Spontooneous

Track 8 -- "Sticky Mack" (Goldings), Larry Goldings Trio, from "Awareness," Warner Bros. Goldings, p; Larry Grenadier, b; Paul Motian, d. Dec. 18/19, 1996. A leftover from my attempt to make a piano trio BFT. What can I say, except I'm a sucker for Monkish tunes? And I love the chorus of improvised piano counterpoint. And Paul Motian! Paul Motian! (Jeff identified Paul.) Track 9 -- "Wheel Within a Wheel" (Bobby Watson), Bernie Senensky, from "Wheel Within a Wheel," Timeless. Senensky, p; Bobby Watson, as; Ray Drummond, b; Marvin "Smitty" Smith, d. (Recorded circa 1987; can't find the exact info today because I've misplaced the disc at some point over the last month.) Another vestige of my Kansas City BFT. A couple of people identified Bobby Watson and the tune. Nobody fully identified this version, from a Canadian pianist's date. Bobby seems in especially loose and voluble form. At the end he gets into his preaching bag a little bit (he's the only one of his siblings who didn't become a Bible preacher, he says). Senensky aids and abets well. Someone thought the alto was Frank Strozier. I've noticed a similarity to Bobby's playing before. I'll ask him about that sometime. Track 10 -- "Sweet Dawn" (Coleman), Steve Coleman, from "Rhythm in Mind," BMG-Novus. Coleman, as; Von Freeman, ts; Kenny Wheeler, tp, flh; Kevin Eubanks, g; Tommy Flanagan, p; Dave Holland, b; Ed Blackwell, Marvin "Smitty" Smith, d. April 29, 1991, NYC. Another example of what happens when you give an older player a chance to do some new tricks. Steve Coleman makes this original into a concerto for Tommy Flanagan. Thom Keith identified Tommy. Yeah, I could do without the bell tree too. Track 11 -- "I Don't Care That I Don't Care" (Lurie), Jessica Lurie Ensemble, from "Shop of Wild Dreams." Lurie, v (also as, ts, fl, accordion, ukulele, but I don't hear those things here); Erik Deutsch, keys; Brandon Seabrook, g; Todd Sickafoose, b; Allison Miller, d. Copyright 2008, no other dates given. Much of the rest of the album is closer to "jazz," with good blowing and writing, but this song stuck in my mind for a long time. Placed on this BFT though I knew some folks wouldn't care for it. I'm in the minority here for liking the lyric, which some didn't like for being nihilistic, but I think there's more to it than that. How 'bout that second-line throwdown from Allison Miller? Track 12 -- "My Gal Sal," Harlan Leonard and His Rockets. This transfer is from "Harlan Leonard 1940," Classics. Leonard, cl, as, bars; Edward "Peanny" Johnson, William H. Smith, James Ross, tp; Fred Beckett, Richmond Henderson, tb; Darwin Jones, as; Henry Bridges, Jimmy Keith, ts; William Smith, p; Effergee Ware, g; Winston Williams, b; Jesse Price, d. Arrangement by Richard J. Smith. Recorded for Bluebird, Jan. 11, 1940, Chicago. A little Kansas City from back in the day, as they say. The Tin Pan Alley tune was corny by 1940, but the treatment lacks corn. First tenor solo by Henry Bridges. The highlight for me is the solo by the short-lived Fred Beckett, whose way of making a slide trombone sound un-slide-y was cited as a big influence by J.J. Johnson. James Ross takes the trumpet solo; last tenor break is said to be Jimmy Keith. Track 13 -- "Howdy Doody" (Braam), Bik Bent Braam, from "Howdy," Timeless. Michiel Braam, p, ldr; Eric Boeren, Jarmo Hoogendijk, tp; Wolter Wierbos, Joost Buis, tb; Frank Nielander, ss, as; Bart Van Der Putten, as; Frans Vermeerssen, ts; Rutger Van Otterloo, bars; Peter Haex, tenor tuba, tb; Patrick Votrian, bass tuba; Wilbert De Joode, b; Joop Van Erven, d. Jan. or Feb. 1992. Yes, it's silly, and dead serious. I confess this music is new to me and I don't know much about it. Apparently named after the cowboy puppet who was wildly popular in the early days of American television; the CD also has a tune called "Clarabell," another character on the Howdy Doody show. One abrupt but clean tempo change makes me think this is spliced together from two performances. Track 14 -- "Springtime for Hitler" (Mel Brooks), Toshiko Akiyoshi Trio, from "Four Seasons," Crown (Japan). Akiyoshi, p; George Mraz, b; Lewis Nash, d. June 1990. First of all, anyone who wonders whether they ought to be offended by the Hitler reference here is asked to please read the Wikipedia synopsis of the film and the musical show that feature this tune: http://en.wikipedia.org/wiki/The_Producers_%281968_film%29 And check out the movie or the musical. You'll like 'em. This track is the last vestige of my never-made piano trio BFT. Somebody had the weak idea of having Toshiko make an album of songs with seasons in the titles. So the disc has "Spring Is Here," "Winter Wonderland," "Summertime" and "Autumn Leaves." Then, at the end, the idea is neatly subverted by the inclusion of this song, which I've never heard in a jazz treatment before. The tune doesn't make a half-bad bebop vehicle, and who better to bop it than a leading Bud Powell disciple? After all these years, I still love percussive bebop piano at nearly out-of-control tempos. I'd like to dedicate this track to the current government of the state where I live. Much gratitude to all who participated in this BFT. I'm thrilled that some people cared to listen through more than once. And happy to perhaps recruit some fans for Luqman.

Track 1 -- "400 Years Ago Tomorrow" (Davis), Walter Davis Jr. Trio. Davis, p; Santi Debriano, b; Ralph Peterson, d. From "Scorpio Rising," Steeplechase, June 27, 1989. I started to make this BFT entirely of piano trios. I gave up the idea, but this arresting track never gave up the opening spot. Some people may know the tune from Woody Shaw's performances of it; I like it this way better. I love the way Ralph Peterson navigates the rhythmic shifts. Some didn't like that the vamp in 7 wasn't varied more. Doesn't bother me much, but now that you mention it... Michael Weiss nailed this track right away. (no cover art available for 2) Track 2 -- "When You Surrender" (Larry Cummings/Ted Battaglia), Luqman Hamza (as Larry Cummings), from "The Clear Sounds of Kansas City Jazz," various artists, July 1989. Hamza, p, v; Will Matthews, g; Tim Brewer, b; John Cushon, d. For a while I considered making a BFT entirely of Kansas City-related material. That idea faded away. But since I admire Luqman's artistry so much and very few people have heard this disc, I wanted to spread this track around anyway. The tune was a minor hit single in 1952, recorded by Luqman (he was Larry Cummings then) for Kansas City's Damon label but picked up for national distribution by Decca. People around Kansas City have been heard to grumble that Luqman's career never took off because of Johnny Mathis. But never mind; he became one of the most respected people in Kansas City music, as a performer and as a mentor to other musicians (including some of the guys on this performance). And past 80 he's still in one piece and sounding great. This performance is from a various-artists album produced as a fundraiser for the Kansas City Jazz Festival. Unfortunately there's only one Luqman track on the compilation. And the festival went belly-up anyway. Track 3 -- "Medi II" (Mary Lou Williams), Buddy Tate. Tate, Illinois Jacquet, ts; Roy Eldridge, tp; Williams, p; Steve Jordan, g; Milt Hinton, b; Gus Johnson, d. New York, June 1, 1973. From "Buddy Tate and His Buddies," Chiaroscuro. This track answers the musical question, what happens if you take a "modern" tune and have some older guys play it? The answer here is that they adapt very well. Mary Lou made it happen. First tenor solo is Illinois, second is Buddy. Just imagine what these players might have sounded like if they'd worked out on material like this for a solid week. Thom Keith was the first to figure this one out. It's another vestige of my attempt to make a Kansas City-related BFT. Track 4 -- "Quietsville" (Mike Wofford). Mike Wofford, from "Synergy" (Heavywood Music). Wofford, p; Rob Thorsen, b; Joe LaBarbera, d. Nov. 18-19, 1997. Perhaps the least popular track on this BFT? With competition from 5 and 11. I've become a big fan of Mike Wofford's artistry. Here the attraction is the writing, a piece inspired by the work of Morton Feldman, and the most successful evocation of Feldman's style I've heard in jazz (not that I've heard very many). Just needed a spot of quietude and weirdness before some of the frenetic activity that follows. BFT regulars may recall that I used another track from this album on a previous go-round. Track 5 -- "Stretch" (Wilder), Roger Wilder. Wilder, p; Dave Chael, Matt Otto, ts; Seth Lee, b; Sam Wisman, d. From "Stretch," self-produced. Kansas City, 2011. Here I am guilty of trying to promote a friend's CD. (I have no financial interest or other involvement.) And it's another vestige of my attempt to make a KC-related BFT. I love the composition, a distended blues line. I like the solos (Chael first, then Otto as "Warne Gonsalves," as Jim S. put it). I'm sorry this one didn't seem to gain much traction with other listeners. I like Roger's album, his first, very much – it reflects his whole personality very well. Maybe I should have picked a different track. Anybody willing to give it another chance is encouraged to check the previews on CD Baby. (Try tracks 1 and 7.) http://www.cdbaby.com/cd/rogerwilder Track 6 -- "Beat It" (Michael Jackson), Mal Waldron, from "Breaking New Ground," Baybridge. Waldron, p; Reggie Workman, b; Ed Blackwell, d. June 28-29, 1983. I wonder if this track started out as a goof in the studio. Even if it was, it's a subtle performance that's grown on me over time. And fer cryin' out loud, it's Waldron, Workman and Blackwell. Sangrey nailed it. Track 7 -- "'Round Midnight," Illinois Jacquet. Jacquet, bassoon; Wynton Kelly, p; Tiny Grimes, g (maybe sitting out this cut); Buster Williams, b; Oliver Jackson, d. New York, Sept. 16, 1969; from "The Blues, That's Me," Prestige. I was secretly hoping for a "What kind of crazy saxophone is that?" response, but y'all are too smart for that. This one was figured out quickly. Illinois had a lovely, woody bassoon sound, and I like that kind of sound much better than more metallic, saxophone-like sound you often hear on the instrument today. His technique is not to be looked down upon, and the Illinois soul comes through. It was just a happy accident that Illinois appeared twice on this BFT. As the bumper on the Johnny Carson show said while the band was playing -- More to come.

Do you have anything in a nice taupe? If not, green download, please.

Sorry, not "Cabaret." A flag is being waved, though probably not a flag one wishes to see in one's own neighborhood.

Nope. But perhaps they wished they were.

Ah! Then it's track two from this. Yes!

Glad you were willing to listen through it all. No more takers on #3? Some of the players involved are far from obscure.

It's older Braam. I confess, pretty much all Braam is new to me.

Track 3 has some deep Kansas City connections, yes, and you can almost smell the Arthur Bryant's barbecue. Then again, this track has Texas and New York connections as well. Track 4 isn't Kikuchi, but the player would be complimented by your remarks, I think.

Glad Luqman was a hit with somebody. That's why I wanted to share that particular recording. He's past 80 now and doesn't perform much. Don't recall seeing any listings for shows in the last eight months or so. Finding a copy of "When A Smile Overtakes A Frown" might be a challenge. Don't think those were distributed outside the Midwest very much. A couple of online places still sell the SACD version of "With This Voice," and there's a regular CD version running around.

That's the one. Tim Brewer on bass and John Cushon on drums. Wish there was more Luqman on that album, but there isn't.

Time to clear up the Luqman thing. Number one, thanks, Page, for the personnel on the 1952 version. I have the 78 but didn't know the personnel. I knew a couple of those other guys; all those musicians are probably gone now except for Luqman/Larry. The "When You Surrender" on this BFT was recorded in 1989 for a local organization's fundraising compilation disc that probably hasn't been heard or seen much outside of Kansas City. (Or inside it, for that matter.) The version on Luqman's "When a Smile Overtakes a Frown" album was made 10 years later, albeit with the same guitarist. As for 13, really not Breuker, though it's in the stylistic neighborhood. NIS named the composer and leader.

Ahh, I figured you'd come closer to this one than anybody. Braam it is. (Newish to me, I've had it only a couple of months ago.)

OK, I've got some catching up to do. So close on guessing those themes, Bill. One of them is the Revolt of the Seven Kingdoms in China, 154 B.C., and the other is the life and career of Buddy Biancalana. But seriously, folks...

#1 correct all the way around. With Ralph Peterson and Santi Debriano. Some might recognize the tune from Woody Shaw's performances. #2 is Luqman -- I'm glad he's recognized -- but this performance is from a different recording that perhaps not many people have. I heard the one I mentioned. #1 correct all the way around. With Ralph Peterson and Santi Debriano. Some might recognize the tune from Woody Shaw's performances. #2 is Luqman -- I'm glad he's recognized -- but this performance is from a different recording that perhaps not many people have. I heard the one I mentioned. Honest, I've had this one since about 1989. Used to have it on cassette.

#1 correct all the way around. With Ralph Peterson and Santi Debriano. Some might recognize the tune from Woody Shaw's performances. #2 is Luqman -- I'm glad he's recognized -- but this performance is from a different recording that perhaps not many people have.

OK, I'll show some cards.