BFT 69: The Reveal

[Hot Ptah]

I had said that I would post the Reveal to BFT 69 on Saturday, but I find that I will not have much computer time then, so I will post it a day early.

I am going to post an image of the album cover for each song, so I will have to split this up into several threads.

Disc 1

1.

Hot Rod Rumble Main Title: Big Arny Arrives at the Jamboree,

from Hot Rod Rumble soundtrack (1957) (Liberty LRP 3048), by Alexander “Sandy” Courage

Bud Shank, Bob Cooper, Georgie Auld, Dave Pell, Jack Dumont, Babe Russin—Saxophones

Maynard Ferguson, Pete Candoli, Ray Linn, Maurice Harris, Don Paladino—Trumpets

Frank Rosalino, Lloyd Uyate, Marshall Cram, George Roberts, Tommy Pederson,

James Henderson, Russell Brown—Trombones

Sylvia Ruderman, Morris Bercov—Flutes

Herby Geller, Mitchell Lurie, Herman Gunkler—Clarinets

Maurice Stein, William Gross—Bass Clarinets

Gordon Schoenberg, Gerald Fried—Oboes

Joseph Eges-French Horn

Barney Kessel-Guitar

Claude Williamson-Piano

Joe Comfort, Buddy Clark—Bass

Sheldon Manne-Drums

Alexander “Sandy” Courage—Composer, Conductor

Alexander “Sandy” Courage composed and arranged this soundtrack, about a decade before he became more widely known as the composer of the theme for the “Star Trek” TV series. He was a major composer in the film and TV industries for decades.

The back cover liner notes identify Mr. Manne and Mr. Geller as “Sheldon” Manne and “Herby” Geller.

I first heard this song on Darrell Brogdon’s great radio show, Retro Cocktail Hour (www.kpr.ku.edu/retro/). I viewed this as a rousing fanfare to start off the Blindfold Test.

2

High Speed Chase, from Electrifying Miles, by the UMO Jazz Orchestra, with guest Tim Hagans (1998, A-Records)

Soloists: Tim Hagans—Trumpet; Jouni Jarvela—Alto Saxophone

UMO Jazz Orchestra: Eero Koivistoinen (conductor)

Pentti Lahti (soprano & alto saxophones, flute); Jouni Jarvela (soprano & alto saxophones, clarinet); Teemu Saminen (tenor saxophone, flute, clarinet, bass clarinet); Janne Murto (tenor saxophone, flute); Pertti Paivinen (baritone saxophone, flute, bass clarinet); Esko Heikkinen, Timo Paasonen, Teemu Mattsson, Mikko Pettinen (trumpet, flugelhorn); Markku Veijonsuo, Mikko Mustonen, Pekka Laukkanen (trombone); Mikael Langbacka (bass trombone); Jarmo Savolainen (piano, Fender Rhodes piano, synthesizers); Jukka Hakokongas (Hammond organ, Fender Rhodes piano); Raoul Bjorkenhiem (guitar); Pekka Sarmanto (acoustic bass); Harri Rantanen (electric bass); Markus Ketola, Anssi Nykanen (drums); Mongo Aaltonen (percussion).

Additional personnel: Tim Hagans (trumpet).

The UMO Jazz Orchestra is one of Finland’s leading big bands. It receives support from the City of Helsinki, the Finnish Broadcasting Company, and Finland’s Ministry of Education.

3.

You've Got To Be Modernistic, from Snowy Morning Blues: The Original Decca Recordings (reissued 1991, GRP) by James P. Johnson

This is one of the four 1930 Brunswick recordings at the start of this CD reissue. What can one say, when one is in the presence of pure greatness?

4.

Somebody Loves Me, from Eddie South In Paris 1929 & 1937, (Disques Swing DRG Records, reissued 1985) by Eddie South

Eddie South—Violin; Django Reinhardt—Guitar

Recorded November 23, 1937

I love Eddie South’s playing--his tone and his ideas.

Edited December 5, 2009 by The Magnificent Goldberg

[Hot Ptah]

5.

Lookout Mountain Squirrels, from Stacy Still Swings, (Chiaroscuro Records, 1974) by Jess Stacy

Jess Stacy—Piano, composer

No one identified Stacy as the pianist on this cut. He was Benny Goodman’s band pianist from 1935-39, and played at the famous Carnegie Hall concert.

After leaving Goodman, he played with Bob Crosby’s band, was briefly with Tommy Dorsey, and then had his own band. He played as a solo artist in Los Angeles in the 1950s, until retiring from music. In 1974 he returned to live performance and recorded this album.

6.

Fusic, from Drab:zeen, (Le Chant du Monde, 2002) by Toufic Farroukh

Toufic Farroukh – Soprano and Tenor Saxophones, Bouzouki, Synthesizer, Vocals, Percussion, Composer

Gueorgui Kornazov - Trombone

Bassam Saba – Ney

Keya Tabassian – Setar

Nabil Khalidi - Oud and Banjo

Leandro Aconcha - Keyboards

Ali Alkhatib - Riq and Bendir

Tania Saleh—Vocal

Nicole Chouelry - Vocal

Jean Wellers – Bass

Toufic Farroukh is a composer and saxophone player from Lebanon, who studied classical music in Paris and then began playing jazz. The entire album is produced much like this piece, although there is considerable variety on the album.

There were several guesses as to the trombone player, but no one guessed Gueorgui Kornazov.

7.

Crepuscule With Nellie, from Interpretations Of Monk, (DIW 395/398, released 1994)

Recorded at Columbia University, New York, November 1, 1981

Muhal Richard Abrams—Solo piano

I thought that no one would identify Muhal Richard Abrams as the pianist on a Monk composition played this way. But seeline knew it!

This is from a 4 CD set, recorded live at a Monk tribute concert. Each CD features a different pianist—Abrams, Barry Harris, Anthony Davis, and Mal Waldron. Most of the pieces on all four CDs feature a band, including Steve Lacy, Charlie Rouse, Don Cherry, Roswell Rudd, Richard Davis, and Ed Blackwell or Ben Riley.

8.

Lament For Crossroads, from Born Under The Heat, (Dragon, DRLP 68, released 1984) by Johnny Mbizo Dyani

Recorded in Stockholm, November 18, 1983

Peter Shimi Radise—Tenor Saxophone (first solo); Charles Davis—Tenor Saxophone (second solo);

Ulf Adaker—Trumpet; Krister Andersson—Tenor Saxophone; Johnny Dyani—Bass (Soloist),

Composer; Thomas Ostergren—Electric Bass; Gilbert Matthews—Drums

This Johnny Dyani album features a group comprised of South African musicians (Radise, Dyani,

Matthews), Swedish musicians, and Charles Davis from the U.S. Dyani is referred to as Johnny Mbizo

Dyani everywhere in the CD packaging.

The sound effects of animals and small children are meant as a dramatic part of this protest song. The liner notes state that this Dyani composition is a protest against the apartheid practice of forced relocation of the black population to segregated far away “homelands”, remote areas chosen by the white apartheid government as a way of removing the blacks from the populated areas of South Africa. The homelands were miserable areas marked by poverty, unemployment, high taxes and poor living conditions.

From the liner notes: “A lament for people being moved off their land to homelands, with their bicycles, chickens, horses, cows and their children, everyone crying and being chased and moved by the South African police.”

Edited December 4, 2009 by Hot Ptah

[Hot Ptah]

9.

Normalology, from Normalology, ( Eighth Day Records, 1997; reissued in 2001 on Koch Jazz), by Phillip Johnston

Phillip Johnston - Soprano Saxophone.

Allan Chase - Alto Saxophone.

Paul Shapiro - Tenor Saxophone.

Robert DeBellis - Baritone Saxophone.

Stew Cutler - Electric Guitar

Joe Ruddick - Piano, Organ.

David Hofstra - Bass, Tuba.

Richard Dworkin - Drums.

Phillip Johnston has described this album as his project for recording the songs he had left over when his Microscopic Septet disbanded.

This CD has the worst cover artwork I have ever seen, in its reissued form on Koch Jazz, shown above. The original cover, on Eighth Day Records, was considerably better, a collage of famous buildings and wild animals. I could not find an image of the original cover artwork online

Why does the electric slide guitar sound so novel in jazz? Why isn’t it used more in jazz, when it is commonly used in the better improvised rock?

10.

Jazz From An Unknown Planet, from Cosmos, (Cobra COB 37001, also on Inner City IC 1020, 1976) by Sun Ra

Sun Ra-Rocksichord; Ahmed Abdullah—Trumpet; Craig Harris-Trombone; Vincent Chancey-French Horn; Marshall Allen-Alto Saxophone, Flute; Danny Davis-Alto Saxophone, Flute; John Gilmore-Tenor Saxophone; Danny Ray Thompson-Baritone Saxophone, Flute; Eloe Omoe-Bass Clarinet, Flute; James Jacson-Bassoon, Flute; R. Anthony Bunn-Electric Bass; Larry Bright-Drums

Soloists—Ahmed Abdullah—Trumpet; Sun Ra—Rocksichord, John Gilmore—Tenor Saxophone

This is one of the first Sun Ra albums I ever bought, back in the 1970s, at Discount Records on State Street in Madison, Wisconsin. Chuck Nessa had been the manager of that store just before I arrived in Madison, and some of his employees remained working there during my time in Madison, spreading Chuck’s teachings, and keeping the jazz section well stocked.

11.

Voce Abusou, from Jazz Poet, (Timeless, 1989) by Tommy Flanagan

Tommy Flanagan—Piano; George Mraz—Bass; Kenny Washington-Drums

Composed by Antonio Carlos and Jocafi.

I have always thought that this was a beautiful recording. I am impressed that seeline correctly identified the artist, album and song title.

12.

The Boy In The Boat, from Jazz The World Forgot, Volume 1 (Yazoo), from Charlie Johnson And His Paradise Band

Recorded September 19, 1928. Originally released as Victor 21712.

Sidney DeParis—Trumpet (Soloist); Leonard Davis-Trumpet; Jimmy Harrison-Trombone; Ben Whitted—Clarinet, Alto Saxophone; Edgar Sampson-Alto and Baritone Saxophones; Benny Waters—Clarinet, Tenor Saxophone; Charlie Johnson—Piano; Bobby Johnson—Banjo; Cy St. Clair—Tuba; George Stafford--Drums

Sidney DeParis’ trumpet soloing really caught my attention. I am surprised that someone identified this one—jeffcrom.

Edited February 5, 2010 by Hot Ptah

[Hot Ptah]

13.

Let's Get Serious, from Talkin' About Life And Death, (Biodro, 1999) by Miłość & Lester Bowie (Recorded in 1997).

Lester Bowie—Trumpet; Mikołaj Trzaska – alto & soprano saxophones ; Leszek Możdżer – Piano; Ryszard Tymon Tymański – Bass, Composer; Jacek Olter – drums

This is a collaboration between Lester Bowie and a group of musicians from Poland.

14.

Stormy Weather, from Bell Book and Candle soundtrack, by Pete and Conte Candoli

Pete Candoli-Trumpet, Conte Candoli—Trumpet; Charlie Aldrich—Guitar, Jack Lemmon—Bongos, unidentified keyboard player

This song, and its frenzied ending, are crucial to a key point in the plot of the 1958 film “Bell Book and Candle”. Kim Novak, Jack Lemmon and Elsa Lancaster are members of a witch/warlock family in Greenwich Village. Kim Novak decides to seduce James Stewart, a book publisher who lives in her building. Stewart is engaged to Janice Rule, who Novak hated in college. While all of the above are enjoying the performance of the Candoli Brothers jazz combo at the Zodiac Club, Novak decides to frighten Rule by reminding her of her phobia for thunderstorms. This version of “Stormy Weather”, with its hyper ending, is the result. The Candoli Brothers perform the song in the film, just as it is heard here.

The film also features Ernie Kovacs as a drunken author and in a small role, Howard McNear. Mc Near plays Stewart’s partner in the publishing business. McNear went on to greater fame as Floyd the Barber in the Andy Griffith TV show. They just don’t have all star casts like that any more.

15.

Big Beaver, from Anthology (1935-1973), (Rhino) by Bob Wills & His Texas Playboys

Recorded April 16, 1940 in Fort Worth, Texas, for Okeh.

“Big Beaver” was the name of a rural dance hall, an old pump station, in Shidler, Oklahoma.

Soloists—Wayne Johnson—Tenor Saxophone; Tubby Lewis—Trumpet

Bob Wills—Violin, Composer, Vocal Interjections; Eldon Shamblin—Guitar; Leon McAuliffe—Steel Guitar; Al Stricklin—Piano;

Johnny Lee Willis—Banjo; Tubby Lewis, Everett Stover—Trumpets; Zeb McNally, Don Harlan, Louis Tierney, Tiny Mott,

Joe Ferguson—Saxophones; Wayne Johnson—Saxophones and Clarinet; Son Lansford—Bass; Smokey Dacus—Drums

JSngry guessed Bob Wills. I had thought it might be easy to guess, because if you have heard one Bob Wills song, you have heard Wills’ unique vocal interjections (which became the subject of a song, “What Makes Bob Holler?”)

16.

Every Day I Have The Blues, bonus cut from the CD reissue of B.B. King Wails, by B.B. King

Originally recorded on Crown LP, Compositions of Count Basie and Others (1959)

John Anderson, Snooky Young, Joe Newman, Pete Candoli—Trumpets

Henry Coker, Dick Nash, Tommy Pederson—Trombones

Marshall Royal, Jewell Grant—Alto Saxophones

Frank Foster, Frank Wess—Tenor Saxophones

Charlie Fowlkes—Baritone Saxophone

Milt Raskin—Piano, Herman Mitchell-Guitar, Ed Jones—Bass, Sonny Payne—Drums

B.B. King—Vocal on “Every Day I Have the Blues” only

That completes Disc One. Now on to Disc Two.

Edited December 4, 2009 by Hot Ptah

[Hot Ptah]

Disc 2

1.

Living Time, Event V, from New York Big Band, (Soul Note, 1982) by George Russell

Recorded August 16, 1978.

Soloists: Stanley Cowell—Piano; Cameron Brown—Bass; John Clark—French Horn; Gary Valente—Trombone; Roger Rosenberg-Tenor Saxophone

George Russell—Leader, Composer; Stanton Davis, Terumasa Hino, Lew Soloff –Trumpets; Marty Ehrlich—Alto Saxophone;

Ricky Ford—Tenor Saxophone; Roger Rosenberg—Tenor Saxophone; Carl Atkins—Baritone Saxophone, Bass Clarinet;

Gary Valente-Trombone: Dave Taylor—Bass Trombone; John Clark --French Horn; Mark Slifstein—Guitar; Stanley Cowell—Piano;

Ricky Martinez-- Electric Piano, Organ; Cameron Brown—Bass; Warren Smith—Drums; Babafumi Akunyon --Congas

I have always liked Stanley Cowell’s piano solo on this song. I thought that it might be somewhat difficult to identify, but jeffcrom came through with the artist, album and song.

2.

Flowers For Albert, from Hi-Bop Ska! (Shanachie, 1994) by The Skatalites (with David Murray)

Soloists: David Murray, Nathan Breedlove, Will Clark, Tommy McCook, David Murray

David Murray—Tenor Saxophone, Composer; Tommy McCook—Tenor Saxophone; Roland Alphonso—Tenor Saxophone; Nathan Breedlove—Trumpet; Will Clark—Trombone; Devon James—Guitar; Bill Smith—Piano, Organ; Lloyd Brevett-Bass; Lloyd Knibbs—Drums.

On this comeback album for a seminal Jamaican ska group, several U.S. jazz artists sat in as special guests. Here David Murray provides his compositionand tenor saxophone soloing. On other tracks, Monty Alexander, Lester Bowie and Steve Turre are featured.

3

Elusive Dream, from Rites Of Pan, (Inner City, 1979) by Lew Tabackin

Lew Tabackin—Flute; Toshiko Akiyoshi—Electric Piano, Composer.

I find Tabackin’s flute playing on this album to be quite beautiful. The rest of the album features Toshiko Akiyoshi on acoustic piano, and the material is mostly standards. There is a Tabackin—Shelly Manne duet which is about as avant garde as those two would ever get. I thought that the album was a relatively unknown gem, but several members seemed to know it once it was identified.

4.

A Ghost Of A Chance, from Solo Piano - The Keystone Transcriptions, (Storyville, 1997) by Teddy Wilson

Recorded in 1939 for the Keystone Broadcasting System, to be leased for radio play only.

Teddy Wilson—Solo piano

Edited December 4, 2009 by Hot Ptah

[Hot Ptah]

5.

Mr. B.C., from Sphere Music, (Polydor/Verve, 1993) by Uri Caine

Uri Caine—Piano, Composer; Don Byron—Clarinet; Kenny Davis—Bass; Ralph Peterson—Drums

I enjoyed Caine’s jazz playing on this album and on his album Toys from around the same time. Then he got involved in unusual arrangements of classical works, which I have enjoyed much less. I like Ralph Peterson’s drumming on this cut.

Kudos to seeline for identifying the artist, album and song.

6.

Self-Portrait in 3 Colors, from Hal Willner Presents Weird Nightmare: Meditations on Mingus, (Sony, 1992)

Composed by Charles Mingus.

Bill Frisell—Guitar, Surrogate Kithara, Arranger; Don Byron—Clarinet, Bass Clarinet; Art Baron—Trombone; Don Alias—Bass Marimba; Greg Cohen—Adapted Guitar; Michael Blair—Conga; Francis Thumm—Marimba Eroica

This is from one of those Hal Willner-produced albums dedicated to a composer, on which several different artists provide their interpretations of the composer’s work. For this album, Willner borrowed some of the instruments invented by Harry Partch. They provide the unusual sounds heard at the end of this song. I thought that they were a nice transition to the Ahva Raba cut which followed, which is somewhat unusual in a different way.

If Don Byron has recorded with more feeling and beauty in his playing, I am not aware of it.

7.

Howe Leg Na Rogle, from Kete Kuf, (Tzadik, 1999) by Ahva Raba

Ahva Raba: Simon Jakob Drees—Violin, Viola, Viora Kugnana, Vocals, Composer, Arranger

Jan Hermerschmidt—Clarinet, Bass Clarinet, Vocals

Kathrin Pfeiffer—Accordian, Vocals, Percussion

Tobias Dutschke—Percussion, Vocals

Georg Schwark—Tuba, Vocals

No one guessed this one.

8.

Mambo a la Tito, from Carnival, (released 1999, Charly Schallplatten GmbH), by Tito Puente

This is from the British compilation Carnival, which has a lot of great music and no discographical information, not even recording dates.

There is no listing of musician credits on the album. However, I have read that musician credits were sometimes not written down at the time when Puente made his earlier recordings. Many of the songs on Carnival are from the late 1940s and early 1950s, of the ones which I have heard on other albums. But some of the Carnival selections are from the 1960s. In the amazon.com listing for Carnival, it states that these are Puente recordings on the Fania and Seeco labels—but I am not sure that is correct.

I was hoping that the Organissimo community would know when this was recorded and who the baritone saxophone soloist is. I am guessing Mario Rivera, just because he sounds like him to me, but I am not sure. This cut is maddening to me. I cannot find any conclusive information for it online.

I sent out emails to some Latin jazz experts, who said that they would get back to me on this, but they have not done so yet. If I get more information, I will post it later.

Edited December 4, 2009 by Hot Ptah

[Hot Ptah]

9. I could not find an image for the CD from which this album was taken--a Robert Parker stereo recreation.

Minnie The Moocher's Wedding Day, from Henry 'Red' Allen 1929-1936 , (CDS Records, released 1992)

by Horace Henderson with Henry "Red" Allen Originally recorded in 1933 for Okeh.

Soloists—Dicky Wells, Henry “Red” Allen, Coleman Hawkins, Russell Procope.

Horace Henderson—Leader, Arranger, Piano; Henry “Red” Allen, Russell Smith, Bobby Stark—Trumpets;

Claude Jones, Dicky Wells—Trombones; Russell Procope—Alto Saxophone, Clarinet;

Hilton Jefferson—Alto Saxophone; Coleman Hawkins—Tenor Saxophone; Bernard Addison—Guitar;

John Kirby—Bass; Walter Johnson—Drums

This version is in fake stereo, a Robert Parker production. I am pleased that jeffcrom directed me to a source of this song in beautiful, clear mono, as it is a favorite of mine.

10.

Outer Space/Inner Space, from Outer Space/Inner Space, (Zen CD61, 2001) by Flanger

Flanger is Atom (Uwe Schmidt) and Burnt Friedman—Programming, Composers

Guest musicians on this album: Thomas Hass—Tenor Saxophone; Carsten Skov-Vibes;

Jorge Gonzalez and Josef Suchy—Guitars; August Engkilde— Acoustic Bass; Toly Ramirez—Electric

Bass; Claude Ortuzar, Ernesto Artunez, Argenis Brito—Percussion

I am not knowledgable about electronic oriented music of the past ten years. Anne Winter, the owner of the great Recycled Sounds store in Kansas City for many years, urged me to get this album when it first came out. Anne passed away recently, far too young.

Thanks for everything, Anne.

11.

Summertime, from Blue Monk, (King, 2008) by Richard Davis and Junior Mance

Junior Mance does not play on this song, which is a bass solo by Richard Davis. He was 77 years old when he

ecorded this solo for a Japanese label. To my ears, it would be a remarkable arco solo for a bassist of any age.

12.

Tico Tico, from The Lost Paramount Tapes, (DJM, 1995) by James Booker. Recorded 1973 at

Paramount Recording Studios, Hollywood, California.

James Booker—Spinet Tack Piano.

The following musicians played on the session. I do not know how many of them

are on this particular song: Jessie Hill—Tambourine; Alvin “Shine” Robinson—Guitar;

David Lastie—Saxophones; Dave Johnson—Bass; John Boudreaux—Drums;

Richard “Didimus” Washington—Percussion.

The liner notes, by bassist Dave Johnson, describe how the master tape for this early 1973 session disappeared shortly after the session. In 1992, an engineer found a tape of the mixes he had done on the last night of the sessions. It was released on CD three years later.

Edited December 4, 2009 by Hot Ptah

[Hot Ptah]

13.

The Saints, from Doctors, Professors, Kings and Queens, A Big Ol' Box Of New Orleans, by Coolbone

Originally released on Brass-Hop (Hollywood, 1997)

Steven “Coolbone” Johnson—Trombone, Vocal, Arranger; Eric “Cash Us” Clay—Rapper, Rap Lyrics, Trumpet;

Andre “Big Dre” Carter—Lead Vocal, Trumpet; Ernest “Juice” Johnson, Jr.—Trumpet, Valve Trombone;

Darryl “Dee Jay Thall” Johnson—Saxophones; Lee “Iron Chops” Anderson—Valve Trombone, Trumpet,

Percussion; Ronell “Roo” Johnson—Tuba; Derrick “Pune” Francois—Drums

I love the mention of New Orleans food in the rap. I feel hungry every time I hear it.

14.

Christmas Tree, from Voices Of Christmas (RCA, 1955), by Walter Schumann

JSngry posted a lot of information about this. Schumann wrote the theme for Dragnet, which was used on the Dragnet radio show, TV show and in the later film. Schumann also composed music for other films and TV shows.

He then recorded albums with his group of vocalists, including this Christmas favorite of the 1950s. Most of the album is done “straight”, and consists of nicely sung traditional carols and Christmas standards. Then there is this piece of over the top—uh, what can one call it?

I hope that all of you get “presents nice” this holiday season.

Thanks to all who listened to my Blindfold Test, and to all who posted guesses and comments. I had a lot of fun with it!

[tkeith]

Wow, really shocked by some of the reveals. I skewered several players I consider royalty. Sometimes it bees that way, though. I'm going to have to lend my ears to some of these a second time.

[seeline]

OMG. I used to have this album, but didn't like it much. (Even though I like a lot of Middle Eastern music.) D'oh!!!

(I remember you talking about this disc ages ago, on AAJ.)

Those 1st 2 on Disc One are so, so obscure...

Jess Stacy: wow. His name never even occurred to me.

[seeline]

OK, this is killing me! Ahva Raba is one of the few CDs I didn't consider per that cut - gah!

I also should have guessed the cut from Weird Nightmare, which I have.

Ptah, have you written to the folks at descarga.com about the TP album? They're one of your best bets.

[seeline]

Bell, Book and Candle. One of the few Jimmy Stewart comedies I haven't seen. Damn!

[jeffcrom]

I'm most chagrined at missing Jess Stacy, especially since I identified him in an earlier BFT. I've never heard him sound quite like this, though - I thought it was a younger guy.

And I want partial credit for Lester Bowie and for the Microscopic Septet, since it was most of them!

Thanks again for the fun.

[Hot Ptah]

Bell, Book and Candle. One of the few Jimmy Stewart comedies I haven't seen. Damn!

You should see it! It's a fun movie.

[Hot Ptah]

OMG. I used to have this album, but didn't like it much. (Even though I like a lot of Middle Eastern music.) D'oh!!!

(I remember you talking about this disc ages ago, on AAJ.)

Those 1st 2 on Disc One are so, so obscure...

Jess Stacy: wow. His name never even occurred to me.

I like Drab:zeen. It has some elements which I often don't care for much in music, but I like the way that they are used on Drab:zeen. It's a fresh sound, to my ears.

[Hot Ptah]

OK, this is killing me! Ahva Raba is one of the few CDs I didn't consider per that cut - gah!

I also should have guessed the cut from Weird Nightmare, which I have.

Ptah, have you written to the folks at descarga.com about the TP album? They're one of your best bets.

I did not know about descarga.com Thanks. I will try them.

[Hot Ptah]

I'm most chagrined at missing Jess Stacy, especially since I identified him in an earlier BFT. I've never heard him sound quite like this, though - I thought it was a younger guy.

And I want partial credit for Lester Bowie and for the Microscopic Septet, since it was most of them!

Thanks again for the fun.

You get partial credit for Bowie and the Microscopic Septet. I was tempted to lead you to the answers in each case, but you were guessing so many of them! I wanted to leave a little mystery in it.

I am glad that you had fun with it. I know that I did.

[seeline]

I'm planning to now!

[seeline]

They're a terrific source for recordings *and* knowledge.

[seeline]

I hear you about Drab Zeen, yet it never "took" for me.

Re. the Johnny Dyani - wow. You were right in saying (back in the guesses thread) that the composer's intent wasn't really being communicated. As for him... I *might* have guessed it *if* it were more S. African-sounding... but that's a stretch, either way!

Edited December 5, 2009 by seeline

[The Magnificent Goldberg]

Ray Anthony wasn't a bad guess for #1, then.

You could have posted the different sections as successive posts in one thread. I suspect it would be a good idea for us to merge these threads into disc 1 and disc 2 threads. I'll be happy to do that later.

MG

[The Magnificent Goldberg]

I've been meaning to investigate Bob Wills. Thanks very much for including this one.

MG

[The Magnificent Goldberg]

On this comeback album for a seminal Jamaican ska group,

It wasn't a comeback album. The real comeback was in 1983, when the band reformed to play at Sunsplash, Montego Bay. They cut the live album "Stretching out" (ROIR) in June and July of that year, as part of the runup/rehearsals for that gig and the subsequent London Sunsplash. One of the Sunsplash gigs was recorded but I don't know which, and they also made a studio album for Island "Return of the big guns" in 1984. SUbsequently, they moved operations to the US and recorded "Ska voovee" for Shanachie in 1992/93 (there's no recording date on the sleeve).

(Just so's you know )

MG

[The Magnificent Goldberg]

8.

Mambo a la Tito, from Carnival, (released 1999, Charly Schallplatten GmbH), by Tito Puente

This is from the British compilation Carnival, which has a lot of great music and no discographical information, not even recording dates.

There is no listing of musician credits on the album. However, I have read that musician credits were sometimes not written down at the time when Puente made his earlier recordings. Many of the songs on Carnival are from the late 1940s and early 1950s, of the ones which I have heard on other albums. But some of the Carnival selections are from the 1960s. In the amazon.com listing for Carnival, it states that these are Puente recordings on the Fania and Seeco labels—but I am not sure that is correct.

I was hoping that the Organissimo community would know when this was recorded and who the baritone saxophone soloist is. I am guessing Mario Rivera, just because he sounds like him to me, but I am not sure. This cut is maddening to me. I cannot find any conclusive information for it online.

I sent out emails to some Latin jazz experts, who said that they would get back to me on this, but they have not done so yet. If I get more information, I will post it later.

I had a feeling it might be Tito, but I've only heard more recent stuff of his so far. In view of what you say about how fruestrating the sleeve notes are on this compilation, I'll try to find some other compilation from the same period

MG

[The Magnificent Goldberg]

Thanks for all this stuff - even the ones I didn't like at all. James Booker and Bob Wills moving up on my list of people to get a lot more of.

MG