tooter

7 - Still a kind of funky rhythm. Doesn't transport me anywhere but okay. 8 - I have always disliked this kind of guitar sound - harsh. Soulful but shallow (predujice speaking). Ditto 7 mostly. 9 - Sounds like Rollins at the start - not really. Volume well up. Still in a funky groove, monotonous beat. Don't like much. Not much to say about this bit but will continuing trying again soon.

4 - Nice bouncy track, no ideas who or what. 5 - A little funky. Keyboard of some kind, organ? Don't know the tune. Like the piano. 6 - Another one starting with some drumming. Kind of funky too. Is that a marimba? Couldn't like this much. Completely at a loss still.

Thanks again, sidewinder - site amended.

Cover picture is on the site now - thanks a lot, sidewinder. I see now that I don't have full personnel. Are you able to tell me the missing names/instruments? Gordon Brown? Does not appear anywhere else. Percussion? Brass? Here's what I've got. Personnel: Unknown brass [6 8], Ronnie Ross [out 5] (alto saxophone, baritone saxophone, bass clarinet), Art Ellefson [1 2 3 12] (tenor saxophone), Ray Swinfield [6 8] (flute), John Cameron (piano, vocal), Spike Heatley [out 5] (bass), Tony Carr [out 5] (drums), Unknown percussion [6 8]. Could you scan the back of it for any details it might yield for me please?

That's marvellous, sidewinder. That means only six to go. Never believed we'd get this far when the quest began.

So the list of cover pictures still sought grows ever less. Now down to only seven. Don't forget to keep an eye open for any of these please. 1. 55/1 Leader: Tony Crombie Date: March 31 1955 Venue: London Label: Decca DFE6281, F10514, 10620, F10592, F10637 Album Titles: Annie Ross with Tony Crombie and his Orchestra, Presenting Tony Crombie No. 2 (EP) 2. 55/5 Leader: Cleo Laine Date: December 13 1955 Venue: London Label: Nixa NJE1010, PRT PYL6028 Album Title: Unforgettable Cleo Laine 3. 58/7 Leader: (Melody Maker All Stars) Date: November 1958 Venue: London Label: Pye Nixa NJT518 Album Title: (Melody Maker Jazz Poll 1958/1959) 4. 62/4 Leader: Don Rendell Date: September 6 1962 Venue: London Label: Pye 7NJ 2059 Album Title: The Jazz Stars 5. 78/1 Leader: Arthur Greenslade Date: January 1978 Venue: London Label: Pye NPSL18557 Album Title: George Melly With Orchestra Arranged And Conducted By Arthur Greenslade 6. 89/6 Leader: Chris Smith Dates: November 23 29 1989? Venue: Wembley, London Label: BBC CDTP818 Album Title: Chris Smith And His String Of Pearls Orchestra

Another picture has turned up - found this one myself.

Invaluable - absolutely, and what a marvellous read too. That sad ending haunts me yet, but maybe not so sad either. A fascinating life and story. The Baroness too! If I remember correctly, Gigi is "G. G." from "George General", or maybe "George Gryce". I was never sure how to pronounce it until I read the book.

Having commented on all Bonus disc tracks, I'll make a start on this one. 1 - Strange mixture. "All the Things" going on in places. Don't know the singer. Name of the band, you say; no idea. Like it overall but nonplussed. 2 - I liked this one more but no more idea of who they might be. Sounded a little fleet to be slide trombone so maybe valve? Not sure. Two basses? Don't know the tune either but felt more at home here than with 1. 3 - Xylophone? Sounds like it in places anyway. Bass clarinet, ordinary clarinet too? Or is the bass clarinet sounding like two instruments? I'm expecting complaints soon for playing the same music over and over. Interesting stuff.

I'm now on my third listen to 11 at this sitting. Trying to decide what the instruments are still. Accordion? Bass? Cor Anglais (English Horn)? Some kind of stringed instrument. Bass clarinet? Hypnotic stuff - all scored? No more thoughts come to me. I've already commented on 12 but am listening again now for the fun of it! Might well decide to buy a copy of the album if the artist puts in an appearance here. What a coup if she does, Mike. A first? Passing quickly by 13, 14 sounds like harpsichord again. Tune I know but can't think of the name. Nice performance.

Neither cello nor harpsichord - I'm really testing your knowledge of ancient instruments ... Failed the test then! My knowledge of ancient instruments is even worse than my knowledge of modern ones. Celeste? Doesn't sound like it. Don't forget we're not allowed to look anything up.

what about the educational benefit?

8 - pianist singing? Atmospheric! Language? Can't guess. Some nice effects - very attractive. 9 - Bass player leader? Folk music? Guitar, but what sax? I can't decide if it's alto, tenor, or neither! Seems to have a foot in quite a few camps. Indecipherable mixture. 10. Undecided about the instruments even! This is getting more and more difficult! Cello I think. I thought guitar at first, but is it a harpsichord again? Anyway, that's unimportant. Music feels composed (in two senses) but also improvised. I like this one - complete performance. BTW, Mike, I only meant to be jocular about telling an artist of a comment here. Should I have used a smilie? It's really quite pleasing to think that a performer would take notice, even if a little scary.

I'm completely in the dark about their baritone playing, Red. I've only got a little of Tony on alto (with Gary Crosby) and even less of Ben on tenor. I was impressed by a broadcast I heard of him playing in a quartet led by Bobby Worth in 2000 but I lost some of it. I must look to see what's available. No Pete at all, of any kind - can't remember ever having heard him. Can you tell us more? Different types of gig? You mean session work?

Ah HAH!!! Trane's version from Coltrane Jazz is what I'm thinking of, complete with piano tinkling towards the end. Glad we got that taken care of. Now I can sleep in peace tonight. Y'all can go back to whatever it was you were doing before you put your lives on hold to overload Google's server trying to find that song on my behalf. Not a tune one hears all that often I guess but a really familiar somehow. Glad to hear you are at peace, Al. Last post of BFT#36?

6 - ethereal start - tune sounds just a little familiar. I often wonder if the vocal noises are meant to be part of the music, like Slam, or are they entirely spurious? Never mind, the overall effect is intriguing and I've been consumed by the sound of the vibes ever since I had a little dulcimer kind of thing as a kid. Used to spend hours just tapping at it. Best one after 2 for me so far - propulsive. 7 - harpsichord? Delivered with panache.

This board is public - an artist might do a web search and land here and read your comments. I talked to her on the phone this morning as she is close to where I live on Friday and suggested a meeting (but I'm out of town) and she was delighted. Certainly something to bear in mind. I wonder how many prominent musicians do in fact visit, apart from our prominent musician members that is.

Next bite at the cherry! 3 - piano solo - couldn't connect with this one much. Despite your entreaty to hold nothing back, Mike, I doubt that ill-informed criticism can be at all constructive and couldn't think of any even if I wanted to give voice to it. Use of dynamics again sounds good - noticed the end particularly. 4 - alto and piano - sounds 100% scored - no improvisation? What kind of music could this be categorized as? I'm all questions and no answers. Not what I would choose to listen to but nice interplay. Didn't think much of the melody but perhaps it grows on one. 5 - another piano solo - this could have been the start of a pattern but the theme is nothing to do with instrumentation we've been told. Ditto much of comments on 3 I guess.

The singer - I consider her a good friend - will be delighted when she reads this!!! No way to translate that - the syllables are improvised just as the melodies she sings. The arpeggio sound is indeed the strumming of piano strings. The bass is synthesizer, but except for some ambience effects and light sound processing there are no electronics, just percussion sounds partly played on some weird things. Hey! Hey! Conveying BFT comments to the artist? Well, if you're sure she will be pleased, even with the caveats (not much interest, unaccustomed ear). Not in the habit of considering that possiblity when dreaming up something to say.

Out of stock anyway - no order made. Picture's good though, and now adorns our site. I thought all record suppliers were completely honest and above board.

yipes ... courtesy of Du$ty Groove Thanks a lot for the info. I've ordered a copy.

Is 1 improvised I wonder. I'm not going to be able to guess any tunes or players in any of these tracks. All of the music is special to you you said, Mike, so will have to be careful not to say anything hurtful. Dynamics, impassioned. I'm not familiar enough with this kind of music to say more. Quite liked it. 2 sounds like gamelan from Bali perhaps. Marimba? One of the more jazz-like tracks for me. There must be plenty of jazz-sounding music around that is not in fact improvised at all (the main criterion?) - for instance, the LA Four. I seem to remember hearing that Laurindo Almeida required everything to be written out - one of the participants speaking - although I can't imagine much was written out for Bud Shank. But improvised or not, this is a favourite track, largely because I love the sound but there is also sensitivity, rhythm and the painting of a picture - beautifully succinct.

The most difficult and demanding BFT disc yet, Mike. Certainly "Un Poco Loco" if not more seriously crazy in parts. All I've got to say about 13 is that yes, I would like a translation if someone else also requests (would not like to involve you in too much labour just at my whim!) and that playing it, which I've limited to just once so far, brought my wife in from the adjoining room (never happened before) with an expression not only of bemusement on her face but some concern that my retreat/domain should have become an insane asylum itself, suddenly. Wallowing as I usually do in the comfort and familiarity of Hank Mobley, Stan Getz, Hank Jones and all the others, this disc is a little like reading fantasy as opposed to (my usual fare) science fiction. I find it difficult to appreciate jazz which uses (too much) echo effect but on this disc, where used, it sounded appropriate. Particularly on 12 I noticed this - very atmospheric and beguiling. Can you do a translation of that one, Mike? Sounds like no language I have ever heard so perhaps this is where the fantasy impression comes from. I can't guess the instruments here (and elsewhere if it comes to that) - inside piano at start? Percussion. Electric bass. Electronics? I can't work up all that much interest in most jazz singing, particularly instrumentalists who give it a go as a break from playing, but this singer sounded techically superior to my unaccustomed ear, exhibiting an ease on the higher notes that impressed me. Something very different and absolutely fascinating. I have no idea of a theme at this stage. I bet it's something highly obscure and esoteric. I was thinking of something along the lines of instrumentation, number of performers, missing drummers, but all of these too simple and obvious I'm sure. I will try to comment later and at greater length on the other tracks. Easy stages, this one - bitesize.

Just a first spin so far. All I recognised was "Nuages" by Django for 12 and "Joy Spring" (Brownie of course) at 13. 15 sounds quite like Bobby Hutcherson but I would not be surprised to hear it isn't. Know the tune here but can't think of the name yet. Some of the intrumentalists elsewhere sounded somewhat familiar but in view of the German (?) connection I'm probably astray there. I will try for more penetration later, bearing in mind your introductory comments Mike.

All comments welcome, anytime, especially such amiable ones! Thank you for the support. Now I know why they call you "Big Al". The ending of 1. - having just received the CD from the supplier Mike told us about, I have just been playing it yet again. It does seem a bit repetitive as they go out, maybe that's it. I'm adding your name to 10. on the progress thread then. Still surprised that nobody was able to name Bud Shank as the alto on 6.