Spontooneous

Don't want to tip my hand too soon, but for the moment... You guys are good. Real good.

Here begins the discussion of BFT 118. It started out to have a theme, but veered away. Then it almost had a second theme, but veered away from that one, too. Vestiges of both themes remain, but don't feel bad if you don't pick them up. The fine print, and a little clue: All recordings are commercially released. Levels were adjusted, because they were all over the place. Some applause and the leader's voice were removed from the end of one live track. No other editing was performed. One soloist is heard on two of these tunes. That was a happy accident. Any questions that remain should be answered by this simple diagram. Enjoy.

A real BASS bass player, if you know what I mean, with a great sound. I was hoping to hear him again and again and again. RIP Dwayne.

The first BFT of 2014 will contain sounds from then to now and back again, made by actual instruments and voices! There will be some well-behaved music and some not-so-well-behaved music, painstakingly chosen to entertain and irritate discerning listeners such as yourself. The music will be farm-fresh and gluten-free. So sign up here and now! Don't wait for there and then! Please let our ranch hands know whether you want a download or a disc. Any lingering questions or concerns you may have should be addressed by this diagram:

Time to embarrass myself. I haven't focused much on vibes in my listening life...but maybe it's time for me to learn. I'm going to get schooled on this one. 1. I'm sticking with Red Norvo here, thinking it's one of his heavily arranged groups. Not that heavy arrangement is a bad thing. It certainly isn't bad here. 2. Very nice. I can't think of any trumpet-vibes-bass recordings. My favorite thing about this one is the gutsy bass playing. 3. Sounds like a Prestige recording engineered by Mr. Van Gelder. Maybe Lem Winchester? 4. A pianist who is way into McCoy Tyner, but maybe not actually him. Enjoyable all the way, but my favorite thing about it is the drumming, highly interactive but never too loud. 5. The organ was off-putting at first, but this version of "Beautiful Love" has grown on me enormously. Maybe early '60s here, maybe Johnny Lytle? 6. Oh yeah. I could listen to this all day. A nice Mingus-y feeling. The arrangement never draws too much attention to itself. I want this record, now, please. 7. Really quite beautiful. This might be Walt Dickerson, in which case NIS will have nailed it long ago. This one also gets better every time I hear it. 8. The gentle heat of this one makes me think of Milt Jackson more than the others do. But that isn't John Lewis or Connie Kay, seems to me. 9. Wait a minute, this one sounds even more like Milt Jackson than 8 did, and now the rest of the band really sounds like MJQ. 10. Maybe a Shearing thing? So that might be Terry Gibbs? Love the brief guitar spot. 11. "Love Me or Leave Me" changes? Early '50s, I guess. This is from a corner of bebop/cool that I haven't explored much, but I like what I hear. 12. "Tenderly," a very beautiful solo. No guess, but I'm impressed with this one. 13. "If You Could See Me Now," with overamped bass from the '70s or '80s. That could be John Lewis comping, so we come back to Milton again. This has bebop authenticity all over it. 14. This really lives and breathes. Maybe Bobby Hutcherson? The piano playing reminds me of Chick Corea more than anybody else. 15. A "Funny Valentine" of tremendous warmth. The only bass-vibes duets in my collection are Dickerson and Davis, and this isn't them, but it's just beautiful. 16. Seems like this might be a CTI (or A&M) record. Is that Kenny Burrell? The vibes solo, with some harmonic adventure, grows on me. Lots of subtle good humor in this groove, circa 1970. 17. Good holiday feelings, and a sweet groove that should never have to end. Funny, you don't hear this tune much in the USA anymore. Love the pianist's Erroll Garner-ish left hand. This is an ear-opener, Mike! Many thanks.

Just wanted to chime in and say how good it is to have a little more Bob Graf. And, strange to say, I've actually met the guy who did the poetry recitations on this disc! He later became a much better writer.

I feel bad about missing Frank Newton, among other things.

Still having slow-download problems, but I'll join the guess festival on Track 1: Is that a heavily arranged Red Norvo group, maybe with Buddy Collette? I'd endorse Dan's suggestion that the download be hosted on another site. Rapidshare is absurdly slow here. I've been trying for 12 hours and have successfully DL'd only five of the 17 tracks.

I've always been partial to the version by the Orioles. Starts about 2:55 in this clip: http://www.youtube.com/watch?v=dpnxYElN1sg Of course, the Penguin Guide to Donkey Serenades lists the versions by Sir John Barbirolli and Simon Rattle as references, but I'd take that with a grain of salt.

Second Chuck's recommendation. Also, Pierre Monteux on Decca in very nice early stereo. Nobody's taken on the textual question: Are the last notes of the second movement plucked or bowed? The Kleibers (dad Erich and son Carlos) are in the plucking minority here.

Download, please! Thanks.

? Third time is the charm? Just became aware of this thread. The Skrowaczewski set is rarely less than wonderful. He's at the top of the pile in Symphonies 6 and 9, and has plenty of illuminations in the others.

The last part... 10 -- This one drives me crazy because I'm pretty sure I've heard it more than once before. The head has a Mingus feel, and piano solo could almost be Don Pullen. Trombone sounds like George Lewis. On first listen I thought tenor might be Ricky Ford, but on second I'm sure it isn't. I'm gonna be embarrassed when this one is revealed. 11 -- One of those good pan-stylistic piano players, Jaki Byard or maybe Dave Burrell. After an intro that maybe unconsciously quotes the piano solo on James Brown's "Sex Machine," it settles into "St. Louis Blues," and quite a stomping version, with wonderful left hand. Really beautiful in/out playing. An artificial fade at the end – we had applause at the beginning. 12 -- Should I know this tune, maybe Jobim or somebody else from around there? Sounds like a Brecker and a Metheny playing their instruments. OK, but seems a little cold after the last two. 13 -- A sax ensemble (bigger than a quartet?) playing "Airegin." It seems academic. Voicings at 1:56 make me think they might be playing a transcription of a Rahsaan solo. The vamp/improv section after that is pleasant but doesn't accomplish much. By about 4:45, it's all about the arranger. I can do without the additions to the coda, because the original coda of this song is quite strong enough without outside help. 14 -- J.J. Johnson's "Lament." Tasteful, but just a few more upper-register embellishments than I like to hear. Makes me think of Marian McPartland more than anybody else. There, I said it. Now some pianist is gonna want to slap me. 15 -- Piano, violin and clarinet, not one of my favorite ensembles (despite the Bartok-Szigeti-Goodman trio). Beautifully played. The violin work is really stunning. Is this from the same album as 9? Some ear-opening things here, Bill! Thank you.

Here's a stab at the first part. More later. 1- The chart is Fletcher Henderson's "Hotter Than 'Ell." I had fun looking that up. But I can't get around the cheesy sound of the keyboard here. Is this one of those Steve Bernstein territory band things? There's a little bit of jokiness, but the tenor player is pretty serious. Maybe my perception of jokiness stems from the drumming, which is more polka than swing. The rest of the band can stay, but the drummer has to go. 2 – Hey, this one I recognized. The two-parter "St. James Infirmary" by Artie Shaw, sung by Hot Lips Page in '41. The leader is more effortlessly bluesy than many contemporaries, and the strings really work – not just a "pretty" adornment. 3 – Dimly recorded and strange, yet lovable. Where on earth did this theme come from? Is this perhaps a New Orleans group playing some melody from a very unexpected source, like Chopin or a hymnal? 4 – I gotta guess Mr. Ra, circa 1958-9, in High Space Fidelity. Maybe on one of the Delmark albums. 5 – The song is "Button Up Your Overcoat," but I can't guess who the trumpeter is. Gorgeous tone. Maybe one of the swing guys who was still making records in the '50s, Charlie Shavers, Jonah Jones, Bobby Hackett. This could have been really corny, but manages never to be – even the drumming is engaged and responsive. Everybody admit it, this is a great track. 6 -- After a while, it occurs to me that the tenor is Eddie Davis, the trumpet Clark Terry, and this is the "Afro-Jaws" album. Looks like Jim R. got there first. 7 – Some OK New Orleans-ish piano, not great. Is it me, or does the piano jump between channels, or are there two pianos? Trumpet is OK, tenor sounds like David Newman. I'm mystified. Maybe some Ray Charles instrumental? 8 – Nice modern mainstream piano. John Hicks? 9 – This isn't one of those Mark O'Connor – Yo-Yo Ma things, is it? Because the cello improvising is better than what I associate with Ma. More later. I'll be disappointed if there's no song about Charles Guiteau.

Kindly put me in there somewhere.

OK, here's a starter. 1. I admire those who can guess bass players, because I can't. The tenor is somewhere between Johnny Griffin and Stanley Turrentine. Sounds like a Prestige recording at Van Gelder's. Pianist sounds pleasantly like Red Garland, but probably isn't because Red would have played longer. A beautiful cut. Exploring the lesser-known Prestige sax players in my collection leads me to the ID. It's track 1 here: http://www.allmusic.com/album/roamin-with-richardson-mw0000177242 2. Still at Van Gelder's place. It occurs to me during the trombone solo that the drummer HAS to be Elvin. A tenor player very attentive to what Mr. Rollins was putting down – wonderful solo! Is that Yusef Lateef? Maybe somewhere among his Savoy recordings? 3. Shoot, I know I've heard this before. It's probably lurking in my collection somewhere. Is that Grant Green? The tune itself makes me think of TV commercials from the '60s. 4. Either it's Coltrane playing "The End of a Love Affair" or it's the best imitation of Coltrane and the classic quartet anyone will ever hear. Can't pin down the recording, though. 5. The song is "Portrait," composed by Mingus. Lovely version, not one note too many. 6. Don't know what it is, but it sounds like a record that belongs in my collection, right now, please. 7. "If Ever I Would Leave You," nice arrangement. The trumpet sounds like Kenny Dorham, in all the best ways. More another day. (Edited to fix embarrassing typo.)

I like it better this way too.

DL, pls! Tnx, TK!

8. I don't have words for how beautiful this track is. I almost feel guilty for eavesdropping on the tenor player's prayers. Is that a nylon-string guitar, or as I'm suspecting, a harp? This is the best 10 minutes of my day. I need this record. 9. Is that "Silver Threads Among the Gold"? Sort of a cajun-and country-go-to-Bourbon-Street thing. The tuba player is somethin' else, and the guitar is so lovely that I didn't even notice all that good trombone until the second time through. 10. A cello again, I think. It really seems to come together when the piano comes in. I'm struck by the pianist's refusal to play fast -- I like that. Everybody on the same page. A very nice ending, too. 11. It's better before the tenor comes in and the pianist starts bashing. Maybe the trumpeter is the leader? Once the trumpet starts, the tenor seems to defer. 12. After the funny long intro, "I've Found a New Baby" arrives seemingly out of nowhere. Strong trumpet. Second hearing reveals more of the logic behind that long intro. I love this one, and the Lincoln Center guys should hear this one too. Is this from the same album as Track 4? 13. Is this going to turn out to be some multi-sectional piece from before 1930? Some composition of James P. Johnson or Fats Waller? Interesting throughout, though the playing is a little spotty. I like it anyway. This has been a blast, Nick, and I'll always be grateful for being introduced to track 8 especially.

Here's the first part ... We begin with the age-old BFT debate, is it a bass or a cello? I say cello. Damn good playing, too. The song is "Lady Sings the Blues." After one chorus, the rest of the string quartet arrives. All the string playing is strong and impressive. Third chorus we're joined by a trombone and a tenor. Gee whiz, wonder why I think of Wolter Wierbos and Toby Delius? I need to collect this one. I rarely hear jazz string playing as good as this. A nice woody clarinet sound. Got no guess. A clarinet boogaloo. Sounds like the day Perry Robinson and Lou Donaldson got their gig calendars mixed up. How 'bout that bass player? An appealing 5/4 groove, with more clarinet and trombone, reminiscent of Ellingtonian sounds in a non-retro way. The sample from an old blues 78 floors me (is that Bessie?). The Lincoln Center folks should listen to this. I need to collect this one, too. "I Remember Clifford," tenor and bass. The tenor is very reverent toward the melody, letting go only at the very end. Beautiful. One of those Django tunes, I know the tune but not the title. Maybe a David Grisman band? Very well played. Heh heh. Recognized it from http://en.wikipedia.org/wiki/Stay_Awake:_Various_Interpretations_of_Music_from_Vintage_Disney_Films

I've been away too long. Seems like a perfect time to come back. DL, please!

Gotta agree with part of post #14. Something is off in that video, something to do with the speaker's ego. My one JOS concert experience was at the Kansas City Blues and Jazz Festival, I think in '96. It was a hot and humid July day. Jimmy played one or two songs, and then some beered-up person in the crowd shouted for him to play "Happy Birthday" to them. Jimmy's response was priceless: "Big fuckin' deal. I got a birthday too." Jimmy played one or two more perfunctory songs -- then announced "It's too fuckin' hot to play" and disappeared from the stage. The band followed (which is weird, now that I think about it), leaving poor Phil Upchurch alone on stage to cover for them all. Phil played two tunes unaccompanied, like a prince. Jimmy eventually came back and played one more. That was perfunctory too.

Second for Holliger, one of the very best. I've never liked Boulez in this piece. It's worthwhile to look up the bigger-orchestra arrangement recorded by Eliahu Inbal on Philips, coupled on a budget reissue with Ozawa's Gurrelieder.

Mulgrew got a better sound out of a piano than just about anybody. And that was the biggest hand I ever shook. I was looking forward to experiencing both those things again.