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There are some complaints on Amazon about the audio quality of volume 2.

Anyone know about this Dexter?: https://merurido.jp/item.php?ky=UVJZ20102 From Google Translate: A super rare album that recorded a live performance in the Netherlands in 1972 with Dexter Gordon's Rob Agerbeek trio, with additional bonus tracks and the first miracle CD! Dexter Gordon, an unprecedented tenor Titan, performed a live performance with the Rob Agerbeek trio in The Hague, the Netherlands in 1972, and was released only once on a suspicious label called Dexterity Records, but it was discontinued and the whereabouts of the rights are missing. A phantom work that has become. Although it was released as a 2-disc LP, it will be released in two parts with an additional recording of a bonus track. The first collection, "All Souls VOL.1", includes Dexter's favorite song "You Stepped Out of a Dream" and Coltrane's "Some Other Blues", all of which are over 10 minutes long. Includes 4 shaku performances! The incandescent rare live work performed in the Netherlands, which Dexter Gordon, who left a famous performance in various parts of Europe, especially loved, will be revived as a CD! Musicians: Deskter Gordon (ts) Rob Afulbake (p) Genk Hoverhock (b) Eric Ineke (ds) Recorded live at The Hague Jazz Club in The Hague, The Netherlands in 1972 Recorded information 1. You Step Out Of A Dream 2. Stepble Mates 3. Didn't We (songs not included in LP) 4. Some Other Blues

Change Of Tune: Japan Music Fans Moving From CDs To Streaming Services

There's a photo on the "ECM Records" Facebook group of his tombstone. He evidently lived a troubled life.

I had fun doing it, and would like to do another. October again works for me, but I'm flexible.

Earl Klugh's late '70's records are really good, especially this: A second for Spyrogyra's Morning Dance. And don't forget:

Doesn't exactly match the topic, but it's close. Maya Erskine is Peter Erskine's daughter. https://pagesix.com/2020/11/02/pen15-star-maya-erskine-pregnant-engaged-to-michael-angarano/?_ga=2.125333955.83786589.1604360569-1155050713.1598224378

Toshiko Akiyoshi and Charlie Mariano's daughter, Monday Michiru.

These six tracks also appear here; it lists other personnel as unknown except for Buddy Smith, drums, and it lists the recording date as 5/27/54:

Dave's Picks 2021 subscription now available.

Don't know why all the graphics disappeared between yesterday and today, but I've reinstated them.

Track 9: Johnny Griffin - Ballad for Monsieur (Sara Cassey). Johnny Griffin, tenor sax; Barry Harris, piano; Ron Carter, bass; Ben Riley, drums. 1/5/62. From “The Kerry Dancers” (Riverside). We think of Griffin as a monster burner, so it’s a surprise and delight to hear his restrained, tender side. Track 10: Randy Weston & Billy Harper - Blues To Senegal (Randy Weston). Randy Weston, piano; Billy Harper, tenor sax. February 8 & 9, 2013. From “The Roots Of The Blues” (Sunnyside). Most here were able to identify this, which gives me hope for humanity. Track 11: Joanne Brackeen - International Festival (Joanne Brackeen). Joanne Brackeen, piano; Eddie Gomez, bass. August 1978. From “Prism” (Choice). One of the big hits of this BFT. This is a good, knotty track, but not helped by Choice’s recording studio/living room. Gomez should have been miked better. I think JSngry nailed it as to Gomez’s playing personality. Brackeen is obviously a pretty powerful pianist, but it's the composition that has stayed with me. Track 12: Jack Walrath - Demons In Pursuit (Jack Walrath). Jack Walrath, trumpet, flugelhorn; John Scofield, guitar; Jim McNeely, piano, organ; Ray Drummond, bass; Dannie Richmond, drums. August 21 & 22, 1979. From “Demons In Pursuit” (Gatemouth). When this album came out, I received a promo copy from a friend of a friend who drew the illustration for the album’s insert (yes, I am that well-connected). It’s great to hear all these guys when they were young and full of piss and vinegar…and then there’s Dannie Richmond, keeping up with all of them. Gatemouth Records only had two releases. The other, Jim McNeely’s “The Plot Thickens,” was later reissued on Muse, but the Walrath inexplicably never was. Track 13: Miles Davis - Minnie (Miles Davis). Miles Davis (tpt, org); Sam Morrison (ts); Pete Cosey (g, perc); Reggie Lucas (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc). 5/5/75. From “The Complete On The Corner Sessions” (Sony Legacy). Another box set that’s pure pleasure; the “On The Corner” material is a lot more enjoyable without Teo’s “assistance.” But when I heard “Minnie,” my jaw dropped. This is the missing link between the Miles we knew and his ’80’s style (Time After Time, etc.). It’s fascinating to know he was thinking about this “direction” around the same time as Agharta and Pangaea. Track 14: Sam Jones - Holy Land (Cedar Walton). Cedar Walton, piano; Sam Jones, bass; Billy Higgins, drums; Masaya Katsura String Quartet. 12/21/74. From “Seven Minds” (East Wind). More of a curiosity than anything else; the string quartet doesn’t really fit (it could be they’re just undermiked), but I like that they tried. Did Sam Jones ever make a bad record as leader? Track 15: Ted Curson - Snake Johnson (Ted Curson). Ted Curson, trumpet (piccolo trumpet?); Ray Drummond, bass; Roy Haynes, drums. 1/3/79. From “The Trio” (Interplay/Art Union). I’ve mused about this album, and specifically this track, for 40 years. The trio format is notoriously difficult in jazz. Pianists are probably best at it, because the piano is a chordal instrument. But a single note instrument presents real challenges maintaining interest over a long track. Sonny Rollins met the challenge head on in “A Night At The Village Vanguard,” but he used all the tricks in his book: volume, fullness of tone, speed and momentum. A trumpet is far more difficult on the lips, and Ted Curson doesn’t have a big, brassy sound. So why oh why would he choose to perform a fast 7 1/2 minute composition where the focus is exclusively on him? What was he thinking? The result we hear is as if he’s facing a bull in the ring who is much larger, stronger and faster than he is, and I have found the results consistently fascinating. I’m not saying it’s a successful performance, but it’s a compelling one. Roy Haynes is in on the fun, and Ray Drummond is saying “I somehow have to keep this all together.” Track 16: Paul Desmond - Take Five (Paul Desmond). Paul Desmond, alto sax; Ed Bickert, guitar; Don Thompson, bass; Jerry Fuller, drums. Bourbon Street, Toronto, October 25-26, 1975. From “The Complete 1975 Toronto Recordings” (Mosaic). I knew this track was a gimme for this crowd, but I wanted to celebrate probably the most enjoyable box set of the year. You just luxuriate in it. Bickert is as good as they say. This take is better than the one originally released on A&M/Horizon. Thanks for letting me do this BFT. I really liked all your responses.

Track 1: Charles Owens - Serenade In Blue (Warren, Gordon). Charles Owens, soprano sax; George Cables, piano; Ray Brown, bass; Roy McCurdy, drums. 2/15/80. From “Plays The Music of Harry Warren, Vol. 1” (Discovery). I don’t know much about Charles Owens. The liner notes state he played with Buddy Rich, Mongo Santamaria, Gerald Wilson, Frank Zappa, Patrice Rushen, Henry Franklin, and Frank Morgan “among many others on the busy Los Angeles scene.” Besides soprano, he also plays tenor sax, alto flute and flute on this date. I don’t know why I find this album so enjoyable. I hear what some here say about his MOR-ish overtones, but he plays with enough substance to engage me. It’s possible he was restraining himself (perhaps under orders from Albert Marx, the producer?), because the notes also state that “the fiery, energetic Contraneisms of” (another track) is “the one selection in this set that most closely approximates his usual playing style.” Certainly the music of Harry Warren is very appealing, and the supporting musicians are top notch. I don’t know how George Cables makes this sound like a Monk tune, but, as Allen Lowe reminds us, Monk said “it can’t be any new note. But if you mean a note enough it will sound different.” I searched for years for “Charles Owens Plays The Music of Harry Warren, Volume 2” without luck. Internet research now tells me there was a Volume 2 on Discovery, but not by Charles Owens; it was by Spike Robinson. Track 2: Kim Parker - Born To Be Blue (Wells, Torme). Kim Parker, vocals; Mal Waldron, piano; Isla Eckinger, bass; Ed Thigpen, drums. May 28 & 29, 1985. From “Sometimes I’m Blue” (Soul Note). This was the biggest surprise from the Mal Waldron Soul Note box. Charlie Parker’s daughter?!?!? For that reason alone, I find it fascinating. Mal Waldron is certainly no slouch, either. Track 3: Ralph Towner, Gary Burton - The Donkey Jamboree (Ralph Towner). Ralph Towner, twelve-string guitar, classical guitar; Gary Burton, vibes, marimba. May 1985. From “Slide Show” (ECM). Two of my favorite artists. Ralph Towner is a national (international?) treasure. Track 4: Herb Ellis - Billie's Bounce (Charlie Parker). Herb Ellis, guitar; Bobby Bruce, Johnny Gimble, violin; Floyd Domino, piano; Willie Nelson, guitar; Herb Remington, steel guitar; Tommy Alsup, bass; Tommy Perkins, drums. June 1992. From “Texas Swings” (Justice). Interesting that most here thought the rhythm section was too stiff. Still, if Willie owns the record label, you’re probably going to use his band. These guys can play, though. If they don’t fully mesh with Ellis, it’s still a nice encounter. Track 5: Hank Garland - All The Things You Are (Kern, Hammerstein II). Hank Garland, guitar; Gary Burton, vibes; Joe Benjamin, bass; Joe Morello, drums. 1961. From “Jazz Winds From A New Direction” (Columbia). Guitarists seem to revere this album. Garland was a Nashville session guitarist who made this album and then got into a gruesome car accident, never to record again. Gary Burton was 17. Just crazy good. As Richard Ginell on allmusic.com put it, “Lots of folks in the country music streets of Nashville and the jazz canyons of New York were shaken up by this release, for country supersession man Hank Garland demonstrated that he could be just as persuasive rattling off swift, sophisticated bebop as he was playing thousands of country licks on the jukeboxes.” Track 6: Juan Tizol & His Orchestra - Keb-Lah (Juan Tizol). Dick Cathcart, trumpet; Juan Tizol, valve trombone; Willie Smith, alto sax; Babe Russin, tenor sax; Arnold Ross, piano; Irving Ashby, guitar; Ed Mihelich, bass; Nick Fatool, drums. 4/7/46. From “The Keynote Jazz Collection” (Fresh Sound). This track jumped out at me while listening to this box set. It’s Caravan, but it’s not. If you’re going to steal from someone, you may as well steal from yourself, right? I was very impressed by JSngry ID’ing Willie Smith. Track 7: Ronnie Cuber - Coming Home Baby (Ben Tucker). Ronnie Cuber, baritone sax; Ed Cherry, guitar; Brian Charette, Hammond B3; Adam Nussbaum, drums. February 2018. From “Four” (SteepleChase). Yeah, these guys just doing their thing. This might have been just another night’s gig for them. I hope they go on forever. The big surprise for me is Brian Charette, who’s just so good all over this album (I notice that Joe put a Charette solo track in BFT 198). And Cuber has that thick, greasy sound. It was tough picking a track from the CD, since it’s all at this high level. Track 8: Chico Hamilton - Shirley (Carson Smith). Buddy Collette, flute, clarinet, alto sax; Fred Katz, cello; John Pisano, guitar; Carson Smith, bass; Chico Hamilton, drums, vocal. June 28 & 29, 1989. From “Reunion” (Soul Note). This was a very pleasant surprise on the Hamilton Soul Note box, because I’m not that familiar with the original quintet. I like the intelligence and sly humor; I can somehow picture Richard Gere doing a soft shoe through this. And the timing - how they all slide in at just the right moment. And the restraint. I love this track.

You are correct that #4 is Billie's Bounce, misidentified on the album as Scrapple. Also correct about #5.

Wow, Randy, I’m very impressed you were able to ID the Ted Curson track! You also correctly ID’d the Hank Garland, Weston/Harper, and Paul Desmond. And Willie Nelson does appear on #4, but he’s not the leader. The rest will have to wait until the 31st.

Great comments, Thom. You got more right than you realize. Since the reveal is only two days away, I'll reserve observations until then.

Thanks, Hot Ptah. Track 7 is indeed Ronnie Cuber. Track 10 is Randy Weston and Billy Harper.

Had the LP, sold it, and recently found a used copy locally. The CD is available at CDJapan.

Ding ding ding!

OK, let's generate some excitement: True! True! No! (Wrong gender, BTW.) Oh yeah. See above. Yup. Talk to Milestones! Not Monk, but I agree, it mysteriously sounds Monk-ish (something the pianist is doing). Yup. It does have a John Lewis vibe, but no. Yup, yup, yup. Nope; a younger generation (but an old turk by now, I guess). Nope. I think you'll be surprised by the drummer. This is actually very accurate; good ears. It is Willie Smith (not the leader, though). It does seem to be derivative (that's what struck me), but there's a reason why. Correct! Correct! Yup! Weird, right? Yup! Correct! It is Juan Tizol. The tune is Coming Home Baby. The rest...well, you're in the ballpark. Not Ron Carter. It is Eddie Gomez (not the leader). Again, you're in the ballpark. The composition did appear on a Blakey Blue Note, under a slightly different name. It is Cedar Walton (not the leader).

I remember NYC in the early '70's. There were books being sold everywhere: card stores, newsstands, drug stores (and a real variety of books, not just Harlequin). Used book stores were everywhere; I still remember that musty, moldy smell upon entering. The best were the Doubleday bookstores in Manhattan, where they had stacks of great $1 remainder books throughout the store.

https://www.breitbart.com/economy/2020/10/24/democrat-senators-wealthy-wife-pleads-for-help-to-save-nyc-bookstore/ The owner of New York City’s Strand Book Store pleaded with customers Friday to help save the business, saying its revenue dropped by 70 percent because of the pandemic. “Nancy Bass Wyden, wife of U.S. Sen. Ron Wyden, D-Ore., said loans and cash revenue allowed the bookstore to weather the last eight months but ‘we are now at a turning point where our business is unsustainable,’” according to Fox News. The report continued:

Let's give it a few more days. Maybe others want to participate. Dub Modal: As for that bari on track 7: It does have that old time greasy feel, doesn't it? But it was only recorded recently. Your guesses were really good, but none of them were correct.

Nah, not right now. There were a lot of correct responses, and that would take all the fun from those who still might participate.

A quick reminder that BFT 199 is still up and running. Come have a go at it!