BFT #30 Discussion

[catesta]

Looks like it's time to start the discussion thread.

As I mentioned before there is really no theme, I was just picking some enjoyable tracks. There are for sure some gimmes.

If I'm lucky I may stump a few of you.

[tooter]

As usual, lots of stuff I think I might know, almost, but can’t produce names. But here goes with what I can guess at, trying to be cryptic where appropriate.

1. I’m sure I know this but can’t think who or what. Sounds west coast – two tenors – could be Kamuca perhaps.

2. This one I know and have. The tune is easy of course and the cheerful piano playing is from a great favourite. So doing a double take here on the tenors!

3. “Beginning” – even knew the words of this once. Don’t know anything about who’s playing, not my normal listening but enjoyable.

4. Piccolo? Penny whistle? Don’t know the tune. Just a non-cryptic guess that it might be Frank Wess “Trombones and Flute” album.

5. The tenor sounds most familiar here but the name eludes me. Trumpet too as next most. Alto more angular - style does not suit me or give any chance of a guess.

6. Blues – don’t know the name of the tune. Nobody that I can guess. Like it.

7. “Solitude” – could it be the composer playing?

8. “East of the Sun and West of the Moon” - got this album not long ago. Alto player in an unfamiliar suit. Grand stuff – does it swing!

9. No guesses here.

10. Ditto – don’t like tenor playing.

11. Don’t know this either – not in my stylistic preference area.

12. Ditto again. Blues but don’t know the tune.

13. “More Than You Know” – beautiful clarinet sound. Goodman is all I can think.

14. “How High the Moon” – Hamp? I’m out of my depth. Guitar very nice indeed.

15. One of those very familiar tunes where the name just won’t come. Pianist everybody will recognize I imagine.

16. Another blues but don’t know it. I think I should know the trumpeters but usual trouble with names.

Very interesting selections – thanks a lot, Chris. Quite a few out of my usual scope but none the less enjoyable for that, but then a lot were dead centre for me too.

edited for grammar!

Edited October 9, 2005 by tooter

[JSngry]

Well! For once I got a chance to listen at length and in a quiet environment before posting guesses. Let's hear it for BFTs arriving on Friday afternoons!

As always, the usual thanks and disclaimers are firmly in place.

TRACK ONE - Warne & Ted. Yeah. The mid-50s resulted in a lot of overtly "happy" (relatively speaking) music from Warne. Seems that being back home in LA, away from NYC & Lennie, and having opportunity for regular, if not spectacularly high-profile, work agreed with him, at least for a while. This session is from that time, and it's a splendid one. Of course, with Warne the story wasn't complete until the very end, so there would be much more to come - more evolution, more deeping of expression, and more mastery of both his instrument and the music he made with it. But also with Warne, it was good from Day One. So this is definitely one to have, but any of the new Warne fans think that this is all there is. Or vice-versa, if you come to him from later work.

TRACK TWO - "Indian Summer" by Two Brothers. But which two, I'm not sure. One sorta sounds like Al Cohn, one kinda like prime Bill Perkins, but neither totally so. I honestly can't tell, other than the first soloist really hits that Perkins "float" zone in a few spots. Maybe Richie Kamuca's one of them? Is this that PJ album they made together, Perkins & Kamuca? Never heard it, but I like this cut a lot. This is the kinda thing I used to love to death when I was in high school, just discovering jazz in a very jazz-hostile (literally and figuratively) cultural environment. The whole "cool" thing held an element of escapism that was just what I needed at that time and place. Kinda cooled on it (no pun intended) when I left home and got more into the thick of things, and have gone back and forth with it quite a bit. Having finally stabilized somewhat, I now dig it when it hits a groove like this. Nothing complicated, other than the relaxation, which is anything but simple to achieve, no matter how sweet your life might be. Of course, it's a fine line between relaxed and inert, and many players of that school crossed that line sooner or later, some never to return. Perkins & Kamuca weren't among them, although Perk went off on some pretty tangental tangents career-wise, to put it mildly. But this cut comes from a time when it was all good. If this is that album, and it ever gets reissued, I'll buy it in a heartbeat. Bill Perkins at his best was a very special player.

TRACK THREE - Only things I can say with absolute certainty is that Coleman Hawkins is here, and that it's a Columbia recording. Those are two unmistakable sounds! Might be one of those Buck Clayton jam session things, I've never heard those. No matter, this is great stuff, the sound of men who refused to be fenced in inside themselves. Everything about this stuff is big and wide - the beat, the time, the tones, the pacing of the lines, everything! I love it, really love it. It's as free, in its own way, as any music ever made, at least when it's played like this. Now as far as who's who, I can't say. the second tenorist might be Bud Freeman, and I think I hear Lawrence Brown on trombone. And one very Cootie-esque growl! And one helluva solid bass player! Other than that, I can't do any more than guess. But I do love it. Yes I do.

TRACK FOUR - Trombone & piccolo? Haven't a clue, really, but the drummer sure sounds like early Elvin to me. Whether it is or not, though, there's the rub...I was thinking maybe JJ & Bobby JAspar, but I don't know if Jaspar ever played piccolo... Whatever, the head is very, very attractive. The blowing goes into kind of a generic "Bird blues" kind of thing, but good things get said. Guitarist might be Burrell, but I don't think so. That drummer sure feels like Elvin! Flutist (piccolo on the head, flute for soloing) sorta sounds like Frank Wess tonewise, but I'm not exactly a connoiseur of flute tones...Trombonist, not JJ, I don't think, and not Curtis. Might be Jimmy Cleveland, or maybe even Rosolino. Or neither...Whoever it is has amazing fluidity in both chops and tone, and a bit of harmonic daring, at least in terms of the time and the rest of the group. Tell me that's Elvin! I liked the head more than the rest of the piece, but it was all good. This one's a stumper!

TRACK FIVE - This one I can deduce just from a few distinctive, key sounds/tonal personalities - Jimmy Woods, Harold Land, Andrew Hill, and, this time for sure, ELVIN! I don't have this album yet, but this is all the incentive I need to get it! KILLER!

TRACK SIX - Fathead! Sounds like one of his more recent sides by the recording quality, possibly the one w/Curtis. If this is Curtis, well, he's seen better days for his chops than this, I'm afraid to say...His tone is kinda shot...But everybody else is on time and sharp! And Fathead! You either "get" him or you don't, and I do. Took me a while, really not until I had had professional experience playing R&B gigs where a little jazz was part of the early sets. Having to deal with that dynamic, in its native environment, really opened up my heart and head to where Fathead's coming from, and I've been hooked ever since. He ain't fancy, but he is about as real a player as there is. Works for me!

TRACK SEVEN - "Solitude", and not to my liking, I'm afraid. Don't care for the tempo (too fast), the right hand (a little too glib), the left hand (not enough of any one thing), nor for the recurring "Tenderly" quote ("cute" the first time - I HATE "cute" - and worse every time thereafter). I'm sure that it's a very good player, perhaps even a great one, but nobody's perfect...

TRACK EIGHT - Now this one fucked me up! "East of the Sun", one of the great tunes, and still relatively underplayed. The alto tone is remisiscent of Art Pepper (albeit on an "unhealthy" day) or Frank Morgan (likewise). The cat's having instrumental issues, but is still playing his ass of in spite of them. So I'm really thinking that this is some rare Pepper outtake or something. Hearing Leroy Vinegar (can't mis him in a context like this!) stenghened the notion that this was vintage West Coast Alto Great. But something about the alto made me think that it might not be Pepper, bad day or not (the tone is not as controlled as his, and the fingering is a little sloppy here and there). So I listened over a few times, and finally, on the third or fourth time through, it clicked. At 6:01, to be precise - that little strestch of working the one note, and the little flurry that concludes it, were the giveaway, a thing very personal and specific to this player. Since I'm the first one to respond (or at was when I started...), I'll not give it away, but suffice it to say that once you know who it is, the whole thing falls into place, and beautifully so. And the instrumental issues are perfectly understandable. What I don't understand is, if the rest of the side is as great as this one cut, how come I've never even heard of this record? Sure, the performance is old, but it's a pretty recent issue. And I've not heard one word about it! Either I haven't been paying attention (entirely possible), or else this is one sleeper of a side that might well disappear without a peep (ditto). That would be sad.

TRACK NINE - Lively and frisky! Sounds like it might be something from the UK, ca. 1965. Tune's got a really interesting, stretched-out form. The changes are straightforward wnough, but those extended sections are the typ of thing that can really throw a soloist for a loop - you get used to building and resolving your lines within certain cycles of phrase lengths, and when something like this comes along, all of a sudden there's this...extra space to fill in before moving on and you're all like, WTF?!?!?!?!?! But that's not a problem for these guys. They've gotten inside this one. It sounds like a working band, which is still the way to go afaic. My guess would be tubby Hatyes or Ronnie Scott with Stan Tracey, not based on anything in particular, just the vibe of both the band and the audience. Whover it is, they got their own thing happening with this one, and more power to them for it!

TRACK TEN - Vonski. Oh HELL yeah! To be totally blunt, and equally totally accurate, this guy's a BAAAAAAAAD motherfucker. If you don't know him, you are deprived, and if you know him and don't dig him in some form or fashion, you are wrong (or maybe you shouldn't be listening to jazz just yet). Simple as that.

He's still alive, folks. Show the love before it's too late.

TRACK ELEVEN - I've often wondered what Hawk thought of this one. I mena, he shows up ready to throw down some freakin' brilliant readings of Ellingtonia (and he does), and he gets presented with THIS! I think it's a hoot how the thing just goes on and on, like everybody's just WAITING for him to join in, and he's just not gonna do it! He was probably all like, "wait a second, this is NOT what I came here to play...", you know, all Hawkish and shit. But he finally does, if only for a short say, as if "well, if I HAVE to...", and then Sam goes and locks his shuffle beat into Hawk's eighth notes just perfectly, which is something that very few drummers were able to do, as if to say, "we gotcha now, mthrfkr!". I wish I coulda been there to see it.

TRACK TWELVE - Sounds like one of those Pablo jam session sides. Sweets (or Clark Terry, maybe) and Lockjaw. Lockjaw is proof to me that God talks to tenor players the way he talks to nobody else. No other way that instrument gets played that way - it ain't natural! But is sure is hip. Thanks, God!

TRACK THIRTEEN - This one creeps me out, more than you know! The clarinet and piano and audience all sound like some location recording from the 30s or 40s that have been really digitally scrubbed, but the bass sounds like somebody overdubbed it, like, yesterday. It's like Mingus & Massey Hall, only nowhere near as obvious, which make it just too damn TOO wierd. It's a fine performance, but until I find out that this is some sort of "concept" recording, I'm taking the stance that this is Devil Music!

TRACK FOURTEEN - this one intrigued me. Obviously Teddy Wilson, but there was just a hint of "moderninity" to it that had me stumped as to who else and when. So I did the research and found out what it was. A vwery interesting blend of players, and another one that I knew absolutely nothing about, and another one that I'd eagerly purchase should it come out again.

TRACK FIFTEEN - Errol Garner on a tune that I know I know, but can't for the life of me remember the title of. A little Errol usually goes a long way for me, I men, I dig him, but he was definitely a "stylist", albeit a thouroughly enjoyable, and at times, unpredictable one. Still, for me, the highlight of this piece is the intro - now THAT'S some mojo!

TRACK SIXTEEN - Some trumpet blues. I think I hear an older Clark Terry, some Jimmy Owens, and somebody else(?). I bet it was fun to be there.

[JSngry]

Failed to add a final "Thanks for an enjoyable ride!" before hitting Add Reply, and don't like to edit my guesses, so hey - Thanks for an enjoyable ride!

Edited October 9, 2005 by JSngry

[take5]

1. Nice ensemble playing

2. Beautiful tones on the sax duet. Sounds like Stan Getz on one sax.

3. This one swung the living crap out of my speakers which then began to see the light. Awesome.

4. Great tune- nice guitar solo

5. I know this but can't identify it. Love the driving piano accompaniment.

6. Pretty nice song though nothing jumps out at me

7. Nice solo piano track, won't venture a guess though

8. Reminds me of Art Pepper

9. Solid energetic track, sounds modern

10. EMI production sound, which I tend to enjoy

11. Cute, too cute for me generally, but fun

12. Pretty solid

13. Nice clarinet... kinda smokey, old timey (in a good way)

14. Pretty solid for old-school, music I need to listen to more of

15. pretty piano

16. Boy howdy that's a lot of trumpet. Sounds like the great young lions of the 50s.

This is the most fun BFT I've listened to so far.

[Durium]

I listened at random to some tracks.

3. No idea. A swing band with bebop influences, so maybe early 1950s? Is the trumpet player Sweet Edison?

5. Some moments I heard Roy Hargrove, but I don't recognize this version. Larry Willis an Sherrman Irbi on piano and tenor and Willie Jones III on drums. But, I think it will be one of the great hard bop musicians.

I guess I'm terrible wrong, but if I hope Roy will find it a compliment.

15. Erroll Garner - Even Icould hear this.

I'll jump in some other tracks later this week.

Durium

[EKE BBB]

First listening and all I can say is woooow!!!!! This is a very enjoyable selection, Chris. Thanks a lot!

Haven´t got time to make a track by track analysis now, but here´s some guesses:

Track 3:

This is "I´m beginning to see the light" from this Jazztone disc, reissued by FSR:

http://www.allmusic.com/cg/amg.dll?p=amg&t...10:uhuj6j8771t0

Track 7

Obviously, "Solitude" (with quotes from "Tenderly"). Wild guess... Jessica Williams?

Track 10

Von Freeman, his tone and phrasing is unmistakeable

Track 11

Easy one. Track 1 from this disc:

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:sa8gtq9zbu46

Track 13

"More than you know". Clarinetist should be clear, but... is he?

Could it be track 6 from:

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:1sdsa9rgq238

But... where´s Billy Bauer?

Track 14

"How high the moon". Track 8 from here:?

http://www.cduniverse.com/search/xx/music/...y+1944-1947.htm

Track 15

Errol Garner

More to come!

Edited October 11, 2005 by EKE BBB

[tjobbe]

so I had a first spin of the BT30 and one of the first things I needed to do was to kick out one track of BT31...a Catest-(a)-rophy

so Track 11 is track#1 from HERE although my version would have been a little bit newer....

I guess #14 might be Lionel H. or Red N. but no clue who exactly.. somewhat from the forties, a bit to old for me

#15 I would bet money on Garner but also there no further news....

for the rest I will try to dig a bit deeper later but very enjoyable.

Cheers, Tjobbe

Edited October 12, 2005 by tjobbe

[DukeCity]

Catesta- nice selection of tunes. This was fun to listen to.

First impressions:

1. A line on the changes to “Another You”; sounds like maybe Warne Marsh and the piano sounds like Lennie to me. Not sure about the other tenor (did Lee Konitz ever record on tenor?). Comping behind solos is very un-syncopated, just clunking on the downbeats of the measures. Both tenors playing written exchanges with the piano solo?

2. “Indian Summer” with two tenors. Sounds like some cool ‘50s thing; don’t know if they’re actually West Coasters.

3. “Beginning to See The Light” sounds like an Ellington All-Star jam date. Minimal arrangement that could have been thrown together. Not sure about specific players.

4. Piccolo (solo on flute?) and trombone; I have to say I’m not the biggest fan of jazz flute on a medium blues. The flute playing sounds like it could be anybody, but with the piccolo on the head, I’m guessing maybe a full-time flute guy like Herbie Mann? No guesses on the trombone, although I’m sure the whole-tone scale licks would probably give it away to a bone expert.

5. Sounds like a Blue Note/ Blakey kind of date. No guesses as to particular players.

6. Minor blues; No guesses for tenor and trombone.

7. “Solitude” no guesses; not Duke; not very adventurous harmonically, kind-of fast for this tune, not my favorite, but I kind of like some of the rhythmic tension between the laid-back right hand on top of the grooving stride-ish left hand.

8. “East of the Sun”, not sure of the alto; light sound like Desmond, but not him. Phrasing a little more like Art Pepper, but not him either.

9. Don’t recognize it, but I like it! Clean tenor player a la Griffin or Land.

10. Whew! Fast rhythm changes. Could be Von Freeman. Tempo seems a little too fast for both tenor and piano. They’re making it happen, but sounds like some of their lines shatter apart before they can finish their ideas. I feel for ‘em! Even drummer gets tangled up on the closed hi-hat during the walking bass solo.

11. Sounds like another Ellington All-star thing. Hodges, maybe? not sure about others.

12. More blues; maybe Clark Terry on muted trumpet?, not sure about tenor; maybe Ben Webster?

13. “More than You Know”, no guesses for the clarinet. Older guy, maybe Buddy DeFranco?

14. “How High the Moon” not sure about trumpet, but sounds like maybe Teddy Wilson on piano. Has that stride thing going even with bass and guitar in the rhythm section. I like the ensemble line with tpt and guitar…

15. No guesses for piano. Don’t recognize the tune.

16. How ‘bout some trumpets?!?!? One of them sounds like Clark Terry, but not on his best day. When it started, I was thinking it might be from the Dinah Washington date with CT, Clifford and Maynard, but there is neither CB nor MF soloing. First solo is definitely CT.

Fun tunes to listen to. I’m looking forward to discussion and finding out what theses are. I’m humbled by not knowing more of the saxophonists (as one myself!?).

[Harold_Z]

Thanks for an enjoyable set Chris. There's some really nice stuff here.

Here's goes. I'll tell ya - these blindfold tests are humbling !

1- Changes to "There'll Never Be Another You".

2- Nice take on "Indian Summer" and some very Lester influenced playing. Not sure who., Zoot and Al crossed my mind. Warne Marsh and Lee Konitz did too.

3- "I'm Beginning To See The Light". Well - recognizing the soloists (Bud, Rex, Bean, Cootie) led me tto 'The Big Challenge" .

4- Nice medium tempo blues. Kenny Burrell is my guess on guitar, Jerome Richardson on flute? J.J ?

5- Don't know. My first impresssion was Lee Morgan, but I don't know this track.

6- Up blues - don't know the track,. Trombone / Tenor front line - nice.

7- Solo piano "In My Solitude". Beautiful.

8- West Of The Moon. Again a Lesterish player, but on alto.

9- Don't know.

10. Don't know

11. Johnny Hodges kicks off the blowing. I have this. I think it's on the Bean/Duke album. Lawrence Brown, Carney, etc.

12. Blues. I'm gueessing Clark Terry, Oscar, Lockjaw,.Ray Brown. I guess it's a Pablo thing ?

13. Benny doing "More Than You Know". At least it sure sounds like it. Beautiful performance from all concerned.

14. HHTM. Is it early JATP? Hamp, Piano sounds like Teddy Wilson to me, Barney Kessel, definite swing era drummer and trumpet. Buck Clayton, Krupa?

15. Errol Garner

16. Up Blues Interesting writing. First horn sounds like a fleugle, than a trumpet

[Stereojack]

OK, I'm ready to toss my hat into the ring.

1. Warne Marsh – This is from the “Jazz of Two Cities” album on Imperial, possibly the title track? Based on “Lover Come Back To Me”, beautiful music! Warne and Ted Brown blend together so nicely, I can’t always tell them apart, but I’m pretty sure Warne is up first. Ronnie Ball is the pianist, Ben Tucker on bass, can’t remember the drummer.

2. “Indian Summer” – when I first heard this a few days ago, we New Englanders were enjoying one! I believe this is Bill Perkins and Richie Kamuca, from the great “Tenors Head-On” on Liberty. I think Richie is up first, followed by the oh-so-Pres-like Bill Perkins. A lovely side.

3. Now I'm beginning to see the light! “Cootie & Rex – The Big Challenge” a great album on Jazztone! Let’s see if we can name the soloists – after the ensemble it’s Rex Stewart, Cootie Williams (trumpets), Coleman Hawkins, Bud Freeman (tenors), Dicky Wells, J. C. Higginbotham (bones), Rex & Cootie again. This music is like mother’s milk to me!

4. This one didn’t ring any familiar bells for me, possibly Herbie Mann on flute? Nice solos from piano & guitar, but nobody’s jumping up and saying “Hey, it’s me!” Trombone sounds like a valve job.

5. From the sound I believe this is a Riverside session, and I’m pretty sure I can hear the arranging touch of Jimmy Heath. Freddie Hubbard would be my guess for trumpet, can’t place the wild alto, tenor seems to be Jimmy Heath, as I suspected. Can’t place anybody in the rhythm section, drummer is strong.

6. A tantalizingly familiar tenor, can’t name him or anyone else, for that matter. Trombone is scuffling a bit – Julian Priester?

7. “Solitude” – the pianist throws in a few Dukish flourishes. Might this be an older player like maybe Ralph Sutton or Dill Jones?

8. My first reaction was Stan Getz – “East of the Sun”. Well, I got the tune right, but this seems to be an alto, and the ideas aren’t flowing as they would if it was Stan, so I’m lost. A somewhat disjointed performance, although rhythm section is nicely in the pocket.

9. On second listen it occurred to me that this might be from Pete LaRoca’s “Turkish Women At the Bath” with John Gilmore on tenor and Chick Corea on piano. Am I warm?

10. A nice airy tenor and a challenging tempo. In places I’m reminded of Sam Rivers, but I’m not at all familiar with this side.

11. “Limbo Jazz” – the Duke of Ellingtonia plays host to the Hawk of Colemanville. Love the way Harry Carney’s bari provides such a beautiful underpinning to the ensemble. After everybody has had their say, Hawk glides in so effortlessly, building as he goes, and slithering out again. Is that Sam Woodyard vocalizing?

12. A nice medium tempo blues, possibly Ray Bryant on piano? Sweets Edison makes his presence known, and then it’s Jaws’ turn. Ray Brown on bass? This has to be a Pablo session. I swear there are more than two horns in the ensemble!

13. Benny Goodman, I’m pretty sure, playing to a large appreciative audience! I’m guessing this was recorded in the 60’s or possibly 70’s – the old man still has great chops and a sweet tone, more than you know.

14. “HHTM” Teddy Wilson, one of the sextet sides from 1944, I believe. Remo Palmieri (guitar), Charlie Shavers? (trumpet), Red Norvo (vibes), Al Hall? (bass), Specs Powell? (drums). Remo (or whoever it is) sounds so nice on this.

15. Here’s a guy who comes in and signs his name right away – Erroll Garner, “Penthouse Serenade”. So sweet!!!

16. This must be one of those all trumpet deals, probably on Pablo. I’m pretty sure the first soloist is Clark Terry, Dizzy is next, Freddie Hubbard(?) third, takes more choruses than the first two, which threw me off the first time I listened. I swear there are at least five trumpets in the fours section, but by this time I’m totally lost!

Some really excellent choices, Chris – thoroughly enjoyed this BFT!

Now to go back and see what others are saying…

[Stereojack]

After reading everyone else's responses, I've got a couple more comments. Agree with JSangry about the distracting digital harshness on track 13, and also found myself impatiently waiting for Hawk to come in on #11, can't believe I didn't recognize Vonski or Fathead!

[Jim R]

This one turned out to be tougher than I expected. Overall, some very good listening.

1. Don’t think I’ve ever heard this before, but the tune is based on the changes to “There will never be another you”. This is fun, but I’m not really crazy about this style of jazz, and have never thoroughly explored it. As fate had it, my interest in jazz didn’t come out of the swing/big band era, so I’m still pretty ignorant about a lot of the guys who patterned themselves after Basie (and Pres).

2. “Indian Summer”. Again, not my area of big interest. The camp of players that came out of the big band era... I like to listen to them, but it’s not often I really pick out distinctive passages that really move me. But I’m still trying to be open to learning more about this style.

3. I’m beginning to see the... idea here. Swinging saxes!! Do I hear Hawk? Think so. With some Ellingtonians methinks... based on the tune

4. Hey, what happened to the saxes? Actually, I’m glad for the change o’ pace. This is nice- a not-so-ordinary approach to the blues. Nice arrangement, and I’m digging the solos too. Shit... this is messing with my brain. I don’t think I own this, but I think I’m going to need it. My first thought was a Herbie Mann group. That is one of the weirdest Kenny Burrell solos I’ve ever heard. There’s one lick where he goes way down low on a bass string... just doesn’t sound like something KB would have played. But it’s KB. DAMN, this can’t be a Herbie Mann thing. At first I thought Curtis on bone, but upon further examination, I recognize some Jimmy Cleveland (or Rosolino) type technique in there. I think this is Cleveland... and now I know what the **** this is! It’s gotta be Jerome Richardson’s session. I don’t have time to check or do a link right now, but it’s from one of his New Jazz albums.

5. The theme is pretty nice, but I didn’t really care for the pianist, or the alto. The drummer is great (maybe Elvin?), but I would rather rather hear him on something else.

6. 2 1/2 stars. I won’t be searching for this, but it was good to hear it. Can't I.D. anybody.

7. Solitude. 2 stars. Pleasant enough, but I’d rather hear this a tad slower and with a slightly more modern approach to chords. I don’t know who this is, but it strikes me as a younger player incorporating an older stylistic approach.

8. East of the sun. I’m not sure on the alto... but the pianist sounds like Russ Freeman. Very nice. I’m not enthralled with the altoist, but then I’m finicky sometimes.

9. Interesting... but I could live without it.

10. For me, they’re cramming too much music into too little space (time). Marvelous execution, without a doubt, but not something that really pleases my ears in a way that I’d want to spin it again any time soon.

11. I used to have this on a compilation CD somebody gave me. I like it, but not enough to buy the disc it came from, I guess. But nice to hear this again. Hawkins again, right?

12. Unmistakeably Lockjaw on tenor, but beyond that I’m not sure. Maybe a Pablo jam from the 70’s?

13. Whew, I got goosebumps from the opening. I don’t listen to much clarinet, but maybe I should do something about that. More than you know... great song. Don’t know who this is.

14. Hhtm. Maybe a Hampton group? I dunno, these old ones often stump me... I need to listen further to this guitar player.

15. Erroll Garner, who knew more songs than I do (what is this tune... I’ve heard this before, but I can’t recall the title).

16. Strong finish. This grooves from the get-go, with a nice tight sound from the rhythm section throughout. Can't identify anybody as of yet.

[JSngry]

4.  w I know what the **** this is!  It’s gotta be Jerome Richardson’s session.  I don’t have time to check or do a link right now, but it’s from one of his New Jazz albums.

←

http://www.allmusic.com/cg/amg.dll?p=amg&t...33:y09as30la3ng

[JSngry]

11.  I used to have this on a compilation CD somebody gave me.  I like it, but not enough to buy the disc it came from, I guess.  But nice to hear this again.  Hawkins again, right?

←

Dude, trust me - the rest of the album is nothing like that cut. You're gonna thank me some day for urging you to believe me now and go out and get that sucker asap!

[Jim R]

11.  I used to have this on a compilation CD somebody gave me.  I like it, but not enough to buy the disc it came from, I guess.  But nice to hear this again.  Hawkins again, right?

←

Dude, trust me - the rest of the album is nothing like that cut. You're gonna thank me some day for urging you to believe me now and go out and get that sucker asap!

←

Yeah, actually I should just thank you right now (thank you), because I'm realizing that this is one of those "I'll buy it eventually" discs that I've put off for way too long.

Thanks to Chris also.

=====

Solid link on that J-Rich. I need to pull those suckers out again (that one and "Roamin'") pronto. Haven't played them in a few years.

... AND "Goin' To The Movies", a great one which I gots from YOU!

[MartyJazz]

Got this BFT a little late but I'm listening to it around 1:30 in the morning with the volume somewhat low so as not to wake up anyone here. Haven’t looked at the previous responses but will be sure to do so once I post this.

1) An old Warne & Ted favorite, I believe it’s “Smog Eyes” from the JAZZ OF TWO CITIES date, based on “There’ll Never be Another You”. Great swinging start.

2) Another two tenor feature on the standard “Indian Summer”. These guys are also very Pres influenced but without the intervening Tristano approach prevalent on track 1. A good guess here would be Al (heavier tone) and Zoot (lighter), but if you tell me it’s Richie Kamuca and some other west coast tenor, I wouldn’t be shocked.

3) Mainstream orchestral take on Duke’s “I’m Beginning to See the Light”. I hear Hawk and the inimitable Bud Freeman. Whoa, now I got it. I should have recognized the trumpets sooner - Cootie and Rex, a real all star date that I haven’t listened to in many a year but it’s come back to me now. This is no doubt from their LP (I don’t have this on CD) THE BIG CHALLENGE.

4) Entertaining flute work but I’m hopeless when it comes to id’g flautists. I’ll take a stab though at the guitarist who reminds me somewhat of Kenny Burrell. Trombonist is probably a familiar name also.

5) Well, I definitely hear Harold Land on tenor, but cannot place the alto player nor the trumpeter. Yet the track sounds so familiar to me, I’m almost positive that I have it on some obscure LP. Can’t wait to find out who this is.

6) Tenor is of a 50s mainstream/R&B style that’s never done too much for me. No guesses.

7) “Solitude” with some Ducal pianistic flourishes but definitely not the composer. No idea who.

8) “East of the Sun”, very enjoyable version. Have no idea who this altoist is.

9) Like this track a lot but again, cannot even venture a guess.

10) Rhythm changes, really “out” tenor, very unique. Like this track a lot. Want to know who this cat is.

11) OK, that’s Hodges definitely on alto. That vocalizing in the background is a pain in the ass and I know I’ve heard it before. Ah, I got it – I could never understood why this track starts off an historic meeting of Duke and Hawk, an Impulse date that has a few tracks superior to this one.

12) Down home blues. I should know the trumpet, sounds very Roy like. Tenor is unmistakably Lockjaw.

13) “More Than You Know”, done in a Benny Goodman tribute vein. Now I hear the applause. Hey, why can’t it be Benny, perhaps in one of those many live dates he did sometime during the ‘50s or ‘60s? Yeah, I’ll stick with B.G. until you tell me otherwise.

14) Another mainstream performance, this time on jazz’s “national anthem”. Norvo on vibes, Shavers on trumpet, maybe Remo Palmieri on guitar, I would guess.

15) Could only be Errol Garner. Don’t know the track. Lotta fun listening to this one.

16) Like this track, that break up by the ensemble breaks me up. First trumpet’s gotta be Clark Terry or I’ll be shocked if it’s not. Another trumpet sounds like Don Ellis. Have no ideas otherwise.

Very enjoyable BFT. Looking forward to the answers.

[catesta]

Interesting comments by everyone, so far.

[MartyJazz]

Yeah, Sngry tagged #5's personnel all right. I knew it was familiar. I've had the LP for years, "Coming Home" is the familiar track I should have id'd. Alto leader is so little known, it's hardly any wonder this is a hard track to pin down.

[Jim R]

Okay, #8 is starting to bug me now. Two members recognized it, but didn't provide links... which is cool, just forces me to think harder and makes the whole thing more fun. But now it's bugging me, goddammit.

Jim, could you confirm whether it's Vinnegar on bass? Just this one clue might help me to piece things together. Actually I'm not necessarily close, but I think (hope) that I can narrow things down via the piano player (I guessed Russ Freeman, which I think may be wrong, but there are a handful of players in whom I hear similar characteristics). Which leads me to a tangential topic that I've never gotten around to. Might as well bring it up here...

I hear in a number of piano players who were recording in the 50's a similar style, which I've never quite put my finger on, nor traced the origins of. A few players that sound very similar to me at times (and there may be a few others I'm overlooking): Hampton Hawes, Eddie Costa, Russ Freeman, Claude Williamson. It's a manner of swinging, a particularly percussive approach to soloing, not really flashy but more earthy/bluesy/funky. But it's the percussive element that stands out (listen to the lick at 2:34-2:37). On the beat for the most part, and the occasional "bombs" from the left hand. Horace Silver had a hand (pun probably intended) in inspiring this style, but in terms of this particular track and the elements of this player's style that prompted me to bring this up, I associate the sound more with the other players (and I would tend to put less emphasis on Hawes in this respect also, as he a broader technique at his disposal).

So, before I get any further out in left field, does any of this make any sense to anybody? What do you all think of this pianist (more ideas)? If anyone else has zeroed in on this particular piano style, any thoughts on tracing it's origin? As I said, I'm probably overlooking some other players, and it may have been far more widespread than I'm currently realizing. Two people already know who the pianist here is, so I hope I don't end up falling off the limb I'm on.

[catesta]

Jim, could you confirm whether it's Vinnegar on bass?  Just this one clue might help me to piece things together.

←

I'm not Jim, but that is Mr. Vinnegar you hear.

[Jim R]

I'm not Jim...

←

Well, there goes one of my nutty theories...

Thanks for the tidbit.

[couw]

here goes!

een: I think I recognise Warne, the other tenor is territoria rasa for me. Good stuff! Obviously these guys have played together more than once, very nice blend of tone and phrases, lots of little itty-bitty beng beng neeyick going on; of course with Warne it's rarely anything else. There is plenty of Marsh out there I still need to explore, this is definitely part of the plenty! (Now catesta can put me out in my drawers by pointing out this is not Warne...)

twee: and more two tenors and this time I am completely without guesses. Very nice in that laid back kind of way. Nothing much truly exciting happening, but sometimes that's what counts. Good grooves and a drink to sip. Nice contrast to the first track which is in a similar tempo but has much more shards flying around that might hit you in the eye if you do not watch out.

drie: beginning to see the light with Hawkins prowling in the background and Cootie (?) talking through his trumpet. If tenor number one is Hawkins, I cannot tell who is number two (same goes for Cootie and Mr X), but it all sounds verra familya. Throw in some mean trombones to add some grease to the dancing knees and growl till the throat dries out. This swings like a lambs tail, just that two shakes ain't never enough.

vier: this one has had me stumped since the first time I heard it. Wassdis, a piccolo and a bone? And whodat on the ivories? Very familiar, and I'd even wager a guess at Hank Jones here. Geeetarrr has some Burrell in it, but some stuff doesn't fit with that name... (I see Jim R did post here already, good!) Then a flute that doesn't ring any of my bells. This is good stuff! and I am curious.

vijf: Elveeen! yas? Trumpet sound familiar, piano comping is getting mightily on my nerves with its obtuse denseness and bored repititions, I mean, come on! it sounds like the guy is playing a nursery rhyme on the black keys only and want us all to applaud him for that. Shee-itte. This really ruins it. ... okay, solo points out this is Andrew Hill Must be that Jimmy Woods date. Andrew must have been pretty pissed it wasn't his date or some such. WTF? It's been long since I "enjoyed" Andrew Hill's playing, I blame it on my having a too good time to be interested in his black clouded style. Good player, hell yes, but not for me, not now. The guy sounds like an eternal depression where no sun don't ever shine.

zes: this is nice, but no big cigar, just nice.

zeven: more of the just nice and a bit long too. what's the tune?

acht: huh? Has a touch of Pepper, but definitely not him. Crank Carunch Clinck!! and there it is! On my shelves (thanks brownie)! Zut alors!

negen: big fun and mucho power, but really no idea who's playing here. I like it good enough. Take no prisoners me mateys! harrr!!

tien: Von!

elf: this is just whack. WTF? goes on and on and on and on and yeah it's big fun and all that, but what's the idea? Khenkhekhenggh. And then there's this tenor towards then end (Hawk yes?) and it all sort of explodes into something we've all been waiting for. What's the story here?

twaalf: harrrrrrrrrr! This stuffe is tight. it's dunno on trumpet and then, suddenly... it's Lockjaw on the tenor! harrrrrrr! tight doesn't even begin to describe Lockjaw. harrrrrrrrr!

dertien: Sounds like latter day Benny Goodman to me. No clue who else is there. Strange sound with the piano echoing off on the extreme right and some digital ditter on the audience clapping. The drums get into this weird whack digital pea-sack sound as well... In spite of the way cool clarinet, this makes me want to pull off my headphones and hope halloween will pass in silence this year... brrrr....

veertien: ooooo! nice!

vijftien: Erroll fer sure, but then?

zestien: trumpet a plenty, sounds like one of those Pablo deals with trumpet summits and the like. Terry and then ?? and then ??? (sorry I got distracted...)

over and done, damn nice ride!

[couw]

That is one of the weirdest Kenny Burrell solos I’ve ever heard. There’s one lick where he goes way down low on a bass string...

←

yes, that part!

I have gathered it is him, but... weird

[Jim R]

Okay, even I can translate "Zut". Thanks, John. So... add one Joe Castro to my list of pianists with a certain similarity of style (to my ears, at least). I don't own much JC, just a couple of Teddy Edwards discs, so I'm not terribly familiar with him, relatively speaking. At any rate, my piano question remains... maybe this really was a widespread sound (but I'd still like to get a handle on it, if it's possible to associate a group of players in this way).