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jeffcrom

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Here we go then. My wife's out, so I'm looking after the dog this evening.

1 Very familiar sound to this one, but I don’t recognise the tune. I must know the trumpet player. Well, I do know him, just not his name. Can I have a point for that :D Well, there’s a very nice, almost breezy, openness about this band. But I like the band better than the soloists (except the trumpet player); the pianist’s and guitarist’s solos don’t seem to flow very nicely, whereas the way the band plays the head is really nice.

2 Piano intro for a lush tenor solo. And it’s ‘Lush life’ without lush tenor solo. Damn, I wanted Gene Ammons to come in there. It’s unaccompanied. Interesting; quiet. The person it sounds most like, to me, is Mingus – very much the feel of ‘Mingus plays pianner’, but ‘Lush life’ isn’t on that LP. So I dunno, guv.

3 This is one of them Ellington type things again. Nah, it’s one of them Bechet type things. With Elmer Snowdon on banjo. I’m loving this. And the trombonist! Phew! A delight! And the ensemble at the end. Pooh gosh! After more thought amidst #4, it’s Buster Bailey, ain’t it? I bet you’ve sneaked a Buster Bailey in here, to embarrass me :D

4 ‘Make love to me’ – Is this another with Buster Bailey? Was the trumpet player well off key at the very end?

5 One of them klezmer joints; very oriental and avant garde. I can see the attraction, though ‘I really, really, really, really, really don’t like it’, to quote Baba Maal. It’s fascinating, though not for repeated listening. The dog’s getting pissed off with it. He’s trying to kip; I turned the volume down for the poor little blighter. Well, he’s still got up to have a grumble.

6 Oh ‘Key Club cookout’ by Messrs Earland, Washington, Chandler, Parker, Kilpatrick & Caldwell. You’ll be pleased to know the dog’s gone back to bed now. This is much more his bowl of Lily’s Kitchen Organic lamb and spelt supper. Thank you from Henry and me, Jeff.

To be serious for a bit, this cut shows how much of a hard bop player Earland was. And what a great writer for horns he was, too – the head on this is tight as a Kool and the Gang head.

When I visited Newark in ’96, I used to eat at this place, then called Je’s, a soul food restaurant. They still had an organist there – on Sundays, Robert Banks, who played organ on many Savoy gospel recordings back in the day, would play gospel songs on a little keyboard at lunchtimes.

7 Charming! The real birth of the cool.

8 A fast bit of hard bop with a great left hand figure from the pianist, who I think is the leader. Sounds a bit like Harold Mabern to me; probably from one of his DIW albums, none of which I’ve heard, but which all seemed to be a bit more pushing than his later work for Venus. I don’t recognise the horn players, who are beyond my limited horizons.

9 The pianist sounds like Abdullah Ibrahim. ‘Smoke gets in your eyes’ is a lovely tune, but I’ve been playing the Platters’ version a lot lately, which is pop perfection. Anyway, the alto player sounds like Arthur Blythe to me. And the pianist still sounds like Ibrahim but surely they never played together. I’ve gotta say, this is definitely getting the Platters out of my head.

Cor!

10 Oh, I’m sure I’ve got this. If I could remember the title of the tune, I could nail it. Oh fuck, it’s Earl Bostic. But I’ve got a faster version than this. No it’s not Bostic; the reed isn’t a 4 inch plank.

11Didn’t like that; good thing I was emptying the dishwasher at the time J

12 ‘Big chief’ sung by a New Orleans guy I’ve never heard before. I’d guess this is a bit more recent than the 78 era.

13 Mr Armstrong ‘Dream a little dream of me’. Beautiful. I thought they’d step it up when Mr A started soloing, but it’s still nice and romantic.

14 Is this Una Mae Carlisle with Fats Waller? I have a couple of tracks by those two that are hilarious, too. It ain’t easy.

What a nice evening’s music, Jeff! Even the one I didn’t like. And Henry's gone back to sleep and it's time for his walk and crap.

Thanks.

MG

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Thanks for your quick response - although I was kind of hoping that you wouldn't be the first person to post, because I knew that you would ID that Charles Earland track right away.

Here we go then. My wife's out, so I'm looking after the dog this evening.

1 Very familiar sound to this one, but I dont recognise the tune. I must know the trumpet player. Well, I do know him, just not his name. Can I have a point for that :D Well, theres a very nice, almost breezy, openness about this band. But I like the band better than the soloists (except the trumpet player); the pianists and guitarists solos dont seem to flow very nicely, whereas the way the band plays the head is really nice.

I kind of agree about the guitarist (and there's a story there, to be revealed later), not so much about the pianist. I like his solo and think it's pretty interesting.

And no, you don't get a point! Don't be ridiculous!

2 Piano intro for a lush tenor solo. And its Lush life without lush tenor solo. Damn, I wanted Gene Ammons to come in there. Its unaccompanied. Interesting; quiet. The person it sounds most like, to me, is Mingus very much the feel of Mingus plays pianner, but Lush life isnt on that LP. So I dunno, guv.

Interesting comments. But no, it's not Mingus, and it's not even "Lush Life" - you're getting your tunes mixed up.

3 This is one of them Ellington type things again. Nah, its one of them Bechet type things. With Elmer Snowdon on banjo. Im loving this. And the trombonist! Phew! A delight! And the ensemble at the end. Pooh gosh! After more thought amidst #4, its Buster Bailey, aint it? I bet youve sneaked a Buster Bailey in here, to embarrass me :D

Not Bailey, Ellington, Bechet, or Snowden. But I'm very gratified that you like this one - I thought it would be too much the Ancient Musik for some folks here.

4 Make love to me Is this another with Buster Bailey? Was the trumpet player well off key at the very end?

Yeah, the dude's lip gave out at the end. And it's still not Buster Bailey. But this track was included mostly because of this clarinetist - he's a favorite of mine, and most jazz fans don't know his work at all.

And it's not exactly "Make Love to Me," but it kind of is.... That pop song was stolen from based on this very old instrumental jazz original.

5 One of them klezmer joints; very oriental and avant garde. I can see the attraction, though I really, really, really, really, really dont like it, to quote Baba Maal. Its fascinating, though not for repeated listening. The dogs getting pissed off with it. Hes trying to kip; I turned the volume down for the poor little blighter. Well, hes still got up to have a grumble.

I had no illusions that you would like this, but I hope some folks do.

6 Oh Key Club cookout by Messrs Earland, Washington, Chandler, Parker, Kilpatrick & Caldwell. Youll be pleased to know the dogs gone back to bed now. This is much more his bowl of Lilys Kitchen Organic lamb and spelt supper. Thank you from Henry and me, Jeff.

To be serious for a bit, this cut shows how much of a hard bop player Earland was. And what a great writer for horns he was, too the head on this is tight as a Kool and the Gang head.

When I visited Newark in 96, I used to eat at this place, then called Jes, a soul food restaurant. They still had an organist there on Sundays, Robert Banks, who played organ on many Savoy gospel recordings back in the day, would play gospel songs on a little keyboard at lunchtimes.

Okay, now you get points! I was actually thinking about you with the programming - I thought that this would be a nice reward for sitting through track 5.

And in case it's not clear, the "Washington" that MG mentions is Grover Washington, Jr. I thought that there would be many folks who hadn't heard him in a context like this. Plus, this track just swings like hell.

Thanks for the Newark memories!

7 Charming! The real birth of the cool.

You're righter than you think, even.
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8 A fast bit of hard bop with a great left hand figure from the pianist, who I think is the leader. Sounds a bit like Harold Mabern to me; probably from one of his DIW albums, none of which I’ve heard, but which all seemed to be a bit more pushing than his later work for Venus. I don’t recognise the horn players, who are beyond my limited horizons.

The pianist is not Harold Mabern, nor is he the leader. Too early for more hints.

9 The pianist sounds like Abdullah Ibrahim. ‘Smoke gets in your eyes’ is a lovely tune, but I’ve been playing the Platters’ version a lot lately, which is pop perfection. Anyway, the alto player sounds like Arthur Blythe to me. And the pianist still sounds like Ibrahim but surely they never played together. I’ve gotta say, this is definitely getting the Platters out of my head.

Cor!

Not Ibrahim or Blythe. I think you (and many others) will be surprised by the identity of these guys, especially the pianist.

10 Oh, I’m sure I’ve got this. If I could remember the title of the tune, I could nail it. Oh fuck, it’s Earl Bostic. But I’ve got a faster version than this. No it’s not Bostic; the reed isn’t a 4 inch plank.

I'll bet you don't have this! You eventually figured out that it's not Bostic, but the record company was probably going for that market.

11Didn’t like that; good thing I was emptying the dishwasher at the time J

Be grateful - I had planned to include a more radical track in this spot, but it didn't fit at all in context.

12 ‘Big chief’ sung by a New Orleans guy I’ve never heard before. I’d guess this is a bit more recent than the 78 era.

You're on the right track - it's a New Orleans guy. The song isn't "Big Chief," but something along those lines. It was indeed originally issued on 78.

13 Mr Armstrong ‘Dream a little dream of me’. Beautiful. I thought they’d step it up when Mr A started soloing, but it’s still nice and romantic.

I'll say more later about why I chose this. Right now I'll just agree that it is indeed beautiful.

14 Is this Una Mae Carlisle with Fats Waller? I have a couple of tracks by those two that are hilarious, too. It ain’t easy.

Not them - it's later. This particular duo is hilarious and painful.

What a nice evening’s music, Jeff! Even the one I didn’t like. And Henry's gone back to sleep and it's time for his walk and crap.

Thanks.

MG

Thank you for the comments - I enjoyed reading and responding.
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Thanks for your quick response - although I was kind of hoping that you wouldn't be the first person to post, because I knew that you would ID that Charles Earland track right away.

You're righter than you think, even.

The internet connection was playing up last night - very slow, so I got pissed off waiting for AMG. But that's the title of the album it comes from, Evans, Konits and the bandleader Chris Connor used to sing with.

Can't edit this post properly.

MG

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I remembered it was Claude Thornhill in the shower :D

It's too easy to trace a song that's rarely recorded. But few are as charming as that one. Is there any Chris Connor on that album?

MG



Well, I know plenty of people this ain't but I can't find out anything on AMG about Archibald. Is he the singer on #12?

MG

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I remembered it was Claude Thornhill in the shower :D

It's too easy to trace a song that's rarely recorded. But few are as charming as that one. Is there any Chris Connor on that album?

MG

Well, I know plenty of people this ain't but I can't find out anything on AMG about Archibald. Is he the singer on #12?

MG

Nice work - more points! Track seven is "Sunday Driving," composed by the interesting John Benson Brooks (he wrote "Where Flamingos Fly") and arranged by the great Gil Evans. It is indeed Claude Thornhill's great post-war band, and the alto solo is young Lee Konitz. I love this arrangement - Evans goes off on some odd, but wonderful, tangents. I took this from another album (details later), not The Real Birth of the Cool, so I can't really answer the Chris Connor question - she's not on the album I have.

The singer on #12 is not Archibald. I don't know any of his music except that great version of "Stack-a-Lee." The artist on 12 is probably not best known as a singer.

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1 - I like the trumpet a lot, but not the guitar player.

6 - Yes! Gotta probably be Charles Earland with that propulsion. Love the trumpet on this one also (think of it being Virgil Jones with Earland on the Prestige stuff).

8 - My kinda thing, could (and often do) spend the entire day listening to something like this.

11 - Works for me for whatever reason. I listen to ESP-Disk and vintage related stuff, though not so much to latter day derivatives. Time and place, ya know?

14 - Ouch!

Overall, one varied BFT, thanks!

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Listened to this on the way to work today on shuffle so I can't rememer which track was which. Just thought I'd firstly say thanks for an interesting mix. Haven't taken part in one of these for a while and always amazed on the variation in what we all listen to. Plenty to enjoy; one of the earlier tracks not maybe to my taste and the free-er track was a little too much like hard work for me but the rest were really good and the mix will see me right on the bus home with some thoughts track by track to come.

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1 - I like the trumpet a lot, but not the guitar player.

I think that a lot of people will agree with you. Again, there's a story there, for later.

6 - Yes! Gotta probably be Charles Earland with that propulsion. Love the trumpet on this one also (think of it being Virgil Jones with Earland on the Prestige stuff).

Good ears - Earland, indeed. The Magnificent Goldberg identified this track on the first day - "Key Club Cookout" from Living Black!, live at the Key Club in Newark, 1970. Virgil Jones is a good guess, but the trumpet player is one Gary Chandler. He made two albums with Earland, appeared on Abdullah Ibrahim's African Marketplace, and made one album under his own name, Outlook, on the Eastbound label. Maybe I should try to track that one down.

8 - My kinda thing, could (and often do) spend the entire day listening to something like this.

This is one of my favorite tracks from this BFT, too, and it's not well-known. Somebody here knows it, though....

11 - Works for me for whatever reason. I listen to ESP-Disk and vintage related stuff, though not so much to latter day derivatives. Time and place, ya know?

Interesting. To me, some of the "free jazz" approaches still work, because they represent veins which haven't been mined to death. But I understand what you're saying.

14 - Ouch!

What!? You don't like Ellington?

Overall, one varied BFT, thanks!

Thank you for listening and posting.

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Listened to this on the way to work today on shuffle so I can't rememer which track was which. Just thought I'd firstly say thanks for an interesting mix. Haven't taken part in one of these for a while and always amazed on the variation in what we all listen to. Plenty to enjoy; one of the earlier tracks not maybe to my taste and the free-er track was a little too much like hard work for me but the rest were really good and the mix will see me right on the bus home with some thoughts track by track to come.

The variation between blindfold test presentations is pretty interesting, too. Some are pretty tightly focused on one style; others have a wider range. Mine are kind of all over the place, because my tastes are all over the place - I don't like to listen to any one style too long. I actually tightened mine up a little bit - I listen to more early jazz and more avant-garde than this mix would indicate, but I knew that many folks here wouldn't have much patience with those styles.

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With the usual thanks and disclaimers firmly in place, let's DO this thing!

TRACK FOURTEEN - I will not save the best for last. I will save the best for first and work my way backwards in honor of this, that things, The Incomparable JonDar The Incompetent & The Adventures Of, and yes, I would do it sideways at the same time if I could. I can't, but they could.

TRACK THIRTEEN - Mama Cass just before she swallowed that sandwich? Is so, then a West Coast production, which would mean Chet Baker on trumpet, right? Or maybe the whole thing is Jack Sheldon. He played and sang both alike, ya' know!

TRACK TWELVE - I do not know who this is, but am intrigued...the vocals do have the N.O. accent, but these words, all of them, have been lost from general circulation (and I'm saying that with the assumption that they used to be part of the vernacular, but I have nowhere near enough authority to say that with any kind of authority). Either this is some sort of "general adaptation" or else a really interesting piece of history...maybe both...and "Jockamo Feendo Hay", instead of Jocakmo Feen Ny Ay (or any hyphenated variant thereof)? What the hell IS this, and did it receive more than regional distribution? Yes, intrigued...

TRACK ELEVEN - Sounds like an Ornette tune...but not like Ornette..but does sound "like Ornette"...and like Jackie Mac in the tone...can't say that I don't like it, but...it sounds more like something that happened in reaction to something that really NEEDED to happen, if you know what I mean. Not that there's any fault in that, people gotta be who they are where they are, and if not them, who? If not there, where? But still, why? Well, why not? Because I asked you first. But not Because I Said So. I'm not the boss of me, ok?

TRACK TEN - I sure hope that's Johnny Hodges, because if it's not, so much for "inimitable". You know what's funny? That first organ lick at the beginning, I was not expecting organ and heard it as a long sighing moan from the audience. No, that's not funny, that's more or less what it could have been , and probably was at least every once in a while.

TRACK NINE - "Smoke Gets In your Eyes"...some really Trane-y guy..Pharoah? Jim Pepper, maybe..that tone is really "tight and bright" like Pepper, almost all upper overtones, like a wideass open-tip Berg played full-on (i used to be That Type Of Sound, and that was how I got it) and the pitch is more his than Pharoah's...the piano player is no bullshit, not at all, people talk about Bill Evans and chords, and I keep waiting to hear something like THIS, but never get it from Evans. Ok, fair enough, but, here is what I'd like to get, so thanks, I'll eat it here. This is very good music, imo, and I could l almost guess Jarrett/Garbarek, only as far as I know, Jan had better/different control of the instrument by the time he started playing with Keith. Whatever this record is, if it's all this good, I want to get it.

TRACK EIGHT - Well, yeah. That's right. All voices sound familiar but are not immediately available to my mindmemory...alto sounds like the halfway point between later Frank Strozier & earlier Steve Coleman on their way to being reimagined as current day Rudresh Mahanthappa...and that trumpet player sounds really familiar (and am I crazy for hearing no small Dizzy undercurrents here? or a punch-in @ 4:56-4:57?)...as does the bassist...like Track Nine, this is no bullshit, bullshit-free, happy to be you and me, just the way I like it is the way it is, thanks you. Do I have this record?

TRACK SEVEN - Thornhill. Gil. Genius. People started complaining when Gil started playing more open with his bands, some folks would complain I wanna hear Gil WRITE more! Well hell, this was 1947, Gil was already 35, not by any means a kid, and even then Gil had WRITTEN a lot of charts and would WRITE many more, so geezix, I think at some point he wanted something else than to have to WRITE every damn note to get the sound he wanted. But thank god he did WRITE as much as he did, because the man was a true genius when it came to WRITING...check out the modulation from the intro into the vocal...seamless. Genius. I don't often use that word without at least a hint of stipulated-to hype-y-ness, but not here. Genius. And does the band sound like they dig the shit out of getting to play something like this? Yes, they do, and anybody who didn't was taking a blessing for granted, and Fuck You when you do that, ya' know? But I doubt that anybody was doing that here. I can feel the love. Genius.And hello Joe Shulman, there's the Feel The Love, from the bottom up . As it should be (and I guess Billy Barber's on here, but I don't hear him overtly?). If I could play one chart like this with a band that played it like this at 9:00 PM tonite, I could die a happy and fulfilled man at 9:05 PM. Tonite. Totally serious. That blend, and those spaces created by those voicings...you are hearing Full Life Sound, you might hear Different, but you won't hear More. Not in this realm. And these guys got to do it every night. Genius. And a blessing.

TRACK SIX - Charles Earland. Grover. Deal with it, Jazz Bitches, Grover could play. Maybe not "great" but sure as hell honest. On an everyday basis, I'd rather live with an honest common man than an untruthful genius. I'm getting to the point where I'd just as soon kill a liar than to listen to one for even half a nevermind (metaphorically, of course). And Gary Chandler...his album on Eastbound does not suck, if you know what I mean. That vamp thing they get into...anybody ever hear that as working the same type of trance groove that Mal Waldron hit with Mingus & Max? Living Black indeed...(at least as far as I can tell, but far be it from me to disallow the claim just because of the claim itself).

TRACK FIVE - I thought it was a wooden flute at the beginning, but it's an electric guitar, so hey, I'm lost. And there's an accordion. And now it's klezmer-ish. I can't even begin to think about doing anything like this myself, so many ways in which I do not hear/or feel any of these impeti, but...I can hear that they do and that they mean it. I can feel the love. And really, ok, what else do you want out of anybody hearing your music besides that they feel the love? What,, to BUY it? Well, ok if you're a businessperson (and SOMEBODY'S gotta be) but as a musician,a creator/channeler of sound? No, that is all you can hope to ask for. So whoever you are (Third World Afro?) please know that you did it. I do not have to "be" you in order to love you. If I do, then that is not love, that is a conditional like.

TRACK FOUR - "Tin Roof Blues", that Jo Stafford song (JKLOLOETC). Very much liking the clarinetist's fluency in both the vocabulary and the instrument. That New Orleans sound...it's too often heard (by players and listeners alike) as "over blowing" to get a "primitive" sound. Bullshit. Listen to this guy - full sound in all registers, not timbral variations that aren't fully intentional, no off pitch, no nothing except full control of every aspect of his playing. And that second chorus, the way he hits the expected note and then kicks it up to the next partial, nothing awkward or haphazard or gauche/showy about it. So yeah, "primitive" my ass". Piano got a left hand like Earl Hines, almost, that "wandering eye" kind of thing. Not conversant enough in this idiom to hazard any specific guesses, but do know it well enough to know that this is playing, not "dixieland" Easy Answers To Questions That Were Never Asked.

TRACK THREE - Is this an acoustic recording? Yes? Morton? No? As on Track 8, these are all pretty distinct voices that i can't identify...unless that's Bubber Miley? I find it fascinating to hear how varied so much of this music was in terms of who plays and who lays out, when and where...it's not just head-solos-head, not exactly. They variate the texture, and don't seem to have to think about it as being a problem, or even a challenge. Perhaps that's the benefit of hindsight speaking, but still.

TRACK TWO - "Monk's Mood"..and then..either a tune I don't know or else it's Ran Blake variating. I hope it's Ran Blake variating, I love Ran Blake variating, he hears notes not unlike Gil Evans heard notes, he hears how they all fit together (and where they do so for maximum resonance) so that you can be anywhere at anytime as long as you know, you'll never leave, you'll just continue to expand, and what is that zooooom in sound at the very beginning? What kind of an extract is this, Adams? Not vanilla, though, that's for sure!

TRACK ONE - That's Earl, Brother! That tune has always fascinated me. This version, less so. Very fluent trumpet playing, but not a particularly individual sound, unless it's Lee Morgan faking his death like Jim Morrison or Tupac...hey, wait, ok, that's Ira Sullivan, on the Flying Fish album that Chuck produced...never mind then. Ira Sullivan is a musical freak (in the good way, the best way, really...) and he was on the scene before Lee Morgan. So yeah, never mind.

Great way to end a set, from the beginning. Nice move, Jeff, and thank you for a most certainly enjoyable program, irregardless of the running order!

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Oh, if #10 is Hodges, then (from memory - I don't have this LP any more) the organist is Billy Gardner, the guitarist, Freddie Waits on drums, Jimmy Ponder, guitar and - was it Ron Carter on bass?

But the tune... the tune is one Bostic did on his first album with Groove Holmes & Joe Pass etc. Listening to Groove at present, so I ain't gonna interrupt for a listen of the Bostic LP...

I don't RECALL that Hodges LP having anything like this on it, but it's 43 years since I flogged it...

But, you know, a lot of the tunes on the Bostic LP were written by Buddy Collette. How about this being Collette? I know he doesn't usually sound like that but, well, I think he could probably sound like whatever he wanted.

MG

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With the usual thanks and disclaimers firmly in place, let's DO this thing!

TRACK FOURTEEN - I will not save the best for last. I will save the best for first and work my way backwards in honor of this, that things, The Incomparable JonDar The Incompetent & The Adventures Of, and yes, I would do it sideways at the same time if I could. I can't, but they could.

For those who can't translate from the Sangrese, JSngry has identified the "artists" as Jonathan and Darlene Edwards. You are hereby warned urged to check them out.

TRACK THIRTEEN - Mama Cass just before she swallowed that sandwich? Is so, then a West Coast production, which would mean Chet Baker on trumpet, right? Or maybe the whole thing is Jack Sheldon. He played and sang both alike, ya' know!

Jim, Jim, Jim....

TRACK TWELVE - I do not know who this is, but am intrigued...the vocals do have the N.O. accent, but these words, all of them, have been lost from general circulation (and I'm saying that with the assumption that they used to be part of the vernacular, but I have nowhere near enough authority to say that with any kind of authority). Either this is some sort of "general adaptation" or else a really interesting piece of history...maybe both...and "Jockamo Feendo Hay", instead of Jocakmo Feen Ny Ay (or any hyphenated variant thereof)? What the hell IS this, and did it receive more than regional distribution? Yes, intrigued...

I'm glad you're intrigued. It barely even received local distribution. Yes, New Orleans.

TRACK ELEVEN - Sounds like an Ornette tune...but not like Ornette..but does sound "like Ornette"...and like Jackie Mac in the tone...can't say that I don't like it, but...it sounds more like something that happened in reaction to something that really NEEDED to happen, if you know what I mean. Not that there's any fault in that, people gotta be who they are where they are, and if not them, who? If not there, where? But still, why? Well, why not? Because I asked you first. But not Because I Said So. I'm not the boss of me, ok?

I shouldn't have read that without some caffeine first.

TRACK TEN - I sure hope that's Johnny Hodges, because if it's not, so much for "inimitable". You know what's funny? That first organ lick at the beginning, I was not expecting organ and heard it as a long sighing moan from the audience. No, that's not funny, that's more or less what it could have been , and probably was at least every once in a while.

Further comments below.

TRACK NINE - "Smoke Gets In your Eyes"...some really Trane-y guy..Pharoah? Jim Pepper, maybe..that tone is really "tight and bright" like Pepper, almost all upper overtones, like a wideass open-tip Berg played full-on (i used to be That Type Of Sound, and that was how I got it) and the pitch is more his than Pharoah's...the piano player is no bullshit, not at all, people talk about Bill Evans and chords, and I keep waiting to hear something like THIS, but never get it from Evans. Ok, fair enough, but, here is what I'd like to get, so thanks, I'll eat it here. This is very good music, imo, and I could l almost guess Jarrett/Garbarek, only as far as I know, Jan had better/different control of the instrument by the time he started playing with Keith. Whatever this record is, if it's all this good, I want to get it.

I didn't expect any to identify Jim Pepper - nice work. And hey, even though it maybe wasn't an "official" guess, I've got to give you the piainst, too. It's young Keith Jarrett. It's an interesting, obscure album, and no it's not all this good. Some of it is pretty awful. But it's all interesting. I'll bet someone comes up with it now.

TRACK EIGHT - Well, yeah. That's right. All voices sound familiar but are not immediately available to my mindmemory...alto sounds like the halfway point between later Frank Strozier & earlier Steve Coleman on their way to being reimagined as current day Rudresh Mahanthappa...and that trumpet player sounds really familiar (and am I crazy for hearing no small Dizzy undercurrents here? or a punch-in @ 4:56-4:57?)...as does the bassist...like Track Nine, this is no bullshit, bullshit-free, happy to be you and me, just the way I like it is the way it is, thanks you. Do I have this record?

Insightful comments about the alto player. The trumpeter is someone you've heard many times, but maybe not often in a context like this. You probably don't have this record. But you should.

TRACK SEVEN - Thornhill. Gil. Genius. People started complaining when Gil started playing more open with his bands, some folks would complain I wanna hear Gil WRITE more! Well hell, this was 1947, Gil was already 35, not by any means a kid, and even then Gil had WRITTEN a lot of charts and would WRITE many more, so geezix, I think at some point he wanted something else than to have to WRITE every damn note to get the sound he wanted. But thank god he did WRITE as much as he did, because the man was a true genius when it came to WRITING...check out the modulation from the intro into the vocal...seamless. Genius. I don't often use that word without at least a hint of stipulated-to hype-y-ness, but not here. Genius. And does the band sound like they dig the shit out of getting to play something like this? Yes, they do, and anybody who didn't was taking a blessing for granted, and Fuck You when you do that, ya' know? But I doubt that anybody was doing that here. I can feel the love. Genius.And hello Joe Shulman, there's the Feel The Love, from the bottom up . As it should be (and I guess Billy Barber's on here, but I don't hear him overtly?). If I could play one chart like this with a band that played it like this at 9:00 PM tonite, I could die a happy and fulfilled man at 9:05 PM. Tonite. Totally serious. That blend, and those spaces created by those voicings...you are hearing Full Life Sound, you might hear Different, but you won't hear More. Not in this realm. And these guys got to do it every night. Genius. And a blessing.

I really enjoyed reading this.

TRACK SIX - Charles Earland. Grover. Deal with it, Jazz Bitches, Grover could play. Maybe not "great" but sure as hell honest. On an everyday basis, I'd rather live with an honest common man than an untruthful genius. I'm getting to the point where I'd just as soon kill a liar than to listen to one for even half a nevermind (metaphorically, of course). And Gary Chandler...his album on Eastbound does not suck, if you know what I mean. That vamp thing they get into...anybody ever hear that as working the same type of trance groove that Mal Waldron hit with Mingus & Max? Living Black indeed...(at least as far as I can tell, but far be it from me to disallow the claim just because of the claim itself).

Yes. As I said earlier, I need to track down the Gary Chandler album.

TRACK FIVE - I thought it was a wooden flute at the beginning, but it's an electric guitar, so hey, I'm lost. And there's an accordion. And now it's klezmer-ish. I can't even begin to think about doing anything like this myself, so many ways in which I do not hear/or feel any of these impeti, but...I can hear that they do and that they mean it. I can feel the love. And really, ok, what else do you want out of anybody hearing your music besides that they feel the love? What,, to BUY it? Well, ok if you're a businessperson (and SOMEBODY'S gotta be) but as a musician,a creator/channeler of sound? No, that is all you can hope to ask for. So whoever you are (Third World Afro?) please know that you did it. I do not have to "be" you in order to love you. If I do, then that is not love, that is a conditional like.

Your comments make me think about my own journey into klezmer, to the point at which I could "hear/fell" the music.

TRACK FOUR - "Tin Roof Blues", that Jo Stafford song (JKLOLOETC). Very much liking the clarinetist's fluency in both the vocabulary and the instrument. That New Orleans sound...it's too often heard (by players and listeners alike) as "over blowing" to get a "primitive" sound. Bullshit. Listen to this guy - full sound in all registers, not timbral variations that aren't fully intentional, no off pitch, no nothing except full control of every aspect of his playing. And that second chorus, the way he hits the expected note and then kicks it up to the next partial, nothing awkward or haphazard or gauche/showy about it. So yeah, "primitive" my ass". Piano got a left hand like Earl Hines, almost, that "wandering eye" kind of thing. Not conversant enough in this idiom to hazard any specific guesses, but do know it well enough to know that this is playing, not "dixieland" Easy Answers To Questions That Were Never Asked.

You zeroed in on my main reason for including this track - the clarinetist. He's one of my favorites, and he became such when I heard this track. The clarinetist's opening phrase made my hair stand up. And yes, the tune is "Tin Roof Blues."

TRACK THREE - Is this an acoustic recording? Yes? Morton? No? As on Track 8, these are all pretty distinct voices that i can't identify...unless that's Bubber Miley? I find it fascinating to hear how varied so much of this music was in terms of who plays and who lays out, when and where...it's not just head-solos-head, not exactly. They variate the texture, and don't seem to have to think about it as being a problem, or even a challenge. Perhaps that's the benefit of hindsight speaking, but still.

Early electric recording, I believe. Morton and Miley are not involved. You're right on target with your analysis - this music, to me, is almost always about varying the colors and textures while keeping an overall unity. Among other things.

TRACK TWO - "Monk's Mood"..and then..either a tune I don't know or else it's Ran Blake variating. I hope it's Ran Blake variating, I love Ran Blake variating, he hears notes not unlike Gil Evans heard notes, he hears how they all fit together (and where they do so for maximum resonance) so that you can be anywhere at anytime as long as you know, you'll never leave, you'll just continue to expand, and what is that zooooom in sound at the very beginning? What kind of an extract is this, Adams? Not vanilla, though, that's for sure!

"Monk's Mood" indeed, and that is another tune in a medley. Not Blake, but a fine musician, as you hear.

TRACK ONE - That's Earl, Brother! That tune has always fascinated me. This version, less so. Very fluent trumpet playing, but not a particularly individual sound, unless it's Lee Morgan faking his death like Jim Morrison or Tupac...hey, wait, ok, that's Ira Sullivan, on the Flying Fish album that Chuck produced...never mind then. Ira Sullivan is a musical freak (in the good way, the best way, really...) and he was on the scene before Lee Morgan. So yeah, never mind.

Yes - Ira Sullivan from his eponymous Flying Fish album, produced by Mr. Nessa. I've always loved this tune, too.

Great way to end a set, from the beginning. Nice move, Jeff, and thank you for a most certainly enjoyable program, irregardless of the running order!

Really enjoyed your comments, not surprisingly. Thanks for listening and posting.

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Budd it ain't Hodges, it's Johnson. Playing alto in 1953. With Lawrence Kayes (org), Hank Jones (p), Mickey Baker (g), Lloyd Trotman (b), Panama Francis (d). A 45 - Atlantic 1013.

MG

Oh, the tune is 'Off shore', recorded by Mr Bostic a month ealier.

Okay, it's the fourth day of the month, and my "impossible," "impenetrable" BFT selection has been identified. As far as I've been able to determine, this single has never been reissued. I assume that you're right and that it was issued on 45, but this recording is a transfer from my 78 collection. The other side is more recognizably Budd - he plays tenor on "Don't Take Your Love From Me."

I'm not sure who's ahead in points - MG or JSngry. MG definitely gets bonus points for this one.

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So, are my computer speakers coloring the sound that much, or does he really sound that much like Hodges?

Well, you're not nuts to think so; I'll say that. It doesn't sound like Hodges to me, but I already knew that it wasn't. The vibrato isn't right, and Budd plays a chromatic glissando that, in Rabbit's hands, would be a microtonal slide.

But the sound is close enough that if I heard this out of the blue - who knows? I might have thought Hodges, too.

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I heard those things you mention, but on my PC speakers, the tone overrode all of that. And it sounded like a live recording to me at first, and with that in the back of my mind I was allowing for the possibility of live expectational discrepancies (aka too much to drink, maybe)...but I still think the big thing was the coloration of these PC speakers...they've done this to me before, sounding one way and then when I play the same thing a a "real" system, whoa, not so much at all.

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