BFT #83 Discussion

[king ubu]

"Magniloquent".

WOW, what a great word.

Well, I do love words... I'd like to know a whole lot more of such great English words!

[jeffcrom]

It’s only the sixth day of the month, but this thread has already gotten lots of activity. I haven’t read anything here yet,but I imagine that a lot of things have already been identified.

What an enjoyable Blindfold Test! This one really made me think and listen. Of course, I like some tracks better than others, but there was nothing here which I hated.

1. Well, this one confused me a little bit. I instantly thought of Marion Brown and his solo version of “Black and Tan Fantasy” from the Recollections album on Creative Works, from 1985. But this is not that version. But it’s so similar that I think this has to be Marion. I love his tortured lyricism. This is affecting music.

2. This track drove me crazy, because it’s something I think I’ve heard, but I can’t come up with where I’ve heard it. Anyway, it’s a pretty interesting track – around 1945 or so, I’d say. It’s very much of its time – pushing toward the modern thing that was in the air at the time. I like it, even though it’s maybe a little self-consciously “weird.” Could be Dodo Marmarosa on piano and Remo Palmieri on guitar, but I don’t really know.

3. Well, you’ve puzzled me again. It’s Tony Fruscella, playing “Blue Lester,” but I don’t know this version. I love Frescella’s playing – he hardly ever ventured out of the low and middle registers, but his improvising was supremely melodic. Beautiful! I thought I had all of Fruscella’s recordings, but obviously not.

4. Lee Wiley, singing “Street of Dreams” from the Night in Manhattan album, with Bobby Hackett on trumpet. Very nice, although I think I prefer Miss Wiley’s earlier recordings, from the late 30’s and early 40’s. This is excellent, though, and you can’t have too much Bobby Hackett. I even like his mood music/bachelor pad albums from the 60’s.

5. Big T – Jack Teagarden. I recognized his horn even before he started singing. I wish he had played more trombone here. I like his singing, but I think his voice and style are more suited to bluesier tunes. I usually don’t like his ballads as much. Although, hmmm – he sure does a great job with “Stars Fell on Alabama.” Maybe I don’t know what I think. Anyway, this is very nice, and I don’t know what album it’s from. I also don’t know who the trumpeter is, unless it’s Hackett again.

6. I don’t know who is playing this version of “I Cover the Waterfront.” I liked the saxophone playing more the more times I heard this track. A few things annoyed me at first – the somewhat raw sound, a few rhythmic mannerisms, a few odd note choices – but after a couple of hearings, those minor flaws seemed pretty unimportant. The extremely out-of-tune high notes still grate on me, though. But overall, nice playing from a very individualistic tenorist. The drumming annoys me no end – it’s stiff and insensitive.

7. Excellent, creative freebop. I like the alto player’s odd, slightly strangled tone. His phrases flow out each other in a really nice way. I also like the bassist’s use of space in his solo, and the way the trio listens to each other. No idea who anyone is, but I’m looking forward to finding out.

8. More excellent music that I don’t have a clue about. Even though this piece is “inside” and lyrical, I would guess that these musicians have at least one foot in freer music – there are hints of that here and there. I could be wrong about that, and I really don’t have any idea who it is. I like it, though.

9. Chris McGregor’s Brotherhood of Breath from 1971 (their first album), playing “Davashe’s Dream,” featuring the great Dudu Pukwana. Dudu’s playing has really grown on me for the past couple of years – I love his inside/outside approach. I also like the somewhat raw sound of the band, particularly the sax section. Mongezi Feza is the excellent trumpet soloist, although I would not have known that without the liner notes. One of my favorite big bands, and wonderful Dudu. Thanks for including this.

10. Not for the faint of heart. This sounds like an ESP-Disk session from the 1960’s. Everyone is good for this style, but I particularly like the bassist and the tortured alto playing. I suppose this sounds like chaos to some folks, but this kind of music has its own logic, its own conventions, and ultimately, its own limitations. Don’t know the artists.

11. Same instrumentation as #7, and somewhat similar in style. I don’t know the recording, but is it Byard Lancaster? In any case, the alto player’s phrasing is more regular and predictable than the altoist’s in #7. But there’s a lot of passion here, and a good command of the saxophone.

12. Recognized this one right away – “Doctor Blues” by Luis Russell and His Orchestra, from 1929. The Russell band was incredible during this period, with its New Orleans rhythm team of Pops Foster and Paul Barbarin, its simple, swinging charts, and some of the best soloists in jazz, like Red Allen and Social Circle, Georgia’s own J. C. Higginbotham. Allen in particular was brilliant – he could match Louis Armstrong’s technique, and although his playing couldn’t match Armstrong’s in the brilliance and construction of his solos, he had a wild, avant-garde edge that Louis didn’t have. The alto solo by Charlie Holmes is good, too. Wonderful music.

13. This was maybe my least favorite track from the BFT, although I certainly don’t hate it. This “Poinciana” is a little “precious,” if that makes any sense. And the double-time comping the guitarist goes into at times drives me crazy – I do hate that part. No idea who it is.

14. This one also didn’t knock me out. “Tennessee Waltz” is a nice enough melody, but his pianist doesn’t do enough with it to really interest me. It sounds like a New Orleans guy, so it’ll probably turn out to be someone I like, but I’m just not crazy about this version.

15. The perfect ending to a perfect album – “Union Special” from the same album as #9 above. And a fun ending to a fun Blindfold Test. Thanks again for a good one.

[NIS]

"Magniloquent".

WOW, what a great word.

Well, I do love words... I'd like to know a whole lot more of such great English words!

I enjoy a good word as well. Sadly, I had to go to the book for this one, and English is my first (and only actually)language.

Getting back to the BFT, I've been listening to track 9 several times and like it more and more each time.

Edited February 6, 2011 by NIS

[king ubu]

It’s only the sixth day of the month, but this thread has already gotten lots of activity. I haven’t read anything here yet,but I imagine that a lot of things have already been identified.

What an enjoyable Blindfold Test! This one really made me think and listen. Of course, I like some tracks better than others, but there was nothing here which I hated.

Thanks a lot for your replies, Jeff!

1. Well, this one confused me a little bit. I instantly thought of Marion Brown and his solo version of “Black and Tan Fantasy” from the Recollections album on Creative Works, from 1985. But this is not that version. But it’s so similar that I think this has to be Marion. I love his tortured lyricism. This is affecting music.

It's him indeed, not an officially available version.

Will have to look for that album you mention (a Swiss label, nevertheless - didn't no they had a Marion Brown release in their catalogue!)

2. This track drove me crazy, because it’s something I think I’ve heard, but I can’t come up with where I’ve heard it. Anyway, it’s a pretty interesting track – around 1945 or so, I’d say. It’s very much of its time – pushing toward the modern thing that was in the air at the time. I like it, even though it’s maybe a little self-consciously “weird.” Could be Dodo Marmarosa on piano and Remo Palmieri on guitar, but I don’t really know.

You're pretty close with the date. The guitar player is an unknown one (the name I known, but besides, I have no idea who he was). Marmarosa is an interesting guess... but it's not him.

3. Well, you’ve puzzled me again. It’s Tony Fruscella, playing “Blue Lester,” but I don’t know this version. I love Frescella’s playing – he hardly ever ventured out of the low and middle registers, but his improvising was supremely melodic. Beautiful! I thought I had all of Fruscella’s recordings, but obviously not.

Yes indeed it's Fruscella! You'll see above where this is from - it's a great disc and a most welcome addition to the small Fruscella discography. And at the same time it's my way of paying tribute to Pres, who's missing from this BFT...

4. Lee Wiley, singing “Street of Dreams” from the Night in Manhattan album, with Bobby Hackett on trumpet. Very nice, although I think I prefer Miss Wiley’s earlier recordings, from the late 30’s and early 40’s. This is excellent, though, and you can’t have too much Bobby Hackett. I even like his mood music/bachelor pad albums from the 60’s.

Correct, of course! So with this additional endorsement, I seem to definitely have to add the Mosaic to my wantlist!

5. Big T – Jack Teagarden. I recognized his horn even before he started singing. I wish he had played more trombone here. I like his singing, but I think his voice and style are more suited to bluesier tunes. I usually don’t like his ballads as much. Although, hmmm – he sure does a great job with “Stars Fell on Alabama.” Maybe I don’t know what I think. Anyway, this is very nice, and I don’t know what album it’s from. I also don’t know who the trumpeter is, unless it’s Hackett again.

Sure Bit T! It's from his last album... very touching to me, and I do love the songs of Willard Robison! The trumpet player isn't Hackett, but once you'll check the details above, it shall be easy to find out it's Don Goldie.

6. I don’t know who is playing this version of “I Cover the Waterfront.” I liked the saxophone playing more the more times I heard this track. A few things annoyed me at first – the somewhat raw sound, a few rhythmic mannerisms, a few odd note choices – but after a couple of hearings, those minor flaws seemed pretty unimportant. The extremely out-of-tune high notes still grate on me, though. But overall, nice playing from a very individualistic tenorist. The drumming annoys me no end – it’s stiff and insensitive.

I love it... the drummer is struggling here, yes. Not the usual fare...

7. Excellent, creative freebop. I like the alto player’s odd, slightly strangled tone. His phrases flow out each other in a really nice way. I also like the bassist’s use of space in his solo, and the way the trio listens to each other. No idea who anyone is, but I’m looking forward to finding out.

Yes, that flow - and the glow in his tone and the urgency!

8. More excellent music that I don’t have a clue about. Even though this piece is “inside” and lyrical, I would guess that these musicians have at least one foot in freer music – there are hints of that here and there. I could be wrong about that, and I really don’t have any idea who it is. I like it, though.

Yes on the inside/outside part!

9. Chris McGregor’s Brotherhood of Breath from 1971 (their first album), playing “Davashe’s Dream,” featuring the great Dudu Pukwana. Dudu’s playing has really grown on me for the past couple of years – I love his inside/outside approach. I also like the somewhat raw sound of the band, particularly the sax section. Mongezi Feza is the excellent trumpet soloist, although I would not have known that without the liner notes. One of my favorite big bands, and wonderful Dudu. Thanks for including this.

Yes, wonderful Dudu! Great band! And correct of course! Funny enough, none of those who recognized #15 were yet able to pin down this one! (Or did I over-read something?)

10. Not for the faint of heart. This sounds like an ESP-Disk session from the 1960’s. Everyone is good for this style, but I particularly like the bassist and the tortured alto playing. I suppose this sounds like chaos to some folks, but this kind of music has its own logic, its own conventions, and ultimately, its own limitations. Don’t know the artists.

ESP and 60s is as close as anyone got so far!

It's dark and brooding... the darkest of all the melancholy stuff on this disc (I only realized how much restrained and slow and moody stuff I had picked once it was all set).

11. Same instrumentation as #7, and somewhat similar in style. I don’t know the recording, but is it Byard Lancaster? In any case, the alto player’s phrasing is more regular and predictable than the altoist’s in #7. But there’s a lot of passion here, and a good command of the saxophone.

Yes, this and #7 are indeed somewhat similar, but some time had elapsed in between. It's not Byard Lancaster.

12. Recognized this one right away – “Doctor Blues” by Luis Russell and His Orchestra, from 1929. The Russell band was incredible during this period, with its New Orleans rhythm team of Pops Foster and Paul Barbarin, its simple, swinging charts, and some of the best soloists in jazz, like Red Allen and Social Circle, Georgia’s own J. C. Higginbotham. Allen in particular was brilliant – he could match Louis Armstrong’s technique, and although his playing couldn’t match Armstrong’s in the brilliance and construction of his solos, he had a wild, avant-garde edge that Louis didn’t have. The alto solo by Charlie Holmes is good, too. Wonderful music.

Yowzah! This is fantastic, isn't it?!

Where's the second "mistake" in Red's solo? You might be able to tell... the notes make allusion to two notes that are outside of what's usually considered correct. Don't have the cut spinning right now, but the first one is easy to tell, it's early on in the solo - but I'm clueless where the second one might happen! (Not that it would matter much - that's the great thing about Allen's exuberance and brilliance - he even made mistakes sound good or interesting!)

13. This was maybe my least favorite track from the BFT, although I certainly don’t hate it. This “Poinciana” is a little “precious,” if that makes any sense. And the double-time comping the guitarist goes into at times drives me crazy – I do hate that part. No idea who it is.

I wanted to have the guitar player on my BFT... but it seems it's the most disliked cut in general.

14. This one also didn’t knock me out. “Tennessee Waltz” is a nice enough melody, but his pianist doesn’t do enough with it to really interest me. It sounds like a New Orleans guy, so it’ll probably turn out to be someone I like, but I’m just not crazy about this version.

Not New Orleans, but it all boils down to... well, you'll see...

15. The perfect ending to a perfect album – “Union Special” from the same album as #9 above. And a fun ending to a fun Blindfold Test. Thanks again for a good one.

[Jim R]

2. This track drove me crazy, because it’s something I think I’ve heard, but I can’t come up with where I’ve heard it. Anyway, it’s a pretty interesting track – around 1945 or so, I’d say. It’s very much of its time – pushing toward the modern thing that was in the air at the time. I like it, even though it’s maybe a little self-consciously “weird.” Could be Dodo Marmarosa on piano and Remo Palmieri on guitar, but I don’t really know.

You're pretty close with the date. The guitar player is an unknown one (the name I known, but besides, I have no idea who he was). Marmarosa is an interesting guess... but it's not him.

Okay, I had been considering Palmieri also, so now that he's out, and Arv Garrison is out... how about Bill DeArango? He's sort of in that same time frame, and they all shared a bit of the Django influence that I was hearing at the end of that solo. If it's not DeArango, then I'll really start scratching my head...

[Niko]

in this well-researched-looking DeArango discography i don't see anything that might fit the bill...

http://www.uni-giessen.de/~g51092/DeArango.html

really puzzled by this thing, the line-up is fairly unusual (tp/g/p/b, no drums) and the theme sounds like someone with "big ideas"... i'd have thought this already reduces the number of possibilities sufficiently...

[king ubu]

No, not Bill de Arango either.

These are all guys that are (somewhat) well-known. Not the one heard here.

I'm sorry, but I don't think I can give any hints without giving it all away... and after all, it's only February 6th and I don't have another BFT to fill up the second half of the month, alas

[John B]

Ubu,

I'm really enjoying your BFT. I'll try to keep posting comments as I find time.

Track #1 - No clue who this is, but I love the solo take on an Ellington(?) tune. This doesn't sound professionally recorded or released. The space has a very interesting resonance. Was it recorded somewhere unusual?

[king ubu]

Ubu,

I'm really enjoying your BFT. I'll try to keep posting comments as I find time.

Track #1 - No clue who this is, but I love the solo take on an Ellington(?) tune. This doesn't sound professionally recorded or released. The space has a very interesting resonance. Was it recorded somewhere unusual?

Yale University... don't know where exactly though.

Ellington it is - and several others were able to identify the alto player as the late, great Marion Brown.

[relyles]

Different day, different mood, different tone to my responses: Here is tracks 8 - 14.

8. Ballad performance featuring trumpet, also, piano, bass and drums. Convincing brass statement. The alto has a more extroverted sound. Solid track.

9. Nice contrast between the relatively straight large ensemble arrangement and the more edgy alto saxophone solo. Very interesting arrangement. There is a lot of variety in the trumpeter’s solo that I appreciate. I could listen to more of this.

10. I am fairly certain that I have heard this trumpeter before. The drummer has a modified Sunny Murray waves of suspended rhythm thing going on and the bowed bass adds that ominous sense of mystery that can be captivating. This requires a more attentive listen than I am able to give right now, but I am intrigued.

11. The saxophonist generates a lot of excitement while the drummer bashes away and the bassist plays a nifty vamp. Reminds me a little of Mike Osborne – not sure why – it just came to mind. Good stuff.

12. Another stylistic shift. Now we get into some real historical New Orleans type stuff. I can appreciate this type of music more than it really moves me. That, however, is probably more a factor of it not being a particular focus in my listening so far than the quality of the music. I always think of this as “fun” more than “deep” or something more serious. Not a fair characterization I admit, but that is how I have always responded

13. Interesting interpretation mainly because of the instrumentation. I am having trouble remembering the title, but I think Ahmad Jamal may have performed it in the past. Competent, if not remarkable playing by the guitar and piano.

14. Sounds like a very soulful blues influenced Abdullah Ibrahim – not him, but some of the chords in the beginning reminded me of Ibrahim. Not a flashy performance, but I can really feel it. Very mature playing. I like it a lot. Could it be someone like Malcolm Braff?

15. Makes me think of the Dutch guys such as ICP or Willem Breuker. No idea who is playing and not enough there to really peak my interest in hearing more.

[king ubu]

Thanks again, Ronald! Very interesting!

8. Ballad performance featuring trumpet, also, piano, bass and drums. Convincing brass statement. The alto has a more extroverted sound. Solid track.

The alto... yes, would have loved to have a track of his in here - lots of strong altos!

9. Nice contrast between the relatively straight large ensemble arrangement and the more edgy alto saxophone solo. Very interesting arrangement. There is a lot of variety in the trumpeter’s solo that I appreciate. I could listen to more of this.

I bet you would!

10. I am fairly certain that I have heard this trumpeter before. The drummer has a modified Sunny Murray waves of suspended rhythm thing going on and the bowed bass adds that ominous sense of mystery that can be captivating. This requires a more attentive listen than I am able to give right now, but I am intrigued.

You might well have heard this band before, indeed...

11. The saxophonist generates a lot of excitement while the drummer bashes away and the bassist plays a nifty vamp. Reminds me a little of Mike Osborne – not sure why – it just came to mind. Good stuff.

Funny that you should mention Mike Osborne... but yes, it's that kind of free-wheeling, edgy and pushing playing that always remains connected to the center of the music... to me, the guy on #7 is somewhat similar to how I hear Osborne!

12. Another stylistic shift. Now we get into some real historical New Orleans type stuff. I can appreciate this type of music more than it really moves me. That, however, is probably more a factor of it not being a particular focus in my listening so far than the quality of the music. I always think of this as “fun” more than “deep” or something more serious. Not a fair characterization I admit, but that is how I have always responded

Well, hearing it as "fun" and being appreciative is already a lot more than many modern jazz listeners bring to this kind of music! I chose this cut because I love the rhythmic momentum Luis Russell's band generates, and I love the chances Henry "Red" Allen is taking in all of his trumpet solos!

13. Interesting interpretation mainly because of the instrumentation. I am having trouble remembering the title, but I think Ahmad Jamal may have performed it in the past. Competent, if not remarkable playing by the guitar and piano.

Yes, Jamal is the obvious point of comparison... maybe I should have given this some thought - seems to be the least favorite of all titles, another choice of mine might have been smarter, who knows. Too late now.

14. Sounds like a very soulful blues influenced Abdullah Ibrahim – not him, but some of the chords in the beginning reminded me of Ibrahim. Not a flashy performance, but I can really feel it. Very mature playing. I like it a lot. Could it be someone like Malcolm Braff?

This makes me chuckle in a good way! The guy here is darn good and his playing goes in all directions...

15. Makes me think of the Dutch guys such as ICP or Willem Breuker. No idea who is playing and not enough there to really peak my interest in hearing more.

Same band as on #9 - and both cuts from the album: Chris McGregor's Brotherhood of Breath (the self-titled first album).

[Spontooneous]

Somewhere across the sea, Ubu is snickering at me for failing to recognize 9 while recognizing 15 from the same disc!

[relyles]

I think I am going to have to pick up that Brotherhood of Breath recording. I have generally liked everything by them I have heard - notwithstanding my less than enthusiastic response to track 15. Thanks Flurin - great stuff! I will be looking forward to the reveal.

[king ubu]

Somewhere across the sea, Ubu is snickering at me for failing to recognize 9 while recognizing 15 from the same disc!

You weren't the only one (I'm running this at the same time on a German forum) - and to me, it happens each time that I fail to recognize something I have... and of course there's no reason to expect two cuts from the same album!

I think I am going to have to pick up that Brotherhood of Breath recording. I have generally liked everything by them I have heard - notwithstanding my less than enthusiastic response to track 15. Thanks Flurin - great stuff! I will be looking forward to the reveal.

Thanks Ronald! Glad you enjoyed it!

[RDK]

I'm terrible at guessing artists and I can't remember most song titles either, so let me just throw a few general comments out there about these tracks. It's a wonderful compilation, Flurin, but unfortunately I've been forced to listen while mostly doing other things (like working -_- ) so these tracks rarely got my undivided attention. But I have listened to some many times over and have enjoyed most of them. I hope to get some more careful listening (and maybe some guesswork) in this weekend, but I wanted to at least get my initial reactions down first.

1 Shepp-like, but not him. I really like this “traditional” stuff done with the gritty passion of a 60’s firebrand. I should know this – one of those old Louis Armstrong “Blues” numbers.

2 Sounds much older than I think it is. Is that an electric guitar? Sounds odd, but I like it.

3 Nice, moody piece, but almost a bit too minor, depressing in its tone. There are times when a trombone is my favorite jazz instrument. It works here, but I don’t think I’d want to hear a whole album of this.

4 “Street of Dreams,” apparently, but I’m unfamiliar (I think) with the vocalist. Sounds like it could be from a motion picture soundtrack circa 1940.

5 Jack Sheldon. I’ve seen Jack perform many times here in L.A., but not recently and I feel terrible about it. He plays every Thursday night (and has for years) at a place not 10 minutes away, and yet it’s been several years since I’ve seen him there. He’s a local (if not national) treasure.

6 I like the sound of the bari, but the tune’s just okay. There’s a faraway quality to the sound/recording – it’s obviously live, but maybe an amateur or bootleg recording?

7 Love the energy here – great track!

8 Okay, but not a favorite

9 Love the intensity of the sax solo juxtaposed with the coolness of the ensemble horns. Very curious about who this is.

10 Least favorite?

11 Better, but only okay

12 Good, old timey stuff, but I’m not really into it at the moment

13 Poinciana – I do like the guitar solo

14 Like this, nice slow version but I can’t recall the title

15

[king ubu]

I'm terrible at guessing artists and I can't remember most song titles either, so let me just throw a few general comments out there about these tracks. It's a wonderful compilation, Flurin, but unfortunately I've been forced to listen while mostly doing other things (like working -_- ) so these tracks rarely got my undivided attention. But I have listened to some many times over and have enjoyed most of them. I hope to get some more careful listening (and maybe some guesswork) in this weekend, but I wanted to at least get my initial reactions down first.

Thanks Ray! Glad you enjoyed it!

1 Shepp-like, but not him. I really like this “traditional” stuff done with the gritty passion of a 60’s firebrand. I should know this – one of those old Louis Armstrong “Blues” numbers.

Ellington it is...

2 Sounds much older than I think it is. Is that an electric guitar? Sounds odd, but I like it.

It's fairly old, but yes - sounds older than it is. Electric guitar indeed (at least that's what my crappy ears tell me).

3 Nice, moody piece, but almost a bit too minor, depressing in its tone. There are times when a trombone is my favorite jazz instrument. It works here, but I don’t think I’d want to hear a whole album of this.

Did something get mixed up in the sequence here? This is a trumpet/piano duet...

4 “Street of Dreams,” apparently, but I’m unfamiliar (I think) with the vocalist. Sounds like it could be from a motion picture soundtrack circa 1940.

5 Jack Sheldon. I’ve seen Jack perform many times here in L.A., but not recently and I feel terrible about it. He plays every Thursday night (and has for years) at a place not 10 minutes away, and yet it’s been several years since I’ve seen him there. He’s a local (if not national) treasure.

Another Jack here... but I'd love to have Jack Sheldon perform weekly in my hometown, that's for sure!

6 I like the sound of the bari, but the tune’s just okay. There’s a faraway quality to the sound/recording – it’s obviously live, but maybe an amateur or bootleg recording?

It's a tenor - and yes, the sound isn't too good, but I love the sax playing! It was officially released, btw.

7 Love the energy here – great track!

8 Okay, but not a favorite

9 Love the intensity of the sax solo juxtaposed with the coolness of the ensemble horns. Very curious about who this is.

#7 is a favourite of mine, too! But then so are the others, or else I'd not have picked them

10 Least favorite?

11 Better, but only okay

Both of these may need undivided attention... but I can also see some not liking them!

13 Poinciana – I do like the guitar solo

So do I... but we're in a small minority here!

[RDK]

Just took a quick glance at your comments, Flurin, as I'd still like to guess some more. But... that's not Jack Sheldon? Really?! Damn...

[Noj]

I've listened to this twice through, and I'm on my third. Can't say I have any significant guesses, and I'm about to read the other guesses. I love the first track, reminds me of Rahsaan Roland Kirk. A really nice listen, start to finish. Thanks ubu!

[king ubu]

I've listened to this twice through, and I'm on my third. Can't say I have any significant guesses, and I'm about to read the other guesses. I love the first track, reminds me of Rahsaan Roland Kirk. A really nice listen, start to finish. Thanks ubu!

You're welcome - glad to hear you enjoy it all the way!

[fent99]

Hey Ubu

Loving the bft.

No significant guesses from me either and I'm almost pleased that nothing sounds like I have it already (though I've been wrong about that before) two tracks standing out are Track 1, definitely my kind of thing and Track 6 with that great live sound. Love the fact that its filled with all kinds of music old and new (or newer) swinging, free, instrumental and vocals. My listening though varied doesn't always include older music so thanks a lot.

Edited February 16, 2011 by fent99

[king ubu]

Hey Ubu

Loving the bft.

No significant guesses from me either and I'm almost pleased that nothing sounds like I have it already (though I've been wrong about that before) two tracks standing out are Track 1, definitely my kind of thing and Track 6 with that great live sound. Love the fact that its filled with all kinds of music old and new (or newer) swinging, free, instrumental and vocals. My listening though varied doesn't always include older music so thanks a lot.

Thanks, c!

Glad to hear that! #1 is the only one on this set that you won't find commercially... but I can help of course, once it's revealed.

Oh, and haven't we all been wrong about tracks we had already? Happens to me with almost every BFT where I actively participate in, I'm afraid!

[Hot Ptah]

I have not meant to ignore this Blindfold Test, but rarely have I been as clueless about the artists, and could not even guess at any of them. That is true even though I have the Brotherhood of Breath album from which two of the songs are taken.

This is a very interesting, enjoyable BFT. I am looking forward to the reveal.

I am very surprised that Marion Brown is the artist on #1. I have really learned something here. I did not know that he recorded anything so "inside".

[JSngry]

Not too late to the party, I hope?

The usual thanks and disclaimers firmly in place, here we go...

TRACK ONE - "Black & Tan Fantasy", not sure by who...very definite & sure-footed time & tone...a few embrocure wobbles here and there, sometimes sounds intentional, sometimes not...all things considered, I think they accomplished what they set out to do.

TRACK TWO - Wow,,,this is kind of...OUT! Somewhere between, 1944-46, I'd imagine. somebody who had been hearing the early bebop, Dizzy especially...guitarist sounds the most fluent and independent...pianst had surely been exposed to at least a little Monk...no idea who this might be, or how it came to be recorded...no drummer, really casual playing, it's almost like a private recording...interesting...

TRACK THREE - No drummer her,,,will this become a theme? Nice, lyrical playing, but I'd have preferred a little bit more, uh...injection of life. Good idea, and I'm all for "cool" & "melloe" ad all that, but this sounds either high, drunk, tired, or somehow otherwise not fully engaged, and not it a particularly good way. Just my opinion.

TRACK FOUR - Drums! "Street of Dreams"! And Lee Willey. I've never been able to fully engage with her, but by the same token, I've never been able to walk away either. She's got something, I just can't put my finger on it. I've heard somewhere that this song was writtien in the context of being about an opium den, but have never bothered to confirm that. The thing about Lee Wiley had such nice phrasing...the timbre of her voice - and the vibrato that results - kinda creeps me out sometimes, but the phrasing fights back with some mighty power.

TRACK FIVE - Teagarden. His horn phrasing was so fluid, his vocal phrasing often not so much..of course he was older here, but still...this is good for what it is, I'm just not sure why it gelt the need to be that.

TRACK SIX - "I Cover The Waterfront", an audience recording. First impression is Moody, let's see how it develops...yeah, that's largely Moody tonally, but chops-wise....not sure... he might have been really old and tired on this one. Or else it might not be him at all!

TRACK SEVEN - Oliver Lake? I like it. Sounds like his out-of-Dolphy curlicued phraseology on more than one occasion. He gains momentum as he goes along, even if the tempo slows down, that;s kinda weird. The bass solo keeps sounding like it's going to turn into "Bitches Brew" at any moment...Probably not the best that any of these guys have played, but everybody sounds really solid, the real deal, especially the bass player, and oh by the way...that head sounds REALLY familiar...is it a Dolphy tune?

TRACK EIGHT - Nice ballad, nice tune, nicely played, nicely paced.

TRACK NINE - Oh MY! I was NOT ready for this one! In a good way! That altoist plays like a tenor player! Lester Bowie? Probablyt not, but no Lester, no this... and the chart is SO straight...BIG fun here!

TRACK TEN - Tape Hiss! Geez, I had forgotten what it sounded like! Clealy deliniated idea, nice use of space, good back and forth between the players. A very centered piece of music. I like it.

TRACK ELEVEN - More alto! No faulting that bass/drunms tandem, but the altoist sounds a little...limited on this one. Very Ornette-ish tone and phrasing in spots. Maybe this ain't his bag. He's trying, though, and he can definitely play. Just sounds like he's not particularly motivated/able to get into the material too deeply. I hear lots of devices, not a lot of ideas being developed. Or maybe he's a total badass & I'm just not hearing him. It happens.

TRACK TWELVE - Skills! Yeah!

TRACK THIRTEEN - Interesting intonation choices...you know how some people live out from the rest of the town & they get some of the news but not all of it and then form their own story with some really "local" stuff in it that sounds pretty weird to everybody else but not to them because, hey, they've never hear otherwise? But they come into town and tell it as they know it and people just kinda look and say"o.....k....". That's what this sounds like to me.

TRACK FOURTEEN - "Tennessee Waltz". Have you heard Sonny Rollins' version? It's a good tune to blow on, actually.It appears that his version can be found here: http://www.allmusic.com/album/keepin-out-of-mischief-now-r223931

TRACK FIFTEEN - No idea, but I'll drive home wide awake now!

Thanks for an interesting runthrough of some wholly unfamiliar music. Enjoyed it!

[king ubu]

I have not meant to ignore this Blindfold Test, but rarely have I been as clueless about the artists, and could not even guess at any of them. That is true even though I have the Brotherhood of Breath album from which two of the songs are taken.

This is a very interesting, enjoyable BFT. I am looking forward to the reveal.

I am very surprised that Marion Brown is the artist on #1. I have really learned something here. I did not know that he recorded anything so "inside".

Hey, I thought I had replied to your comment already... happy to hear you're finding it interesting and enjoyable!

My intention was to run the whole gamut, from "Red" Allen right to... well, I won't reveal too much yet

[king ubu]

Not too late to the party, I hope?

The usual thanks and disclaimers firmly in place, here we go...

...

Thanks for an interesting runthrough of some wholly unfamiliar music. Enjoyed it!

Hey Jim! Great to have you in! And of course no, never too late! Very interesting comments of yours, and my pleasure to have exposed you to some unfamiliar music!

I'll put my comments in below in the usual colour...

TRACK ONE - "Black & Tan Fantasy", not sure by who...very definite & sure-footed time & tone...a few embrocure wobbles here and there, sometimes sounds intentional, sometimes not...all things considered, I think they accomplished what they set out to do.

Of course you know now who is playing here... interesting remarks about the embouchure - I thought so rather often while playing Marion Brown... but I still love his soft sound!

TRACK TWO - Wow,,,this is kind of...OUT! Somewhere between, 1944-46, I'd imagine. somebody who had been hearing the early bebop, Dizzy especially...guitarist sounds the most fluent and independent...pianst had surely been exposed to at least a little Monk...no idea who this might be, or how it came to be recorded...no drummer, really casual playing, it's almost like a private recording...interesting...

As I said before, the guitar player is unknown to me (except that I do know his name)... will be interested to learn about him after the results are out. You're spot on with the Dizzy and Monk influences... but these are contemporaries (as you'll know since you dated it almost correctly).

TRACK THREE - No drummer her,,,will this become a theme? Nice, lyrical playing, but I'd have preferred a little bit more, uh...injection of life. Good idea, and I'm all for "cool" & "melloe" ad all that, but this sounds either high, drunk, tired, or somehow otherwise not fully engaged, and not it a particularly good way. Just my opinion.

I can relate to the "high, drunk, tired, or somehow otherwise not fully engaged" description - but to me, this has endless charms!

TRACK FOUR - Drums! "Street of Dreams"! And Lee Willey. I've never been able to fully engage with her, but by the same token, I've never been able to walk away either. She's got something, I just can't put my finger on it. I've heard somewhere that this song was writtien in the context of being about an opium den, but have never bothered to confirm that. The thing about Lee Wiley had such nice phrasing...the timbre of her voice - and the vibrato that results - kinda creeps me out sometimes, but the phrasing fights back with some mighty power.

Very interesting remarks! Took me a while to really dig her... but I've been doing so now for several years.

TRACK FIVE - Teagarden. His horn phrasing was so fluid, his vocal phrasing often not so much..of course he was older here, but still...this is good for what it is, I'm just not sure why it gelt the need to be that.

Yeah! Maybe he forgot to put out his denture here? Seriously, I just love how down and out he sounds here (as well as on his other late Verve album).

TRACK SIX - "I Cover The Waterfront", an audience recording. First impression is Moody, let's see how it develops...yeah, that's largely Moody tonally, but chops-wise....not sure... he might have been really old and tired on this one. Or else it might not be him at all!

Not Moody, no... the guy was rather young back then (at least to my knowledge) and left far too soon, too. Moody makes more sense to me as a point of reference than Dexter though, that's for sure!

TRACK SEVEN - Oliver Lake? I like it. Sounds like his out-of-Dolphy curlicued phraseology on more than one occasion. He gains momentum as he goes along, even if the tempo slows down, that;s kinda weird. The bass solo keeps sounding like it's going to turn into "Bitches Brew" at any moment...Probably not the best that any of these guys have played, but everybody sounds really solid, the real deal, especially the bass player, and oh by the way...that head sounds REALLY familiar...is it a Dolphy tune?

Not Lake, not a Dolphy tune... the real deal indeed - and also not the best tune from the set I took it from, but I had to watch the clock, too... I find the alto playing highly engaging and love the bass player (who btw is the most familiar musician of the three).

TRACK EIGHT - Nice ballad, nice tune, nicely played, nicely paced.

Yup, nice. He did some more engaging, more out stuff, too - but I love him for his lyricism and this was the best example I could find (though his lyricism often also pushed through the turmoil of larger and freer ensembles).

TRACK NINE - Oh MY! I was NOT ready for this one! In a good way! That altoist plays like a tenor player! Lester Bowie? Probablyt not, but no Lester, no this... and the chart is SO straight...BIG fun here!

Not Lester, but he *might* (not that I knew) have been an influence? Isn't it great how the alto (heavy sound! that's how I love alto!) bounces off the straight ensemble in his own way? He did more outish stuff, too, but I think I prefer him in such inside/outside settings, after all.

TRACK TEN - Tape Hiss! Geez, I had forgotten what it sounded like! Clealy deliniated idea, nice use of space, good back and forth between the players. A very centered piece of music. I like it.

Yeah, this is from a tape indeed

TRACK ELEVEN - More alto! No faulting that bass/drunms tandem, but the altoist sounds a little...limited on this one. Very Ornette-ish tone and phrasing in spots. Maybe this ain't his bag. He's trying, though, and he can definitely play. Just sounds like he's not particularly motivated/able to get into the material too deeply. I hear lots of devices, not a lot of ideas being developed. Or maybe he's a total badass & I'm just not hearing him. It happens.

I don't know much about this alto player, but that is his bag to my best of knowledge. This is one of the tracks I might have to reassess after the various feedback here and on the other forum (German-language - can give link if anyone wants to read more) I posted this BFT.

TRACK TWELVE - Skills! Yeah!

Gee Doctor, that's good 'nuff!

TRACK THIRTEEN - Interesting intonation choices...you know how some people live out from the rest of the town & they get some of the news but not all of it and then form their own story with some really "local" stuff in it that sounds pretty weird to everybody else but not to them because, hey, they've never hear otherwise? But they come into town and tell it as they know it and people just kinda look and say"o.....k....". That's what this sounds like to me.

Your comment here is by far the most engaging I got on this cut... not too many seem to like it at all, and yes, it's definitely weird, and "local" is probably spot-on (I know where these guys come from, but not when they recorded this).

TRACK FOURTEEN - "Tennessee Waltz". Have you heard Sonny Rollins' version? It's a good tune to blow on, actually.It appears that his version can be found here: http://www.allmusic.com/album/keepin-out-of-mischief-now-r223931

Bingo! I think I have Rollins' version (the one on "Falling in Love with Jazz", right?), but don't have it in my mind... will dig out the CD. I fell in love deeply with Sam Moore's version and wanted a cool one for the end of the disc and thought this would fit (and no one so far got it, I think). It's anachronistic on so many levels, I just love it!

TRACK FIFTEEN - No idea, but I'll drive home wide awake now!

Yowzah! Hope you're getting home well!

Thanks for these very interesting comments!