BFT 68: Listen And Discuss

[Joe]

We're ready to roll.

http://www.slowstudies.net/bft68/

2 dozen tracks + a bonus selection. Listen online (thanks, Flash), or download the entire BFT, whichever your connection speed prefers.

No over-arching theme or conceit here, other than the power of association as applied to a jazz record collection. In other words: this is just an assemblage of some things I like that, as I enjoyed hearing them again, seemed more or less to fit together in a mix-tape kind of way.

Answers will arrive in the first week of November.

Enjoy.

Ciao,

Joe

[Big Al]

In other words: this is just an assemblage of some things I like that, as I enjoyed hearing them again, seemed more or less to fit together in a mix-tape kind of way.

My favorite kind of BFT!!! Can't wait to download and listen!

[Van Basten II]

Enjoy the easy way we can access the music, good work.

I'm clueless about guessing who's playing, so i won't be much of a contributor except saying if i enjoy the piece or not.

Like the percussion work on track 2, digging very much the third piece thank you, wished it was longer though.

The track 4 develops and ends in a quite frantic and exciting way.

Edited October 5, 2009 by Van Basten II

[Bright Moments]

thanks in advance!!!

[Dan Gould]

I don't participate much even when I commit to these, but I am curious about track 6. Tenor started out sounding like Dex but I realized its not. Definitely enjoyed the track.

Could it be a relatively straightahead performance by someone that Chuck recorded?

Edited October 5, 2009 by Dan Gould

[Joe]

I don't participate much even when I commit to these, but I am curious about track 6. Tenor started out sounding like Dex but I realized its not. Definitely enjoyed the track.

Could it be a relatively straightahead performance by someone that Chuck recorded?

Glad you enjoyed that track; a particular favorite of mine.

To be honest, I'm not sure Chuck ever worked with said tenor... though I'd be curious to have his thoughts on said tenor, once all is revealed.

[Dan Gould]

I don't participate much even when I commit to these, but I am curious about track 6. Tenor started out sounding like Dex but I realized its not. Definitely enjoyed the track.

Could it be a relatively straightahead performance by someone that Chuck recorded?

Glad you enjoyed that track; a particular favorite of mine.

To be honest, I'm not sure Chuck ever worked with said tenor... though I'd be curious to have his thoughts on said tenor, once all is revealed.

So I guess I'm right that its someone who tends toward the A/G in a more restrained performance.

[Joe]

I don't participate much even when I commit to these, but I am curious about track 6. Tenor started out sounding like Dex but I realized its not. Definitely enjoyed the track.

Could it be a relatively straightahead performance by someone that Chuck recorded?

Glad you enjoyed that track; a particular favorite of mine.

To be honest, I'm not sure Chuck ever worked with said tenor... though I'd be curious to have his thoughts on said tenor, once all is revealed.

So I guess I'm right that its someone who tends toward the A/G in a more restrained performance.

It is what your ears say it is.

Edited October 5, 2009 by Joe

[Noj]

Really fun listen, Joe. As the Bonus Track spins, I have only been able to identify the Hendrix cover "Up From The Skies" among the tunes but I don't know any of the artists. Amazing variety, and I really have no complaints about any of it. Thanks!

[Chas]

Track 1 : Don't have it , but it sounds like Farmer & Golson , with possibly Jimmy Cleveland and Hank Jones .

Track 2 : Don't have it , but the feel of this one had me thinking Vince Guaraldi right away . Nice track .

Track 8 : Instant recognition - Frank Strazzeri from the album Taurus , early 70's . Good album , as is After The Rain from later in the 70's .

Track 9 : Again , instant recognition of one of my favorite Prestige sides , Teo Macero with the PJQ .

Track 13 : Randy Weston ?

Track 15 : This is Hal McKusick from Triple Exposure with Billy Byers .

Track 17 : Max Roach with Coleman and Little .

Track 19 : Don't have this one , but I'm getting a west-coast vibe from it ; Baker & Freeman ?

Track 20 : This is Charles McPherson with Clifford Jordan from the album Con Alma .

Track 21 : This version of Poinciana is from an album by Allan Chase .

Track 25 : Buffalo Springfield

[lipi]

Thanks for these tracks, Joe. I'm not going to be able to say anything meaningful about them, so I'll just have to go with impressions and gut reactions.

Like most modern jazz, most of these sound like a bunch of guys playing at the same time, in different keys, for a really long time. I'm used to the length of a 78, so anything above, say, 3:30 feels like an eternity to me.

Tracks I found myself bopping my head to: 5, 14 (the parts that sound like a Mancini sound track--the rest just freaked me out), and 15.

16 sounds vaguely familiar, though I suspect when I see what it actually is I'll go "who? what?".

I liked the quotation from 1812 Overture I heard in one track (I tried to find it again just now, but I don't remember which track it was in).

In short: no idea what any of it is, and most of it scares the pants off of me, but I'm curious to find out what the four tracks I mentioned above are. Thanks!

Edited to add that track 3 reminds me of "The Italian Job", so I'll make my one guess for this BFT and say that Quincy Jones arranged it.

Another edit: I need to stop listening to this. Now I think I'm hearing Real Big Fish sort of riffs in track 4. What's wrong with me?

Edited October 6, 2009 by alex.

[tkeith]

Usual disclaimers -- listened without looking, no research because I'm too lazy, and just documenting reaction:

Track 1

Nice clean trumpet sound... maybe Art Farmer, but not quite as warm to my ear... also, something in those triplets is telling me Farmer is wrong. Benny Golson on tenor for sure. Flute could be Shihab, but sound isn't quite full enough for me to be confident. Bone sounds like Jimmy Cleveland to me. Can't pick up the bass on the laptop, but the drums have a Philly Joe tinge to them. I have a PJJ big band record, but I don't think this is it, although Shihab does play bari on that. I'm close, but stumped.

Track 2

Not enamored of those chimes. Reminds me of Wednesday afternoons at my grandmother's house in the 70s, but there is something hip about the piano. Sounds like Vince Guiraldi to me. Maybe one of the Cal Tjader sessions.

Track 3

I'm picturing go-go dancers in a Jimmy Stewart detective movie. No idea. Fun but not sure I could listen to it too often.

Track 4

I was just listening to this... in fact just picked it up not long ago. Tchicai is one of my favorite under appreciated guys. It's Radebe, from this. Great bass hook and love those alto harmonies in the melody.

Track 5

Oh yum. Love that bari. The tenor is one of the modern guys that doesn't really do it for me. I hear a lot of time in the practice room and not enough with other musicians. The guitar is also that heavily processed sound that grows old fast with me. It starts with a nice groove, but just doesn't go anywhere. Nice bass solo. At times this reminds me of something Peter Apfelbaum might do, but seems to lack the balls.

Track 6

Oh yeah, that's my guy Frank Lowe and it's this. Close to the Soul (right in it, baby!). What a bitch of a record! ACM is particularly interesting on this and Wilber's bass is always a treat.

Track 7

Nice snappy drums. But splashy at the same time. I'm not loving the soprano. It's not as free as the rest of the ensemble. The drummer likes Elvin a lot, or it is later Elvin. Seems too controlled, but the recording could be doing that. Those triplets definitely suggest at least an Elvin interest. A lighter touch, though. Maybe one of the Liebman bands. Recognize the tune, too. This may be buried in the archives.

Track 8

Those keys have me thinking Chick Corea off the bat, but that seems too obvious. Nice 70s Jazz. The arrangement has tinges of Woody Shaw, but the flute says Art Webb to my ear.

Track 9

I feel like I should know this. I like it, but it's somebody that's just off my regular radar. West-coastish sound. Maybe J.R. Monterose? Don't know, but it's real nice.

Track 10

No idea, but not really holding my interest.

Track 11

Hmmm... this test is taking a turn into electronica that I'm not sure I'm hearing. Yeah... this one doesn't resonate at all.

Track 12

Aaaah.... rhythm. That's this. Man was a genius and deserves to be mentioned alongside Monk, Coltrane, Parker, Sun Ra, and Walt Dickerson (another unsung genius). This is Wiletta's Walk. He owned those odd meters.

Track 13

Beautiful. Sounds like Kenny Barron doing a Monk tune, but I can't say which one. This is gorgeous.

Track 14

I like that sound a LOT. This is somebody I should know, damnit. I'm going to kick myself when the answers come out. Sounds like one of the LA guys to me. Not Billie Harris, but someone like that. But a REALLY fat sound almost like Booker T. That pianist definitely sounds like one of the LA guys.

Track 15

Hmmm... shades of Jimmy Knepper? Very thoughtful playing from the alto player, a bit of Konitz in the approach, but a warmer tone. Huh... I'm not familiar with this, but feel as though I should be. Really diggin' the piano. Shades of a sane Phineas and at time some Horace Parlan in there. Very interested in finding out what this is.

Track 16

A lot of Eb in this one. Alto reminds me of late Louis Jordan. Hmm... Cecil Payne? Don't know this at all and I'm thinking I'm dead wrong about Cecil.

Track 17

Sort of a sloppy Coltrane approach. Older... Cal Massey? No... Andrew White? A touch of George Coleman in the sound, but doesn't have GC's facility. Bitch of a head. Trumpet is very warm, which I didn't expect from the head. Dunno. Started strong, but beginning to hit hard times here.

Track 18

Clean drum sound. Don't know the alto, but I'm guessing a younger guy. Maybe early Dave Douglas on trumpet? I'd enjoy something like this live -- obviously a lot of spontaneous interplay between the musicians. Maybe Ed Blackwell on drums. The sound had me thinking Cyrille early on, but this is more traditional and something about the precision has me thinking Blackwell. Could this be one of the sessions with Mark Helias?

Track 19

Huh... I'm leaning Howard McGee, but not with any degree of confidence. Maybe Shelly Manne on drums?

Track 20

Oh yeah! That's this, Dexter Rides again. One of my favorite records from childhood. Charles and Clifford play off each other perfectly throughout this, especially on Eronel. Ordinarily, I'm not a big Alan Dawson fan, but his very tight on this. And George Tucker has to be the most underrated bassist ever.

Track 21

Initial impression was Jeff Coffin's band with Rod McGaha, but it's not them. Probably an "original" which leans heavily on What Is This Thing Called Love. Nice tune, though. Both of these horn players are their own people on this, even though you can hear their influences. This is the way Jazz should work. The harmonies are similar to some of Charles Brackeen's writing, but lack his rawness and bite.

Track 22

This one lacks what I liked about the previous tune. Tenor has that totally generic, "recordable" sound that is completely inoffensive thus makes zero impression. Drums are hyper compressed. Reminds me a lot of Franklin Kiermeyer's recordings in that way. At 1:40, seriously considering the slider. Yeah, I'm out. Nothing in this for me.

Track 23

Ah-ha... that gong actually sounds very familiar. Electro-violin... I was leaning Milford Graves up to that point. It's unique, but not really buying it.

Track 24

Just realized I was four minutes into this and had nothing to say about it. Moving on.

Track 25

Jack Bruce?

Overall, a really outstanding BFT -- both challenging and enjoyable. Thanks!

Edited October 17, 2009 by Thom Keith

[Joe]

Thom -- thanks for the generous comments.

On 14, the sound you mention -- the sax player, correct?

And, not to ti my hand to much, but... I really, really, really wanted to include some Charles Brackeen on this BFT, but I could not locate the specific record (and tune) I wanted to slip in there. So I will just issue a general recommendation for all his Silkheart dates, but maybe BANNAR more than any other.

J

[Dan Gould]

Track 6

Oh yeah, that's my guy Frank Lowe and it's this. Close to the Soul (right in it, baby!). What a bitch of a record! ACM is particularly interesting on this and Wilber's bass is always a treat.

Thom's never wrong and I have to say I am now very curious about this recording. I'm about the most straightahead mainstream guy here (possibly the only difference between me and our old friend Hardbop is that I enjoy jazz organ, don't have an unhealthy fascination with Wynton, and don't use the words "ducat" or "tome") but if, as Da Bastards say, the pianist "seems to ground the record strongly, holding it inside a bit more than usual for Lowe" I'd like to hear more from this record.

Too bad I have no money for buying anything as unimportant as a CD.

[tkeith]

Thom -- thanks for the generous comments.

On 14, the sound you mention -- the sax player, correct?

And, not to ti my hand to much, but... I really, really, really wanted to include some Charles Brackeen on this BFT, but I could not locate the specific record (and tune) I wanted to slip in there. So I will just issue a general recommendation for all his Silkheart dates, but maybe BANNAR more than any other.

J

Yes, the sax player. I'll second the Brackeen recommendations. PM me the CB tune you were seeking -- I'm curious.

[The Magnificent Goldberg]

BFT68

Well, I’m late, having been away for a bit. But here we are, at last.

1 Nice easy swinging side, with a pretty modern trombone player showing off his chops. There’s something familiar about the arranger’s style, but I can’t place it. Sounds as if it’s from California, however. Nice, but a bit too good for me.

2 Something a bit familiar about this, as well. Nice groove. The pianist reminds me of Duke Pearson, but the drumming doesn’t sound like his sort of thing.

3 This sounds like Jacques Denjean. Great groove! Nice preaching alto player. Wailing trumpet player. I’ve never known who was in Denjean’s band. Love this one!

4 The voicings on this sound South African. And now the solos start, this sounds even more South African. This is very good indeed. I don’t know who the sax players are. There is surely the legacy of Kippie Moketsi there. Some phrases sound a bit like Robbie Jansen. I’m really keen on finding out who this is. I guess one of the Louis Moholo groups. Never heard any of his stuff. Really nice!

5 This tune has a nice groove to it, though I can’t really be asked to count beats. But when the tenor soloist starts, he’s got a very ordinary sound and the solo sounds like jazz wanking. Guitarist has a bit to say that’s worth hearing, though I’m not keen on his sound, either. Pianist and guitarist both agree that the bass soloist hasn’t anything particular to say; their contributions during the bass solo are pretty nice. I think it would have been nice if the baritone player had got a solo in; he has a very nice bottom (and he sounds good, too )

6 Oho, a blues from way back! Oh no it isn’t, they’re… well, I dunno, Guv. These guys have the capability of burning a hole in your soul, but don’t seem to care to seem so emotional and non-intellectual. Can’t understand why. Guess I’ll find out, if everyone else is raving about it.

7 Some outside stuff, but it starts off nicely enough. The alto player is really talking to me. Mm yes, this is real music! And what about the drummer! So much there with the alto player. Perhaps I haven’t got enough bass oomph on my computer but, until he started soloing, I couldn’t hear what the bass player was doing to well. But his solo had some stuff in it. I think these are musicians I’ll want to explore a bit. Thanks Joe (well, so long as it doesn’t turn out to be Kenny G).

8 Seventies sound. Trumpet led, by the sound of it. So the flute goes first; does that mean it’s his record? I generally can’t recognise flautists and this is no exception. Electric piano is also a bit hard for me, but I’m thinking, Bish. Perhaps one of his seventies Muse albums. I quite like this, but it’s not something I’d seek out.

9 Nice lazy groove, but solos that don’t seem to stir off the couch. Good for dozing. Funny showbiz ending; rather inappropriate.

10 There’s a sort of Pharoah Sanders feel behind the trumpet intro. Well, after 3 mins and a bit, they stir themselves up. I’m still not interested, however. Well, I quit half way through – sorry.

11 Sounds like Sun Ra on organ – or is it a harmonium? This one has very much the feel of a Pharoah Sanders ballad, without Pharoah. I think I’d really enjoy it if Pharoah came in.

12 Sorry, this cut is really not doing anything for me. Time for a quick cough and a drag.

13 This one, short though it is, is more of the same, albeit by a more positive player. Is this a Bud Powell tune? Is the pianist Hugh Lawson?

14 Nice bass intro, into REALLY nice tenor sound; thick and fruity down the bottom, tough and gritty higher up. I’m pretty sure I’ve never heard this tenorman before. Oh, this is getting through, all right! And a really positive pianist. I love his left hand!

15 I’m pretty sure this is a fairly well known tune – but I don’t know it. It just feels as if it ought to be a well known tune. Is it Major Holley on bass? Nice melodic trombone solo from someone with something of a Curtis Fuller sound until some way into the solo he lets loose with a something I don’t know the word for in trombone-speak. OK alto player. Nice in context. No, he’s better than OK. Nice, but not rave stuff.

16 Oh, here’s a tune I recognise, but don’t know the name of. Forties cut. This is pure Parker-style Bebop and anyone ought to be able to recognise who it is. But I can’t. I’d love to say the baritone player is Leo, but I really don’t think it is. More like one of those guys who played with Herman or Kenton. Ditto the alto player. But the sound of the drummer is kinda Kenny Clarke, so maybe… The alto solo seems really quite poorly recorded.

17 Sounds like a different version of “Appointment in Ghana”. Is this Jackie McLean? Freddie Hubbard on trumpit. But it’s only three minutes long, so it can’t be them, surely. I love the tune. And I don’t mind the showoff trumpet start. Not my stuff, but yes, OK.

18 Another tune I think I recognise. Damn good players, but I can’t get with them at all. Nearly eleven minutes is no encouragement, either.

19 Nice one, from the very beginning. Sounds like Blue Mitchell to me, but it’s a track I don’t recognise. Is that Horace Silver on piano? Surely not; it seems so unlikely for a BFT. It’s not Blue; when he returns he’s just a bit shrill. Carmel Jones? Not sure.

20 Early or mid fifties Bebop, I’d guess. Alto & tenor front line. Hm. Sounds like a Prestige jam session cut, but not one of Jug’s. And there should be at least a trumpet in there, if it was Prestige. I like the alto player better than the tenorman, who doesn’t have a very nice tenor sound. I should recognise the pianist but don’t quite. Interesting bass solo. Is that tenor player Golson? It’s a Golson-type tune, now it comes back at the end.

21 “Poinciana”. Well, a tune I recognise! Soprano & trumpet front line. Interesting approach to the tune, though I don’t like it much; it removes the loveliness of the movement of the melody. And the solos don’t give it back to us, except in snatches. Oh, and I really didn’t need a drum solo in there, guys.

22 Some outside organ, with alto. Good idea, but they seem to be getting in each other’s way, elbowing each other about, rather than co-operating. At about three minutes, it starts to make sense, because the organist is a bit more laid back and just droning, which was fine. But now they’re back at loggerheads again.

23 Amplified violin, with wah wah attachment? Once it settles down, this is really very nice. I don’t think I could take a musician for whom this is the only mode of expression, however. A good trick, is all, I think.

24 All sorts of stuff in here. After two minutes, there’s little happening; no movement; just static sounds. And after three minutes. I want to get on to track 25, but it seems churlish to just stop it with only two minutes to go. And perhaps they’ll break into, “We wish you a merry Christmas”, just before the end. Well, NEARLY!!!!! HA!!!!

25 Sounds like a rock singer.

Well, that was interesting, Joe. And some of it really exciting. Thank you.

MG

[Joe]

MG -- thanks to you too for the generous comments.

Find it fascinating that #5 -- particularly the tenor player on #5 -- just isn't doing it for most listeners.

J

[The Magnificent Goldberg]

Find it fascinating that #5 -- particularly the tenor player on #5 -- just isn't doing it for most listeners.

J

Oh, so it's Trane, is it?

I wasn't too far off on 4, though I should have got Dudu.

MG

[JSngry]

It's my old buddy Joe's BFT & here we go, the usual thanks and disclaimers in place, scattershooting while wondering whatever happened to Bill Emery...

TRACK ONE - Seems like I should recognize damn near everybody on here, and maybe a few years ago I would have, but right now the only voice that's unmistakable to me is Golson's. Philly is a good possibility, and somehow I wanna say Bill Evans on piano, mostly for the comp. Trumpet is Blue Mitchell? Almost sounds like Johnny Coles. I don't recall hearing Jimmy Cleveland ever sounding that, uh....boisterous, but...hey, that tone is what it is. All things considered, lively, frisky, of its time, and able to hold its head high today because of that.

TRACK TWO - Believe it or not...I've heard this one side by Quartette Tres Bien that gets in this groove and stays in it. But I don't think that's who this is...especially since there's a guitar. Doesn't sound like a pickup band to me, though, and I like that. I like the triangle or bell tree or whatever that little tingy-washy thing is going on in the background. No idea who it is, but it's generic yet wholly personal. Not everybody can do that, ya' know, so kudos to all involved.

TRACK THREE - Ok, no fair, this one was pimped to me by our BFT Pimpmaster General a few months ago, and a wonderful piece it is (alto and trumpet are readily familiar, just listen to tone outside of context, most y'all should know these guys, really) but what I find most interesting is that if given the recording date of 1964 is correct, then this predates "Papa's Got A Brand New Bag" and how can that be, huh?

TRACK FOUR - I'm not at all well-versed in the South-African jazz of Dudu Pukwana et al, but this feels/sounds like what I've heard of it, and that's a good thing for me. Is this a Johnny Dyanni date? I've never heard a bad one, wonder why I don't have more... anyways, lively and frisky, much to love here! And HELL YEAH!!! for the drummer!!!

TRACK FIVE - Some odd-metery here...Bari player has a tone like Ronnie Cuber...who's that tenor player? Sounds like the meter gets in the way of his regular breathing patterns so he keeps going, but I dig his tone and his energy, very much. There's some Eddie Harris in his soul. Cat's got something to say, no doubt. Must be my PC speakers, because at time the guitarist's tone reminds me of Ted Dunbar, and I know this ain't no Ted Dunbar...Rhythm section is tight, they sound more "at home" with the meter than does the tenorist. But it's all good, no shit. These cats are playin'!

TRACK SIX - Frank Lowe, one of the classic Soul Note dates, some of the last "real" jazz conntinuumenti in action at a time when it still mattered. What becomes of a dream destroyed?

TRACK SEVEN - Plenty of bass on this BFT, eh? Sounds like some ECM... soprano is familiar to me, but not immediately recognizable. I've gotten so un-"jazz"-ed over the last few years, for better and for worse...Very fluent, that's for sure...maybe lacking that "outsized" spirit that I like to hear in even small music, but...DAMN this sounds familiar...AH, it's "JuJu",the Wayne tune. No wonder all the whole tones! HA! Replaying it, I guess I was distracted first time through, hell, it's right there from jump...fuck me, then. Ok. let's AMG it and see what comes up... Stephen Riley? Yeah, ok, there you go. I had a copy of this once. The guy needs better album covers, for real. As for anything/everything else, I can't argue with a cat who has learned his instrument that well. When you get there, it's all about personal choices, which I feel obligated to respect as such

TRACK EIGHT - Late '60s/early '70s, moody, splashy, hell I just dig the SOUND of it...sure sounds like a Duke Pearson related date, but not enough reverb for a BN of the era...hell, I probably have this one, if I don't I should. People who get creeped out by just the sound of a Rhodes are wrong. Just plain wrong. Rhodes & WHOOOSHY cymbals, that's how you spell happiness where I grew up.

TRACK NINE - I'm getting semi-mental over you? I hear grunting and a very straight-on approach to harmony vs rhythm, is this a Hamp date? But the pianist plays like Horace. Some of that tenor sounds like Hank, but more of it does not. Some of it almost sounds like a Teo Macero-type player (the intervals & the vibrato), but a lot more of it does not (the tone, although tightish like Teo's is a little more open than I'm used to hearing from him in those days, where he made Warne sound like Hawk...). Hmmmm....I don't know. It's almost like a lot of things...

TRACK TEN - Very fluent, and very easy to follow as a result. It's somebody who sounds like they mean no harm to anybody, which doesn't happen nearly as often as you'd like. Christmas music! But then it gets kinda dark. But not scary. One thing I've learned over time is that things aren't usually as scary as you might think. So, STILL Christmas music, just in some arts school holiday pageant faculty concert. And I mean that as a compliment.

TRACK ELEVEN - C'mon in, we've been waiting for you! Geez, imagine "Rated X" played on accordion...One thing I've learned over time is that things aren't usually as scary as you might think. Usually.

TRACK TWELVE - An elderly Randy Weston? Elderly or not, Randy Weston or not, it's still speaking with authority. Much props.

TRACK THIRTEEN - Hell, now this sounds like Randy Weston...well, ok, Randy Weston or not, it's still speaking with authority. Much props. But the more it plays, I don't think it's Randy Weston, and it starts to sound a little familiar...and a little less original. So a little less props. Is this a Mingus tune?

TRACK FOURTEEN - Wow, the connecting here is really spooky (not scary!)...speaking of Mingus...echoes (but not more) of "Haitian Fight Song"...that tenor vibrato...David Murray? An elderly David Murray? This ain't working for me. Too representational. Ok, not David Murray. But still not working for me. Still too representational. Gets better when the tenor player stops. But the drummer is, ah...problematic for me. Oh well.

TRACK FIFTEEN - Nice tune well played. Very thoughtful. Nice.

TRACK NINETEEN - Chet w/Russ Freeman? Somebody else w/Russ Freeman? It swings, and i like the drummer.

TRACK TWENTY - Don Schlitten! Charles McPherson! Clifford Jordan! McPherson sounds a little out-of-sorts, not as sure of himself as usual. But just a little. Clifford Jordan sounds fucking great. As Don Schlitten would say, ! But if you ask me, !!!

TRACK TWENTY ONE - They're copping Sonny's feel, but w/o David Lee's cymbals & George Cables' Rhodes. And they bash instead of WHOOOOSH. That might well be Elvin on drums, and I love Elvin, but...no. Or to be fair, I've heard where it comes from, and Iw ould have preferred that it didn't go here.

TRACK TWENTY TWO - I'd prefer a little more personal, as opposed to musical, extroversion. Verging on representational, but the fluency must be respected. Whatever. Respect given. I just don't feel the love. I might have then, but this is now.

TRACK TWENTY THREE - HA! Lessee who this is...before looking, I could guess billy Bang...now, am I right? Well, apparently not! But ok, who cares? this is good stuff.

TRACK TWENTY FOUR - Virtuosic language expertly & coherently spoken. Don't know the piece, but the trumpet reminds me of Hugh Ragin, which leads me to Roscoe, and you know i love that because it just makes sense, but hey, it's starting to already be time to move on to a different language for a still different time, and if people are already a generation or two behind in their language now, what next, one more leap of left-behind? And we wonder about a sub-literate society? Shit gonna go where shit gonna go, but when all the adults stay at home, whose fault is it when the wildass kids drive the bus all off up into the cornfield? And why shouldn't they? You can live in a cornfield just as well as you can a bus. People get ready, there ain't a Trane a comin', ya' know?

God bless Roscoe Mitchell, and World, you shoulda woke the fuck up while there was still a bed to get out of.

TRACK TWENTY FIVE - Them boys sound stoned.

DAMN Dude, that was a lot of songs, took me 4 hours to do this, time well spent, effort rewarded, for sure. Enjoyed it!

[JSngry]

I'll be damned. I skipped some tunes WTF?

TRACK SIXTEEN - Oh HELL yeah. Buster & Hog, apparently an anthropologist's dream. This makes me happy. Deeply and truly happy.

TRACK SEVENTEEN - Max, and that is just sick.

TRACK EIGHTEEN - Like it, don't love it. Don't know if I need more, but I want more.

Ok!

[tkeith]

As usual, Jim, always fun to read your responses.

[Joe]

TRACK TWENTY FIVE - Them boys sound stoned.

Jim -- it goes without saying that I deeply enjoy everything you had to say about this collection. But this comment really did make me re-hear track 25, and I think that, as I result, I have to describe it / its motion very differently now, both to myself and to the BFT participants... when the big reveal comes down.

[Jim R]

TRACK ONE ...right now the only voice that's unmistakable to me is Golson's.

I don't know what makes me feel more relieved... this, or finding out that the kid wasn't in the flying saucer.

[Hot Ptah]

I can identify virtually none of the songs or artists, but since Jim Sangry couldn't either, I feel more confident just sharing my reactions.

I found this Blindfold Test very compelling, and like much of the music a lot. I plan to pick up many of the albums from which these cuts were taken, after the answers are given. I wonder how many of the albums I already own.

1. I feel like I definitely should know everyone here, but I don't. It's humbling. I know that I have heard the trumpet player often. I don't know who was exploring this territory on flute other than Eric Dolphy.

This is great music, one that I will get, if I don't already own it.

2. I don't think it is George Shearing, but it reminds me of some things I heard Shearing play live in the past ten years. Very appealing.

3. Is this the James Moody cut from his 1964 album which was years ahead of the game, yet never seems to get mentioned when the pioneers of early fusion are discussed? If it is, I remember that the original liner notes chided Moody for "going to Liverpool"--which was not an appropriate description of what he was doing.

I have checked my album. It is "If You Grin (You're In)" from James Moody's 1964 album "Running the Gamut." Joining Moody are Thad Jones, Patti Bown on keyboards, Reggie Workman, Albert Heath.

4. Fantastic! I have to have this. I love it. Funky, wild, this is life affirming stuff. I love the tenor solo. No idea who it is.

5. This is either "Gingerbread Boy" or an "original" which altered "Gingerbread Boy" slightly. Good playing by all, no idea who it is. The tenor player is more exciting as he goes a little outside.

6. It sounds like an Art Ensemble of Chicago date with a pianist, but I think I have heard all of them, and this is none of the ones I have heard. Excellent, whoever it is.

7. The alto player knows his Ornette, but plays in much more lite style. Not that this is bad. Appealing, and I have no idea who it is.

8. This sounds like a late 1960s/early 1970s Blue Note. I can't place it. The pianist knows his Chick Corea, but I don't think it's Corea. What is that Roland Kirk vocalization at the end of the flute solo--it's not Kirk, though. I like this a lot, I want to own it, and I have no idea who it is.

9. The tenor player sounds like Stan Getz at times to me, but I am not sure that it is Getz. I can't place the vibes player, and I thought I had heard most of the major figures. A mystery, and a really good piece.

10. Who would play trumpet so freely in only the lower register for so long? I kept waiting for the trumpeter to break into some Don Cherry signature licks so that I could say, "a ha! It's Don Cherry." But I don't think it is. Very interesting piece.

11. Once again, who would play this? It sounds like an electronically altered squeezebox instrument of some type, or some strangely programmed keyboards. Sun Ra would play something like this, but I get no feeling of Ra as I listen. I can't wait to find out who this is.

12. Super piano trio recording, full of life. I want this one. No idea who it is. If a previous poster guessed correctly though, then I already own it and played it often when the album first came out. Oops--what is happening to my musical memory!

13. Sounds Monkish to me. I have recently been listening to a ton of Monk, and I don't recognize this tune as one of his. Boy, will that be embarassing if it is one of his well known ones. I like the pianist but don't know who it is.

14. Who else ever used that loping, explicitly cowboy rhythm other than Sonny Rollins on "Way Out West"? That section does not seem to fit with the rest of the performance. I have no idea who it is.

15. Great bluesy tune, really like it, don't know who it is. If it is not on Blue Note I will be surprised.

16. Early bop tune, with 1812 Overture quote by baritone player. If he would have been playing tenor I would have thought it was Dexter Gordon--Dexter would let quotes lay out there exposed for all to see, in that way. I love this, but don't know who it is. Infectious, swinging--who said that early bop was difficult to listen to?

17. One of the most nervous, fast pieces I have ever heard. I don't know who it is, but want to know! I need to get this. Who plays trumpet with so much staccato? It was like an overdose of staccato.

18. This is maddening. I should know who this is. I have heard it. A very interesting piece.

19. Bright, happy tune! Joyful trumpet. The pianist has a better left hand than most from the post-war era. I want to buy this. No idea who it is.

20. Excellent performance, swinging, memorable. Another one I will buy when I find out who it is.

21. "Poinciana", done in an unnecessarily weird way to my taste. Not one of my favorites here. No idea who it is.

22. The organ player sounds like Sun Ra to me. I hear some of Ra's characteristic little flourishes. However, the tenor saxophonist does not sound like John Gilmore. Still, Ra has so many albums I could have easily missed this one.

23. A cover of Jimi Hendrix's "Up From The Skies." Not sure who the distorted violin player is. I don't find it all that compelling. As an interpretation of Hendrix, it does not capture his heart and soul, to me.

24. This is the real avant garde. I probably own this, but can't place it right now.

25. This is a Neil Young composition, "It's So Hard to Wait." It was the second song on Side 1 of "Buffalo Springfield Again." I haven't heard it in so long that I can't remember if this is the take that was used on that album.

I really enjoyed this Blindfold Test!

Edited October 20, 2009 by Hot Ptah

[jeffcrom]

It's been hard to avoid this thread, but I just found the time to finish listen and write up my comments. Here goes:

1. Very nice. The first eight measures had me worried – thinking that it was just going to be some unimaginative cliché blues, but it started to get interesting almost immediately. Benny Golson for sure, and probably Art Farmer and Jimmy Cleveland. Good, swinging straight-ahead music with nice compositional touches and altered chords.

2. Nice enough soul/bossa, but it was hard for me to enjoy because I just hate tinkly percussion. Good enough, not great, solos. The guitar player has a slightly more distorted version of Grant Green’s sound.

3. I kept waiting for this one to get really crazy, but it never did. The menacing sound of the first minute is the best thing about it. The trumpet solo is interesting, but the alto and organ didn’t do much for me. No idea who it is.

4. This had its moments, but it never could really decide what it wanted to be – genial afro-bossa groove or free jazz jam. I’m guessing that these musicians aren’t American. I’ll be interested to see who this is, but it’s probably nothing I’ll have to hear again.

5. Great complex groove. Nice interaction among the group, and good solos. Excellent music - I don’t know by whom. I like music that’s this rhythmically strong without being stupid.

6. Sounds like Frank Lowe to me. I really want to like this, but every time it starts to get interesting, it changes directions. I think the idea was to create a complex, multi-part work, but it doesn’t really go anywhere.

7. Wayne Shorter’s “Ju Ju,” played by some really excellent musicians. This is thoughtful and passionate – nothing overdone or histrionic. The soprano player has a beautiful sound.

8. This sounds very Blue Note, c. 1970-ish. I feel like this is something I should know, but I can’t place it. I like it a lot – it’s a product of its time, as a lot of music is, but it also transcends that. Nice.

9. I’m intrigued. I think it’s Stan Getz, but I have idea who the other players are, or what the vintage is. I associate Getz-with-vibes with young Gary Burton, but this ain’t him, I don’t think. Very nice music. Like I said, I’m intrigued.

10. The trumpeter (and probably the bassist) is classically trained, it sounds like – complete control over the instrument. Listen to that articulation! Very well-done music.

11. Don’t know what the hell this is, or even what to say about it. I kind of liked it, though – at least for the first five minutes.

12. Interesting, but kind of unsatisfying. The pianist alternated between very square playing rhythmically (I know that’s an odd thing to say about a piece which is mostly in 5/4) and not swinging at all – and he/she left a lot of admittedly interesting ideas unfinished. The drummer is excellent.

13. A gorgeous, Monk-influenced piece. The pianist didn’t really improvise on it, and didn’t need to. Beautiful music.

14. I loved the rich tone of the bassist during the introduction. After that, I kept waiting for the piece to go somewhere. And it started to during the piano solo. But, (and this is probably going to come back to haunt me) but the tenor player seems pretty limited, in terms of imagination and technique.

15. A mid-to-late fifties recording, but I don’t know who it is, except that it sounds like Kenny Clarke on drums. And if you held a gun to my head and made me guess, I’d say it might be Oscar Pettiford on bass. Good piece with interesting changes. I like it.

16. The great Buster Smith, recorded in obscurity in Texas in the early 1960s. I love the story of how this album was made – read Gunther Schuller’s account, if you can find. Good old Southern jump jazz, only with a brilliant improviser playing alto. Listen to the way Buster phrases across the expected bar-line divisions – you can hear what Bird learned from him. Leroy Cooper on baritone and the piano player are good enough, but not in the same league.

17. Impressive playing on the head. And it’s good throughout. I like the touch of metric modulation in the trumpet solo.

18. Accomplished, swinging free jazz – again, without histrionics. I like it, again without having any idea who it is. They’re listening to each other and varying the textures. Good stuff.

19. Some good playing on the changes to “Shine.” Hard swinging and good improvising. Again, no idea who.

20. The alto player reminds me of Gigi Gryce – he has good melodic ideas, but doesn’t always gel with the rhythm section. The tenor player sounds like Charlie Rouse. (I’m pretty sure I’m wrong about at least one of these – did they ever record together?) The tune is very familiar, but I can’t come up with the name.

21. Wow – this is the first recording of “Poinciana” that really made me like the tune. Very creative. I love the collective improvising throughout. Great rhythm section, although their contributions go beyond what is usually considered the “rhythm section” role. I love the drummer’s tribute to Vernel Fournier at the end. Very nice jazz music.

22. This is sick, and I mean that in a good way. The improvising is totally free, but it’s not, really – the opening composed part (I don’t want to call it a “head”) sets up what follows just perfectly. I like this a lot.

23. Nice, open approach to “Up From the Skies.” Unless the violinist is Charles Burnham, I have no idea who it is. The bassist’s odd, tubby sound bothered me, but I otherwise thought this was pretty cool.

24. My first thought was that this is the Art Ensemble with Jarman playing guitar or some sort of string instrument. In any case, it’s that same kind of sound improv. Well done – they keep it interesting.

25. Interesting structure, changes, and arrangement. Not really my thing, though.

Thanks for the interesting music. Now let me go back and read.