Spontooneous

Late to the party, but I'm still enjoying it. I've been fascinated with Track 5 for decades. One of Rushing's great performances. And the presence of Jimmy Jones really changes the band. Didn't recognize 12 until I picked up on Jack Bruce's voice. It's a chunk of "Escalator Over the Hill." Can't wait to know the identity of 14. Something out of Scandinavia, perhaps? I have a lot of discs that sound like the string music in the first few minutes of this track.

Track 7 is a chunk of the Shostakovich Eighth String Quartet. I'm very curious about 8. No. 16 is the scherzo from Bruckner's Ninth Symphony, repeats and all.

That "As Time Goes By" album is absolutely superb, probably my favorite Carmen. There was a USA LP issue on Catalyst, and I've had two copies, but both were terrible pressings. I'd love to get my mitts on a digital version.

Is that George Adams on 11?

Late to the party. Hot Ptah asks the right question about 1. Who IS that drummer? The straight four on the ride cymbal, unvarying, never in need of variation, points directly to Kenny Clarke. Gotta be Klook, I'm 100 percent convinced. (Preparing for egg on face.) As for the tenor on 1, I'm going with Moody. I'd love to know the pianist, whose enthusiasm is infectious. Skipping to 3 for the moment: Is the tenor Archie Shepp?

Thanks, Captain. The tenor who doesn't get a solo sure looks like Bull Moose Jackson.

We know it's the discs gone bad and not simply a player that's stopped reading SACD layers on hybrids?

I vaguely recall (or I'm imagining) a marathon "All the Things You Are" solo on the "Apartment Sessions" LP. I've been separated from my copy. There's always that ecstatic long "Ornithology" solo on "One Night at Birdland."

Same problem on my copy. You'd think this wouldn't be an issue with an '80s recording.

I'll be dipped. Clearly I have to remedy that I have largely overlooked the Book of Angels series. Looks like I also have to investigate the Spike Orchestra.

I got a chance to talk to Hal once. I asked him to describe the sound a Rhodes makes when it hits the water. He said, "Beautiful."

Here goes... 1. Too many butterflies on the keyboard for me. The vibes are a nice splash of color, but the player's solo doesn't do much. A re-listen on headphones reveals a weird splash effect on the bass. Is this some new neo-lounge band? 2. Oh, but I like that drumming. The trumpet has a watery tone, but what a great flow of ideas. Dave Douglas? Donny McCaslin? Everything works here. 3. Is that a very distorted Rhodes or Wurlitzer keyboard? And in the left channel, is that an accordion? Rich Perry on tenor? The neo-second-line multi-trombone solo section is a delight. I'm in. 4. This could be any of hundreds of relatively recent trio recordings, and I probably have a weakness for each one. The pianist on this one is never too chops-y. 5. The clarinetist isn't fully engaged with the surroundings. He's listening to the voices in his head instead of the voices around him. But it's interesting enough that I wouldn't mind hearing more. 6. Exotica/private-eye stuff with nice guitar. More style than substance? 7. Paquito on clarinet? I like the violin. And another accordion. 8. Another new trio, newer than the trio on 4. The real story here seems to be in the rhythms, not the pitches, and I'm fine with that. Somebody will probably say that the drummer is too much, but I like the drumming. 9. First thought is Turtle Island String Quartet, but there's only a violin and a cello, and a bass. Quasi-Turkish, I guess. I like the violin solo better than the cello solo; that's a great violin tone. 10. A studio contrivance where one acoustic guitar can be louder than a whole group of percussionists. And a theme for this BFT emerges -- "Where did all these accordions come from?" 11. Very distorted organ? And a choir of four or five horns, on another piece that seems Middle Eastern. It turns into an eventful soundscape. I like that synthesizer doodle at the end. 12. Is that a violin? Marc Ribot on guitar? This is one of my favorite things here. 13. Too self-consciously "exotic" for me. A lot of musicians involved here, and I hope it was a good payday for them. 14. Very "chill," I guess (I'm notoriously un-chill). Rhodes and distorted guitar? Is that perhaps KC's Eddie Moore on Rhodes? A good way to end. Thanks, Mary! Can't wait for the reveal.

And Pops with a cornet, for the first time since the '20s?

OK, then -- Number 6 is the leadoff track on "Soul Jazz Fridays," which can be purchased at http://sunflowersoulrecords.com/ And those who care to know more about the leader on 6 are asked to kindly click on this article dozens and dozens of times daily for the next decade so its humble, humble author gets credit for your clicks from an employer that counts these things: http://www.kansascity.com/entertainment/music-news-reviews/article107837457.html

Are you suggesting that on track 6, I may have overlooked a certain seven-piece band that holds a residency in a club one block from my workplace?

OK, finally weighing in... 1 – For a minute I thought it might be Abdullah Ibrahim, but it isn’t. Somebody young, I’d guess? 2 – Very Tynerish in its Tynerishness. Maybe the sax player is the leader? Azar Lawrence, Carlos Garnett? Or maybe it’s a record by that guy who sounds so much like Tyner to me, Nate Morgan? 4 – RIP Arthur. 5 – This probably says more about me than it does about the music, but – For me, the most interesting moments here are the ones just after the trumpeter and guitarist fall off the beat and make good recoveries. Is that Jake Hanna on drums? 6 – Gotta love that arrangement, with the break at the end of the choruses. 8 – You’re right, I gotta find this one. 9 – From one of Henry’s About Time recordings? 10 – So it’s James Newton (you had him on a BFT before, didn’t you?) and a trombonist who isn’t Ray Anderson. I’m thinking George Lewis. From there it wasn’t hard to turn up the answer – track 1 here. 11 – High Space Fidelity! 12 – Is that from the CD I gave you? Another good one, Bill!

Here goes. 2. Circa '73, I guess? Not familiar to me, but probably is to others. The lyric might have gained some resonance since the Trumpocalypse. 3. Virtuosic show-of-force playing. I'm guessing this is European? Urbaniak, Ponty? 4. I have the feeling this is lurking in my collection somewhere. Jimmy Heath? Billy Higgins? Yep, found it. But sidewinder found it and posted it sooner. 5. Oh, this is also somehow familiar. I like the flow of the soprano solo. Is that trumpet Mr. Shaw? Everybody needs to go back and listen to the beautiful coda on this one again. 6. I was wondering if you'd include the guy who's in your avatar. You can't sneak this one past the Kansas City cadre of his fans. It's number 3 here. 7. Inspired by the sound of "Out to Lunch"? Is this James Newton? Love this track. 8. Sounds like the guy in your avatar is back. Wonderful trombone. The long swing section in the middle seems Mingus-inspired. I hope this is already in my collection somewhere, because if it isn't I really missed something. (D'oh! Sidewinder got this one first, and I should have.) 9. I don't have a guess, but please don't think that means I didn't enjoy it, 'cause I did. 10. Ditto. 11. The epidemic of records made to sound like "Miles Smiles" and "Nefertiti" continues. I like the head better than I like the solos, I confess, although I like where the tenor solo ends up. 12. Now more than ever. A fun BFT, and I will be listening some more. Thanks!

Yes indeed, it works now. Thanks, Thom!

3 – This is right up my alley. Brittle, Stravinsky-like instrumentation, and also lots of Stravinsky in the jumpy rhythms, but it isn't him. Where did the Shortnin' Bread quote come from? The sung text makes me think of Tippett. 4 – Some sort of highly creative JB remix. I'm in. 5 – Partch instruments? Or some highly prepared pianos? I guess the ending answers that question, it's piano. 6 – The Spanish tinge in a piano-violin-cello trio. They play the hell out of it. 7 – Someday historians will look back on our time in music and nickname it the Period In Which Mallet Instruments Were Waaaaay Overused. But the overall effect here is something else. I'm impressed. 8 -- I love thrift-store motivational records. 9 – Despite the bari, this goes on longer than its ideas, I'm afraid. (I'm in the mood for density.) 10 – This sounded like an Anthony Davis thing, and sure enough it is. Google "Anthony Davis There Never Was a Revolution" and see it on YouTube. 12 – Bowling For Speeches was my favorite TV show. Opinions will vary, but this is one of my all-time favorite BFTs.

Was ready to post yesterday, but the board was down... 1 - Those folks who guessed Buddy DeFranco were on to something, because the clarinetist's phraseology is VERY beboppish. No idea who it is, but I'd guess someone who usually plays a sax because the execution is a little rough. I like the Bill Heid guess for organ. I confess, I'd buy this record. 2 - Listening to this while driving a couple of weeks ago, I convinced myself this was a heavily veiled version of a standard tune, but I'm not hearing it that way today. I like the pianist's very light and clean articulation – reminds me in a way of Glenn Gould. I don't know what it is, but I like it. 3 - I'll guess that the drummer or bassist is the leader. The changes in groove might be inspired by Mingus' "Three or Four Shades of Blues." Good all around. 4 - Love the writing. The distant sound and questionable piano suggest a small-label product, maybe something "local" in the best sense. The drummer's commentaries remind me of Max on Bird's "Segment." 5 - Ouch, I should know what this is. I should have this. Takes me back to Teddy Charles, Hal McKusick, John Benson Brooks. Two altos, and both of them sound a bit like Phil. 6 - As a tenor-playing friend would say, it's "totally Traned out." Not sure who it could be, unless this is a curveball and it's Rufus Harley. Possibly a recording from Europe? The drumming keeps reminding me of Arthur Taylor. 7 - If I were energetic enough to go downstairs and look through my discs for this, I'd start with Elmo Hope, with Frank Butler or Philly Joe on drums. 8 - Rhodes-y and newish and charming. The control and taste keep the drumming from being hyperactive. A responsive, tuned-in trio. 9 - Might be Jack DeJohnette's new trio with Ravi Coltrane. Then again, "You Don't Know What Love Is" isn't on their record. Is it ECM? 10 - The bassist has good things to say, then sets the groove for an interesting piece. Just when I'm hoping to hear what this group can do, somebody with a laptop decides he is right to interrupt, overtake and overwhelm. Even if there's Miles and Billie mixed in the radio-station noise, I'm not impressed. Anybody can drown a performance out with noise. I wanted construction and all I got was destruction. 11 - The blues on alto. OK, maybe better than OK. 12 - Somebody waxing nostalgic about the '80s. At the end, the noise at the beginning that I thought was surface noise is revealed to be guitars. Respect for bringing the joke off so well, but not sure how much I really care. 13 - Sounds like we're in the Contemporary studio. Maybe Bill Perkins on tenor, maybe Herb Geller on alto. 14 - "I Didn't Know What Time it Was," somewhat cocktailish but with a good swing, circa 1960. 15 - Oh, I like. The Dusty Groove blurb would say "Spiritual!" A real good one, Joe!

Back to the Turducken Shack Alligator Quadrille Alligator Polonaise

Been too long since we brought this thread up... Required Boogaloo Procedural Boogaloo Mandatory Boogaloo

They probably have a band playing in the store. Happens often on Saturdays.

Maybe, but wouldn't bet on it. After all, the nearly contemporary M'Boom album made it to CD.

DL for me, please.