he did. Some don't care for the composition but I have always enjoyed it. So there. BTW, between this and the Vibories LP, there are some fine albums languishing in the vaults of whoever currently owns ABC-Paramount. TRACK 11 "The Panther" Malachi Thompson Blue Jazz (Delmark) Thompson, Elmer Brown, Micah Frazier, trumpet Steve Berry, Bill McFarland (solo), Omar Jefferson, Tracy Kirk, trombone Gary Bartz, alto sax Kirk Brown, piano Harrison Bankhead, bass Leon Joyce, Jr., drums More from Chicago. I actually discovered this track on a very cheaply priced Delmark 50 Years box set (two discs of blues, two discs of jazz plus a DVD for $20) and I finally got around to listening to this not long before Malachi died. His passing, and this track has led me to add this and other Thompson albums to my want lists. Kudos to Jim for spotting Gary Bartz, I kinda figured he would. TRACK 12 "Blood Count" John Stubblefield Confessin' (Soul Note) Stubblefield, tenor sax Mulgrew Miller, piano Rufus Reid, bass Eddie Gladden, drums I decided to transition from one artist taken too soon to another artist taken too soon, playing Strayhorn's classic written while he was dying of cancer himself. Simply beautiful. Sangrey again spotted the saxophonist. Who said his identifying chops would be off? TRACK 13 "Angel Eyes" Hank Crawford More Soul (Atlantic) Crawford, alto sax David "Fathead" Newman, tenor Leroy "Hog" Cooper, baritone Phillip Guilbreau, trumpet John Hunt, trumpet or fluegelhorn Edgar Willis, bass Milt Turner, drums Continuing the downtempo mood, we come to what I think is an absolute stone cold classic, and it looks like more than a few of you agree. The combination of Hank's beautiful rendition of the melody and the perfect arrangement (the absence of piano, for me, makes the alto much more "naked") make this a desert island track. The definitive rendition, imo. TRACK 14 "Fly Me To the Moon" Lefty Edwards The Right Side of Lefty Edwards (Workshop Jazz) Edwards, tenor sax Joe Messina, guitar Vance Matlock, bass Johnny Griffith, piano Ben Apling, drums Still going with the ballads, this time a tune I had never heard at ballad tempo, and a performance I absolutely love. I have to give mention to Jim Gallert, sometime contributor and co-author of Before Motown for encouraging me to dig around for old forgotten Detroit jazz artists. He told me that Lefty had a beautiful tone, and I have to agree 100%. Note the presence of two members of the Funk Brothers. Griffith led a trio session on Workshop Jazz and backed a singer on another date; Messina also appeared on a George Bohannon Workshop Jazz album. TRACK 15 "Blue & Sentimental" The New York All-Stars Count Basie Remembered, Volume 2 (Nagel Heyer) Billy Mitchell, tenor Randy Sandke, trumpet, leader Dan Barrett, trombone Brian Ogilvie, tenor, alto, clarinet Mark Shane, piano James Chirillo, guitar Bob Haggart, bass Joe Ascione, drums From one forgotten Detroit tenor to another who reached a much greater level of fame and recognition. Too bad I never listened all the way through to get rid of the announcement. Both of these volumes can be recommended to fans of big bands. TRACK 16 "One O'Clock Jump" King Fleming The Weary Traveler (Cadet) King Fleming, piano Melvin Jackson, bass William Cochran, drums The last of our "Chicago" artists, I've enjoyed each of King Fleming's Argo and Cadet LPs (there were three). In addition to blues and swing, he brought classical and African chant styles into his music. Malachi Favors played in his trio and appeared on one LP before he (to my knowledge) dedicated himself to the AEC and more "free" contexts. To my knowledge, Fleming has continued to play in Chicago and released a couple of new CDs in the late 90s. Not sure what he is up to at this date, however. My original track selection was a dark, dark blues tune which would have made the perfect "Gene Harris mis-direction track", but this disc was so packed with music that it wouldn't fit, which is when it occured to me to follow up the Basie tribute band with one of the best known Basie tunes. TRACK 17 "Almost Like Being in Love" Rusty Bryant Original Quintet Complete Recordings (Lonehill) Bryant, tenor sax Gerry Wiggins, piano Howard Roberts, guitar Red Callender, bass Shelly Manne, drums I knew this track would throw off those "not in the know". Before Lonehill put these albums together, I tracked down "play" copies of the original Dot LPs and was blown away. Who knew that Rusty Bryant, who at that point was trying to get noticed as a honking R&B guy, would blow so fine on a set of standards with a bunch of LA guys? As Jim implies, this may be the single Lonehill reissue that is good enough to make you want to forget who put it out. TRACK 18 "Mr. Lucky" Jack Wilson Jack Wilson Plays Brazilian Mancini (Vault) Wilson, piano Roy Ayers, vibraphone Chico Batera Seabastiao Neto "Tony Brazil", guitar (this is Antonio Carlos Jobim under a pseudonym) We finish the disc with a true rarity. Kudos to MG for identifying it, Mike Weil for doing a bit of research to nail it, and thanks to Jim R. for keeping the secret.

Thanks to everyone who participated. As usual, there were many interesting comments/guesses. I think many of you will be quite surprised at some of the answers. Note: Some images may disappear as they were taken from ebay listings. TRACK 1 "Chain of Fools" Dick Hyman and "The Group" Sweet Sweet Soul (Command-ABC) Hyman, piano, organ, clavinette Bob Rosengarden, drums Bob Haggart, bass I said that I had grouped the "WTF?" tracks at the beginning of this disc, and to me, this was the ultimate "WTF?" I mean, everyone knows Dick Hyman can perform in the style of many jazz greats ... but who knew he could (or would) play such "hip muzak" as Stereojack put it? And judging from the liner notes, this wasn't the first album by "The Group"! The above image comes from this page which not only includes a sample of "Soul Man" the track I originally intended to use, but also a download of the entire album, if any of you are curious. And you know you are. TRACK 2 "The Double-O Soul of Sonny Stitt" Sonny Stitt Wingate 006-B Stitt, saxophone Now, Sonny was truly a studio whore, recording anywhere for anyone, pretty much. So maybe all he cared about was the check at the end of the session, but I do wonder what Sonny's first reaction was when the folks at Wingate Records told him that they wanted to take Edwin Starr's hit "Agent Double-O Soul", strip out the vocals, and have Sonny wail over the backing track. Wild, wacky, WTF stuff, I tell you. Thanks to Mike Fitzgerald, who's mention of this record led me to search it out (Wingate also recorded "Hank's Groove" and "Sonny's Groove" which features Hank Marr and Stitt soloing over the same backing track). BTW, I had to use the B Side because the A Side features some female vocals moaning "Double-O-Soul" over and over again and I really didn't want to give away the title, or at least part of it. I figured more folks would recognize Stitt's tone ... TRACK 3 "Just Because" Ralph Sharon Modern Innovations On Country And Western Themes (Gordy 903) Sharon, piano unfortunately there is no info on the C&W musicians backing him I was kinda suprised no one commented on the whip-lash inducing, gear grinding transition from "Double O Soul" to a tune written in the 30s and featuring what sounds to me like what it is: a jazz pianist with some C&W guys behind him. But the true WTF element is this: what the hell was Barry Gordy thinking, recording Tony Bennett's musical director like this? Did he think he could promote Ralph Sharon into similar chart-topping success as Brother Ray had gotten just a year earlier? TRACK 4 "I Hear You Talkin' To Me" Jay Geils Jay Geils Plays Jazz! (Stony Plain) Jay Geils, electric guitar Al Wilson, piano Gordon Grottenthaler, drums John Turner, bass Jerry Miller, electric mandolin Frankie Blandino, console steel guitar Gerry Beaudoin, accoustic rhythm guitar Yes, that Jay Geils. WTF? Seems that Jay grew up as a jazz and blues fan. The album, which I do recommend, doesn't have any other C&W tunes but Jay and cohorts turn in nice performances on a couple of Benny Goodman associated tunes, two Ellington associated songs, even an RRK cover, "Funk Underneath". I believe Jay has recorded again for Stony Plain, though I haven't yet sought them out. But I found it fascinating that a lot of folks thought this was the real thing or close to it. Geils obviously is no dilettante. TRACK 5 "What a Difference a Day Makes" Parrot Records 45 Coleman Hawkins, tenor sax unknown vocal accompaniment From Jukebox Jazz! From the Southside of Chicago Our next track was originally part of what was going to be a mini-set of Chicago-related jazz. That idea was ultimately dropped, although there are other "Chicago" tunes that survived the final cuts. I thought that the combination of Hawk's tenor and what to me are rather goofy vocals would make a good transition from the WTF tracks to the remainder of the BFT. I definitely thought that Hawk would be recognized, but only a couple of people did so. Brownie provided a link to a different source for this track, but I wanted to specifically recommend this compilation of 45s from Chicago labels Parrot and Blue Lake. There are a couple of other Hawkins 45s, plus Jimmy Rushing, Joe Williams, and other guys who stayed in Chicago, more or less, like King Fleming. Lots of copies of this available through Amazon Marketplace. TRACK 6 "Bluesology" West Coast Jazzmen Swingin' on the Vibories (ABC-Paramount) Kenny Drew, vibories Sonny Clark, piano Leroy Vinnegar, bass Lawrence Marable, drums Well, I was certainly amused seeing people hear a Bags tune with "vibes" and assuming MJQ. For some strange reason I was certain that Brownie knew this album, but when he missed it, I knew I was home free. For those unaware, the "vibories" were created by a man named Jack Harris, who played drums with Pete Rugolo and then became an inventor. He attached a three octave keyboard to a regular set of vibes, allowing pianists to "play" the vibes. Clark and Drew switch off on the vibories on their tunes, and the rest of the album features Gerry Wiggins and Red Mitchell (and Leonard Feather, who claimed credit for bringing the vibories out of Jack Harris' garage) switching off on the vibories, with Stan Levey and Bob Enevoldsen backing the group up. Track 7 "The Preacher" John Allred & Wycliffe Gordon Head To Head (Arbors Jazz) Allred and Gordon, trombones (Gordon solos first) John Sheridan, piano Charlie Silva, bass Eddie Metz, Jr., drums This one-off group had a pre-recording concert in Boca Raton just days before the session, and my wife and I had a truly wonderful time surrounded by the blue hairs of Palm Beach county. Highlights were this tune (I loved the N'awlins rhythm they gave it) and the encore, which just a couple of months after 9-11 they chose "America The Beautiful" which is also how they ended the CD. For my money, Gordon is one of the most talented musicians to come out of the Wyntonian circle. Track 8 "Love Lifted Me" Ron Jefferson Love Lifted Me (Pacific Jazz) Jefferson, drums "Tricky" Lofton, trombone Wilbur Brown, tenor Bobby Hutcherson, vibes Frank Strazzeri, piano Leroy Vinnegar, bass From one trombone cut to another, and another "down home" kinda performance, I thought this was a fairly obscure PJ issue, though I guess not too obscure as MG identified this, and searching for the jpg above revealed that its had at least one Toshiba-EMI reissue. Nevertheless, I am still surprised that Dick Bock gave Les McCann's drummer a shot at his own session, and its a nice one that will surely never see the light of day in the States. I believe this is Booby's second recording session, after Curtis Amy-Frank Butler, Groovin' Blue. TRACK 9 "This is the Way 'Tis" The Three Sounds It Just Got To Be (Blue Note - but only on the JRVG reissue) Gene Harris, piano Andy Simpkins, bass Bill Dowdy, drums Well, y'all knew that the former GHF was going to slip in a Gene Harris track. I tried to fool you by picking a tune that's only seen release in Japan but the trio (or Gene) is too recognizable to most of you, or else you all know me too well. (I also liked this tune as a continuation of the gospel sounds of the prior two tracks).

Anyone who buys shares of stock based on spam messages deserves to lose money.

Thanks for the report ... I've spotted some titles of interest on their site but never pulled the trigger. Now I guess I have no excuse anymore.

Answers are written and ready to go. Look for them Friday or Saturday, and in the meantime, maybe couw, marcus or dutchmanx will jump in with their guesses while there's still time.

If the story I've heard is correct, his band instructor in Dallas called him "Fathead" for messing up a chart.

"Dipshit", "fuckwad", "asswipe"........so there's someone else besides Nessa who pisses you off, Dan? Relaxxxxxxxxxx! He says he's going to make me his bitch? I'm being gentle.

Chet Baker Bread ABBA

Are we certain this is correct? I thought that Prestige booked certain days of the week at Rudy's and BN booked other days.

Based on the first page that is visible to non-members, I'd really like to read the rest of that article.

Haven't you noticed that jazz fans aren't exactly representative of society at large?

I was just wondering what he would do...well, would've done...if you'd walked toward the window with your cat at the end of your outstretched hands. I tried that. I ended up with a new set of claw marks on my arm. I think the squirrel was a little too big of a foe for my cat to go after before it got on his territroy, but if the squirrel had gotten in, there would have been a fight. So you still haven't told us what you did to not earn a medal from PETA.

Knute Rockne Newt Ripley

HEATWAVE: One more for you, dipshit. You know who else thinks Wily Mo Pena is headed for very big things? DAVID ORTIZ. Says he's the strongest hitter he's ever seen, much stronger than Papi in fact. Calls him a "baby" and compares his hitting skills at 24 to Pena's and says Pena is much better. So fuckwad, who has a better handle on Pena's skills? an asswipe like yourself OR David Ortiz

another question left unanswered is the condition of the records after 30 years. Was the store air conditioned, or did the records broil in the summer and freeze in the winter, and what effect might this have on the vinyl?

Actually, the contents are being sold at the Austin Record Convention, but the store was located in Ohio. But you're right-it doesn't look like this incredibly well-stocked store had any jazz department. My guess is they probably did have a jazz department but the guys who've bought the place are more confident of making big bucks on the other material, so they're majoring on it. They obviously are keen on having people travel to thses events and need to focus on the biggest draw. And who could blame them? MG Yes, except that they "took the 45s and paper goods" and Craig Moerer took the LPs. Moerer is selling the LPs through his website - the other two are selling what they took at these events. Moerer does a lot of jazz sales at outrageous prices on his site (for example, he currently wants $150 for a copy of Roy Brooks Workshop Jazz LP) so if there was any jazz of consequence (which I'm not sure there is) you can bet that recordsbymail.com will be selling them at outrageous prices.

Actually, the contents are being sold at the Austin Record Convention, but the store was located in Ohio. But you're right-it doesn't look like this incredibly well-stocked store had any jazz department.

Interesting story but this popped out at me: This means that everyone of those LPs will be priced at a minimum of $25-30, and the true rarities will be upwards of $100, minimum. Craig Moerer has the most outrageous pricing I've ever seen anywhere.