Spontooneous

I assume you're referring to Buster Smith. Though Willard Brown of Jabbo (and later Ellington, and Calloway) fame is also on that session. What CD is this on? (I just checked, and the only transfer I have is on That Devilin' Tune. It is indeed half a tone lower than yours.) I guess I can wait till the reveal, too. And I know what track 3 is now, too. First cornet is Tommy Ladnier (that took longer than it ought to have!) and it's a really early recording. That means that it's probably from 1923, from his very first recording sessions. Ida Cox isn't on there, and that ain't Jelly, and that doesn't leave much! It's Ollie Powers' group. At this point I had to cheat and look up the title, though: "Play That Thing". A whole bunch of takes of that one tune were released, and this is the earliest available (though it's numbered "3"). Noone is the clarinetist, and Eddie Vincent is the trombone player. They both recorded with Freddie Keppard. (I assume everyone knows who Noone is, but Vincent isn't a very famous name.) You got it -- Ollie Powers. I'm happy to have this one on 78, too, but the transfer is from a Classics CD. The Moten Swing transfer is from "Sounds of Harlem, Vol. 2" on Hep. Now I have to figure out how to transpose this one down a half-step in Audacity, and see if Allen is onto something...

The discussion begins here. Whatcha like, what dontcha like, and why? There's no big theme that I know of. The predominance of trombones and clarinets is a happy accident. Latecomers are welcome, and can download here. That link takes you to a confusing spot with several download links – you want the one in a light-blue rectangle that says "Click here to start download from sendspace." Play early and often.

Originally it was only $3.50. They jacked up the price after one of the singers was found dead in the bathtub.

Phew. Glad I didn't say anything bad about Michael. But I did say bad things about Tete and Mabes, both of whom I adore.

Mike's tune "La Luna Negra" ought to be a standard.

A lovely player and a lovely person. Very clever with words as well as with music. I'll miss him.

No, the other Red. The one who married that gal. You know.

Wow, you're on Earth too? You know that guy Red?

People of Earth, It's time for your monthly dose of free musical curiosities. Join us for BFT 96, containing 78 minutes of Earth music from 1923 to 2000-something. It'll be a moderate-sized download. Or PM me your info if you'd prefer one of these newfangled Compact Discs (Perfect Sound Forever!). There is no big theme to guess. Just some tunes to stimulate and subvert your brain. The subversion begins March 1.

1 Nice drum solo, never loses momentum. Interesting arrangement of "St. Thomas." The alto can't be anybody but Arthur Blythe. I'll guess Chico Freeman on tenor. 2 It's a Mingus tune, isn't it? And that's simply got to be George Adams. A fairly large ensemble back there. Probably a soundboard tape from an outdoor gig by a Mingus Dynasty band. 3 I should probably recognize the tenor player on "Autumn in New York," and I'll probably kick myself when I see the answer. Maybe a curveball, like Houston Person or Tony Coe? Great arrangement, beautifully played. 4 "Robbins' Nest." For a minute I thought it would be Illinois Jacquet, but the tenor sounds more like Buddy Tate. Perhaps the first trumpet is Buck Clayton. And the piano perhaps Sir Charles Thompson, who wrote the tune. Buck and Sir Charles together would be the Parsons, Kansas, Jazz Summit. 5 It's "Chega do Saudade" aka "No More Blues." I can't recognize the singer -- I'm doing well to recognize the tune. I'm guessing she's fronting an American band? 6 So is it Bird or Sonny Stitt on Stardust? I say Stitt, and become more convinced of it in every bar. 7 Beautifully controlled soprano on "Every Time We Say Goodbye." Good thing the piano accompaniment is low in the mix, because he's just playing too much -- even throws the soloist in a couple of spots. The piano solo is likewise over-enthusiastic. I've probably just dissed somebody whose playing I usually love. 8 At first I thought it was Mary Stallings, but after a minute I'm thinking it's somebody else. The alto is uneasily perched between Bird and Benny Carter. Fun. 9 "When Sunny Gets Blue." Just about every BFT I find myself guessing "Junior Cook." The full, beautiful, stinging high notes on the tenor here make me want to guess it again. 10 I should probably recognize the tune, which might be some relatively recent pop song ('80s or thereafter). It's nice, but I wish it was less "nice." The tenor shows some backbone and is worth waiting for. I find myself wanting to guess Joshua Redman and Brad Mehldau. 11 A fun track, one of my favorite things on the BFT, and not because it's short. It's "Have You Met Miss Jones" with an interesting soprano soloist. I'll guess it's somebody not usually associated with the soprano, maybe Zoot Sims. 12 I'm catching a West Coast studio vibe. At first I thought Buddy Rich, but later I'm thinking somebody like Jake Hanna on drums. Really good trombone solo. Not my usual thing, but a strong track throughout. 13 This started out to be a decent "A Child Is Born," but lost me when it went into "Oleo" for no good reason, and the transition back to "Child" doesn't heal the damage. It's notey and doesn't do a thing for me, sorry. 14 This heals the damage. Sweet! 15 Slow "Cherokee" changes, I think, though they're imaginatively disguised on the bridge. Then faster. Pretty darned nice, but the first chorus is the best part. 16 "These Foolish Things," with a hint of a woman's voice singing along. Then the sudden switch into "Tea for Two." The aggressive virtuosity, the lightning quotes and the sheer endurance say it's got to be Dorothy Donegan. One of the most fascinating human beings I ever encountered. The first time I heard her music I really disliked it. After more familiarity, I became a huge fan. I love this. 17 Everybody knew it was going to be "Willow Weep for Me" before he even got to the theme, right? That isn't Jay McShann in a subdued mood, is it? 18 "In a Sentimental Mood," a fairly standard-issue performance until you get to the remarkable coda. No guess, but I want to know the answer. My ears are tickled, HBJ! Thank you!

Technically not a picture of a musician with a cat, but I couldn't resist... More of the same at this URL. My real favorite of the bunch is "London Calling."

(I know it's not meant to be an album cover thread, but this one has personal significance. This one was on the turntable at the moment my wife came in the door unannounced with two newly adopted cats.)

I heard it as: Knock knock. Who's there? Philip Glass. Philip Glass who? Knock knock. Who's there? Philip Glass. Philip Glass who? Knock knock. (etc.) Maybe it could be notated as |:Knock knock. Who's there? Philip Glass. Philip Glass who?:| OK, now make with the "Guy walks into a bar" music jokes.

Somebody who knows car models well can probably help narrow down the date. In the last part of the film, the double-exposed part, does it look to you like somebody's playing drums in the background?

You know what I miss? (wistful sigh of nostalgia...) Having Universal interns to pick on. (another wistful sigh...)

Best damn ad hoc rhythm section ever.

Very early on my journey into jazz, my "eureka" Ellington moment occurred with the 78 of "Main Stem." The way each blues chorus is orchestrated to be completely different from all the others, and then the Ben Webster interlude that takes everything to a very different place... Yeah!

Shouldn't forget Debussy's "En blanc et noir." \ Or Messiaen's "Visions de l'Amen."

Reading back, now I see somebody beat me to the ID on 15. You guys are good. Somebody please get 14 now!

Time for the last half. 9 I should know the tune, a standard that the Dixielanders like, but I don't. The quote from Hungarian Rhapsody No. 2 in the second strain is always a hoot. This is a wonderful performance circa 1928. The accordion is not a drag. The bassist is superb, really driving this thing – he sounds like he time-warped in from a few years later. The last chorus is a delight. 10 It probably isn't Gil Evans, but it's arranged by someone who paid a lot of attention. The bari solo, probably not Mulligan, starts well but runs out of ideas. Very nice trumpet solo. And during the trumpet solo, the whole band starts to relax and really swing. There's probably more intellect than soul behind this piece, but somehow it's still cool. 11 A real sense of instrumental dialogue here. I like how the bassist takes his time before entering. The portion with bowed bass I like less, but that's often the case with me. After he puts the bow away, things are better. The piece comes to a satisfying end. The ringtone or electronic toy is a funny touch or a happy accident. Don't have a guess as to anyone's ID. 12 Wow. The piano groove for the first two choruses is just great. He has some other grooves up his sleeve too, but that first one just slays me. Is that Henry Butler? Got no problem with the clarinet either. 13 I'm not feeling it today, but maybe that says more about me than about the music. It sounds like the mid-'70s, and maybe they're trying too hard, or maybe it's just my mood and next week this will sound wonderful. 14 This is my favorite thing on the whole BFT. Wonderfully mysterious. Circa 1930-32, bowed bass and all. Is the tenor perhaps young Chu Berry? There's a teasing melodic resemblance to "Some Other Spring" for a couple of bars, but just a couple. Not Duke, but it seems as if somebody was out to make a record that sounded as Ellingtonian as possible – very interesting at this early date. Think I'll play this one a few more times. 15 Two altos, each determined to show up the other. Quien es mas macho? It's fun, and an interesting clash between the bebopper on the left and the cat on the right who's trying to be "modern," whatever that means. After a while, it occurs to me: It's track 5 here. 16 A New Orleans-blues-gospel-jazz-hiphop combination that sounds really organic. I've been waiting for something like this to happen – I've heard too many jazz-plus-hiphop attempts that have sounded forced. I hope these guys have done more of this, because it needs to happen. This is a good time, Jeff, and 14 and 16 are altering my brain.

Horace Tapscott, "For Fats" = Arthur Blythe, "Miss Nancy"

I'm not familiar with the title Stuffy. Is that common? I know it as Rifftide. We're mixing things up here. Hawkins "Stuffy" = Monk "Stuffy Turkey" Hawkins "Rifftide" = Monk "Hackensack"