Blindfold Test .:.23 DISC ONE Answers

[.:.impossible]

DISC ONE

01 “Bebop” (Dizzy Gillespie) | VICTOR FELDMAN The Arrival of Victor Feldman | January 21 and 22, 1958. Victor Feldman (vibraphone), Scott LaFaro (bass), Stan Levey (drums).

I chose this as an opener because I was so surprised by the blistering tempo the trio took on this tune the first time I heard it. In my recollection, I don’t know of any other track featuring a vibraphone that takes this tempo, much less a vibraphone, bass, drums trio!

This recording is Scott LaFaro’s official recording debut. He is featured prominently in the arrangements, and in the recording mix. Listen to how strong he was at the age of 22. He died tragically just over three years later.

Feldman is really an amazing vibist. The album features some nice four-mallet playing, as well as the then traditional two-mallet technique and some fantastic piano playing as well. I really appreciate Levey’s accompaniment on this track. I’ve read that the album cover was his idea, as was the tempo. From what I understand, Victor wanted nothing to do with this, but Stan Levey talked him into it and we have this as a result. Physically, its an amazing feat, whether they are clicking or not. As you may know, Levey retired from the drum kit to follow his passion for photography. Despite the goofy cover, I would definitely recommend picking this album up if, in fact, the OJC catalog is dissolving.

Personally, I prefer the Sonny Clark Trio version. Go listen to them cook.

02 “Green Chimneys” (Thelonious Monk) | WALTER DAVIS JR. In Walked Thelonious | April-May 1987. Walter Davis Jr. (piano).

This was purely a blindfold pick. I wanted to see how many of you could discern Monk from another. I even left a clue for you on disc two! This is an amazing album on Mapleshade from Davis to Monk. In the liners, Dwike Mitchell is quoted as saying, after listening to a couple of tracks, “I’ve been listening to Walter all my life and I know exactly how he plays. What’s on this tape is not Walter; it’s Monk playing through Walter’s hands.”

Listen to the album before calling hyperbole. This is one of the simpler Monk tunes, which I think makes it more difficult for another musician to pull off. Most of you were able to deduct that this wasn’t Monk, which I think is very obvious when you hear him later on “I Should Care.”

There is a house on Jamestown, which is an island just south of Newport, called Green Chimneys. I hope to take a photo of this house for you all. Whether the tune was named after a stay during the festival, or the house was named after the tune, I do not know. I do know that one day my house will have green chimneys!

03 “Ask Me Now” (Thelonious Monk) | BOB MOSES Nishoma | July 23-24, 1998. Bob Moses (drums), Jimmy Slyde (tap dance), Rossen Zahariev (trumpet, flugelhorn), Scott Robinson (bass clarinet, waterphone).

Another Monk track to either trick you into thinking the previous was Monk, or to clue you in that I am trying to trick you. I chose this take on “Ask Me Now” specifically for the percussive interplay between Jimmy Slyde and the masterful Bob Moses. I’m surprised most of you didn’t pick up on the fact that you were listening to a dancer. Your ears aren’t as good as you thought! This is a top-notch album featuring a variety of ensemble play. Not featured on this track (or track eleven on the BFT, from the same album) are vocalists Luciana Souza and Abbey Lincoln. Regardless of how you feel about Moses’ “politics,” there is no argument from me the man is a master. I imagine they had a good time playing this. This is a quality album.

04 “Transcriptions” (Milford Graves) | MILFORD GRAVES Grand Unification | October 11, 1997. Milford Graves (drums).

The first time I heard Milford’s solo recording, Grand Unification, on Tzadik, I had a difficult time wrapping my head around the fact that he was the only musician featured and that there were no overdubs. This is stream of conciousness free-flowing drumming at its finest. I personally love this track for its fluidity. Milford now has a second solo recording on Tzadik called Stories. His notes on “Transcriptions:” The double helix of DNA, the entwining serpents of the caduceus, and kundalini yoga through the awakening of charkas --- are the viable pathways for the descension of the triplicity of Olodumare (DNA), Baba N Kwa (RNA) and Olofi (Protein Production).

Yes, he is doing all of that at once. Again, physically amazing. Just this morning, and much to my surprise, he was featured on NPR, of all places! Mike posted a nice article recently. If you’re interested: http://www.organissimo.org/forum/index.php...=milford+graves

[.:.impossible]

05 “Fours and Twos” (George Garzone) | GEORGE GARZONE Four’s and Two’s | April 8 & 9, 1996. George Garzone (left channel, tenor saxophone), Joe Lovano (right channel, tenor saxophone), Joey Calderazzo (piano), John Lockwood (bass), Bill Stewart (drums).

Bill Stewart has become a favorite of mine over the past few years. Seems like anything with his name on it is going to be high caliber and charged. Same goes for Garzone, Lockwood, and their Fringe counterpart Bob Gulloti, who is the only Fringe member absent here. As much as I love Gulloti, I think Stewart fits into this quintet quite nicely. He brings us into a chase between Garzone and Lovano based on the changes of Airegin. I’m a fan of Garzone’s playing and actually intended to include a second track featuring Garzone from Matthias Lupri’s Shadow of the Vibe, which also features Lockwood, but forgot… excellent playing all around, including a nice take on Beatrice. Not the album at hand here…

I had a feeling that many of you would identify Lovano, but wasn’t sure how many of you were familiar with Garzone. Reeds players, what do you think? For more adventurous listening, check out The Fringe It’s Time For The Fringe.

If you like this track, you will definitely like this album.

06 “Out of Harms Way” (Adam Levy) | ADAM LEVY Buttermilk Channel | 2001. Adam Levy (electric guitar), Larry Goldings (organ), Kenny Wollesen (drums).

The first of the organ cuts. This is an organ board after all! Also the first of two consecutive tracks featuring Wollesen. Some of you may recognize Adam Levy from Norah Jones’ band. I included this track mostly for the trio (Jim, Joe, Randy) to hear what they thought of this ensemble. The entire album is extremely laid back in this fashion, and I think it works very well. Levy has an amazing feel on guitar that moves very naturally in and out of Nashville. As a group, I think the three really do well embracing and relaxing with this style. Sometimes I hear a Scofield thing, or a Frisell thing, but on the whole, Levy has a sound of his own. This is also a great album for those who enjoyed this track. I was listening to this album quite a bit when my turn came up for Blindfold.

07 “When” (John Schott/ Ben Goldberg) | JUNK GENIUS Ghost of Electricity | February 11 & 12, 1999. Ben Goldberg (clarinet), John Schott (electic & national steel guitar), Trevor Dunn (bass), Kenny Wollesen (drums).

Of all of the tracks included on the first disc, I thought this was the one that would get the most mixed reaction. It is pastoral and it is mysterious. The music has such a unique sense of motion and rhythm, not like swing motion, or forward motion propelled by beat. Wollesen washes into shore with his cymbals. Schott picks at his guitar and lets the notes ring in and out of sequence. Goldberg remains a part of the ensemble sound, where often times a horn is all too often tempted to move out front. Dunn’s bass plays like four additional strings on Schott’s guitar. I really like this album. There are a few tracks that have a similar mood to this one, and there is some variety throughout as well. The record company, Songlines, description reads “hymns, stomps, hollers, anarchic strum alongs border region musics” I was surprised by the ECM comparison, but I guess its possible. I guess I’m just used to hearing it in sequence with the rest of the album, which is far from that sound. May be the fact that it is non-swinging improv?

08 “Warm Marsh” (Rob Mazurek) | THE CHICAGO UNDERGROUND TRIO Flamethrower | March 11 – 13, 2000. Rob Mazurek (cornet, electronics), Chad Taylor (percussion), Noel Kupersmith (bass, electronics), Jeff Parker (electric guitar, electronics).

I love the title. I know there are quite a few Warne fans on board. Maybe they can identify the motive behind the title in relation to the music played. I don’t know the connection, maybe just a play on words. I think I remember someone mentioning Tristano though! I thought that was interesting. I do know that I like this track for its stark landscape. Mazurek is obviously playing a harmon stemless and the music is conservative enough that I thought many of you would be stumped as to when this was recorded and who the musicians were. It is a little warped, but it could pass for some of that early West Coast avant-garde.

[.:.impossible]

09 “Main Stem” (Duke Ellington) | KENNY BURRELL QUARTET Guiding Spirit | August 4 & 5, 1989. Kenny Burrell (electric guitar), Jay Hoggard (vibraphone), Marcus McLaurine (bass), Yoron Israel (drums).

The first of two Ellington compositions arranged by the electric guitar, vibes, bass, drums quartet. This is, of course, Kenny Burrell. I knew you guitarists would identify this one. Recorded live at the Village Vanguard and this track is very representative of what the rest of the album sounds like. The quartet is really together and at times burning. Jay Hoggard is a vibist that I haven’t heard much from, but he is solid on this date in a two-mallet style, and great comping behind Burrell’s solo. What a tune! I’d like to hear more small groups take this one on. Burrell sounds fantastic with vibes. Some of the chords he throws at the group sound super complex and more dissonant than I would normally associate with his playing. I like this track a lot and hoped this would bring everyone onto the same page. Seems like a good positive reaction from this track.

10 “Fleurette Africaine” (Duke Ellington) | GARY BURTON QUARTET Lofty Fake Anagram | 1967. Gary Burton (vibraphone), Larry Coryell (electric guitar), Steve Swallow (bass), Bobby Moses (drums).

The second of two Ellington compositions arranged by the electric guitar, vibes, bass, drums quartet, and an amazing take in my opinion. Listen to how mellow Gary’s sound is in comparison to the other two vibists heard previous to this track. Such a soft touch and a really big sound. This was a well recorded session, maybe a little hot. Also, listen to how Gary is bending notes while comping with the other hand. He was the one vibist to really popularize the four-mallet technique that is now referred to as the Burton grip. There are other four-mallet grips, but his has become the standard with jazz musicians. Still, not many players can bend notes while comping. It seems physically impossible and I still don’t know how he does it.

This session can be found on CD at the end of A Genuine Tong Funeral, which is a wordless opera written by Carla Bley for this quartet, plus horns including Lacy, Gato, Mantler, Knepper, Howard Johnson, and the piano of the composer. A second incarnation of this quartet saw Roy Haynes in the throne, replacing Bob Moses.

One of Gary’s first recording sessions was as a sideman in Nashville country guitarist Hank Garland’s Jazz Winds from a New Direction. Garland suffered a tragic fate and never recorded another jazz session. Many regard Garland as the absolute finest to ever come out of Nashville. You can hear some of that influence remains in Burton’s concept throught the 1960s recordings. This particular recording also brings in some of that rock influence. This sort of music would later be referred to as “fusion.”

11 “African Violet” (Bob Moses) | BOB MOSES Nishoma | July 23-24, 1998. Bob Moses (drums), Rossen Zahariev (trumpet, flugelhorn), Scott Robinson (bass clarinet, waterphone), Jacques Schwartz Bart (tenor saxophone), Steve Kuhn (piano), Chris Wood (bass).

Programming-wise, this is the kicker. The second track included from Nishoma, as an entirely different ensemble, the second consecutive track including Bob Moses, and a title that I would be inclined to think plays off of Ellington’s “Fleurette Africaine.” Very mature ensemble playing by all involved here, patient improvisation, and the drumming! Check out Kuhn, who has Blue Note credentials (the recent and debated Basra), along with Chris Wood. What a gorgeous piano sound. This is a fantastic album guys. Highly recommended. I was wondering how many of you would make the connection between the sound of “Ask Me Now” and this track. I don’t think anyone came out and said it if they did. Lots of praise for the trumpet! I have yet to hear Zahariev on anything but this album.

12 “Blues For Percy” (William Parker) | WILLIAM PARKER TRIO Painter’s Spring | April 2, 2000. William Parker (bass), Daniel Carter (alto & tenor sax, flute, clarinet), Hamid Drake (drums).

As far as the blues go, it doesn’t get much further down that this. Written by a bassist, I assume this is dedicated to Percy Heath. This is a DEEP trio that will make you stop what you are doing. Daniel (pronounced “Danny-el”) Carter approaches this blues from inside the form, really projecting the emotion outward before retracting again. William Parker and Hamid Drake are a very well known battery by now, and I was sure that many of you already had this disc. I guess not… I had already intended on including this track before Dmitry’s blindfold, where he included a similar mood from a trio led by Roy Campbell, also featuring William Parker. I was surprised by the non-reaction to this track. As I hear it, there is a lot of emotion being poured into very honest and humble music. Puzzling reactions, but oh well.

[.:.impossible]

13 “I Should Care” (Cahn-Stordahl-Weston) | THELONIOUS MONK Thelonious Himself | April 12 & 16 1957. Thelonious Monk (piano).

A very different take on this tune from the July 2, 1948 session for Blue Note featuring the vocals of Kenny Hagood. I chose this to let everyone know that that definitely wasn’t Monk on track 2. This is Thelonious Himself in all his madness and glorious genius revisiting a favorite standard, splicing the melody the way only Thelonious would. Haunting.

This particular version was taken off of the VICJ K2 and the piano sounds phenomenal. I really get a feel for his touch and attack on this remaster.

Loved the comments about Ellington.

14 “Round Midnight” (Hanighen, Williams, Monk) | SUN RA Sound Sun Pleasure | circa 1958-1960. any combination of the following musicians: Sun Ra (keyboards), Ahk Tal Ebah, Hobart Dotson(trumpet), Bob Northern (flugelhorn), Charles Davis (baritone), Marshall Allen, Danny Davis (alto sax), James Spaulding, Danny Thompson (reeds), Pat Patrick (baritone), John Gilmore (tenor saxophone), James Jackson, Clifford Jarvis, Nimrod Hunt (drums), Hatty Randolph (vocals).

Much speculation regarding this session’s details as you can see. Regardless, this is a beautiful big band sound featuring the thoughtful vocals of Hatty Randolph (recommendations please!). Another Monk tune given an alternate life by the one and only Sun Ra during his stay in Chicago. His arrangements during this time are, in my mind, second to none, due to the somewhat loose interpretations by the ensemble. This is not spit-shine polished big band, and I tend to like it more than most of that variety. Mixed reaction here as well, which is sort of surprising since I love this track.

15 “Baltimore Oriole” (Carmichael – Webster) | BOOKER ERVIN Booker ‘n’ Brass | September 12, 1967. Booker Ervin (tenor saxophone), Charles Tolliver, Ray Copeland, Freddie Hubbard, Richard Williams (trumpet), Garnett Brown, Bennie Green (trombone), Benny Powell (bass trombone), Kenny Barron (piano), Reggie Johnson (bass), Lenny McBrowne (drums). Arranged and conducted by Teddy Edwards.

Can you say “allstar lineup?” Wow. The trumpet section alone warrants immediate attention. I included this selection in reference to an earlier blindfold featuring a vocal version of this tune, and thought it would fit in well with the previous big band track. Unmistakeably Booker Ervin and I was hoping someone would be able to identify the mastery of Teddy Edwards. This is an interesting sound due to the large trumpet section, and the inclusion of bass trombone. I like the bottom that Teddy Edwards creates here. Pretty solid in my opinion.

16 “Hi-Heel Sneakers” (Robert Higganbotham) | THE INCREDIBLE JIMMY SMITH Got My Mojo Workin’ | December 16 & 17, 1965. Jimmy Smith (organ, vocals), Kenny Burrell (electric guitar), Ron Carter or Ben Tucker (bass), Grady Tate (drums).

What I Say! What is that that Grady Tate is kickin’? Damn. That is some fine drumming. I’m starting to wonder about some of you guys’ rhythmic sense. And a little more from Kenny Burrell for you electric guitar fans. This is a good album reissued by Verve in 1997 featuring two lps: Got My Mojo Workin’ and Hoochie Coochie Man, both of which feature the arrangements and conducting of Oliver Nelson. The first side of Mojo just features the quartet as heard here. I personally think it’s a trio, because I can’t hear a string bass, but whatever. That is some clean grease and Grady Tate is choppin’ up some fine hash browns!

Rest in peace Jimmy Smith.

[JSngry]

Where'd you get that Adam Levy thing? I really dug that one!

As for the C.U.T./Marsh connection, I'm thinking that the tight 4/4 groove was an "impression" of sorts of Tristano, or at least the earlier Tristano stuff. That's how Lennie liked his rhythm sections to play - nice quiet, and even.

As to why they called it "Warne Marsh" instead of "Lennie Tristano". my only guess is that it's because Warne is THE MAN!

Edited February 28, 2005 by JSngry

[catesta]

Shit, I've passed on that Victor Feldman cd a million times. Maybe now I know I should grab it.

I'd love to have the Booker 'n' Brass.

And, I think I may place an order for that Garzone cd.

[.:.impossible]

Where'd you get that Adam Levy thing? I really dug that one!

Used bin... Plan 9. Cary St. Richmond VA. Same day I got that Feldman disc! I always walk upstairs from the basement with a huge stack. I really dig it too Jim. Its on a label called Lost Wax Music. All music written by Adam Levy. I've been playing it often this winter. All three of these guys knock me out.

[.:.impossible]

Shit, I've passed on that Victor Feldman cd a million times. Maybe now I know I should grab it.

maybe... ha!

[catesta]

Shit, I've passed on that Victor Feldman cd a million times. Maybe now I know I should grab it.

maybe... ha!

I still have the goofy cover to deal with.

[.:.impossible]

Yeah... I think Levey even took the photo himself and ran into frame just in time to point at Feldman. I think you'll get over the cover photo. Buy the CD instead of vinyl, there's a lot less to deal with!

[mikeweil]

Great choices! Excellent BFT!

That Adam Levy - where can I order this?

Got some right, but plenty of surprises as well.

Sun Ra did that Round Midnight arrangement? Wow. I heard the Arkestra once in Frankfurt, and it was - forgive me - pretty lame and uninspired. This here is much better.

The Moses - he's a deep player.

Kenny Wollesen too - some cool drummers out there doin' everything between pop country and jazz. I heard him on a Rudy Linka CD with Scofield and Abercrombie guesting, and found him great.

Agree about Grady Tate! One of the greatest jazz recording session drummers ever!!! Lays down some of the best bossa nova I have heard. Saw him live with Jimmy Smith and Kenny Burrell, and he was way cool and daring.

Again: Great choices!

[Jim R]

" Blindfold Test .:.23 DISC ONE Answers, Don't Peak!"

Don't worry- I think I "peaked" on BFT #3, where I knew all the answers (just a little homonym humor there... sorry).

Well, guess who not only owns that Feldman CD, but... also played it about a month ago. Yours truly, displaying some really solid (as in cement) eardrums. All I can say is that perhaps I didn't really hear that tune when I played the CD... because it went by so fast? (Looking for excuses now).

I'll have to keep my eyes open for that Levy disc. I didn't really love his sound on that, but from what you wrote about it, it looks like the CD might be up my alley musically.

My compliments on the very hip selections you put together, as well as the care and effort you put into posting these answers. Thanks again.

[Д.Д.]

Will get this Chicago Underground disc.

[John B]

I own Nishoma, so I am a little disappointed with myself for not guessing that disc. I did pick out the dancer, which is pretty cool.

I can't believe I didn't guess Monk and Booker.

I will also be buying a copy of that CUT disc, as well as the Monk. The Sun Ra track shocked me. I've got an unopened copy of that disc on vinyl. I never expected to hear anything like that track, which is my own failing. If there is one thing you can expect from Sun Ra it is the unexpected.

I'm really looking forward to the answers on disc #2!

[.:.impossible]

Open Sound Sun Pleasure now! I love that disc. I love all of the Chicago discs!

[Big Al]

Track 1: I’m with catesta: I’ve walked by this FAR too many times at Barnes & Noble & not picked this up. That will change with my next trip!

Track 2: “Monk playing through Walter’s hands.” Yes, I believe he’s nailed it there!

Track 6: Oh yeah, DEFINITELY gonna have to get this one! This track was nothing short of mesmerizing!

Track 8: Yeah, I was certainly stumped: I would never have guessed this was only recorded in 2000!

Track 9: Burrell & vibes! I never knew he made an album like this! ‘nother one I gotta check out!

Track 10: That’s really called “the Burton grip?” Wow, learn something new every day! I never knew that was something he pioneered; I coulda swore that four-mallet lpaying had come before him, but what do I know? (Don’t answer that. PLEASE!) I wish RCA would release Anagram on its own; those extra tracks at the end of Funeral (which didn’t impress me much on first listen; guess I oughta check it out from the library and listen again) whet the appetite for the whole thing!

Track 11: What’s a waterphone? May not pick up the CD, but this track will definitely go on my ever-expanding “BFT’s Greatest Hits” CD!

Track 12: {{{sigh}}} I suppose I’ll never get this stuff. I see other people heap tons o’ praise on these guys (especially Drake and Parker); yet this stuff is just lost in these ears. Or maybe it’s the other way around.

Track 13: The comment attributed to Monk playing through Davis’ hands could be rewritten here to read “Duke playing through Monk’s hands!” Of course, I’m just saying that to cover my guess!

Well, looks like this BFT’s gonna break me just as previous BFTs have done. And we haven’t even got to disc two! Ohhhhhhhh, my wallet!!!!

[mikeweil]

Track 11: What’s a waterphone?

click here - if these things weren't so damn expensive I would have got me one many years ago - they are truly fascinating!

Edited March 1, 2005 by mikeweil

[Big Al]

Wow! That is fascinating! Thanks for that link!

[Hardbopjazz]

Man, I only figured out 3 of these from disc 1, 13, 15, and 16.

[.:.impossible]

Hey, it wasn't necessarily about "figuring" as much as it was just listening. I appreciated everyone's honest comments. Sometimes it is difficult to write about what you hear, and at least you guys tried. I was just hoping for a modest discussion is all. Never really took off, but no biggee. I'm glad everyone enjoyed something!

[king ubu]

Hey Cary, this was quite an interesting ride! Much on disc one that was new to me, and not one cut (I think) that I had and missed. I know it's not about the i-d thing... I enjoyed hearing some new-to-me tracks! I've had the Feldman on "the list" but never actually got around getting it. Enjoy both him and LaFaro a lot!

Oh, and I'm completely with you on Bill Stewart, saw him live once, at a festival, with Goldings-Bernstein, and he played that killer solo that just makes you get up and leave when it's through, with a feeling that you've hear it all and can't take anymore, complete satisfaction. A great moment that was!

[king ubu]

Oh, and you can't say I didn't hear the dancer

In fact, a few years back I guested once with a local big band (second alto, they had someone who dropped out just before two gigs I played) and they had two numbers written by/featuring a tap dancer. That was great fun!

ubu

[.:.impossible]

That sounds like a lot of fun. Are you aware of any small group projects that the dancer is involved in?

Can anyone else think of any other recordings that feature shoes? Bennick?!

[king ubu]

That sounds like a lot of fun. Are you aware of any small group projects that the dancer is involved in?

Can anyone else think of any other recordings that feature shoes? Bennick?!

I can't even recall that dancer's name, sorry! I think he was German. Big man, kind of like a bear, almost, but when he started dancing... wow!

[mikeweil]

There was a handful of recordings with tap dancers, one of it on a MasterJazz LP, some were sessions for Black&Blue in France. Some of them were on a Blac&Blue CD. (PM me about this.) Don't know about any others.

My time on the board is limited for the most part ofg this year - be assured I appreciated and enjoyed your selections a lot, and would have liked to discuss more, but ...