BFT #63 - Discussion Thread

[RDK]

I figured we'd keep it to one thread rather than split it in two. No hurry as it's only been a few days, but this is the place to guess and discuss.

There's a theme of sorts running through the first disc - or at least something that connects the artists/tracks - but it's "simple" enough that I don't want to give too much away just yet.

[tkeith]

Woo-hoo! I get to be first. No pressure!

I liked most of this a great deal. I'm itching to know about several of the cuts. I may actually have to spend some more time on this one, because some of it is great. But for part 1 (1-12), here goes:

Track 1 -- Cold Duck Time. Not diggin' the interpretation of the head. If you think of the words "Cold Duck Time," Cold and Duck should be the same duration. This is being played in a way which rushes the Duck. I know that's nit-picky, but it gets back to the notion that a wind player should learn the words to a tune (though I'm not sure this tune actually has any). This isn't really being sold to me. I want to like it, and there are moments where it's clicking, but it's... I dunno, maybe they're trying to do too much with it? It just seems like the sax player is playing completely out of his element. Clearly *they* were having fun, and I guess that's enough. Not sure who, I'm guessing not 'name' players.

Track 2 -- Bass line reminds me of Sun Ra's Discipline 27, but the head is different. Not sure if that's a plucked cello of just an off sounding bass taking the solo early on, but it's not really clicking. Then, I've never heard that format when it fully did. I like the sound of this recording and I'm going to guess it might be a Mapleshade date. Trumpet player is blowing now. What didn't hit me about track one is VERY present here. This grooves nicely. Trumpet player isn't hung up on the pretty shiny thing in his hands -- just playing, no bullshit. I recognize the drummer (I think), but can't put my finger on him. Maybe an outside guy playing really in the pocket, like Rashid Ali. Alto player sounds like he's more of an inside guy, definitely knows that stuff really well. I can't place this definitively, but I like this a lot. I assume the bass solo in the beginning was overdubbed. If so, I could live without that, otherwise, this is a keeper.

Track 3 -- Another one that grabs me pretty quickly. Nice tone on the tenor and a pretty song, reminds me of something like Ronnie Matthews would write. I know this tenor and I'm digging him a bunch. Shades of Pharoah in there, but I don't think it's him. Aw!!! Lovin' this!!!! One of the post-Tyner piano guys, but not John Hicks. I like him, but not quite in the way I love Hicks. Again, sounds very familiar. Could it be Ronnie Matthews? Man, I GOTTA have this!!!! Maybe Chico Freeman, but sounds more ballsy. This is a great cut.

Track 4 -- Dwight Trible covering Pharoah's YOU GOTTA HAVE FREEDOM. I'm not familiar with this, but I'm liking the modern west coast theme. I'm wondering if that last cut could have been my guy Jesse Sharps. Love the bass clari. I've never known Pharoah to play that, but this could certainly be him. This is rough, but raw and beautiful. Could that be Michael Session on bass clari?

Track 5 -- Man! Why have I been putting this BFT off!?!??! This is friggin' gorgeous!!! Really nice 'bone sound, warm and fat. I know who it's NOT, and that's Lacy, Anderson or Harris. But I'm not sure who it IS. Guitar is a little up front in the mix (aren't they always?) at times, but overall, a pretty tasteful approach. Nice. I like that they let this groove and it isn't just the straight head-solo-solo-head approach, but it isn't over-orchestrated, either. This is really nice, too, but again, I have no idea, and that's starting to grate on me. I've NEVER dug four straight cuts in a BFT, and I'm not sure a bit about three of them! Why do the record companies never send me this kind of stuff for the show? I'm going to guess this is from the 80s. It's got that feel of some of the mid-80s stuff. Very nice.

Track 6 -- This sounds like it's trying too hard to be deliberate. I'm not sure about this cut. Not a vibist I'm familiar with (unless he's intentionally trying to throw me off). That piano makes me think this is from the late 70s. I like the piano solo a lot. Hearing someone (I assume the vibes) counting makes me reiterate that this is trying to be too deliberate.

Track 7 -- Not crazy about the head, but once the solos start, this is nice. Drums sound a little hyper-compressed, so I'll guess late 70s/early 80s. You can keep the clarinet. Maybe a Franklin Kiermeyer date, because the drums are a little too busy. The Zappa-ism in the middle loses me. I don't know, overall this one just seems like it's trying too hard to be different.

Track 8 -- I've guessed four different songs and three players one minute in. I'm hearing all sorts of influences. Definitely some Blythe in there, some Strozier... maybe Bruce Williams? Seems a bit less funky than him, though. The tune is very modern and new age influenced. I like it, but I'm not sure how it would hold up to repeated listening.

Track 9 -- Song is based loosely on Horace Silver's The Natives Are Restless Tonight. I'm pretty sure this is Horace Tapscott, though it's not something I have, and that makes me wonder... I thought I had him pretty well covered. On second listening, the piano sounds a little heavy-handed on the head for Tapscott, but the solo is definitely derivative.

Track 10 -- This is nice, but it's not really my bag. A little too serene and new-agey. I'm going to guess an ECM recording. It's got that clean, hyper-compressed sound.

Track 11 -- This one isn't resonating for me. Not a clarinet fan, and the stiff drums are off-putting. I'm thinking younger guys, trying for something different. They're achieving different, I'm just not convinced I care. Guitarist likes his Grant Green (and really, who don't!?). I'm guessing saxophonist doubling on clarinet, because, well, it sounds like it.

Track 12 -- Maybe Joe McPhee on tenor. No idea about the clarinet. An odd recording. Not sure how I feel about it. I might love it if not for the electronics. Certainly unique. The more I'm listening, this guy doesn't sound as heavy as McPhee to me. Could be Daniel Carter, but again, doesn't sound strong enough to my ear.

[Big Al]

DISC ONE

1. No clue, but LOVE that groove! At first I thought it was some kinda Gene Harris thing, maybe the alto is Poppa Lou?

2. Oh crap, I have this somewhere! Wait, no I don’t. Sounds like the Adderley group with an extra bassist! Another great groove.

3. Sounds like a Joe Henderson live Milestone date.

4. Nice groove destroyed by annoying vocals and an even more annoying sax. Is this from “Attica Blues?”

5. Sounds of recent vintage. Really enjoying it, that’s for sure, even though I can’t readily identify anyone.

6. Another nice one! I’m afraid this BFT is gonna bankrupt me.

7. Wild, man. Simply wild! No clue, but it’s all kindsa freaky wild!

8. Bleah. Sounds like some kinda Grover Washington Jr. Kudu thing, without the beat.

9. Like the beat. Had to go back and listen again because it sounded like this and track 10 were all one song. Sounds like a McCoy Tyner trio. Kinda nondescript, but certainly not bad.

10. Well, this was even more nondescript than the last one. That and the fact that I generally don’t care for violin jazz.

11. Ouch!!!

12. I’m sorry man, but this one left me completely cold.

DISC TWO

1. Groove is nice enough, I guess. Nothing that really jumps out at me.

2. This went by completely unnoticed. Sorry.

3. Sounds like some kind of Gabor Szabo thing or maybe a mid-70’s Pat Martino live date. Ha! Very cool how they launch into Afro-Cuban. Hey, waitasecond, I’ll bet this is Kenny Burrell at the Vanguard, that live trio date he did that ended up on 32Jazz. THIS one was worth sitting through to get to the groove!

4. Whoops! Another one that sounded like it was a continuation of the previous track. You can tell I’m not paying too close attention here, and I apologize. Maybe Freddie Hubbard from an Atlantic album?

5. Could that be Billy Higgins on drums? I always guess Smilin’ Billy on at least one track per BFT!

6. What a NICE “Wonderful World.”

7. Cool version of “Norwegian Wood.” Is this from that Herbie Hancock “New Standards” album from a few years back?

8. This reminds me of that McCoy Tyner big band track that was on a BFT a few years back. Or it could be “New Standards.” What the heck do I know? All’s I do know is that I lost interest about halfway through when the groove went out the window for some naval-gazing guitar solo. ZzZzzzzz......

9. Oh, I’ve heard this. I think. Very familiar.

Sorry my comments aren’t more verbose. This was kindofa hit-n-miss affair. Needless to say, I’ll be very interested to see what others have to say!

[RDK]

Track 3 -- Another one that grabs me pretty quickly. Nice tone on the tenor and a pretty song, reminds me of something like Ronnie Matthews would write. I know this tenor and I'm digging him a bunch. Shades of Pharoah in there, but I don't think it's him. Aw!!! Lovin' this!!!! One of the post-Tyner piano guys, but not John Hicks. I like him, but not quite in the way I love Hicks. Again, sounds very familiar. Could it be Ronnie Matthews? Man, I GOTTA have this!!!! Maybe Chico Freeman, but sounds more ballsy. This is a great cut.

Not Pharoah, but there is a connection there. I'm sure someone (Sangray at least) will correctly guess the tenor, but the album might be tougher.

Track 4 -- Dwight Trible covering Pharoah's YOU GOTTA HAVE FREEDOM. I'm not familiar with this, but I'm liking the modern west coast theme. I'm wondering if that last cut could have been my guy Jesse Sharps. Love the bass clari. I've never known Pharoah to play that, but this could certainly be him. This is rough, but raw and beautiful. Could that be Michael Session on bass clari?

Good on Trible! I figured the lyrics at least would make the tune fairly easy to guess.

Track 5 -- Man! Why have I been putting this BFT off!?!??! This is friggin' gorgeous!!! Really nice 'bone sound, warm and fat. I know who it's NOT, and that's Lacy, Anderson or Harris. But I'm not sure who it IS. Guitar is a little up front in the mix (aren't they always?) at times, but overall, a pretty tasteful approach. Nice. I like that they let this groove and it isn't just the straight head-solo-solo-head approach, but it isn't over-orchestrated, either. This is really nice, too, but again, I have no idea, and that's starting to grate on me. I've NEVER dug four straight cuts in a BFT, and I'm not sure a bit about three of them! Why do the record companies never send me this kind of stuff for the show? I'm going to guess this is from the 80s. It's got that feel of some of the mid-80s stuff. Very nice.

I had the hardest time deciding which track to use off this album - and it was that up front guitar that finally tipped it.

Track 6 -- This sounds like it's trying too hard to be deliberate. I'm not sure about this cut. Not a vibist I'm familiar with (unless he's intentionally trying to throw me off). That piano makes me think this is from the late 70s. I like the piano solo a lot. Hearing someone (I assume the vibes) counting makes me reiterate that this is trying to be too deliberate.

This is probably the most obscure track here; don't want to give too much away, but I doubt anyone has actually heard of the vibist. There's a story behind this selection...

Track 8 -- I've guessed four different songs and three players one minute in. I'm hearing all sorts of influences. Definitely some Blythe in there, some Strozier... maybe Bruce Williams? Seems a bit less funky than him, though. The tune is very modern and new age influenced. I like it, but I'm not sure how it would hold up to repeated listening.

I hear you on the slightly "new age" vibe - which is actually surprising given the players involved. The other tunes on the album are "worse" in that regard, though I think I'd chalk it up more to the recording/production techniques than the actual playing/players.

Track 9 -- Song is based loosely on Horace Silver's The Natives Are Restless Tonight. I'm pretty sure this is Horace Tapscott, though it's not something I have, and that makes me wonder... I thought I had him pretty well covered. On second listening, the piano sounds a little heavy-handed on the head for Tapscott, but the solo is definitely derivative.

First instincts are often the best...

Track 10 -- This is nice, but it's not really my bag. A little too serene and new-agey. I'm going to guess an ECM recording. It's got that clean, hyper-compressed sound.

I was a bit worried that this track might "bore" a few people, but I love the melody and thought it offered nice variety. Its inclusion also goes to the "theme" of this first disc.

Track 12 -- Maybe Joe McPhee on tenor. No idea about the clarinet. An odd recording. Not sure how I feel about it. I might love it if not for the electronics. Certainly unique. The more I'm listening, this guy doesn't sound as heavy as McPhee to me. Could be Daniel Carter, but again, doesn't sound strong enough to my ear.

I programmed this track last for a few reasons, one being that I didn't think many would really like it. It's a very understated, almost meditative piece given the players involved. And as you can probably easily tell, it's also LP-sourced.

[relyles]

First Disc

1. The tune itself is familiar – I believe it is from the Les McCann/Eddie Harris Montreux recording. The performance is played with the requisite amount of soul/funkiness to bring to mind that recording. Solid upbeat track to get started.

2. Two basses. The bass on the left channel has someone of a rubbery sound, but that could just be the recording. I prefer the sound of the bassist in the right channel. The trumpeter sounds familiar – a little bit of Don Cherry I think, but I can’t identify him/her. The alto saxophonist is a little bit in the background. Neither soloist knocked me out, but overall the track was interesting.

3. Solid tenor conjuring up the Coltrane vibe. I have actually been listening to Coltrane the past couple of days, so it may be a bit unfair to have the comparison in mind as I listen to this. At least the pianist avoided copping Tyner. Despite what seems like an obvious influence, the tenor has an appealing sound and it would be interesting to hear him playing something that at least for me is so reminiscent of Coltrane. Or maybe I just need to try it again on another day.

4. Electric piano, percussion, freedom vocals, wailing saxophone – the whole thing feels a little dated to me. Nonetheless it is a nice groove. Ultimately not something I am likely to pull off the shelf too often.

5. The trombone sounds very familiar. I like the combination of the trombone with guitar. I don’t feel like I hear that combination very often. I also think I have heard the guitarist before. I can’t identify any of the musicians. The tune itself did not do a lot for me, but I enjoyed the colors of the instrumentation and would like to hear them play something else.

6. This a tangoish feel to it. The vibist has a bright sound and is taking his/her time. The pianist is similarly restrained, which is appropriate for this tune. My first impression is that this is okay, but I did not hear enough to motivate me to want to hear more.

7. The tune is familiar – and the first solo is by a frail sounding trumpeter. Very interesting clarinet solo. One of the highlights of the disc for me so far – sounds a bit like Don Byron. Not sure how I feel about some of the shifts in the tune afterward – I don’t really respond to the shredded guitar effects. Overall an interesting multi-section performance.

8. This alto saxophonist has a tone that caught my attention. For whatever reason the tenor saxophonist Ernie Watts came to mind. Effective.

9. The opening sounds like it has a little Native American influence. Then something about the playing made me think of Horace Tapscott. Sounds like something I have heard before. I liked the piano. My attention wandered during the drum solo – but that is primarily my issue with drum solos as opposed to any statement on the quality of the drummer. Interesting trio performance.

10. The spacey sounds of the introduction did not hold my attention. The piece got better as it went along, but not enough to really interest me.

11. Interesting colors with the guitar and clarinet. I suppose I just like the sound of modern clarinetists, because I liked the brief statement by the clarinetist here. All the other soloists were solid, but I must confess that after a while the repetitive drum figure got a little stale. Overall a decent track.

12. Another clarinet and another good one. Could be someone like John Carter, but so far I have not heard enough of the trademark things I usually hear in Carter’s playing. The tune is kind of shapeless, but I am getting in to it. Just by playing long tones the soloists are conveying an effective feel. The tenor has a certain haunting tonal quality that I really like. Not much really happens here, but it has a quiet intensity/power to it. Would like to hear more from these musicians.

[RDK]

3. Solid tenor conjuring up the Coltrane vibe. I have actually been listening to Coltrane the past couple of days, so it may be a bit unfair to have the comparison in mind as I listen to this. At least the pianist avoided copping Tyner. Despite what seems like an obvious influence, the tenor has an appealing sound and it would be interesting to hear him playing something that at least for me is so reminiscent of Coltrane. Or maybe I just need to try it again on another day.

Definitely a player of the Coltrane school. And while the pianist obviously isn't Tyner, you've stumbled onto a Tyner connection as well.

5. The trombone sounds very familiar. I like the combination of the trombone with guitar. I don’t feel like I hear that combination very often. I also think I have heard the guitarist before. I can’t identify any of the musicians. The tune itself did not do a lot for me, but I enjoyed the colors of the instrumentation and would like to hear them play something else.

I've recently found myself a bit bored by the traditional quartet/quintet combos and their formulaic head/solos arrangements. Instead, I've been responding more to, as you say, the "colors of the instrumentation." For better or worse, I think more than a couple of the tracks here reflect that.

7. The tune is familiar – and the first solo is by a frail sounding trumpeter. Very interesting clarinet solo. One of the highlights of the disc for me so far – sounds a bit like Don Byron. Not sure how I feel about some of the shifts in the tune afterward – I don’t really respond to the shredded guitar effects. Overall an interesting multi-section performance.

I thought this might be a fairly easy one as I believe it was discussed on the board. Glad you liked it - I didn't think many would. Not my favorite track on that particular disc, but I believe the shortest.

8. This alto saxophonist has a tone that caught my attention. For whatever reason the tenor saxophonist Ernie Watts came to mind. Effective.

I'm so lousy at identifying individual musicians that it always amazes me when others do it so effortlessly. Bravo, Ron, bravo!

9. The opening sounds like it has a little Native American influence. Then something about the playing made me think of Horace Tapscott. Sounds like something I have heard before. I liked the piano. My attention wandered during the drum solo – but that is primarily my issue with drum solos as opposed to any statement on the quality of the drummer. Interesting trio performance.

And Tapscott it is! For such a relatively unknown player he sure is well known around here.

12. Another clarinet and another good one. Could be someone like John Carter, but so far I have not heard enough of the trademark things I usually hear in Carter’s playing. The tune is kind of shapeless, but I am getting in to it. Just by playing long tones the soloists are conveying an effective feel. The tenor has a certain haunting tonal quality that I really like. Not much really happens here, but it has a quiet intensity/power to it. Would like to hear more from these musicians.

That is indeed Carter, though he's not the leader of the session. This is normally not the sort of thing that I'd dig all that much, but I find the quiet intensity very compelling. It draws me into the music while so often I feel more like an outsider looking in. It's very spiritual and Zen-like to me.

[relyles]

to my knowledge John Carter did not appear as a sideman on too many recordings, so I wonder whether track 12 can be from a Vinny Golia recording? I have not heard much of Golia's playing to be able to have a frame of references. I may have to do some digging.

[RDK]

to my knowledge John Carter did not appear as a sideman on too many recordings, so I wonder whether track 12 can be from a Vinny Golia recording? I have not heard much of Golia's playing to be able to have a frame of references. I may have to do some digging.

[tkeith]

Part 2:

Enjoyed part 1 much more than part 2, but I also had more time to dig part 1.

Disc 2

Track 1 -- I recognized this instantly, but I'm drawing blanks. I was literally listening to this last week. I want to say The Bad Plus, but I'm not confident. I definitely have this, but it's drawing total blanks.

Track 2 -- Can't hear this all that well (on the laptop at work), but I have no clue who this is. I like it, but again, not sure how it would hold up to repeatedly listening. It's the sort of thing that would be nice as a break in an ensemble set, but not sure I'd want to hear a whole night of it. I like the bass hook, though.

Track 3 -- Afro Blue, but not crazy about the arrangement. No clue who -- tuned out very quickly. In fact, it was the statement of the theme that got me listening again.

Track 4 -- Hate to sound like a broken record, but that's Kenny Wheeler. Don't know the guitarist (probably my weakest area to identify). Always like Kenny.

Track 5 -- Odd, no idea who this is, but it reminds me of the original The Fringe (with Applebee on bass instead of Lockwood), only featuring a trumpet as a lead. Sounds a bit like Roy Campell, though not as fiery. Seems two raw to be Dave Douglas... I'm just not sure.

Track 6 -- At first I thought this was What A Wonderful World. Not sure what it is, but the pianist reminds me of one of the young guys who's really tied to the tradition (somebody like Goeff Keezer). Not sure who it is, though. Nice sounds.

Track 7 -- Thought of Don Pullen immediately, but the tune is Norwegian Wood. Way too clean for DP, though.

Track 8 -- Crime Jazz!!! Interesting and energetic, but doesn't do much for me. Maybe Bobby Sanabria?

Track 9 -- Very familiar tune. Not big on the pianist's touch... that sounds ridiculous, but he sounds very 'pop-ish' to me. I know what it is, it sounds like a soundtrack. Actually reminds me a bit of the soundtrack to Being There.

Interesting BFT -- in like a lion and out like a lamb. Looking forward to the answers!

[tkeith]

Definitely a player of the Coltrane school. And while the pianist obviously isn't Tyner, you've stumbled onto a Tyner connection as well.

Oh Christ! I'm such an idiot! It's this. I knew I recognized it. One of my favorite bassists -- I'm ashamed of myself.

[relyles]

Disc Two

1. This sounds a bit like Randy Weston. I think it is the emphasis on the middle keys which give a little darker sound I associate with Weston. In addition, the composition sounds a bit like one of the Weston African influences tunes. Regardless of who it is, I enjoyed the pianist here.

2. Some of the pianists heard on these two discs seem to have some similarities – such as the Tapscott track, the first track on this disc and this track. In the beginning this one had me thinking of Weston, Tapscott and Abdullah Ibrahim alternately. But then it settled in a bit and it does not sound like either of those three pianists. In any event he/she does have a similar dark rumble in the middle of the piano that I like for whatever reason. No clues for identify from the bas solo, but at some point I thought it clashed a bit with the pianist’s rumbling in the background. Small quibble – this is an otherwise enjoyable track as well.

3. I do have a liking for the sort of quirky, interactive guitar trio. Here the opening dialogue between the bassist and guitarist caught my attention. Okay, now I see that they are playing “Afro Blue”. This guitarist has a clean somewhat dry tone that I like. This track appeals to my deep thinker side. It would not work without the bassist. Very interesting track.

4. There is something about basses that resonates with me. A creative bassist with a good sound will get my attention all the time. At the same time, I do think the impact the bass has on the success of a performance is not always overt – or a function of a feature for the bass. That is all just to say that the brief bowed bass solo here was interesting. Now the rest of the group has come in – trumpet – bass and guitar. This is the kind of drummerless, pianoless instrumentation that I would often associate with Kenny Wheeler, but I do not think it is him.. The guitarist here does not seem to take as many risks as the guitarist in the previous track and as a result is not as interesting to me. Aside from the brief bass intro – this track is a bit too lifeless for me.

5. This is significantly more interesting. Trumpet-bass-drums trio. Not as common an instrumentation as the saxophone trio. That is likely part of the reason that it works – the different sound. This trio seems to be in synch and the trumpeter is maintaining enough of a variety and creativity to hold my attention. It is probably musicians that I am familiar with – but I have no idea on the identities at the moment.

6. This is big mood shift. I hear things that remind me of the way Ibrahim voices some things, but ultimately although I want to like it, at the moment this track kind of just went by.

7. I know the tune, but the drum pattern seems to conflict with the tune. There is an undertone of a South African feel in the rhythm which is intriguing as the track progresses. The pianist is solid and now I am warming up to the drumming a little. I may have to come back to this track. The pianist is stellar, but there is something about entire performance that is not clicking for me on first listen. Can articulate it though.

8. I am running out of steam, but I want to finish this before I leave the office for the weekend. This could be something like Steve Bernstein’s Milleinial Terrottorial orchestra, but that would be purely a guess. Nice energy and pulsing rhythm, but not much of a composition, which is something I usually look for in a large ensemble. After twenty some odd years of obsession – I am just recently gaining an appreciation for good arrangements and writing for a larger ensemble. This track did not use the color possibilities much. After a while it just felt long so I skipped to the next track.

9. I should appreciate the feeling a bit more, but now my attention is more focused on whether to go to church or go home. Its nice enough, but that is about it. Maybe on another day, when I am in a different mood.

[Durium]

My runr to say something about these great selections - to be honest I like most of these tracks. There were some names coming up into my head while listening to this selection - i love to share with you.

CD 1

1. The tenor saxopohne: Dexter Gordon?

2. Freddy Hubbard on trumpet? I really liked the two basses.

8. Tony Scott?

12. Is that a bass clarinet?

CD 2

A Great bass compilation !

Well that's all for now - not too much, but as I said before - I really like this selection RDK - THANKS

Keep swinging

Hans

Durium

[RDK]

Disc Two

1. This sounds a bit like Randy Weston. I think it is the emphasis on the middle keys which give a little darker sound I associate with Weston. In addition, the composition sounds a bit like one of the Weston African influences tunes. Regardless of who it is, I enjoyed the pianist here.

No, not Randy, but I can see why you might have thought so. I'm also a big Weston fan, so I'm naturally attracted to percussive pianists in this style. This was one of those artists/discs that I had never heard of before, but spinning for the first time went "whoa!" I love the propulsive drive of this track, though I feared it might sound too monotonous to some.

2. Some of the pianists heard on these two discs seem to have some similarities – such as the Tapscott track, the first track on this disc and this track. In the beginning this one had me thinking of Weston, Tapscott and Abdullah Ibrahim alternately. But then it settled in a bit and it does not sound like either of those three pianists. In any event he/she does have a similar dark rumble in the middle of the piano that I like for whatever reason. No clues for identify from the bas solo, but at some point I thought it clashed a bit with the pianist’s rumbling in the background. Small quibble – this is an otherwise enjoyable track as well.

This wasn't initially the version of this tune that I wanted to use. There was a trio version that I programmed (and found a bit more interesting) but there was some error I kept getting when encoding it to mp3. Still, I thought this a nice version of a tune I really dug when I saw it performed in person.

3. I do have a liking for the sort of quirky, interactive guitar trio. Here the opening dialogue between the bassist and guitarist caught my attention. Okay, now I see that they are playing “Afro Blue”. This guitarist has a clean somewhat dry tone that I like. This track appeals to my deep thinker side. It would not work without the bassist. Very interesting track.

Again, an artist I was completely unaware of prior to hearing this. The bassist is more well known, and yes, he does help make the track imo.

4. There is something about basses that resonates with me. A creative bassist with a good sound will get my attention all the time. At the same time, I do think the impact the bass has on the success of a performance is not always overt – or a function of a feature for the bass. That is all just to say that the brief bowed bass solo here was interesting. Now the rest of the group has come in – trumpet – bass and guitar. This is the kind of drummerless, pianoless instrumentation that I would often associate with Kenny Wheeler, but I do not think it is him.. The guitarist here does not seem to take as many risks as the guitarist in the previous track and as a result is not as interesting to me. Aside from the brief bass intro – this track is a bit too lifeless for me.

Good first impression re: trumpeter!

5. This is significantly more interesting. Trumpet-bass-drums trio. Not as common an instrumentation as the saxophone trio. That is likely part of the reason that it works – the different sound. This trio seems to be in synch and the trumpeter is maintaining enough of a variety and creativity to hold my attention. It is probably musicians that I am familiar with – but I have no idea on the identities at the moment.

It's rare that I like any sort of trumpet-led group w/o a piano, but this one really works. Again, I really dig the uncommon sound of this trio.

7. I know the tune, but the drum pattern seems to conflict with the tune. There is an undertone of a South African feel in the rhythm which is intriguing as the track progresses. The pianist is solid and now I am warming up to the drumming a little. I may have to come back to this track. The pianist is stellar, but there is something about entire performance that is not clicking for me on first listen. Can articulate it though.

At the risk of dropping too great a hint, this pianist is my favorite "discovery" (as a result of some mentions on this forum) in quite some time. The tune is very well known and I'm sure you'll kick yourself when you finally do come up with the name.

[RDK]

CD 2

A Great bass compilation !

It's funny you say that. I didn't set out to specifically feature bassists here, but it did turn out that way, didn't it?

[JSngry]

First listen is as of this writing. I've been busy, started a new job w/new hours, still getting used to that, but I don't think I'm too late, so... the usual thanks and disclaimers in place, let's go!

DISC A

TRACK ONE - I certainly recognize "Cold Duck Time", but that's about it. The sounds and feel is not unlike this old live Roger Kellaway w/Tom Scott PJ side I have called Spirit Feel. But this is not that. The tenor player sounds "studied" if you know what I mean, a little too much thinking-to-feeling going on. Which is not to say that thinking is bad, or that good players don't think, just that the thinking shouldn't be quite so obvious as it is here. The piano player is ok, though. I've certainly heard worse all the way around, and nobody sounds like they are "hopeless", if you (again) know what I mean. If you could still work all over the place all throughout the year, whatever problems there might be here would work themselves out, I'm sure.

TRACK TWO - Seems like I've heard this one somewhere along the way, but god knows where... is that Ron Carter on piccolo bass? No, don't think so.... Bobby Bradford? Thoughtful player, fersure...same for the altoist...it's all quite grounded, sure of it's identity, but the engineer and/or producer did nobody any favors. I like it well enough.

TRACK THREE - More sincere than distinctive, and I'm ok with that, at least in this case. Don't ask me why, because I couldn't answer you. Maybe because the tenor player plays on the high end of the pitch (those who don't get it would just call it sharp, but...), and I'm most always ok with that too. That, I could tell you why, but this is neither the nime nor the place. For some reason I'm thinking Chico Freeman, but more in terms of sound/pitch than vocabulary/execution. Hmmmm..... Possibly...Azar Lawrence? But so much less energetic than I've heard from him. But that sound and that seriousness/sincerity, there's not that many choices, really...

TRACK FOUR - Well, that's "You Gotta Have Freedom", a Pharoah cut from the 70s that, believe it or not, has become a big favorite in "Acid Jazz" circles. Kinda sounds like an older more tired Joe Lee Wilson on vocals. Actually, everybody sounds older and more tired...but sincere. I am, however, not as ok with that here than I was on the previous cut. But hell, I second the sentiment wholeheartedly!

TRACK FIVE - Dick Griffin? Phil Ranelin? Not Grachan, although similar in concept - but only at times. Definitely a trombone-istical player. Also definitely hitting on that Strata-East-ish vibe...I should know the trombonist...I like this one quite a bit, best one so far, whomever it might be. It's not "great" but it is satisfying, so hey.

TRACK SIX - An interesting composition...this ain't some MJQ, is it? That vibist's tone reminds me so much of Bags...and the composition, sounds like a John Lewis thing. Not too many drummers besides Connie Kay could be that disciplined either...if it ain't the MJQ, it's something that could have never come into being w/o the MJQ. Five times through in a row now, and it gets better each time. Very subtle, but very musical.

TRACK SEVEN - Ok, should be Ornette, but...NOOOOOOOO!!!! It was going along fine wntil the groove-shift for the guitar solo. things kinda went downhill after that, got all "clever" and shit. Too bad. I dug the clarinetist's solo, but overall...I'm all for trying, but sometimes it's better to just do.

TRACK EIGHT - I like the tone a lot more at the beginning, w/o vibrato. Helluva player, but that vibrato kills it for me. Vibrato is highly personal both in its use and in its reception, and I just don't receive this one. It telegraphs "sincerity" to me, and I'm of the school that believes that sincerity speaks for itself and does not need telegraphing. But somebody else can hear it totally the opposite way, and neither one of us would be wrong. But for me, no thanks.

TRACK NINE - Another one I think I've heard before somewhere along the way. No bullshit here, that's for sure! Not much to say besides that - bullshit-free music. Take it where you can get it!

TRACK TEN - If soap operas were really hip, this is what the music would sound like. And I mean that as a compliment.

TRACK ELEVEN - I'm having problems with this one right away, a little too self-conscious, I think. Let's see if it gets better as it goes along...no, not really. It all sounds like "jazz about jazz" instead of just jazz, or hell, just music, if that makes any sense.

TRACK TWELVE - This is shaping up to be everything the previous cut is not. I'd have to guess John Carter, but just because of the tone and a few things here and there, but it is just a guess. The clarinetist is infinitely more deeper than the tenorist, but that is not because the tenorist is a lightweight or anything. He sounds fine to me. The clarinetist just seems to be deeper, period, just as a human being. and I know that's an awfully presumptuous statement to make just of of one unidentified piece of music, but sometimes music don't lie. Then again, sometimes it does. But I don't think it does here.

DISC B

TRACK ONE - Mal Waldron? Nah... He/she keeps it going in the left hand, hey, I like that! The whole thing sounds like a dance, like the hands are dancing on the keys. I like that too! I would like to hear more work by this pianist to see if this is an anomaly or pretty much their bag. But, yeah, I hear the whole piano-centric thing happening here. Duke, Monk, Mary Lou, Waldron, Herbie Nichols, etc. Always a pleasure to hear that.

TRACK TWO - Sounds like a de/re-constructed Herbie Hancock solo...not bad, very nice, actually, but... I want more. My problem, not theirs, no doubt.

TRACK THREE - Maybe I'm jaded. Or old. Or just plain ol' tired. But...I still want more. I was actually disappointed when they hit the head, "Afro Blue", I'm like, "oh.....ok". Whatever hope for...newness there was just went out the window. A lot of very familiar tricks and patterns and ideas here, just "modernized", kinda. Ok, those notes have probably never been played before or after in that exact sequence and combination, but...in different sequences and combinations, oh yeah. If that's all it takes, just not playing exactly what's been already been played for several generations by now, then....never mind. My problem, not theirs, no doubt.

TRACK FOUR - ECM-ish, Kenny Wheeler-ish. I thought I heard intimations of "I Wish You Love" in the guitar intro, but no, I guess not. Nice enough, but I wanted a drummer here on this one, or at least some percussion sprinklings, just something to three-dimensionalize the sound field, since everybody's so damn "inward" looking in their sounds.. But I guess they didn't wanna do that, and it's their music.

TRACK FIVE - DAMN, Ray, you sure like the vamping-ish bassists, doncha' now!

I'm trying to get the point of this one, and it seems to be "hey, we all got quick reflexes", and indeed they do. But the vocabulary is...familiar. so as dazzling as it is, and make no mistake, at times it is dazzling, I'm left with the nagging feeling that, hell, you're playing a 40-ish year old language (check out all the old live recordings of "Agitation", etc...), what excuse would you have, at a professional level, for not having quick reflexes? But perhaps I expect too much.

TRACK SIX - Where are you going, my little one, my little one... oh, ok, that's not it. But still, you only get one chance to make a first impression. If Jan Garbarek would have come in, that would have been really cool, But he didn't.

TRACK SEVEN - I like the drummer(s?), he (they?) sounds like he's heard some modern drum'n bass shit and brought that to his jazz table. Good for him, for real. It ain't the 20th Century anymore, fig?. "Norwegian Wood". Buddy Rich did it too, and I liked the drummer on his version too. So drummers, take note, if you want to make a good impression, this is the tune, ok? And just when I was getting ready to bitch about the pianist sounding more dated than anybody else, here comes a little OOMPH of electronics. This is, for me, another case of nobody sounding hopeless and me wishing for a world where folks like this had ample giggage opportunities, if only as a sideman, to really hone their shit. So, ok, maybe overall the whole thing kinda lags in terms of being as "now" as it appears to want to be, but it's a strange time to be a creative jazz musician, and has been for over a quarter-century. So here's hoping that all works out well for them. they sound like they deserve it. But I do think they should learn to self-edit a bit. this was just too long, period.

TRACK EIGHT - See, it's all about the drums. There's been enough hip shit done in programming over the years that it's asking quite a lot of just one drummer to get there with all that. And like it or not, that is the "sound of now", or at least one of them. Multi-layered drum patterns/texture (Kenny Dope said he used something like 5 different hi-hat sounds/samplesd to create "The Nervous Track", and if you listen, it's true). But you add percussion, or get somebody with massive chops and who thinks outside the box, well, then you can shake it up and bring more live. A casual observer might call this "Latin-Jazz", but it's not, not really. There's certainly the "Latin" element present, but this ain't old school guguanco or anything, not overall. So, it's nice to hear something not as trapped-in-time as so many things seem to be. I could find any number of faults with this cut, but none of them outweigh the freshness of the rhythmic concepts. and yeah, it is kinda "70s-ish" but not rigidly. so kudos. And to those who would counter that "Now" is not and end-all and be-all, I would counter-counter that,, what, "Then" is?

TRACK NINE -

TRACK TEN - If soap operas were really hip, this is what the music would sound like. And I mean that as a compliment.

And maybe you could get this played in one today...

Hey, man, sorry to be such a bitch about some of these cuts, but...you know...the good stuff was really good, and it all made me think, so I count that as a positive in the end. Thanks again!

[tkeith]

Hey, man, sorry to be such a bitch about some of these cuts, but...you know...the good stuff was really good, and it all made me think, so I count that as a positive in the end. Thanks again!

Hey, I for one appreciate that aspect of your responses. You make me feel more like I'm offering an opinion and less like I'm being a curmudgeon. That is to say, I usually agree with 98% of what you say, you just make it sound better than I do.

[RDK]

First listen is as of this writing. I've been busy, started a new job w/new hours, still getting used to that, but I don't think I'm too late, so... the usual thanks and disclaimers in place, let's go!

No, not at all too late. Sorry, I missed that you had already posted here.

DISC A

TRACK ONE - I certainly recognize "Cold Duck Time", but that's about it. The sounds and feel is not unlike this old live Roger Kellaway w/Tom Scott PJ side I have called Spirit Feel. But this is not that. The tenor player sounds "studied" if you know what I mean, a little too much thinking-to-feeling going on. Which is not to say that thinking is bad, or that good players don't think, just that the thinking shouldn't be quite so obvious as it is here. The piano player is ok, though. I've certainly heard worse all the way around, and nobody sounds like they are "hopeless", if you (again) know what I mean. If you could still work all over the place all throughout the year, whatever problems there might be here would work themselves out, I'm sure.

TRACK TWO - Seems like I've heard this one somewhere along the way, but god knows where... is that Ron Carter on piccolo bass? No, don't think so.... Bobby Bradford? Thoughtful player, fersure...same for the altoist...it's all quite grounded, sure of it's identity, but the engineer and/or producer did nobody any favors. I like it well enough. Bobby Bradford is indeed correct.

TRACK THREE - More sincere than distinctive, and I'm ok with that, at least in this case. Don't ask me why, because I couldn't answer you. Maybe because the tenor player plays on the high end of the pitch (those who don't get it would just call it sharp, but...), and I'm most always ok with that too. That, I could tell you why, but this is neither the nime nor the place. For some reason I'm thinking Chico Freeman, but more in terms of sound/pitch than vocabulary/execution. Hmmmm..... Possibly...Azar Lawrence? But so much less energetic than I've heard from him. But that sound and that seriousness/sincerity, there's not that many choices, really... I think I mentioned up-thread that I thought you'd guess the horn correctly. It is indeed Mr. Lawrence, and I completely agree about the relative "lack of energy." I see Azar quite often live and I just couldn't find any recent recorded examples of his playing that captured him in the same way as a live performance.

TRACK FOUR - Well, that's "You Gotta Have Freedom", a Pharoah cut from the 70s that, believe it or not, has become a big favorite in "Acid Jazz" circles. Kinda sounds like an older more tired Joe Lee Wilson on vocals. Actually, everybody sounds older and more tired...but sincere. I am, however, not as ok with that here than I was on the previous cut. But hell, I second the sentiment wholeheartedly!

TRACK FIVE - Dick Griffin? Phil Ranelin? Not Grachan, although similar in concept - but only at times. Definitely a trombone-istical player. Also definitely hitting on that Strata-East-ish vibe...I should know the trombonist...I like this one quite a bit, best one so far, whomever it might be. It's not "great" but it is satisfying, so hey. It is one of those three.

TRACK SIX - An interesting composition...this ain't some MJQ, is it? That vibist's tone reminds me so much of Bags...and the composition, sounds like a John Lewis thing. Not too many drummers besides Connie Kay could be that disciplined either...if it ain't the MJQ, it's something that could have never come into being w/o the MJQ. Five times through in a row now, and it gets better each time. Very subtle, but very musical. No, not MJQ. Glad you like it, but I seriously doubt that anyone has heard of these guys.

TRACK SEVEN - Ok, should be Ornette, but...NOOOOOOOO!!!! It was going along fine wntil the groove-shift for the guitar solo. things kinda went downhill after that, got all "clever" and shit. Too bad. I dug the clarinetist's solo, but overall...I'm all for trying, but sometimes it's better to just do.

TRACK EIGHT - I like the tone a lot more at the beginning, w/o vibrato. Helluva player, but that vibrato kills it for me. Vibrato is highly personal both in its use and in its reception, and I just don't receive this one. It telegraphs "sincerity" to me, and I'm of the school that believes that sincerity speaks for itself and does not need telegraphing. But somebody else can hear it totally the opposite way, and neither one of us would be wrong. But for me, no thanks.

TRACK NINE - Another one I think I've heard before somewhere along the way. No bullshit here, that's for sure! Not much to say besides that - bullshit-free music. Take it where you can get it! Definitely no bullshit!

TRACK TEN - If soap operas were really hip, this is what the music would sound like. And I mean that as a compliment.

TRACK ELEVEN - I'm having problems with this one right away, a little too self-conscious, I think. Let's see if it gets better as it goes along...no, not really. It all sounds like "jazz about jazz" instead of just jazz, or hell, just music, if that makes any sense. Few, if anyone, seem to like this one, which I find a bit surprising. Hmmm...

TRACK TWELVE - This is shaping up to be everything the previous cut is not. I'd have to guess John Carter, but just because of the tone and a few things here and there, but it is just a guess. The clarinetist is infinitely more deeper than the tenorist, but that is not because the tenorist is a lightweight or anything. He sounds fine to me. The clarinetist just seems to be deeper, period, just as a human being. and I know that's an awfully presumptuous statement to make just of of one unidentified piece of music, but sometimes music don't lie. Then again, sometimes it does. But I don't think it does here. Surprisingly astute call in that Carter is the more experienced (if not "deeper") player here, with the tenorist at the start of his career.

DISC B

TRACK ONE - Mal Waldron? Nah... He/she keeps it going in the left hand, hey, I like that! The whole thing sounds like a dance, like the hands are dancing on the keys. I like that too! I would like to hear more work by this pianist to see if this is an anomaly or pretty much their bag. But, yeah, I hear the whole piano-centric thing happening here. Duke, Monk, Mary Lou, Waldron, Herbie Nichols, etc. Always a pleasure to hear that. This was one of those tracks that, when I first heard it, I immediately thought should start off a BFT. The pianist was new to me at the time.

TRACK TWO - Sounds like a de/re-constructed Herbie Hancock solo...not bad, very nice, actually, but... I want more. My problem, not theirs, no doubt.

TRACK THREE - Maybe I'm jaded. Or old. Or just plain ol' tired. But...I still want more. I was actually disappointed when they hit the head, "Afro Blue", I'm like, "oh.....ok". Whatever hope for...newness there was just went out the window. A lot of very familiar tricks and patterns and ideas here, just "modernized", kinda. Ok, those notes have probably never been played before or after in that exact sequence and combination, but...in different sequences and combinations, oh yeah. If that's all it takes, just not playing exactly what's been already been played for several generations by now, then....never mind. My problem, not theirs, no doubt. I don't pretend to always know what you're saying, Jim, but I appreciate it all coming from a musician's perspective. lol

TRACK FOUR - ECM-ish, Kenny Wheeler-ish. I thought I heard intimations of "I Wish You Love" in the guitar intro, but no, I guess not. Nice enough, but I wanted a drummer here on this one, or at least some percussion sprinklings, just something to three-dimensionalize the sound field, since everybody's so damn "inward" looking in their sounds.. But I guess they didn't wanna do that, and it's their music.

TRACK FIVE - DAMN, Ray, you sure like the vamping-ish bassists, doncha' now! As dumb as it sounds, I only truly realized that while compiling this disc.

I'm trying to get the point of this one, and it seems to be "hey, we all got quick reflexes", and indeed they do. But the vocabulary is...familiar. so as dazzling as it is, and make no mistake, at times it is dazzling, I'm left with the nagging feeling that, hell, you're playing a 40-ish year old language (check out all the old live recordings of "Agitation", etc...), what excuse would you have, at a professional level, for not having quick reflexes? But perhaps I expect too much.

TRACK SIX - Where are you going, my little one, my little one... oh, ok, that's not it. But still, you only get one chance to make a first impression. If Jan Garbarek would have come in, that would have been really cool, But he didn't.

TRACK SEVEN - I like the drummer(s?), he (they?) sounds like he's heard some modern drum'n bass shit and brought that to his jazz table. Good for him, for real. It ain't the 20th Century anymore, fig?. "Norwegian Wood". Buddy Rich did it too, and I liked the drummer on his version too. So drummers, take note, if you want to make a good impression, this is the tune, ok? And just when I was getting ready to bitch about the pianist sounding more dated than anybody else, here comes a little OOMPH of electronics. This is, for me, another case of nobody sounding hopeless and me wishing for a world where folks like this had ample giggage opportunities, if only as a sideman, to really hone their shit. So, ok, maybe overall the whole thing kinda lags in terms of being as "now" as it appears to want to be, but it's a strange time to be a creative jazz musician, and has been for over a quarter-century. So here's hoping that all works out well for them. they sound like they deserve it. But I do think they should learn to self-edit a bit. this was just too long, period. I hear ya about the length. It was a concern of mine, but I had the room and indulged.

TRACK EIGHT - See, it's all about the drums. There's been enough hip shit done in programming over the years that it's asking quite a lot of just one drummer to get there with all that. And like it or not, that is the "sound of now", or at least one of them. Multi-layered drum patterns/texture (Kenny Dope said he used something like 5 different hi-hat sounds/samplesd to create "The Nervous Track", and if you listen, it's true). But you add percussion, or get somebody with massive chops and who thinks outside the box, well, then you can shake it up and bring more live. A casual observer might call this "Latin-Jazz", but it's not, not really. There's certainly the "Latin" element present, but this ain't old school guguanco or anything, not overall. So, it's nice to hear something not as trapped-in-time as so many things seem to be. I could find any number of faults with this cut, but none of them outweigh the freshness of the rhythmic concepts. and yeah, it is kinda "70s-ish" but not rigidly. so kudos. And to those who would counter that "Now" is not and end-all and be-all, I would counter-counter that,, what, "Then" is? No, not Latin, but the cats are, in a way, from "down South."

TRACK NINE -

TRACK TEN - If soap operas were really hip, this is what the music would sound like. And I mean that as a compliment.

Here's a hint: piano is not the instrument one thinks of when one thinks of this pianist.

And maybe you could get this played in one today...

Hey, man, sorry to be such a bitch about some of these cuts, but...you know...the good stuff was really good, and it all made me think, so I count that as a positive in the end. Thanks again! No bitchiness perceived, Jim - I appreciate all the comments, good or bad.

[tkeith]

"excuse me but...if you define this T Monk as "great" how would you call the divine and sublime "LIBERACE"????LIberace was and remain the greatest of the gratest piano player who ever lived!!!!!!!" - youtube comment

Hey, you gotta hear Liberace's version of Jackie-ing!!!

[RDK]

Bump for any latecomers. If anyone still wants to participate, shoot me a PM and I'll get you the download links.

Edited March 24, 2009 by RDK

[WorldB3]

Initial thoughts, had a brutal couple weeks at work and couldn't get to this.

BFT 63 – disc 1

1 – like the groove, it has a little Gene Harris thing going on but I find myself I want to like it more, its not bad by any means but I feel like I keep waiting/wanting for it go somewhere else.

2 – ooh, I dig this, kind of reminds me of the Prince Lasha /Sonny Simmons record they did with the double bases but I know its not that. Has an Ornette Coleman feel.

3. Love this, nice Joe Henderson and Chick Corea 70’s thing but its not them. Will want to get this someday.

4. Not my thing. But I think I am starting to pick up the theme of the mix.

5. Pretty, no clue but I like it.

6. Not a vibest I am familiar with, its nice enough but not sure if its working for me.

7. Gets better after the head but it still feels rushed. Guitarist is trying to sound like Sco.

8. Sounds familiar, I may have had this at one point but didn’t go back to it.

9. I like this so far. It has a 70’s African/NY/Free vibe to it. Good energy, I feel like I should know this.

10. This is quite pretty but the new age synth tamber ruins it, however its gets a lot better once the real piano comes in with the solo. For some reason it makes me think Kenny Werner.

11. At first I wasn’t crazy about it at first but I like it once the solo’s start.

12. Reminds me of the Jimmy Giuffre Fly Away Little Bird record.

[WorldB3]

Hey RDK,

Haven't given disc two a lot of time but I am really digging the first track, track four the and latin jazz treatment of the Nirvana cover. Its definitely not the Herbie Hancock version as I have that one but I am dying to know who it is.

Fun mix, thanks for the link.

[RDK]

Hey RDK,

Haven't given disc two a lot of time but I am really digging the first track, track four the and latin jazz treatment of the Nirvana cover. Its definitely not the Herbie Hancock version as I have that one but I am dying to know who it is.

Fun mix, thanks for the link.

It's not Nirvana! But I think I know what you mean...

[WorldB3]

Hey RDK,

Haven't given disc two a lot of time but I am really digging the first track, track four the and latin jazz treatment of the Nirvana cover. Its definitely not the Herbie Hancock version as I have that one but I am dying to know who it is.

Fun mix, thanks for the link.

It's not Nirvana! But I think I know what you mean...

Er. sorry meant Norwegian Wood - Beatles cover. Herbie also does a Nirvana cover in addition to that one on his New Standard record. At least I knew it wasn't the Charlie Hunter version..

Edited April 1, 2009 by WorldB3

[RDK]

Final bump for any stragglers. I had hoped to post answers by now, but I've been unexpectedly busy lately - I should get to them in just a few days.

[Big Al]

Hey RDK! Inquiring minds wanna know the answers!