mjzee

I particularly liked Autumn. I didn't care about which genre it belonged to; it was just lovely music. Ruminative, in a way that perhaps descended from John Fahey. RIP.

Interesting. I like CPE Bach; his work is obviously overshadowed by his father's.

Decca - The Mono Years, disc 19. Also includes Haydn Symphony #102 from this:

Perlman DG box, disc 18.

Deutsche Grammophon 111 - The Violin, disc 29. Also includes:

RIP. This is a good'un:

Release date June 23: Rising star pianist/composer Noah Haidu's resplendently expressive Standards celebrates the 40th anniversary of the release that launched Keith Jarrett's great Standards Trio and arrives on the heels of Haidu's two recent acclaimed Sunnyside albums, most notably 2021's SLOWLY: Song for Keith Jarrett. Featuring Haidu with bassists Buster Williams and Peter Washington, drummer Lewis Nash and guest saxophonist Steve Wilson, Standards is, in part, the soulmate to SLOWLY, which DownBeat called "a stunning and heartfelt tribute." After Haidu, Buster Williams and Billy Hart recorded it's last two songs - "But Beautiful" and "Georgia on My Mind" - Williams said, "Those two standards were beautiful, got any more?" Release date June 30: For nearly a decade, the endlessly exploring pianist / composer / improviser Denny Zeitlin has focused on an individual composer for his annual solo concert at Oakland's Piedmont Piano Company. Zeitlin brings his full creative force to these efforts to transform these well-known pieces into remarkable musical journeys. In 2018, Zeitlin decided to focus on the great American composer, George Gershwin, for his concert and recorded the proceedings, released now as Crazy Rhythm: Exploring George Gershwin.

Decca - The Mono Years, disc 18. Also includes:

Perlman DG box, disc 17.

Deutsche Grammophon 111 - The Violin, disc 28.

Decca - The Mono Years, disc 17. Also includes:

Perlman DG box, disc 16.

Deutsche Grammophon 111 - The Violin, disc 27.

Ira Sullivan - Amazing Grace (Trad). Ira Sullivan, soprano sax; Jay Anderson, bass; Steve Bagby, drums. 9/14/81. From the album Ira Sullivan Does It All! (Muse). A fascinating exercise in overdubbing. Ira Sullivan had a very interesting musical mind. In this track, I like how he stays true to the source, yet imbues the performance with a great jazz and blues feel. Ray Charles - Ain't Misbehavin’ (Brooks, Razaf, Waller). Joe Bridgewater, John Hunt, trumpet; David Newman, tenor sax; Emmett Dennis, baritone sax; Ray Charles, piano; Roosevelt Sheffield, bass; William Peeples, drums. 11/20/56. From the album The Genius After Hours (Atlantic); also available on the box set Pure Genius: The Complete Atlantic Recordings 1952-1959 (Atlantic). Two of the first Ray Charles albums I owned were instrumental: The Great Ray Charles and The Genius After Hours, both drawn from the same sessions. This track shows the partnership between Charles and Fathead. They both have great solos, but listen to how distinctive Ray sounds! And I love how the horns sound at the end. Bob Brookmeyer with the Netherlands Metropole Orchestra - Someone To Watch Over Me (Gershwin). 1998. From the album Out Of This World (TMD/Koch). Although I wish the track were about a minute shorter, it really is a beautiful arrangement. Randy Weston - I've Got You Under My Skin (Cole Porter). Randy Weston, piano; Sam Gill, bass. NYC, April 27, 1954. From the album Randy Weston Plays Cole Porter In A Modern Mood (Riverside). Randy at his most Monk-ish. Is the piano out of tune, or is it the way he’s hitting the keys? Lalo Schifrin - Mambop (Lalo Schifrin). Lalo Schifrin, piano; Pierre Michelot, bass; Jean-Louis Viale, drums; Jack Del Rio, percussion. 1955. From the album Rendez-Vous dansant à Copacabana (Vogue); also available on the box set Jazz on Disques Vogue (Sony). Is it Monk or isn’t it? The answer will self-destruct in 30 seconds. Mary Lou Williams - Intermission (Williams, Suggs). Mary Lou Williams, piano; Zita Carno, piano; Bob Cranshaw, bass; Mickey Roker, drums. January - March 1974. From the album Zoning (Folkways). This does not sound like the work of someone who started in the 1920’s. Julius Watkins - Linda Delia (George Butcher). Julius Watkins, french horn; Frank Foster, tenor sax; Perry Lopez, guitar; George Butcher, piano; Oscar Pettiford, bass; Kenny Clarke, drums. 8/8/54. From the album Julius Watkins Sextet, Volumes 1 & 2 (Blue Note). I always like having some Blue Note tracks in my BFTs. Is this a tango? Watkins was a consistently interesting musician. CBS Jazz All-Stars - Tin Tin Deo (Fuller, Pozo). Stan Getz, ts; Hubert Laws, flute; Woody Shaw, tp; Arthur Blythe, as; Dexter Gordon, Jimmy Heath, ts; Bobby Hutcherson, marimba; Cedar Walton, p, arr; Percy Heath, b; Tony Williams, d; Willie Bobo, perc. Havana, Cuba, 3/3/79. From the album Havana Jazz (Columbia); also available on the box set Stan Getz - The Complete Columbia Albums Collection (Sony). A track tailor-made for a BFT. Pretty incredible bunch of musicians. Freddie Redd - Give Me A Break (Freddie Redd). Phil Ranelin, trombone; Curtis Peagler, alto sax; Teddy Edwards, tenor sax; Freddie Redd, piano; Bill Langlois, bass; Larry Hancock, drums. October 9 & 10, 1990. From the album Everybody Loves A Winner (Milestone). Yes, I wish they rehearsed the head more, but it’s an intriguing tune worthy of Redd, and the band has some good solos. Pete Brown - Boot Zoot (Pete Brown). Pete Brown, alto sax, vocals; Kenny Watts, piano; Herman Mitchell, guitar; Al Hall, bass; Eddie Nicholson, drums. NYC, August 1, 1944. From the album The Changing Face Of Harlem, Volume Two (Savoy). I’ve bought many of these Savoy twofers over the last year, and have enjoyed them. Brown was just a journeyman alto, typical for his time, but it’s such an enjoyable performance. Fred Jackson - On The Spot (Fred Jackson). Fred Jackson, tenor sax; Earl Van Dyke, organ; Willie Jones, guitar; Sam Jones, bass; Wilbert Hogan, drums. 4/9/62. From the bonus tracks to the album Hootin' 'n Tootin’ (Blue Note). Jackson was an enigma who played on very few albums. He made only one album under his own name, but a second session (which included this track) was added to the CD of the first. Has that great Blue Note sound, and Motown Funk Brother Earl Van Dyke plays organ. Bobby Timmons - Damned If I Know (Bobby Timmons). Wayne Shorter, tenor sax; Bobby Timmons, piano; Ron Carter, bass; Jimmy Cobb, drums. 1/20/66. From the album The Soul Man! (Prestige). Wayne and Bobby together for perhaps the last time. James Clay - The Very Thought Of You (Ray Noble). James Clay, tenor sax; Cedar Walton, piano; David Williams, bass; Billy Higgins, drums. 1/20/89. From the album I Let A Song Go Out Of My Heart (Antilles). I was on a James Clay kick this past year. I love this pretty performance, and I find it poignant that, in spots, he sounds like his old friend Fathead. Pony Poindexter - Pretty Lady (Pony Poindexter). Pony Poindexter, alto sax; Neal Kirkwood, piano; Art Washington, bass; Richie Goldberg, drums. March, 1978. From the album Poindexter (Inner City). We recently had a thread about “soft spots,” defined as “Artists/albums we feel a soft spot for, even though there's nothing major about them.” This album is one of them for me. I remember when it came out, and I was so rooting for it to do well. I know the sound quality is iffy, and the mix is odd, and it sounds like a first take, and it sounds like On A Clear Day but isn’t… I know all that. But I really like this track, and this album. The band does pull it together as the track goes on, so that in the end they’re far tighter than at the beginning, and Pony plays very well throughout. This was his last album. Beverly Kenney - Ball and Chain (Sweet Lorraine) (Burwell, Parish). Beverly Kenney, vocals; Johnny Smith, guitar; Bob Pancoast, piano; Knobby Totah, bass; Mousie Alexander, drums. 1955. From the album Beverly Kenney Sings For Johnny Smith (Roost). The Johnny Smith Mosaic box is one of my favorites, but they purposely omitted 5 albums: two with string orchestra and three with vocalists. I finally heard the Beverly Kenney this past year, and was wowed by her voice, her articulation, her phrasing, and her sensibility. Smith is good too! Erroll Garner Trio - Movin' Around (aka The Campbell's Are Coming) (Erroll Garner). Erroll Garner (p), Eddie Brown (b), Doc West (d). 1/10/45. From the box set Classic Black & White Jazz Sessions (Mosaic). I think this threw some people off. Garner early in his career, in a very lively performance. Thanks to all who participated.

Decca - The Mono Years, disc 16.

Perlman DG box, disc 15.

https://www.msn.com/en-us/music/news/isaac-redd-holt-percussionist-and-jazz-fusion-pioneer-dies-at-91/ar-AA1bKI2w

Deutsche Grammophon 111 - The Violin, disc 26.

This is the final weekend to work on your BFT 230 skills!

Someone posted this from the Facebook group "The Black Page - The Zappa Page": In the Spring of '73, FZ was recording at Bolic Sound (Ike and Tina Turner's studio) in Inglewood, CA. "I wanted to put some back-up singers on the thing, and the road manager who was with us at the time checked into it and said, 'well, why don't you just use the Ikettes?' I said, ''I can get the Ikettes?'' and he said ''Sure''. But you know what the gimmick was? We had to agree, Ike Turner insisted, that we pay these girls no more than $25 per song, because that's what he paid them. And no matter how many hours it took, I could not pay them any more than $25 per song per girl, including Tina. [Actually he paid them $25 per hour per girl for the vocals session of May 31st, 1973, while they recorded voices for six songs] It was so difficult, that one part in the middle of the song ''Montana'', that the three girls rehearsed it for a couple of days. Just that one section. You know the part that goes ''I'm pluckin' the ol' dennil floss''? Right in the middle there. And - I can't remember her name, but one of the harmony singers - she got it first. She came out and sang her part and the other girls had to follow her track. Tina was so pleased that she was able to sing this thing that she went into the next studio where Ike was working and dragged him into the studio to hear the result of her labor. He listened to the tape and he goes, ''What is this shit?" and walked out. [Ike refused the name of the Ikettes being used for credits] I don't know how she managed to stick with that guy for so long. He treated her terribly and she's a really nice lady. We were recording down there on a Sunday. She wasn't involved with the session, but she came in on Sunday with a whole pot of stew that she brought for everyone working in the studio. Like out of nowhere, here's Tina Turner coming in with a rag on her head bringing a pot of stew. It was really nice."