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BFT 65


Guest Bill Barton

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Guest Bill Barton

I've got a few very busy days coming up as the month winds down, so thought I'd get this thread up now. It's still Dan's game on #64 through the end of April, so you have plenty of time to digest the music. Let's begin comments/discussion May 1st. Okay?

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  • 2 weeks later...

Okay, I know I’m a little like the over-eager new kid in class who raises his hand first to every question, but I’m going to go ahead and post my comments. I had a blast doing this BFT – thanks for setting it up, Bill. I chose to “play” by using only my ears – I didn’t do any research, even in my own record/CD collection. Well, I did look up the spelling of one name, but he might not even be on the recording. There are some spoilers about a couple of tracks, so don’t read on if you don’t want to know.

1. Very nice, adept guitar playing. The guitarist has technique to burn, but keeps it at the service of melody. Even when playing those incredibly fast runs, the playing has a melodic point to make. He (or she) only fell into “pentatonic guitar noodling” at one brief point, but by then I was already on his (her) side. I loved the touch of backbeat the drummer played for most of the track, but my least favorite point of the piece was when the drummer stopped interacting with the guitarist and just shuffled. Thumbs up on this track.

2. The brass player’s sound is so unusual that I wasn’t even sure which instrument it is – trombone or French horn. I first thought horn, but there are a few subtle glissandos that would be difficult on horn. In any case, it’s an odd, very individual sound – could it be Grachan Moncur? Beautiful, wistful duet playing – the tentative air of the trombone actually adds to the emotional power of the performance.

3. The tenor player sounds very familiar to me, but I can’t come up with a name. This is a great example of how a trio performance by three woodwinds can be structured to create a satisfying piece with a balance between composition and improvisation. I love the ostinato by the two clarinets with the tenor improv over the top. Then, just at the point where things might start to get boring, the composer(s) changes things up – more composed material, then bass clarinet over the tenor/clarinet ostinato. A short coda, and we’re done. I think the other clarinet is an alto, by the way. A very well-put-together piece, in my opinion.

4. Here we begin the Herbie Nichols set. “Lady Sings the Blues,” played by (I'm guessing) Misha Mengelberg, Han Bennink, and someone like Ernst Rijseger on cello. Mengelberg knows his Nichols and Monk backwards and forwards, but if it really is Bennink, he’s a little more well-behaved than usual. I love how the pianist, without overt imitation, captures the skittering quality of Nichols’ improvisational style. I like this performance a lot – in the most “out” moments, someone kept the tune grounded – they never left Nichols’ tune behind.

5. My favorite Herbie Nichols tune, “The Gig.” This odd little tune makes perfect sense when you keep in mind Nichols’ explanation to Roswell Rudd: it’s a pickup band trying to play a tune that nobody on the bandstand quite knows, so the “A” section starts, stops, starts again, ends on the “wrong” chord, and winds up being nine measures long. I have no idea who the players are, but they are excellent and obviously know the tune well. It’s a little self-consciously clever to be my favorite Nichols interpretation, but I give these guys their props for such an individual take on a challenging piece.

6. This is far enough out of my realm of experience/knowledge that I don’t know what to say about it, except that the tabla player is good, and that I like the clarinet, particularly his/her use of microtones.

7. Perry Robinson, from Funk Dumpling on Savoy, with Kenny Barron and Henry Grimes. I don’t remember who the drummer is – could it be Pete LaRoca?. I also don’t remember the name of the tune, but think that it may be Grimes’ composition rather than Robinson’s. Robinson is one of those players that might be something of an acquired taste in that you just have to accept certain things about his playing before you can enjoy it – in this case, his intonation, which is somewhat flat, and his odd, kind of unsupported, tone quality. Every time I hear him play, it takes my ears a minute to adjust, then I’m okay with it. Everybody’s good here (go, Kenny Barron!), but Henry Grimes is outstanding.

8. An improvisation (seemingly) in which the three players are on somewhat related paths. Each player is going his/her own way, while listening to the others. This is a common free improve strategy; it avoids the kind of “call and response,” imitative interaction that can become tiresome. I’m impressed with the range of strategies the alto player uses to keep things interesting: microtones, bending pitches, growling, varying the vibrato. A thoughtful blend of interplay and non-interplay. I have no idea who anybody is.

9. Don Cherry, Carlos Ward, Bob Stewart, and Ed Blackwell, from Cherry’s album Multikulti. If memory serves, Stewart wrote the tune, but it might be Ward’s; it’s not Cherry’s tune, I don’t think. Someone once called Cherry’s style “bruised lyricism,” and that seems about right to me. I love his playing, technical limitations and all. I’ll take ten “limited” players who have their own sound and style over one more hot young trumpeter who sounds like Lee Morgan. This track also shows how underrated Carlos Ward is and how versatile Bob Stewart is.

10. I recognized Ed Blackwell again right away, and it didn’t take me long to realize that the pianist was Karl Berger. I think this is from Transit, which means that the bassist is Dave Holland, although there is nothing in the bass part of this track that is individual enough to stand out as anyone in particular. This is not a knock on the bassist; he’s playing a part, and playing it well. Berger is, of course, instantly identifiable on vibes, but to me he has just as distinctive a style on piano – his rhythmic approach, chord voicings, and melodic language stand out. Blackwell’s drumming is absolutely brilliant, and the piano playing is excellent.

11. This confused me at first, but I think it’s Sun Ra. At times there’s not a lot of interest going on in the right hand, but the powerful left hand propels the music. Of course, a rootsy blues like this is not really about originality, it’s about swing and forward motion. I like the drumming, and didn’t even realize that there was a bass until near the end, when the pianist’s left hand subsided a little.

12. An easy one – Cecil Taylor’s first album, Jazz Advance. I think that the name of the tune is “Charge ‘Em Blues.” Extremely powerful music, even at this early stage. If you are listening to this music casually (although I’m not sure that’s possible), it may sound disjointed and discontinuous. But if you’re really listening, it’s not difficult to follow Taylor’s logic. It’s clear to me that he wants to play free – his improvisation is “over” the structure and chords without being “in” them – but he doesn’t know how to make it jazz without the swinging drums and walking bass at this point. As much as I love Steve Lacy, he sounds a little over his head here. He does much better on Taylor’s slightly later session from the 1957 Newport Jazz Festival. The Buell Neidlinger/Dennis Charles rhythm section always sounded a little nervous to me, but that kind of fits the energy of this music. I prefer later Taylor, but this sounds pretty good to me.

Thanks again for the great music.

Edited by jeffcrom
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Nice collection. I have a few semi-coherent comments and I think that I actually know a couple of tracks.

2. Really pretty music. I don't know any piano/trombone duets. Juilian Preister?

3. I thought maybe it is one guy overdubbing. But that's probably just because it reminded me of John Surman (particularly the baritone(?) sound) and I know he has done some solo stuff like that.

4. Great tune. Because of your hints, I'm guessing this might be by Herbie Nichols. I really like the piano playing. Bass is awfully good too. My favorite track (outside of track 5) on the BFT. I'm really interested to find out what album this is from and hope it's not something out of print.

5. I can name that tune in 5 notes. This is from Dave Douglas, Tiny Bells Trio album, Constellations, one of my favorites. I listen to this CD often. Great tune as well, I believe it is The Gig by Herbie Nichols (causing my comment on 4.). Not an expert on Jim Black but for my taste this is the best playing that I've heard from him.

8. Well, I don't know what to say here. One time through I hate it and the next time I think this is pretty good. On one listen I thought I heard similarities to the Braxton/Crispell/Hemingway/Dressler group. Next time not so much. ??!!??

10.Kind of an African rhythm to this. Totally familiar sounding from the start. I think it is by Karl Berger on piano with Dave Holland and Ed Blackwell. If I'm right on that, this is actually my least favorite cut on a very good album, Transit. I was on one of my LP playing jags a couple of weeks ago and just played this one. I guess I like Mr. Berger's vibes playing better that his piano.

11.From an LP maybe? Some more nice piano.

The rest of the tracks weren't the best for me but I'm going to listen further. Going with my comments on 8, apparently my opinions can change from day to day.

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Guest Bill Barton

Okay, I know I’m a little like the over-eager new kid in class who raises his hand first to every question, but I’m going to go ahead and post my comments. I had a blast doing this BFT – thanks for setting it up, Bill. I chose to “play” by using only my ears – I didn’t do any research, even in my own record/CD collection. Well, I did look up the spelling of one name, but he might not even be on the recording. There are some spoilers about a couple of tracks, so don’t read on if you don’t want to know.

1. Very nice, adept guitar playing. The guitarist has technique to burn, but keeps it at the service of melody. Even when playing those incredibly fast runs, the playing has a melodic point to make. He (or she) only fell into “pentatonic guitar noodling” at one brief point, but by then I was already on his (her) side. I loved the touch of backbeat the drummer played for most of the track, but my least favorite point of the piece was when the drummer stopped interacting with the guitarist and just shuffled. Thumbs up on this track.

This is a very perceptive reaction. FWIW, this track is the only one on the CD it came from that really reached me. Elsewhere there's a tad too much "pentatonic guitar noodling" as you aptly described it for my taste. This piece is a dedication to one of the guitarist's inspirations.

2. The brass player’s sound is so unusual that I wasn’t even sure which instrument it is – trombone or French horn. I first thought horn, but there are a few subtle glissandos that would be difficult on horn. In any case, it’s an odd, very individual sound – could it be Grachan Moncur? Beautiful, wistful duet playing – the tentative air of the trombone actually adds to the emotional power of the performance.

No, it's not Moncur, and, yes, it's trombone.

3. The tenor player sounds very familiar to me, but I can’t come up with a name. This is a great example of how a trio performance by three woodwinds can be structured to create a satisfying piece with a balance between composition and improvisation. I love the ostinato by the two clarinets with the tenor improv over the top. Then, just at the point where things might start to get boring, the composer(s) changes things up – more composed material, then bass clarinet over the tenor/clarinet ostinato. A short coda, and we’re done. I think the other clarinet is an alto, by the way. A very well-put-together piece, in my opinion.

I'm glad that you liked this one. It's one of my personal favorites from the batch. I'm not going to drop any hints because between yourself and NIS, several pieces have already (after only two posts!) been correctly identified.

4. Here we begin the Herbie Nichols set. “Lady Sings the Blues,” played by (I'm guessing) Misha Mengelberg, Han Bennink, and someone like Ernst Rijseger on cello. Mengelberg knows his Nichols and Monk backwards and forwards, but if it really is Bennink, he’s a little more well-behaved than usual. I love how the pianist, without overt imitation, captures the skittering quality of Nichols’ improvisational style. I like this performance a lot – in the most “out” moments, someone kept the tune grounded – they never left Nichols’ tune behind.

You're spot-on regarding Ernst Reijseger. It's not Mengelberg and Bennink though.

5. My favorite Herbie Nichols tune, “The Gig.” This odd little tune makes perfect sense when you keep in mind Nichols’ explanation to Roswell Rudd: it’s a pickup band trying to play a tune that nobody on the bandstand quite knows, so the “A” section starts, stops, starts again, ends on the “wrong” chord, and winds up being nine measures long. I have no idea who the players are, but they are excellent and obviously know the tune well. It’s a little self-consciously clever to be my favorite Nichols interpretation, but I give these guys their props for such an individual take on a challenging piece.

You may have a point regarding the "self-consciously clever" part, but I've always really dug this version.

6. This is far enough out of my realm of experience/knowledge that I don’t know what to say about it, except that the tabla player is good, and that I like the clarinet, particularly his/her use of microtones.

I'll drop a small hint on this one... Several of the players involved have a Seattle connection.

7. Perry Robinson, from Funk Dumpling on Savoy, with Kenny Barron and Henry Grimes. I don’t remember who the drummer is – could it be Pete LaRoca?. I also don’t remember the name of the tune, but think that it may be Grimes’ composition rather than Robinson’s. Robinson is one of those players that might be something of an acquired taste in that you just have to accept certain things about his playing before you can enjoy it – in this case, his intonation, which is somewhat flat, and his odd, kind of unsupported, tone quality. Every time I hear him play, it takes my ears a minute to adjust, then I’m okay with it. Everybody’s good here (go, Kenny Barron!), but Henry Grimes is outstanding.

Yes, indeed it is. I figured that probably someone would recognize this. No, the drummer isn't LaRoca. I'll bet somebody will come up with the track title and who wrote it before long...

8. An improvisation (seemingly) in which the three players are on somewhat related paths. Each player is going his/her own way, while listening to the others. This is a common free improve strategy; it avoids the kind of “call and response,” imitative interaction that can become tiresome. I’m impressed with the range of strategies the alto player uses to keep things interesting: microtones, bending pitches, growling, varying the vibrato. A thoughtful blend of interplay and non-interplay. I have no idea who anybody is.

The alto player is a monster alright. The old cliche about "he should be better-known" applies here.

9. Don Cherry, Carlos Ward, Bob Stewart, and Ed Blackwell, from Cherry’s album Multikulti. If memory serves, Stewart wrote the tune, but it might be Ward’s; it’s not Cherry’s tune, I don’t think. Someone once called Cherry’s style “bruised lyricism,” and that seems about right to me. I love his playing, technical limitations and all. I’ll take ten “limited” players who have their own sound and style over one more hot young trumpeter who sounds like Lee Morgan. This track also shows how underrated Carlos Ward is and how versatile Bob Stewart is.

Right you are but, no, Stewart didn't write this one.

10. I recognized Ed Blackwell again right away, and it didn’t take me long to realize that the pianist was Karl Berger. I think this is from Transit, which means that the bassist is Dave Holland, although there is nothing in the bass part of this track that is individual enough to stand out as anyone in particular. This is not a knock on the bassist; he’s playing a part, and playing it well. Berger is, of course, instantly identifiable on vibes, but to me he has just as distinctive a style on piano – his rhythmic approach, chord voicings, and melodic language stand out. Blackwell’s drumming is absolutely brilliant, and the piano playing is excellent.

Right again. Sigh... Y'all are just too hip for the room. :rolleyes:

11. This confused me at first, but I think it’s Sun Ra. At times there’s not a lot of interest going on in the right hand, but the powerful left hand propels the music. Of course, a rootsy blues like this is not really about originality, it’s about swing and forward motion. I like the drumming, and didn’t even realize that there was a bass until near the end, when the pianist’s left hand subsided a little.

Yes, it's Sun Ra. Good point on the bass... It's also a Saturn album and not terribly well-recorded.

12. An easy one – Cecil Taylor’s first album, Jazz Advance. I think that the name of the tune is “Charge ‘Em Blues.” Extremely powerful music, even at this early stage. If you are listening to this music casually (although I’m not sure that’s possible), it may sound disjointed and discontinuous. But if you’re really listening, it’s not difficult to follow Taylor’s logic. It’s clear to me that he wants to play free – his improvisation is “over” the structure and chords without being “in” them – but he doesn’t know how to make it jazz without the swinging drums and walking bass at this point. As much as I love Steve Lacy, he sounds a little over his head here. He does much better on Taylor’s slightly later session from the 1957 Newport Jazz Festival. The Buell Neidlinger/Dennis Charles rhythm section always sounded a little nervous to me, but that kind of fits the energy of this music. I prefer later Taylor, but this sounds pretty good to me.

Right again.

Thanks again for the great music.

You're welcome!

Edited by Bill Barton
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Guest Bill Barton

Nice collection. I have a few semi-coherent comments and I think that I actually know a couple of tracks.

I'd venture the opinion that your comments are considerably more than "semi-coherent" :lol:

2. Really pretty music. I don't know any piano/trombone duets. Juilian Preister?

Yes, it's Julian Priester. The pianist has done a lot of duo work with him...

3. I thought maybe it is one guy overdubbing. But that's probably just because it reminded me of John Surman (particularly the baritone(?) sound) and I know he has done some solo stuff like that.

Nope. Three musicians.

4. Great tune. Because of your hints, I'm guessing this might be by Herbie Nichols. I really like the piano playing. Bass is awfully good too. My favorite track (outside of track 5) on the BFT. I'm really interested to find out what album this is from and hope it's not something out of print.

It's not bass... It's 'cello. jeffcrom correctly identified the cellist as Ernst Reijseger. I haven't looked in-depth yet, but I believe that this CD is still available.

5. I can name that tune in 5 notes. This is from Dave Douglas, Tiny Bells Trio album, Constellations, one of my favorites. I listen to this CD often. Great tune as well, I believe it is The Gig by Herbie Nichols (causing my comment on 4.). Not an expert on Jim Black but for my taste this is the best playing that I've heard from him.

You got it!

8. Well, I don't know what to say here. One time through I hate it and the next time I think this is pretty good. On one listen I thought I heard similarities to the Braxton/Crispell/Hemingway/Dressler group. Next time not so much. ??!!??

10.Kind of an African rhythm to this. Totally familiar sounding from the start. I think it is by Karl Berger on piano with Dave Holland and Ed Blackwell. If I'm right on that, this is actually my least favorite cut on a very good album, Transit. I was on one of my LP playing jags a couple of weeks ago and just played this one. I guess I like Mr. Berger's vibes playing better that his piano.

Another score! Well, so much for thinking that this track might be "obscure" enough to puzzle some folks. Nailed on-the-money by the first two people taking part in the first two posts!

11.From an LP maybe? Some more nice piano.

Yes, it's from an LP. jeffcrom correctly identified this as being Sun Ra.

The rest of the tracks weren't the best for me but I'm going to listen further. Going with my comments on 8, apparently my opinions can change from day to day.

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here goes:

1. Hmm. My computer speakers that I’m listening on aren’t the best so I can’t tell if this is a drum/guitar duet or whether there’s also something of a bass pedal throughout. Anyway, boy/girl’s got some chops on geetar for sure. I don’t find it particularly fun/interesting to listen to however. No accounting for taste. Lots of similar licks going around. Certainly influenced by Metheny here and there. Maybe a rare recording of Metheny and Moses from way back in the day - 1969? That snare drum sounds like a single piece of notebook paper flapping in the wind.

2. Beirach and Herwig? Beautiful, searching music and deeply blue - dark blue that is. There’s a part in there that reminds me of "Porkpie Hat." And earlier, a line that sounds like an unintentional quote from “You’re A Mean One Mr. Grinch” at 0:35 - 0:38! I don’t have their record but the piano playing here in particular brought Beirach to my mind pretty quickly. What a master musician he is. I’ll have to seek…

3. No idea really but here’s a guess: Michael Moore. I don’t know his playing that well except from a Clusone Trio cd I have. He’s brilliant on that. I love the bass clarinet. That’s what that is - right? One of my favorite sounds. Sounds like some kind of traditional Hebrew melody stuff going on here. Zorn? I like this track a lot.

4. Yea! Sounds like a recording Claude Bolling would’ve made if he were any good at improvising creative music (apologies to the Bolling fans here). Random stab: Fred Londberg-Holm? Great track. That ending is HILARIOUS!!!

5. 1st impression is definitely Dave Douglas though I don’t have this recording. Tiny Bell Trio?! I like this track a lot.

6. Gonna guess Brad Shepik on this track ’cuz of the previous track. I really loved Lingua Franca but most of his other stuff - “world music” stuff - leaves me pretty indifferent. just like this track.

7. Damn!!! Beautiful straight-ahead playing. Super fine. Wicked tone - is that a soprano? I thought it was a clarinet for a while. No guess except to say that it makes me think that if Getz played soprano he’d maybe sound like this. I have the feeling I’m gonna kick myself for not knowing this rhythm section…

8. Julius Hemphill? Terrific music.

9. The general vibe of this is very familiar to me but I can’t place it. It’s killin’ me! Trumpet player is spectacular. It’s not Cherry, right? Roy Campbell?! Great stuff here.

10. Drake & Parker? Don’t know the piano player. Another fine track. It’s got that thing where it’s free but it’s also a groove tune. Very nice.

11. Not Gene Harris? Ha! Don’t know this one…

12. I got nuthin’ here…

Bill! Great little collection of music, although I didn’t recognize one tune (maybe some players though?…)! Thanks. I’m off to check out the earlier posts…

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Guest Bill Barton

here goes:

1. Hmm. My computer speakers that I’m listening on aren’t the best so I can’t tell if this is a drum/guitar duet or whether there’s also something of a bass pedal throughout. Anyway, boy/girl’s got some chops on geetar for sure. I don’t find it particularly fun/interesting to listen to however. No accounting for taste. Lots of similar licks going around. Certainly influenced by Metheny here and there. Maybe a rare recording of Metheny and Moses from way back in the day - 1969? That snare drum sounds like a single piece of notebook paper flapping in the wind.

Nope, not Metheny nor Moses. It is a guitar/drums duo.

2. Beirach and Herwig? Beautiful, searching music and deeply blue - dark blue that is. There’s a part in there that reminds me of "Porkpie Hat." And earlier, a line that sounds like an unintentional quote from “You’re A Mean One Mr. Grinch” at 0:35 - 0:38! I don’t have their record but the piano playing here in particular brought Beirach to my mind pretty quickly. What a master musician he is. I’ll have to seek…

Interesting... Now that that you mention it, this does resemble the things they did in duo. Not them though.

3. No idea really but here’s a guess: Michael Moore. I don’t know his playing that well except from a Clusone Trio cd I have. He’s brilliant on that. I love the bass clarinet. That’s what that is - right? One of my favorite sounds. Sounds like some kind of traditional Hebrew melody stuff going on here. Zorn? I like this track a lot.

It's not Moore or Zorn...

4. Yea! Sounds like a recording Claude Bolling would’ve made if he were any good at improvising creative music (apologies to the Bolling fans here). Random stab: Fred Londberg-Holm? Great track. That ending is HILARIOUS!!!

:rofl: Rolling with Bolling? Yeah, I love that ending too. You got the instrument right ('cello) but it's not Lonberg-Holm.

5. 1st impression is definitely Dave Douglas though I don’t have this recording. Tiny Bell Trio?! I like this track a lot.

Correct.

6. Gonna guess Brad Shepik on this track ’cuz of the previous track. I really loved Lingua Franca but most of his other stuff - “world music” stuff - leaves me pretty indifferent. just like this track.

It is indeed Shepik but not one of the dates under his own name.

7. Damn!!! Beautiful straight-ahead playing. Super fine. Wicked tone - is that a soprano? I thought it was a clarinet for a while. No guess except to say that it makes me think that if Getz played soprano he’d maybe sound like this. I have the feeling I’m gonna kick myself for not knowing this rhythm section…

It is clarinet. Already identified correctly by jeffcrom...

8. Julius Hemphill? Terrific music.

No, it's not Hemphill, but there's a definite kinship in terms of sound. That killin' lower register on the alto... That bluesy snap...

9. The general vibe of this is very familiar to me but I can’t place it. It’s killin’ me! Trumpet player is spectacular. It’s not Cherry, right? Roy Campbell?! Great stuff here.

Your first thought was correct. It is Cherry. jeffcrom correctly identified the band.

10. Drake & Parker? Don’t know the piano player. Another fine track. It’s got that thing where it’s free but it’s also a groove tune. Very nice.

Both NIS and jeffcrom have already correctly identified this one.

11. Not Gene Harris? Ha! Don’t know this one…

Hah hah! Nope, not Harris. jeffcrom nailed it as Sun Ra.

12. I got nuthin’ here…

Bill! Great little collection of music, although I didn’t recognize one tune (maybe some players though?…)! Thanks. I’m off to check out the earlier posts…

Thanks. Glad you liked it...

Edited by Bill Barton
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Usual disclaimer (this was a tough test!):

1 -- Boot or just a bad recording. I like that this is different, I just don't hear anything earth-shattering in it. Not sure who it is, but sounds like a college-trained guitarist -- very busy. Drums aren't really doing anything. This reminds me of a lot of stuff people offer up for me to hear as "outside," and it really isn't, other than the instrumentation.

2 -- This is more like it. Very interesting and understated. No idea who it is, though.

3 -- Different, but not my bag. I'm guessing it's one guy overdubbed, because I'm not really hearing a lot of interaction. The tenor reminds me of a friend of mine, Larry Gelberg, but I know it's not him. Almost an Oliver Nelson quality to the tone of of the tenor -- like a cross between Oliver and Gato, in terms of attack. For some reason, I'm thinking Ivo, but the sound isn't right. Definitely out of the Hebraic tradition.

4 -- I want to like this, and think I do. It's over-produced, but I like the concept. Seems like it might be a soundtrack. Pianist has listened to a lot of Tapscott and Randy Weston. Maybe D.D. Jackson? Maybe not... thinking it might be a white guy (particular one)... shoot... can't think of his name, but had an interview with Cadence about a year or so back. He's similar to Shipp, but more European. Plucked cello? Not a sound I dig. I think Curtis Clark used similar instrumentation for a couple of tracks on Dreams Deferred, but this doesn't sound like him to me.

edit: Hmmm... based on the ID of the cellist, perhaps I over thought this one?

5 -- I like that this is different, very unique, but at the same time, it's not really reaching me. I'd guess this is a younger guy -- full sound, but very 'recordable sound'... also very technical writing, and played flawlessly. Jerry Sabatini plays a lot of hyper-technical stuff like this (which I do like, incidentally), but this isn't him. Not crazy about that guitar, again, very technical, but I like the overall group sound. I also LOVE the acoustic bass, and I'm realizing now the major rub I'm having with this BFT. ;)

6 -- I like the eastern tonality of the beginning. I've enjoyed this sort of thing ever since the b-side of Pharoah's JOURNEY TO THE ONE. This one stays more true to the strict middle-eastern sound than I'd prefer. Doesn't sound like native eastern musicians to me -- too clean, too perfect... too technocratic. Hate to be a crotchety old bastard, but makes me want to dig out Ahmed Abdul Malik's albums from around 1960 and hear the more authentic sound (JGriff's bop lines notwithstanding).

7 -- Love the sound of the drums on this. Sounds older, but perhaps it's a Mapleshade date (like the Thurman Green date with the beautiful sounding drums). But no, this sounds older to me. Not a big clarinet guy, but the feel of this is really nice. Very much LOVING the drums. Clarinet's a bad ass... could it be Pepper? I can almost hear his alto lines in it (though, in truth, I usually avoid his clarinet tracks). I'll commit to Pepper on the guess. Dig the bass, but on the laptop, can't really offer a guess. This is nice.

note: since you're heavy on the clarinet, I have to recommend a guy in Montreal named Matthieu Belanger. I heard him on bass clari and he blew my mind. Wasn't crazy about his record (heavy on the clarinet), but if you get the chance to see him, do it!

edit: I gotta check out more Perry Robinson. Suggestions?

8 -- Not loving this. I don't mind it's 'outness', but it lacks that magical ingredient... that 'spiritual unity'. A post-Trane guy... maybe something obscure by Noah Howard? Doesn't sound strong enough to me.

9 -- Somebody likes Ornette a whole lot. Love the tuba, love the obscurity of the head -- angular, but swinging -- nice! Totally into the trumpet... want to guess Billy Higgins on the drums, but doesn't seem quite right. Alto is ringing bells, but my wife just got home and is in the kitchen making more noise than the Germans in North Africa (WTF!?!?). Man, I flat out love this tune. Recognize the trumpet, too. If I don't have this, I will. This is lovely!

edit: OH! EFF me!!!!! I knew I knew this. I should have smoked this one easy. I guess every time I play that record I get too wrapped up in Until The Rains Come. Keeee-rist!!!!

10 -- A little polished, but me likey. I definitely gravitate towards this percussive stuff. Drummer seems to throw it off in the middle... seems to drag the time and it struggles to recover afterward. I want it to go a little further out, but the piano is locking into that feel and not really following the music where it wants to go. This seems almost like a missed opportunity. I like the bass a lot.

11 -- I like the poly-rhythmic nature of this, but again, piano seems to be locking itself more in than it needs to. Drum sound is hard to take -- hyper compressed. Yeah, overall, I'm liking this a lot, though, even with the recording. I'll guess a late 80s recording b/c of those drums. Maybe this is one of the tracks you alluded to where it's not the guy's main instrument. This pianist sounds like it's not his main instrument (which is actually a plus here -- it's got a rawness to it that I'm digging).

12 -- I like this. I should know it, I definitely know that drummer. Another cut with great drum sound (even if they're way back). Drummer reminds me of one of the guys from the Monk Prestige years. I may be crazy, but this pianist is making me hear Jimmy Jones lines. He's not playing them, and it's certainly not him, but there's something about this that's making me HEAR him. Could it be early Cecil? Seems too in the tradition for that, but that would explain a lot. Not sure of the soprano. Not Lacy. Oh! Wait, yes it is. I know *exactly* what this. Shit, I haven't played this in years! Forgot it was this good. It's Charge 'Em Blues, from [url=http://allmusic.com/cg/amg.dll?p=amg&sql=10:0xfwxqugldse]this[/ur]. Jesus! 'Bout time I get one!!!!

Thanks for the difficult (in a good way) listen. I'm going to kick myself in the ass for #9, because I just know I *should* know it.

Edited by Thom Keith
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Guest Bill Barton

Usual disclaimer (this was a tough test!):

1 -- Boot or just a bad recording. I like that this is different, I just don't hear anything earth-shattering in it. Not sure who it is, but sounds like a college-trained guitarist -- very busy. Drums aren't really doing anything. This reminds me of a lot of stuff people offer up for me to hear as "outside," and it really isn't, other than the instrumentation.

Not a boot but not a particularly good recording technically as you pointed out. I'm not sure that it was meant to be earth-shattering, but who knows... As I mentioned in a previous response, this track is really the only one on the CD that "reaches" me much. So far, nobody has identified either player. Hint: the drummer is a real veteran and very well-known.

2 -- This is more like it. Very interesting and understated. No idea who it is, though.

The trombonist has been identified correctly by NIS. So far the pianist remains a mystery. Okay, I'll drop a little hint here. He's well-known and respected in South America and Europe but not in North America, although he was born in the U.S.A. and raised in Canada.

3 -- Different, but not my bag. I'm guessing it's one guy overdubbed, because I'm not really hearing a lot of interaction. The tenor reminds me of a friend of mine, Larry Gelberg, but I know it's not him. Almost an Oliver Nelson quality to the tone of of the tenor -- like a cross between Oliver and Gato, in terms of attack. For some reason, I'm thinking Ivo, but the sound isn't right. Definitely out of the Hebraic tradition.

Nope, not overdubbed, three guys. Nice description of the tenor sound, Thom! You're on-the-money with the influences I think, No, it's not Ivo. Okay, another hint, think Southern Europe.

4 -- I want to like this, and think I do. It's over-produced, but I like the concept. Seems like it might be a soundtrack. Pianist has listened to a lot of Tapscott and Randy Weston. Maybe D.D. Jackson? Maybe not... thinking it might be a white guy (particular one)... shoot... can't think of his name, but had an interview with Cadence about a year or so back. He's similar to Shipp, but more European. Plucked cello? Not a sound I dig. I think Curtis Clark used similar instrumentation for a couple of tracks on Dreams Deferred, but this doesn't sound like him to me.

You're right about the cello; the player has been identified correctly by jeffcrom. The pianist and drummer remain mysteries... You're right about the pianist being a "white guy."

edit: Hmmm... based on the ID of the cellist, perhaps I over thought this one?

5 -- I like that this is different, very unique, but at the same time, it's not really reaching me. I'd guess this is a younger guy -- full sound, but very 'recordable sound'... also very technical writing, and played flawlessly. Jerry Sabatini plays a lot of hyper-technical stuff like this (which I do like, incidentally), but this isn't him. Not crazy about that guitar, again, very technical, but I like the overall group sound. I also LOVE the acoustic bass, and I'm realizing now the major rub I'm having with this BFT. ;)

This has been identified correctly already. Uh, there isn't any acoustic bass on this one... It's all guitar.

6 -- I like the eastern tonality of the beginning. I've enjoyed this sort of thing ever since the b-side of Pharoah's JOURNEY TO THE ONE. This one stays more true to the strict middle-eastern sound than I'd prefer. Doesn't sound like native eastern musicians to me -- too clean, too perfect... too technocratic. Hate to be a crotchety old bastard, but makes me want to dig out Ahmed Abdul Malik's albums from around 1960 and hear the more authentic sound (JGriff's bop lines notwithstanding).

Yes, they're all "western" musicians, three of whom have a Seattle "connection."

7 -- Love the sound of the drums on this. Sounds older, but perhaps it's a Mapleshade date (like the Thurman Green date with the beautiful sounding drums). But no, this sounds older to me. Not a big clarinet guy, but the feel of this is really nice. Very much LOVING the drums. Clarinet's a bad ass... could it be Pepper? I can almost hear his alto lines in it (though, in truth, I usually avoid his clarinet tracks). I'll commit to Pepper on the guess. Dig the bass, but on the laptop, can't really offer a guess. This is nice.

Yup, it is "older." Nope, it's not Pepper. No question that the drummer is a master. On your postscript I see that you got Perry Robinson. He's the man for me. Regarding suggestions, I don't have a lot of his recordings other than this one. Kundalini on Improvising Artists is very tasty. That's the one with Badal Roy on tablas and Nana Vasconcelos on percussion. There's a group called Carnival Skin with a CD of the same name on NEMU Records from Germany featuring Robinson with guitarist Bruce Eisenbeil, drummer Klaus Kugel, the amazing trumpeter/pocket trumpeter Peter Evans and bassist Hilliard Greene. I like this one a lot. Robinson's composition "Journey to Strange" is a knock-out. I've been searching for The Traveler on Chiaroscuro for years; still no luck. We had this at one of the radio stations I worked at back in the late 1970s-early 1980s and I played the heck out of it. A very nice recording indeed and one that deserves to be reissued. I've never heard the ESP Disk or Savoy releases. AMG lists a 2009 release on Tzadik titled Two Voices in the Desert. Tzadik's website lists it as yet-to-be-released and Burton Greene receives co-billing. It's not clear whether it's a duo.

note: since you're heavy on the clarinet, I have to recommend a guy in Montreal named Matthieu Belanger. I heard him on bass clari and he blew my mind. Wasn't crazy about his record (heavy on the clarinet), but if you get the chance to see him, do it!

edit: I gotta check out more Perry Robinson. Suggestions?

8 -- Not loving this. I don't mind it's 'outness', but it lacks that magical ingredient... that 'spiritual unity'. A post-Trane guy... maybe something obscure by Noah Howard? Doesn't sound strong enough to me.

Nope, not Noah. Different strokes as the ol' saw goes. I feel the spiritual thing here. You don't. That's life.

9 -- Somebody likes Ornette a whole lot. Love the tuba, love the obscurity of the head -- angular, but swinging -- nice! Totally into the trumpet... want to guess Billy Higgins on the drums, but doesn't seem quite right. Alto is ringing bells, but my wife just got home and is in the kitchen making more noise than the Germans in North Africa (WTF!?!?). Man, I flat out love this tune. Recognize the trumpet, too. If I don't have this, I will. This is lovely!

edit: OH! EFF me!!!!! I knew I knew this. I should have smoked this one easy. I guess every time I play that record I get too wrapped up in Until The Rains Come. Keeee-rist!!!!

I can relate. "Until the Rain Comes" is one of the most completely gorgeous things ever recorded and my man James Harvey kills on trombone. This has been correctly identified already by jeffcrom.

10 -- A little polished, but me likey. I definitely gravitate towards this percussive stuff. Drummer seems to throw it off in the middle... seems to drag the time and it struggles to recover afterward. I want it to go a little further out, but the piano is locking into that feel and not really following the music where it wants to go. This seems almost like a missed opportunity. I like the bass a lot.

Both jeffcrom and NIS nailed this one. I think that you have a point about the piano. This track is not by any stretch my favorite from this CD. I chose it for the BFT because Karl Berger is playing piano instead of vibes here. He's more interesting as a vibraphonist I think. It's my feeling that Blackwell did that with the time on purpose, but who knows? And, yeah, Holland is a mofo when he wants to be!

11 -- I like the poly-rhythmic nature of this, but again, piano seems to be locking itself more in than it needs to. Drum sound is hard to take -- hyper compressed. Yeah, overall, I'm liking this a lot, though, even with the recording. I'll guess a late 80s recording b/c of those drums. Maybe this is one of the tracks you alluded to where it's not the guy's main instrument. This pianist sounds like it's not his main instrument (which is actually a plus here -- it's got a rawness to it that I'm digging).

The pianist has been correctly identified as Sun Ra. And, yeah, the recording sucks. It's on Saturn (the label, not the planet.)

12 -- I like this. I should know it, I definitely know that drummer. Another cut with great drum sound (even if they're way back). Drummer reminds me of one of the guys from the Monk Prestige years. I may be crazy, but this pianist is making me hear Jimmy Jones lines. He's not playing them, and it's certainly not him, but there's something about this that's making me HEAR him. Could it be early Cecil? Seems too in the tradition for that, but that would explain a lot. Not sure of the soprano. Not Lacy. Oh! Wait, yes it is. I know *exactly* what this. Shit, I haven't played this in years! Forgot it was this good. It's Charge 'Em Blues, from [url=http://allmusic.com/cg/amg.dll?p=amg&sql=10:0xfwxqugldse]this[/ur]. Jesus! 'Bout time I get one!!!!

Right you are! Score! Denis Charles!

Thanks for the difficult (in a good way) listen. I'm going to kick myself in the ass for #9, because I just know I *should* know it.

You're welcome, Thom. But wait... You did (backhandedly) identify #9... :rolleyes:

Edited by Bill Barton
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You're right about the cello; the player has been identified correctly by jeffcrom. The pianist and drummer remain mysteries... You're right about the pianist being a "white guy."

Yeah, I didn't mean it that way; I was afraid it would come across that way. I was thinking of a particular pianist and I could see his picture in my head... he's a white guy...merely meant it as a means of identification.

5 -- I like that this is different, very unique, but at the same time, it's not really reaching me. I'd guess this is a younger guy -- full sound, but very 'recordable sound'... also very technical writing, and played flawlessly. Jerry Sabatini plays a lot of hyper-technical stuff like this (which I do like, incidentally), but this isn't him. Not crazy about that guitar, again, very technical, but I like the overall group sound. I also LOVE the acoustic bass, and I'm realizing now the major rub I'm having with this BFT. ;)

This has been identified correctly already. Uh, there isn't any acoustic bass on this one... It's all guitar.

My point exactly. I love the acoustic bass, and it seems like many of the tracks (including this one) didn't have any.

You're welcome, Thom. But wait... You did (backhandedly) identify #9... :rolleyes:

Nope. Only after I read the comments from others (that's why my edits were in a different color).

Edited by Thom Keith
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You're right about the cello; the player has been identified correctly by jeffcrom. The pianist and drummer remain mysteries... You're right about the pianist being a "white guy."

Yeah, I didn't mean it that way; I was afraid it would come across that way. I was thinking of a particular pianist and I could see his picture in my head... he's a white guy...merely meant it as a means of identification.

Gotcha... I didn't take it "that way" in any case. Eastern European? :w

5 -- I like that this is different, very unique, but at the same time, it's not really reaching me. I'd guess this is a younger guy -- full sound, but very 'recordable sound'... also very technical writing, and played flawlessly. Jerry Sabatini plays a lot of hyper-technical stuff like this (which I do like, incidentally), but this isn't him. Not crazy about that guitar, again, very technical, but I like the overall group sound. I also LOVE the acoustic bass, and I'm realizing now the major rub I'm having with this BFT. ;)

This has been identified correctly already. Uh, there isn't any acoustic bass on this one... It's all guitar.

My point exactly. I love the acoustic bass, and it seems like many of the tracks (including this one) didn't have any.

Duhhhhh... :crazy: My mistake. I thought you were saying that it sounded like acoustic bass.

You're welcome, Thom. But wait... You did (backhandedly) identify #9... :rolleyes:

Nope. Only after I read the comments from others (that's why my edits were in a different color).

Aha! That dawned on me later. Kinda slow today, I guess.

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Just downloaded it--well, a lot of this is in my record collection or has passed through. Some quick notes:

3: well, I know this one. 3rd track off this one.

4: familiar Nichols tune, obviously the Dutch crew. Probably Nabatov's Autumn Music, an album I didn't like much (no longer own it, so can't check if it's right). Truthfully I find the archness offputting here--it's such a self-consciously smart take on Nichols' style that I wish he'd just be less of a know-it-all. Original writeup here, assuming I have the right album in mind.

5: well, this is familiar enough, Douglas's Tiny Bell Trio doing more Nichols, off their lone Hat Art album. Much more like it, without that annoying cuteness/faux-brutality of the previous one, Douglas's lines actually making sense on their own terms. & let's hear it for Black & Shepik/Schoeppach!

6: just guessing that rather than a Middle Eastern guy this might actually be Gordon Grdina who's done some stuff in this vein. Can't decide how much I like this one.

7: most interesting track up to this point for me, simply because the sound quality & style leave the date & provenance completely mysterious--basically older-style playing grafted onto an ambitious hard-bop set of chords & line (I'm impressed he gets it down that far, even though the bridge is too much for him). A nice feel to this one, but can't even guess who it is. The bass player could ease back a little on the solo.

12: well, this is an easy one, the late Steve Lacy with Cecil Taylor's trio. One of the great debut albums of all time.

Edited by Nate Dorward
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Just downloaded it--well, a lot of this is in my record collection or has passed through. Some quick notes:

3: well, I know this one. 3rd track off this one.

Yes indeed. Right you are, Nate.

4: familiar Nichols tune, obviously the Dutch crew. Probably Nabatov's Autumn Music, an album I didn't like much (no longer own it, so can't check if it's right). Truthfully I find the archness offputting here--it's such a self-consciously smart take on Nichols' style that I wish he'd just be less of a know-it-all. Original writeup here, assuming I have the right album in mind.

Yes, it's the Nabatov album. Hmmm... I like this one better than you did it appears. I actually found the archness rather appealing... Different strokes, etc.

5: well, this is familiar enough, Douglas's Tiny Bell Trio doing more Nichols, off their lone Hat Art album. Much more like it, without that annoying cuteness/faux-brutality of the previous one, Douglas's lines actually making sense on their own terms. & let's hear it for Black & Shepik/Schoeppach!

Yes, I figured that this one would be familiar to a few people. It's already been identified more than once.

6: just guessing that rather than a Middle Eastern guy this might actually be Gordon Grdina who's done some stuff in this vein. Can't decide how much I like this one.

No, it's not Grdina. It's Shepik again... He's been identified previously but not the other players. Second hint: it's a "cooperative" group.

7: most interesting track up to this point for me, simply because the sound quality & style leave the date & provenance completely mysterious--basically older-style playing grafted onto an ambitious hard-bop set of chords & line (I'm impressed he gets it down that far, even though the bridge is too much for him). A nice feel to this one, but can't even guess who it is. The bass player could ease back a little on the solo.

I like your point about the mystery of the recording's date and provenance. Timeless...

12: well, this is an easy one, the late Steve Lacy with Cecil Taylor's trio. One of the great debut albums of all time.

Agreed!

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More comments:

1) freeform guitar/drums duo, doesn't sound like a preplanned tune, but it's very much a jazz vocab at work here anyway. Likeable without making me really sit up--I guess I would have liked to hear the drummer being a little less easygoing & hear the guitarist stepping outside familiar vocabulary. No guesses about the players.

2) tbn/pno duo, they sound fairly familiar; I think it's freely improvised, though like the last one it doesn't really seem too far from familiar vocabulary (even if the vocab is a different one). Seems like it could have, uh, gone somewhere...

8) the wonky pitching initially made me think this was Maneri, but, nah, it's not got the character I think & this doesn't sound like his kind of ensemble (the twinkling-stars piano in particular). Like track 2 I kept wondering why it was taking so long to get out of a floaty impressionist opener & then realized it wasn't going to. Eh. This is the kind of sensitive additive improv that kinda bugs me with the sense that they're too worried about coherence & mood--each gesture seems to be too closely tied to the last one, so in the end you don't feel enough mental/logical/textural leaps have been made (& on the other hand, a particular idea isn't really explored in depth either). So what.

9) Ornettish group with a tuba for bass. Don't think it's Cherry on trumpet, a little too fleet for his latterday recordings (which it'd have to be from the recording quality), though certainly this is someone who knows his work well. Nice that the alto breaks the mold with a very un-Ornette solo. It's not doing a lot for me, but s'ok. I think the player I liked most was actually the tuba player...!

10) We never solo, we always solo......... I think I needed to play this on the full stereo not my dinky computer speakers, I might have got more caught up in it. As it stands, it's OK, but not really doing much for me.

11) This is the one track I really disliked.... just sounds really untogether and unswinging, & since the ideas themselves are stuff you've heard countless times, then what's the point if the feel isn't good? I initially assumed it was 2 pianists, but I think it's just one messy one, with a very splashy drummer. Hm, a bass at the end. Maybe the bass player was the guy playing the bass line on the piano?

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More comments:

1) freeform guitar/drums duo, doesn't sound like a preplanned tune, but it's very much a jazz vocab at work here anyway. Likeable without making me really sit up--I guess I would have liked to hear the drummer being a little less easygoing & hear the guitarist stepping outside familiar vocabulary. No guesses about the players.

This one is getting very mixed reviews so far... When you find out who the drummer actually is it may surprise you; and, yes, he's a bit more restrained than is usually the case.

2) tbn/pno duo, they sound fairly familiar; I think it's freely improvised, though like the last one it doesn't really seem too far from familiar vocabulary (even if the vocab is a different one). Seems like it could have, uh, gone somewhere...

The trombonist has already been correctly identified, but not the pianist. I dropped a couple of hints above...

8) the wonky pitching initially made me think this was Maneri, but, nah, it's not got the character I think & this doesn't sound like his kind of ensemble (the twinkling-stars piano in particular). Like track 2 I kept wondering why it was taking so long to get out of a floaty impressionist opener & then realized it wasn't going to. Eh. This is the kind of sensitive additive improv that kinda bugs me with the sense that they're too worried about coherence & mood--each gesture seems to be too closely tied to the last one, so in the end you don't feel enough mental/logical/textural leaps have been made (& on the other hand, a particular idea isn't really explored in depth either). So what.

This track may very well be the hardest one for anyone to identify. The alto player (yes, it's an alto) has his followers and is something of an iconic figure where he lives. The bassist is probably the best-known musician in the group.

9) Ornettish group with a tuba for bass. Don't think it's Cherry on trumpet, a little too fleet for his latterday recordings (which it'd have to be from the recording quality), though certainly this is someone who knows his work well. Nice that the alto breaks the mold with a very un-Ornette solo. It's not doing a lot for me, but s'ok. I think the player I liked most was actually the tuba player...!

This track has already received a positive ID. It is Cherry, and yes, he's pretty damned fleet on this one. I agree that the tuba player (Bob Stewart) almost steals the show. I'm a sucker for tuba!

10) We never solo, we always solo......... I think I needed to play this on the full stereo not my dinky computer speakers, I might have got more caught up in it. As it stands, it's OK, but not really doing much for me.

This has also already been nailed (by the first two participants!) More a curiosity than anything, IMHO. Karl Berger on piano with Holland and Blackwell.

11) This is the one track I really disliked.... just sounds really untogether and unswinging, & since the ideas themselves are stuff you've heard countless times, then what's the point if the feel isn't good? I initially assumed it was 2 pianists, but I think it's just one messy one, with a very splashy drummer. Hm, a bass at the end. Maybe the bass player was the guy playing the bass line on the piano?

Again, this has already been identified. It's Sun Ra from a Saturn trio record. The drummer is Luqman Ali, whom I know nothing about, other than the fact that, as you rightly point out, he's kinda splashy.

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Interesting you note that it's the only track on the album you're that taken with. O'Leary impresses me as someone who's more of a "quantity" than "quality" guy (not to mention an assiduous networker: he seems to be on a mission to assemble the most impressive list of playing partners he can manage in the shortest period of time). Haven't heard a lot of his work, but so far it tends to give me the impression that this track does: some guy with lots of Sco, Abercrombie &c under his fingers who for reasons best known to himself wants to be a free jazzer.

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I'd guess that the 1st track is from the Mark O'Leary/Han Bennink duo Television.

Score!

Hey, I guessed Han Bennink!

Um... just on a different track. Doesn't that count?

:rofl: Of course. Everything counts.

Interesting you note that it's the only track on the album you're that taken with. O'Leary impresses me as someone who's more of a "quantity" than "quality" guy (not to mention an assiduous networker: he seems to be on a mission to assemble the most impressive list of playing partners he can manage in the shortest period of time). Haven't heard a lot of his work, but so far it tends to give me the impression that this track does: some guy with lots of Sco, Abercrombie &c under his fingers who for reasons best known to himself wants to be a free jazzer.

Hmmmm... Lots of Metheny under his fingers too. The trio record on Leo with Cuong Vu and Tom Rainey (Waiting) is so far the only one of his recordings that has totally knocked me out. That one is killer.

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I'd guess that the 1st track is from the Mark O'Leary/Han Bennink duo Television.

Score!

wow. very interesting. i don't have too much bennink (some Clusone Trio, Last Date,...) and certainly wouldn't consider myself one to be able to recognize him instantly but wow... never in a million years would i have guessed this was him on this cut. way interesting. and i've never heard of the guitarist. couldn't get into it. i'll have to check out some of his other stuff...

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I'd guess that the 1st track is from the Mark O'Leary/Han Bennink duo Television.

Score!

wow. very interesting. i don't have too much bennink (some Clusone Trio, Last Date,...) and certainly wouldn't consider myself one to be able to recognize him instantly but wow... never in a million years would i have guessed this was him on this cut. way interesting. and i've never heard of the guitarist. couldn't get into it. i'll have to check out some of his other stuff...

Yeah, it's somewhat atypical of Bennink's better-known playing I'd say. He's an amazingly versatile percussionist. You've probably heard him absolutely nail "traditional" swing-oriented grooves as he often does with ICP. When I heard them play in Seattle a couple of years back there was a lot of material that could be considered "pre-swing" too. The man knows his Baby Dodds, that's for sure. As far as O'Leary's other stuff goes, my fave is mentioned in the above reply to Nate. I also like the one he did with Eyvind Kang and Dylan Van Der Schyff, Zemyla (both on Leo) and On the Shore on Clean Feed with Alex Cline and trumpeters John Fumo and Jeff Kaiser. The latter received mixed reviews but I like it; the instrumentation makes for some rather unusual textures. I haven't heard any of the other trio records on Leo. "On paper" they "sound" interesting, especially the one with Tomasz Stanko and Billy Hart

I actually have quite a few albums with Han Bennink on them and I couldn't hear it either.

That's one of the reasons I chose it for the BFT. I didn't hear it either!

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Interesting you note that it's the only track on the album you're that taken with. O'Leary impresses me as someone who's more of a "quantity" than "quality" guy (not to mention an assiduous networker: he seems to be on a mission to assemble the most impressive list of playing partners he can manage in the shortest period of time). Haven't heard a lot of his work, but so far it tends to give me the impression that this track does: some guy with lots of Sco, Abercrombie &c under his fingers who for reasons best known to himself wants to be a free jazzer.

It's also interesting that O'Leary himself has mentioned Derek Bailey and René Thomas as prime inspirations/influences.

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