BFT #90 Discussion

[BillF]

Your turn to have your say!

[tkeith]

Well, let's get this party started! Another test filled with stuff I'm unfamiliar with, but I really enjoyed a great deal of this.

Track 1 - Is that a tune I know or is it just that it's reminiscent of The Kicker in 3? Can't put my finger on what or why, but something about the drummer's snare is just rubbing me the wrong way. I was thinking maybe it was Cecil Brooks, III, but the time doesn't seem quite steady enough. Not sure on the trumpet. Tenor player knows his Joe Henderson, but I'm not quite buying it. He gets some fire and some nice lines going in the last chorus. On the whole, this sounds to me like guys after that era trying to play the style (post-Blue Note guys hugging the past). I'm going to guess Herman Foster on piano.

Track 2 - I don't care for the harmony in the brass, but I like the bari work in the arrangement. I don't recognize the piano player at all. Nor the guitarist, but his solo strikes me a bit more. The drummer is steady and not in the way; lays down a nice groove. I like the arrangement on the "shout" chorus much more than that on the head. No guesses.

Track 3 - Mono recording (or converted after the fact, but on the headphones, it's a VERY obvious change). This is the best track, yet. He's got a more honest swing to it. Tune sounds a tad familiar. A bit reminiscent of Golson, but not as fiery. Second guy almost had me thinking of Zoot for second; maybe Kamuca? I don't have a lot of this sort of thing in my collection, but I like this. All the solos are honest (meaning no BS), particularly the trombone.

Track 4 - On the head I was thinking there was nothing I didn't like about this. But neither solo resonated with me. It seems like a more modern group; the players seem way too focused on the "right" notes.

Track 5 - A bit like Wardell, but not quite as ballsy a sound. My fingers hurt listening to the pianist -- FLYIN'! Is that the same tenor coming back later? Sounds like a young Gene Ammons here.

Track 6 - Somebody owes Freddie Green royalties. Not really sure enough to place guesses, but this is fun, in a very good way. Not sure how much it would hold my attention on repeated listening, though.

Track 7 - Very west-coastie. Too much to please me. Could be Pepper on tenor.

Track 8 - Even though the arrangement reminds me a lot of some of Maynard's early 60s bands, I like this a lot. The more I'm hearing the arrangement, the saxes sound EXACTLY like that band, but the brass seems way too controlled.

Track 9 - Makin' Whoopie (a song that should have been retired permanently after Ray Charles and Betty Carter *killed* it! -- though that version desperately cried for a Fathead solo!). Some shades of both Kenny Barron and Hank Jones, but the chord voicings aren't right for either of them.

Track 10 - I recognize this. My Dad had this when I was young, but I'm not sure what it is. I *KNOW* I've heard this. Given that and the decidedly KC sound, I'm going to say Buddy Tate, but not with any degree of confidence.

Track 11 - Frig. Some damned bop tune whose title I can't think of. Red Cross is cropping into my mind, but that's way wrong. Damn it! This is one of my *favorite* bop tunes, too! Shades of Criss in the alto, but I don't think it's him; it's somebody younger. Could be Ralph Peterson on drums. The ideas are McPherson-esque, but it's not him. Bass player seems out of context. Oh! I just had it! DAMN! The alto player can play his ass off, but I'm guessing a younger guy (meaning "contemporary"). Damnit. That song is one of those one-word titles, but I can't come up with it. AH!!!! Have the sox-yankees game on in the background and took the phones off during #12 to listen to my wife, and Jerry Remy said, "In the next segment of --" and I screamed, "THAT'S IT! SEGMENT!" My wife is calling the Twinkie truck as I type... women just don't understand.

Track 12 - Intro had a nice Louis Jordan feel, but alas, the band took that away. First impressions of the alto is a young Phil Woods. Again, somebody owes Basie some royalties. Sounds like one of those Kenton saxophonists, but I can't recall the name. Not Trujillo...

Track 13 - Another of those tunes whose name is going to piss me off! [laughter] Relaxin' At Camarillo! There, Damnit! Not a guitarist I know, but thoughtful player. Shades of Yusef, but not so brutish. I dig this guy, though.

Thanks for a fun listen. Very curious to know the tenor on #13, in fact, I may revisit this one and do some sleuthing before the month is over.

[BillF]

Great response, Thom. Really enjoyed reading that! Thought provoking comments and some sharp identifications - but not too many at this stage, which would spoil the fun!

Track 1

Not surprised you'd heard the tune: your "post-Blue Note guys hugging the past" is on the mark, albeit unflattering to the musicians! No accurate identifications so far.

Track 2

Let's see how the others fare with this one.

Track 3

I think you mean Golson as first tenorist, rather than composer, in which case, direct hit! In the right direction with the "second guy".

Track 4

Yes, "more modern" indeed. I agree about the focus on the "right" notes - the leader here is far less inhibited on live dates, which this isn't, of course.

Track 5

The comparison with Wardell is on the mark and, yes, it's the same tenor coming back.

Track 6

Yes, guitarist of the Freddie Greene sort, but not him. Perhaps they couldn't get him that day!

Track 7

Yes, very West Coast. Not Pepper.

Track 8

It's earlier than you think, but what do you know, the young Maynard's in the section!

Track 9

Tune identified. As to the piano style, yes, Hank Jones and this guy admired the same piano master.

Track 10

Not KC. Not Buddy Tate.

Track 11

Full marks for recognizing the rarely-covered "Segment"! Brilliant prompt you had! None of your identifications are right, though.

Track 12

Yes, I agree, vaguely Basieish. Otherwise, you've got a way to go on this one.

Track 13

Right on "Camarillo". You seem well qualified in Birdology. Hope your sleuthing will bring more results!

Edited October 1, 2011 by BillF

[NIS]

Bill,

I,m doing some traveling this month, so I wanted to make sure to say that I'm listening and enjoying. In case I don't get around to it later.

Nice stuff all around. I will just say that my taste in music is a little different than yours. I did like the solo piano take on "Making Whoopie". I thought he/she said quite a bit in a short time.

The BFT is on my mp3 player so I will be listening on my trip. As always I'm having great fun hearing music that I don't know. Thanks very much.

[Spontooneous]

Last month I was slow in posting guesses, so this month I'll just splatter it all out there quickly:

1 Oh, I know I've heard this before. It's something recorded in Englewood Cliffs in the '80s, or late '70s at the earliest. Is that Benny Bailey on trumpet? Ron Carter or Buster Williams on direct-injection bass? I'll even go as far as to guess Billy Hart on drums. I'm gonna feel like an idiot when the ID of this is posted.

2 Here I go with the I-know-I've-heard-this-before thing again. Is that a Thad Jones tune? And his chart? But this was probably recorded sometime after his death. Is that Mel on drums, or someone who learned well from him?

3 Got a serious West Coast thing going on here. At first the tenor makes me think of Lucky Thompson, but it's got too many notes for that, so maybe it's Benny Golson. Second tenor is one of those Pres-inspired guys, probably not Zoot but maybe Bill Perkins or Kamuca. Trombone solo is fun. Oh my, two trumpet soloists too, the second one trying hard to be Brownie but not getting there. Nevertheless, this is fun.

4 We're bringing the cup mute back! The tune seems naggingly familiar, not just for having a few phrases similar to "What's New?" I keep thinking it's an Oscar Pettiford tune. The trumpet is very fine. The alto saxist tries to answer the musical question, what would Lucky Thompson have sounded like on alto? Or maybe I'm just stuck on Lucky today. I'm impressed with this one.

5 An overly filtered transfer from a 78 master. Cooks nicely. Reminds me of the Stan Getz "Opus de Bop" date, where he sounds oddly like Dexter. Nice.

6 Goin' to Kansas City! The pianist wrestles with bebop, but swing wins out. Trombone reminds me of Benny Morton, or Vic Dickenson. The riffs behind the solos make me think we're in Buck Clayton Jam Session for Columbia territory. Holy mackerel, is that Earl Warren on alto? But that isn't Buck on trumpet, is it? The low note makes me think it might be Ruby Braff, the fluency makes me think of Joe Newman. The tenor ain't nobody but Coleman Hawkins. Might this be one of the sessions John Hammond produced for Vanguard? Maybe with Papa Jo Jones as leader?

7 Back to the West Coast. Like the trumpet-guitar unison. Tenor solo is too overtly Prez-ish for me, might even be Paul Quinichette. But I do love the way the arrangement sets off the solos.

8 It may not be the pianist's band, but it's the pianist's show, circa 1955. Is that you, George Shearing?

9 "Makin' Whoopee," some nice boppish voicings in there, but it's inconsistent. By the second chorus we have some Erroll Garnerisms, and I wish the player wouldn't arpeggiate so many chords.

10 Electronically re-processed for stereo, playable on all mono phonographs! Or maybe just a low-budget recording. I like the tenor player's wit. Lots of surprises in here. Is that perhaps the Vonski? Or someone else who's a local legend somewhere? This is delightful. The baritone is less delightful. He's pushing too hard, like Leo Parker did sometimes.

11 "Segment" by Bird is the tune. The altoist even pretty much repeats the bridge that Bird improvised on the record's first theme chorus. Is this Charles McPherson, maybe in the '80s?

12 A nice blowing tune on "Yes Indeed" changes. Powerful spots for alto and trumpet. The band has more of a sense of fun than Kenton usually has. Might be Maynard. This is a sweet cut.

13 "Relaxin' at Camarillo." The guitar has me thinking Herb Ellis. The pianist wants to be Horace Silver but doesn't know when to quit adding notes. I want to like this better than I do. This is the only cut here that's failed to grow on me with repeated listens. Oh well. 12 out 13 ain't bad!

Thank you, Bill! Some of these are going to drive me nuts until they're identified!

[BillF]

Thanks Sp. for your well informed answer. Between you and Thom Keith, we really seem to be getting somewhere! I'm relieved that you both seem to like many of my selections; I had my doubts on that score! You seem very good on the technicalities of recording - I've got cloth ears where that's concerned!

Track1

As you say, recorded Englewood Cliffs, but your date isn't right. Yes, it's Buster Williams on bass - direct hit!! Trumpet and drums not identified. I really like the trumpeter. Hope you do, too!

Track 2

Excellent! Thad tune and chart and recorded after his death, but not Mel on drums.

Track 3

West Coast, yes, and Golson, yes, which is interesting to say the least! As you say, a Prez-inspired tenor, but not one of those you've named. We'll return to your comment on trumpeter 2.

Track 4

Not a Pettiford composition, but written in that era.

Track 5

Thanks for the info on why the sound isn't good here. The music certainly deserves to be heard properly! Your comments on tenor players are in the right general direction, but only general.

Track 6

Your best answer so far - masterful! Correct on Hammond, Hawkins, Morton and Warren! Swing/bop mix in the pianist is right - who is he? Trumpeter not guessed yet.

Track 7

West Coast, indeed! Glad you like the arrangement - I love it - and the composition! Who's that Prez-ish tenor?

Track 8

You're right - it's not the pianist's band. Your date's not right, though and it isn't George.

Track 9

Tune identified; I agree on "boppish voicings".

Track 10

Some way to go on this one!

Track 11

Right on "Segment", wrong on the altoist and the date.

Track 12

Glad you like this one. I do, too. None of the names you've mentioned are accurate, though.

Track 13

Like Thom Keith, you know your Birdology and have the tune right. I also hear Herb Ellis echoes, but it's not him. I also agree about the "Silver but more notes" diagnosis on the pianist, who can swing like mad, incidentally.

Thanks again for a timely response!

Edited September 5, 2011 by BillF

[Spontooneous]

Days later, it occurs to me that on Track 4, the composition is Clifford Brown's "Larue." (Obviously not his performance.)

[BillF]

Days later, it occurs to me that on Track 4, the composition is Clifford Brown's "Larue." (Obviously not his performance.)

Correct!

[Hot Ptah]

Thanks Sp. for your well informed answer. Between you and Thom Keith, we really seem to be getting somewhere! I'm relieved that you both seem to like many of my selections; I had my doubts on that score!

You don't have to worry about me liking your selections. This is one of the most enjoyable Blindfold Tests to listen to. I am miserable at identifying musicians, but I am listening to this BFT repeatedly and loving it! I keep hoping that I will recognize someone as I keep playing it.

[Michael Weiss]

#1 Claudio Roditti playing Lee Morgan's Free Wheelin' from Mode For Joe.

#2 Thad's Quietude. Nice to hear rhythm guitar, but I have to pass on his solo his solo.

#3 Howard Rumsey's Lighthouse Allstars, with Conte and Lee Morgan.

#7 Don Fagerquist, arr. by Marty Paich?

#8 "Claude Reigns" by Manny Albam for Charlie Barnet's band. This is a faster version than the studio recording. What a trumpet section!

#12 Med Flory Orchestra - Jazz Wave? Guessing here - don't have the album. Richie Kamuca, yes?

#13 Relaxin' at Camarillo played by Howard Roberts: Good Pickins with Bill Holman on tenor.

[BillF]

#1 Claudio Roditti playing Lee Morgan's Free Wheelin' from Mode For Joe.

#2 Thad's Quietude. Nice to hear rhythm guitar, but I have to pass on his solo his solo.

#3 Howard Rumsey's Lighthouse Allstars, with Conte and Lee Morgan.

#7 Don Fagerquist, arr. by Marty Paich?

#8 "Claude Reigns" by Manny Albam for Charlie Barnet's band. This is a faster version than the studio recording. What a trumpet section!

#12 Med Flory Orchestra - Jazz Wave? Guessing here - don't have the album. Richie Kamuca, yes?

#13 Relaxin' at Camarillo played by Howard Roberts: Good Pickins with Bill Holman on tenor.

Track 1

Yes, Roditi playing Morgan's "Free Wheelin'" from Henderson's Mode for Joe. No wonder people knew the tune!

Track 2

Thad's "Quietude", as you say. And the band?

Track 3

Yes, Howard Rumsey presents Conte Candoli and Lee Morgan.

Track 7

Fagerquist, yes; arranger not Paich.

Track 8

Right again! Agree on the trumpet section! Question: Is "Claude Reigns" based on the changes of "The Way You Look Tonight"? (Non-musicians need to ask this sort of thing. )

Track 12

Yes, Flory's outfit known as the Jazz Wave Orchestra, tho' this isn't the track called "Jazz Wave". Right on Kamuca.

Track 13

The perfect answer!

Thanks, Michael!

Edited September 8, 2011 by BillF

[Michael Weiss]

Correct on the Way You Look Tonight.

I have no idea what band that is playing Quietude. They sound very good.

[BillF]

Correct on the Way You Look Tonight.

I have no idea what band that is playing Quietude. They sound very good.

I think they're good, too. All will be revealed in time.

[Hardbopjazz]

Some great music here. Listening a 3rd time and haven't gotten any yet.

[JSngry]

A most enjoyable compilation, to be sure!

TRACK ONE - The tune itself sounds like a tribute to Lee Morgan (or may even be one by him...). The trumpeter has a good tone in the lower registers, I like that. Also like the pacing of the tenor solo. Overall, not anything particularly original, but well-played, enjoyable, and best of all (for me) not blatantly derivative, enough personality to keep it interesting.

TRACK TWO - "Quietude", but not That/Mel. That's such a great piece of writing, and this is nicely played.Thad's charts are usually so dense that they need to be played with clarity, not just of execution, but of concept. This band does that. They're just a little "stiff" for my taste, but that's just me, and it's not anything criminal, not by any means.

TRACK THREE - Mulligan-ish, but not Gerry's not there...that's Benny Golson leading off, you can really hear the Lucky Thompson influence here. Then...not Bill Perkins...Bob Cooper? Ahhh, Rosolino, those bursty bursties are quite distinct! No idea who the first trumpet is...good players, maybe not the most personality ever...as opposed to Lee, who there he is! Gotta be some kind of "East Meets West" thing. Shouldn't be too hard to ID with the definites. Very nicely recorded too!

TRACK FOUR - I like that tempo. People should be more persnickety about tempos these days, I think. That trumpeter sounds dangerously like Wynton, never really swings. You can play that kind of "detached" thing and still swing...same thing with the altoist, something about the tone (and occasional vibrato) that give me pause....but maybe it was a "bad day", for whatever reason...on the whole, love the tempo, really dig the tune, not necessarily feeling too good about the solos.

TRACK FIVE - The changes are "Idaho", I think...maybe the melody too (don't really know it that well)...let me take a reach and guess....Frank Socolow? Very Lester-ish in devices, but not in overall line...don't think that's Bud, but again, the influence is very strong, especially in the left hand. Overall, very fluent & energetic & nicely of its time. Sure sounds like Max on the end break, too!

TRACK SIX - Dicky Wells? Louis Jordan? Jo Jones & Freddie Green? A calmer gentler, Roy? OMG, HAWK! Jesus, HAWK! Hawk just TAKES OVER. The thing about him not really becoming a convincing blues player until after on, hey, Exhibit A right here, I'm convinced. Is this some Columbia swing date, Sir Charles Thompson or somebody? Buck Clayton Jam Session? Whatever it is, it's good with me! Nice "swing-to-bop" head too.

TRACK SEVEN - West Coast, not necessarily a really strong melody, but I like those changes - tricky! Not rally my thing overall, but no fault found here because of that. Nicely conceived & executed all the way around.

TRACK EIGHT - "Claude Reigns", Charlie Barnet featuring Claude Williamson. I first got exposed to this one on one of those Crown "tribute to" albums. The Barnet one was kinda funny, because both sides were like, all Swing stuff, but the last tune on each side was one from his bebop period. Just a little schizo! This isn't really "bebop" in the hardcore sense, the rhythms are all too square-on the beat, but otherwise, yeah. It must've been a trip to have been on the big bad scene back then and trying to deal with bebop...your dancers weren't going to be down with this, most of your players weren't going to be down with the old stuff, your agent was probably telling you to just go with whatever the trend is, and...just what was that, exactly? But Barnet was cool, Barnet jsut dug getting good palyers together to paly, and that's waht you got here. Maynard & Doc Severensen were both in this band, right?

TRACK NINE - "Makin' Whoopee", a really thorough harmonization, nice! Kind of a Nat Cole touch, but a lot of yada-yada-yada...is this early Oscar Peterson? The harmonies are very interesting, I'd listen to it a lot of times just for that, but overall...the harmonies are what's happening here.

TRACK TEN - "Jersey Bounce", always liked the bridge on that tune...Budd Johnson? Older tone, more boppish harmonic ideas, splitting the difference when it comes to rhythm. It's a player, that's for sure, all meat, not a spec of cereal! Might be the same player on bari...probably is...no matter, YEAH! One more thing, those "blue notes", the pitches are really specific, not just "bent". There's a language being spoken here...

TRACK ELEVEN - "Segment", a Bird tune...here and there I hear Lanny Morgan? Pretty personal "cry" in his tone that I remember from those old Maynard records, in retrospect, somewhat Booker Ervin-ish...yeah, the longer this goes on, the more it sounds like Lanny Morgan. Again, not my thing all that much, but if a player can speak in their own voice, then they win. I recognized Lanny Morgan after not hearing him for..decades, so he wins!

TRACK TWELVE - Sorry, this lost me from the first "da-dah", that's not the way I want to hear that phrased, not at all. Seriously not at all. After that, it just sounded like some guys making a gig. Probably not fair, but...sorry.

TRACK THIRTEEN - "Relaxin' At Camarillo"...no idea who this is, West Coast, bass player's time seems kind of clunky, but it still swings, so it must not be! WHOA! That's some fluent stuff by the guitarist! Nice tenor playing, some real thoughtful playing, moreso thn usual for this time & place (assuming it is mid-50s West coast), the guy's definitley heard Rollins and heard the message...Russ Freeman? The left hand sounds like him...Overall, a pretty interesting cut.

Again, a very nice (and concise!) compilation. Much thanks on all counts and fronts!

[tkeith]

A most enjoyable compilation, to be sure!

TRACK ONE - The tune itself sounds like a tribute to Lee Morgan (or may even be one by him...). The trumpeter has a good tone in the lower registers, I like that. Also like the pacing of the tenor solo. Overall, not anything particularly original, but well-played, enjoyable, and best of all (for me) not blatantly derivative, enough personality to keep it interesting.

TRACK TWO - "Quietude", but not That/Mel. That's such a great piece of writing, and this is nicely played.Thad's charts are usually so dense that they need to be played with clarity, not just of execution, but of concept. This band does that. They're just a little "stiff" for my taste, but that's just me, and it's not anything criminal, not by any means.

TRACK THREE - Mulligan-ish, but not Gerry's not there...that's Benny Golson leading off, you can really hear the Lucky Thompson influence here. Then...not Bill Perkins...Bob Cooper? Ahhh, Rosolino, those bursty bursties are quite distinct! No idea who the first trumpet is...good players, maybe not the most personality ever...as opposed to Lee, who there he is! Gotta be some kind of "East Meets West" thing. Shouldn't be too hard to ID with the definites. Very nicely recorded too!

TRACK FOUR - I like that tempo. People should be more persnickety about tempos these days, I think. That trumpeter sounds dangerously like Wynton, never really swings. You can play that kind of "detached" thing and still swing...same thing with the altoist, something about the tone (and occasional vibrato) that give me pause....but maybe it was a "bad day", for whatever reason...on the whole, love the tempo, really dig the tune, not necessarily feeling too good about the solos.

TRACK FIVE - The changes are "Idaho", I think...maybe the melody too (don't really know it that well)...let me take a reach and guess....Frank Socolow? Very Lester-ish in devices, but not in overall line...don't think that's Bud, but again, the influence is very strong, especially in the left hand. Overall, very fluent & energetic & nicely of its time. Sure sounds like Max on the end break, too!

TRACK SIX - Dicky Wells? Louis Jordan? Jo Jones & Freddie Green? A calmer gentler, Roy? OMG, HAWK! Jesus, HAWK! Hawk just TAKES OVER. The thing about him not really becoming a convincing blues player until after on, hey, Exhibit A right here, I'm convinced. Is this some Columbia swing date, Sir Charles Thompson or somebody? Buck Clayton Jam Session? Whatever it is, it's good with me! Nice "swing-to-bop" head too.

TRACK SEVEN - West Coast, not necessarily a really strong melody, but I like those changes - tricky! Not rally my thing overall, but no fault found here because of that. Nicely conceived & executed all the way around.

TRACK EIGHT - "Claude Reigns", Charlie Barnet featuring Claude Williamson. I first got exposed to this one on one of those Crown "tribute to" albums. The Barnet one was kinda funny, because both sides were like, all Swing stuff, but the last tune on each side was one from his bebop period. Just a little schizo! This isn't really "bebop" in the hardcore sense, the rhythms are all too square-on the beat, but otherwise, yeah. It must've been a trip to have been on the big bad scene back then and trying to deal with bebop...your dancers weren't going to be down with this, most of your players weren't going to be down with the old stuff, your agent was probably telling you to just go with whatever the trend is, and...just what was that, exactly? But Barnet was cool, Barnet jsut dug getting good palyers together to paly, and that's waht you got here. Maynard & Doc Severensen were both in this band, right?

TRACK NINE - "Makin' Whoopee", a really thorough harmonization, nice! Kind of a Nat Cole touch, but a lot of yada-yada-yada...is this early Oscar Peterson? The harmonies are very interesting, I'd listen to it a lot of times just for that, but overall...the harmonies are what's happening here.

TRACK TEN - "Jersey Bounce", always liked the bridge on that tune...Budd Johnson? Older tone, more boppish harmonic ideas, splitting the difference when it comes to rhythm. It's a player, that's for sure, all meat, not a spec of cereal! Might be the same player on bari...probably is...no matter, YEAH! One more thing, those "blue notes", the pitches are really specific, not just "bent". There's a language being spoken here...

TRACK ELEVEN - "Segment", a Bird tune...here and there I hear Lanny Morgan? Pretty personal "cry" in his tone that I remember from those old Maynard records, in retrospect, somewhat Booker Ervin-ish...yeah, the longer this goes on, the more it sounds like Lanny Morgan. Again, not my thing all that much, but if a player can speak in their own voice, then they win. I recognized Lanny Morgan after not hearing him for..decades, so he wins!

TRACK TWELVE - Sorry, this lost me from the first "da-dah", that's not the way I want to hear that phrased, not at all. Seriously not at all. After that, it just sounded like some guys making a gig. Probably not fair, but...sorry.

TRACK THIRTEEN - "Relaxin' At Camarillo"...no idea who this is, West Coast, bass player's time seems kind of clunky, but it still swings, so it must not be! WHOA! That's some fluent stuff by the guitarist! Nice tenor playing, some real thoughtful playing, moreso thn usual for this time & place (assuming it is mid-50s West coast), the guy's definitley heard Rollins and heard the message...Russ Freeman? The left hand sounds like him...Overall, a pretty interesting cut.

Again, a very nice (and concise!) compilation. Much thanks on all counts and fronts!

Wow... just, wow. I stand in awe.

[BillF]

A most enjoyable compilation, to be sure!

TRACK ONE - The tune itself sounds like a tribute to Lee Morgan (or may even be one by him...). The trumpeter has a good tone in the lower registers, I like that. Also like the pacing of the tenor solo. Overall, not anything particularly original, but well-played, enjoyable, and best of all (for me) not blatantly derivative, enough personality to keep it interesting.

TRACK TWO - "Quietude", but not That/Mel. That's such a great piece of writing, and this is nicely played.Thad's charts are usually so dense that they need to be played with clarity, not just of execution, but of concept. This band does that. They're just a little "stiff" for my taste, but that's just me, and it's not anything criminal, not by any means.

TRACK THREE - Mulligan-ish, but not Gerry's not there...that's Benny Golson leading off, you can really hear the Lucky Thompson influence here. Then...not Bill Perkins...Bob Cooper? Ahhh, Rosolino, those bursty bursties are quite distinct! No idea who the first trumpet is...good players, maybe not the most personality ever...as opposed to Lee, who there he is! Gotta be some kind of "East Meets West" thing. Shouldn't be too hard to ID with the definites. Very nicely recorded too!

TRACK FOUR - I like that tempo. People should be more persnickety about tempos these days, I think. That trumpeter sounds dangerously like Wynton, never really swings. You can play that kind of "detached" thing and still swing...same thing with the altoist, something about the tone (and occasional vibrato) that give me pause....but maybe it was a "bad day", for whatever reason...on the whole, love the tempo, really dig the tune, not necessarily feeling too good about the solos.

TRACK FIVE - The changes are "Idaho", I think...maybe the melody too (don't really know it that well)...let me take a reach and guess....Frank Socolow? Very Lester-ish in devices, but not in overall line...don't think that's Bud, but again, the influence is very strong, especially in the left hand. Overall, very fluent & energetic & nicely of its time. Sure sounds like Max on the end break, too!

TRACK SIX - Dicky Wells? Louis Jordan? Jo Jones & Freddie Green? A calmer gentler, Roy? OMG, HAWK! Jesus, HAWK! Hawk just TAKES OVER. The thing about him not really becoming a convincing blues player until after on, hey, Exhibit A right here, I'm convinced. Is this some Columbia swing date, Sir Charles Thompson or somebody? Buck Clayton Jam Session? Whatever it is, it's good with me! Nice "swing-to-bop" head too.

TRACK SEVEN - West Coast, not necessarily a really strong melody, but I like those changes - tricky! Not rally my thing overall, but no fault found here because of that. Nicely conceived & executed all the way around.

TRACK EIGHT - "Claude Reigns", Charlie Barnet featuring Claude Williamson. I first got exposed to this one on one of those Crown "tribute to" albums. The Barnet one was kinda funny, because both sides were like, all Swing stuff, but the last tune on each side was one from his bebop period. Just a little schizo! This isn't really "bebop" in the hardcore sense, the rhythms are all too square-on the beat, but otherwise, yeah. It must've been a trip to have been on the big bad scene back then and trying to deal with bebop...your dancers weren't going to be down with this, most of your players weren't going to be down with the old stuff, your agent was probably telling you to just go with whatever the trend is, and...just what was that, exactly? But Barnet was cool, Barnet jsut dug getting good palyers together to paly, and that's waht you got here. Maynard & Doc Severensen were both in this band, right?

TRACK NINE - "Makin' Whoopee", a really thorough harmonization, nice! Kind of a Nat Cole touch, but a lot of yada-yada-yada...is this early Oscar Peterson? The harmonies are very interesting, I'd listen to it a lot of times just for that, but overall...the harmonies are what's happening here.

TRACK TEN - "Jersey Bounce", always liked the bridge on that tune...Budd Johnson? Older tone, more boppish harmonic ideas, splitting the difference when it comes to rhythm. It's a player, that's for sure, all meat, not a spec of cereal! Might be the same player on bari...probably is...no matter, YEAH! One more thing, those "blue notes", the pitches are really specific, not just "bent". There's a language being spoken here...

TRACK ELEVEN - "Segment", a Bird tune...here and there I hear Lanny Morgan? Pretty personal "cry" in his tone that I remember from those old Maynard records, in retrospect, somewhat Booker Ervin-ish...yeah, the longer this goes on, the more it sounds like Lanny Morgan. Again, not my thing all that much, but if a player can speak in their own voice, then they win. I recognized Lanny Morgan after not hearing him for..decades, so he wins!

TRACK TWELVE - Sorry, this lost me from the first "da-dah", that's not the way I want to hear that phrased, not at all. Seriously not at all. After that, it just sounded like some guys making a gig. Probably not fair, but...sorry.

TRACK THIRTEEN - "Relaxin' At Camarillo"...no idea who this is, West Coast, bass player's time seems kind of clunky, but it still swings, so it must not be! WHOA! That's some fluent stuff by the guitarist! Nice tenor playing, some real thoughtful playing, moreso thn usual for this time & place (assuming it is mid-50s West coast), the guy's definitley heard Rollins and heard the message...Russ Freeman? The left hand sounds like him...Overall, a pretty interesting cut.

Again, a very nice (and concise!) compilation. Much thanks on all counts and fronts!

Pleased you liked so many of the tracks, Jim. Some very astute identifications here, too.

Track 1

"Tribute to Lee Morgan" is just right and, yes, it IS a Morgan tune.

Track 2

Yes, it's Thad's "Quietude". Hear what you say about "stiff", but of course this isn't the Thad/Mel Orch.

Track 3

Some direct hits here - Golson, Cooper, Rosolino and Lee - all correct. As you say, very much "East meets West".

Track 5

Wouldn't know if the changes are "Idaho". (Had to ask Michael Weiss to confirm that "Claude Reigns" is based on "The Way You Look Tonight"!) Yes, it's Max.

Track 6

Right with Hawk and Sir Chas.

Track 7

West Coast, indeed!

Track 8

You clearly know this one, Jim, right down to who's in the trumpet section.

Track 9

Everyone knows the tune, but no one has identified the pianist. Clue: he plays on another track in this BFT.

Track 10

Yes, "Jersey Bounce" and it IS the same player on bari.

Track 11

Brilliant! Lanny Morgan playing "Segment"!

Track 12

Sorry you don't like this one, Jim. At risk of starting a controversy, I recall that Larry Kart said this outfit played the best shout chorus he's ever heard.

Track 13

Yes, a swinging West Coast version of "Camarillo" with a tenorman who'd been listening to Rollins and a pianist who played the same sort of dates as Russ Freeman. Bassist was one of the Coast's finest, though.

Thanks Jim

[Hardbopjazz]

A most enjoyable compilation, to be sure!

TRACK ONE - The tune itself sounds like a tribute to Lee Morgan (or may even be one by him...). The trumpeter has a good tone in the lower registers, I like that. Also like the pacing of the tenor solo. Overall, not anything particularly original, but well-played, enjoyable, and best of all (for me) not blatantly derivative, enough personality to keep it interesting.

TRACK TWO - "Quietude", but not That/Mel. That's such a great piece of writing, and this is nicely played.Thad's charts are usually so dense that they need to be played with clarity, not just of execution, but of concept. This band does that. They're just a little "stiff" for my taste, but that's just me, and it's not anything criminal, not by any means.

TRACK THREE - Mulligan-ish, but not Gerry's not there...that's Benny Golson leading off, you can really hear the Lucky Thompson influence here. Then...not Bill Perkins...Bob Cooper? Ahhh, Rosolino, those bursty bursties are quite distinct! No idea who the first trumpet is...good players, maybe not the most personality ever...as opposed to Lee, who there he is! Gotta be some kind of "East Meets West" thing. Shouldn't be too hard to ID with the definites. Very nicely recorded too!

TRACK FOUR - I like that tempo. People should be more persnickety about tempos these days, I think. That trumpeter sounds dangerously like Wynton, never really swings. You can play that kind of "detached" thing and still swing...same thing with the altoist, something about the tone (and occasional vibrato) that give me pause....but maybe it was a "bad day", for whatever reason...on the whole, love the tempo, really dig the tune, not necessarily feeling too good about the solos.

TRACK FIVE - The changes are "Idaho", I think...maybe the melody too (don't really know it that well)...let me take a reach and guess....Frank Socolow? Very Lester-ish in devices, but not in overall line...don't think that's Bud, but again, the influence is very strong, especially in the left hand. Overall, very fluent & energetic & nicely of its time. Sure sounds like Max on the end break, too!

TRACK SIX - Dicky Wells? Louis Jordan? Jo Jones & Freddie Green? A calmer gentler, Roy? OMG, HAWK! Jesus, HAWK! Hawk just TAKES OVER. The thing about him not really becoming a convincing blues player until after on, hey, Exhibit A right here, I'm convinced. Is this some Columbia swing date, Sir Charles Thompson or somebody? Buck Clayton Jam Session? Whatever it is, it's good with me! Nice "swing-to-bop" head too.

TRACK SEVEN - West Coast, not necessarily a really strong melody, but I like those changes - tricky! Not rally my thing overall, but no fault found here because of that. Nicely conceived & executed all the way around.

TRACK EIGHT - "Claude Reigns", Charlie Barnet featuring Claude Williamson. I first got exposed to this one on one of those Crown "tribute to" albums. The Barnet one was kinda funny, because both sides were like, all Swing stuff, but the last tune on each side was one from his bebop period. Just a little schizo! This isn't really "bebop" in the hardcore sense, the rhythms are all too square-on the beat, but otherwise, yeah. It must've been a trip to have been on the big bad scene back then and trying to deal with bebop...your dancers weren't going to be down with this, most of your players weren't going to be down with the old stuff, your agent was probably telling you to just go with whatever the trend is, and...just what was that, exactly? But Barnet was cool, Barnet jsut dug getting good palyers together to paly, and that's waht you got here. Maynard & Doc Severensen were both in this band, right?

TRACK NINE - "Makin' Whoopee", a really thorough harmonization, nice! Kind of a Nat Cole touch, but a lot of yada-yada-yada...is this early Oscar Peterson? The harmonies are very interesting, I'd listen to it a lot of times just for that, but overall...the harmonies are what's happening here.

TRACK TEN - "Jersey Bounce", always liked the bridge on that tune...Budd Johnson? Older tone, more boppish harmonic ideas, splitting the difference when it comes to rhythm. It's a player, that's for sure, all meat, not a spec of cereal! Might be the same player on bari...probably is...no matter, YEAH! One more thing, those "blue notes", the pitches are really specific, not just "bent". There's a language being spoken here...

TRACK ELEVEN - "Segment", a Bird tune...here and there I hear Lanny Morgan? Pretty personal "cry" in his tone that I remember from those old Maynard records, in retrospect, somewhat Booker Ervin-ish...yeah, the longer this goes on, the more it sounds like Lanny Morgan. Again, not my thing all that much, but if a player can speak in their own voice, then they win. I recognized Lanny Morgan after not hearing him for..decades, so he wins!

TRACK TWELVE - Sorry, this lost me from the first "da-dah", that's not the way I want to hear that phrased, not at all. Seriously not at all. After that, it just sounded like some guys making a gig. Probably not fair, but...sorry.

TRACK THIRTEEN - "Relaxin' At Camarillo"...no idea who this is, West Coast, bass player's time seems kind of clunky, but it still swings, so it must not be! WHOA! That's some fluent stuff by the guitarist! Nice tenor playing, some real thoughtful playing, moreso thn usual for this time & place (assuming it is mid-50s West coast), the guy's definitley heard Rollins and heard the message...Russ Freeman? The left hand sounds like him...Overall, a pretty interesting cut.

Again, a very nice (and concise!) compilation. Much thanks on all counts and fronts!

Amazing. I couldn't get any so far.

[BillF]

Some brilliant answers so far, but no one has got the following:

The band on #2

Who's playing on #4

The tenorman on #5

The band and soloist on #7

The pianist on #9

Who's playing on #10

Any further guesses on these?

[JSngry]

Who's playing on #10

Chrlie Ventura! Very Tastefully too!

http://www.allmusic.com/album/in-concert-r149500

[BillF]

Who's playing on #10

Chrlie Ventura! Very Tastefully too!

http://www.allmusic.com/album/in-concert-r149500

Yes, indeed! Charlie Ventura on tenor and baritone.

[BillF]

Some very sharp identifications, but the following remain unsolved. Time for a few hints?

Track 2

Who's playing? Thad's later biography might give a clue.

Track 4

Who are these guys? And I definitely say "are", not "were".

Track 5

People seem to have named just about every relevant tenorman except this one!

Track 7

The soloist is leader of this West Coast outfit.

Track 9

This pianist is heard much later in his life on another track from this BFT.

[fent99]

Good Disc

As usual I recognise no-one and though I know a tune or two, there's nothing here that I flat out know.

I'll single out 5 and 9 for particular praise.

All pretty mellow and as I get older I find I appreciate the subtlety more an d more.

More later

Thanks

c

[jeffcrom]

Sorry about the late contribution. The first two weeks of the month were taken up with an arranging job which took way too much time for the money involved. The third week I went to New Orleans, and after that I had a houseful of relatives and couldn't think straight. But with just a few days left in the month, I had a couple of hours to devote to BFT 90 today. As usual, I haven't looked at the rest of this thread.

1. Very nice, although I can’t identify anyone. The tenor player seemed to have the most individual voice in this mainstream setting. I liked the metric ambiguity at the beginning of the melody - it took me a few measures to figure out what the time signature was.

2. Not earth-shattering, but good. I like the way the rhythm section listens and responds during the piano solo.

3. Wow – nice! Why don’t I know this recording? It sounds like a young Charlie Rouse and Zoot Sims on tenor, but that seems impossible. Great writing, and everyone’s excellent. I’m looking forward to finding out more about this.

4. Dang – a tune that’s right on the tip of my tongue. It’s very similar to “Nardis,” but it’s not quite the same. Anyway, more nice playing by folks I don’t recognize. The trumpet player has a beautiful cup-muted sound.

5. I’m sure this has been identified by now – it’s “Booby Hatch” by Allen Eager, from 1946. Some pretty impressive bebop playing, even if it’s not totally individual. Young Max Roach sure sounds good.

6. Man, this is great. I was enjoying everyone’s playing, but Coleman Hawkins’ entrance really sent me. The trombonist sounds like Dickie Wells to me. Great Basie-esque rhythm section. It sounds like one of the Buck Clayton jam sessions, down to the studio sound, but it’s not long enough. Beautiful.

7. Someone sure likes Prez. This is good, if kind of derivative. Sounds like it could be Shorty Rogers’ writing, but I don’t really know.

8. A good one – “Claude Reigns” by Charlie Barnet’s bebop band. I like Manny Albam’s writing more than Claude Williamson’s piano playing – not that there’s anything wrong with the latter, it’s just not on the level of Bud Powell, Dodo Marmarosa, or Al Haig from this period. Great piece – enjoyed being reminded of this recording.

9. My wife and I danced to this song at our wedding, but I don’t know this recording. Someone is the harmonic equal of Art Tatum, but I feel that Tatum would have played it flashier. Very good, whoever it is.

10. More solid playing by folks I can’t identify. I’m assuming that the tenor and baritone player are one and the same – if so, I like him better on bari. He takes liberties with the tune, but is it “Jersey Bounce?” Unusual choice for a bebopper.

11. Interesting and unusual choice of tune – it’s a Charlie Parker tune which I believe is called “Segment.” Very well played – I find the pianist more interesting than the alto player, although they’re both very good.

12. Nice “New Testament” Basie groove, although it ain’t the Kid From Red Bank. Nothing wrong with this, but to my ears, nothing that special, either – except maybe for the alto soloist’s fat sound.

13. Another Charlie Parker tune you don’t hear every day – “Relaxin’ at Camarillo.” Again, no ideas as to personnel, but it’s good. The guitar and tenor soloists in particular come up with ideas just unusual enough to lift this above the ordinary. The bassist is also a very good soloist; the pianist does less for me.

I enjoyed your bebop fest - thanks for putting it together.

[jeffcrom]

Dang! Of course that's Benny Golson on #3. Feelin' stupid, but at least I got one nobody else knew yet.