BFT 110 Discussion

[JSngry]

Heard this on a Treme episode...never figured out what is was from, but it must've been the flip side:

http://www.louisianamusicfactory.com/showoneprod.asp?ProductID=1728

15. Chocko Me Feendo Hey
16. Tootie ma Is A Big Fine Thing
17. My Indian Red
18. Corinne Died On The Battlefield

#15-18
Danny Barker - guitar accompanied by: Don Kirkpatrick - piano
Haywood Henry - bass
Johnny Williams/Fred Moore - drums

Recording Date: 1946/1947

So, yeah, historically important...quite!

[JSngry]

My wondering if these lyrics were causal compilations or knowing passing-along...it seems to be much more of the latter than the former...even if Barker was not masking at any point (at the time, the Indians might have been viewed as somewhat "gang-like", although it was much more than that, I don't know that it was something "respectable" just yet), he was still around, watching, and taking notes. At the very least, he was a spectator of keen insight and at least some access.

Fascinating, absolutely fascinating.

[NIS]

So, maybe I'm wrong and get egg on my face but I think the singer on 12 is the wonderful Danny Barker. This is totally from the comments, not from my ears. My record of his is from much later in his life.

However you figured it out, you are correct, sir! Now maybe someone will track down more info on this unusual record.

And heck, even if it wasn't an "official" guess, I'm giving you a point for recognizing Han Bennink - it is indeed him on track 11.

eee

I will gladly take a point, doesn't happen very often. I did mean to comment on that track. The only Bennink I know of with that instrumentation is the Clusone Trio. I can almost talk myself into Reijseger but I really don't think the horn guy sounds like Michael Moore.

[JSngry]

I ordered that Dodds CD right away...found this one reviewer's comments particularly stimulating (if they are actually accurate):

This is a strange, yet important collection. It's essentially three separate little records, with some minor overlap in personnel. The other guy covered the first part fine. I'm here to defend the other two. I'm no expert, but...
Anyone with interest in New Orleans' musical heritage probably ought to own this.

The middle section, led by Albert Nicholas, is the first, as far as I know, recorded example of the old Caribbean party songs that evolved in the oral tradition in New Orleans going back a couple hundred years or so. These are the recordings that inspired the likes of Don Vappie and others to resurrect the Creole/"Latin Tinge" aspect of Traditional Jazz in recent years.

The third section, led by Danny Barker, consists of probably the first recorded example of the Mardi Gras Indian tunes, another up-'til-then strictly oral tradition mostly hidden from society at large. The Indian chants are now an integral part of what became, and still is, New Orleans R&B.

All of which might explain how you get from Danny Barker "Chocko Me Feendo Hey" in 1946/47 to Sugarboy Crawford "Jock-a-mo" in 1953, not just lyrically, but musically.

This other Amazon reviewer calls this CD:

An aural Rosetta Stone heralding the future of NOLA music.

So even if not exactly that (I don't know) it sure sounds like something I'd have gotten a long time ago had I known about it!

[jeffcrom]

Oh, you played me some Danny Barker in the car 3 years ago. Was this one of those tracks?

MG

You have me mistaken for someone who can remember what he had for lunch yesterday, let alone an afternoon three years ago!

[jeffcrom]

http://www.louisianamusicfactory.com/showoneprod.asp?ProductID=1728

15. Chocko Me Feendo Hey

16. Tootie ma Is A Big Fine Thing

17. My Indian Red

18. Corinne Died On The Battlefield

#15-18

Danny Barker - guitar accompanied by: Don Kirkpatrick - piano

Haywood Henry - bass

Johnny Williams/Fred Moore - drums

Recording Date: 1946/1947

So, yeah, historically important...quite!

Oh, yeah! I'll correct the Amazon reviewer a little - these are the first commercial recordings of NOLA Indian songs. Jelly Roll Morton recorded some in his Library of Congress sessions. And Heywood Henry was a baritone saxophonist; Johnny Williams was the bassist.

Danny was always interested in preserving/passing along the culture of New Orleans; not only did he record these songs, but his formation of the Fairview Baptist Church Brass Band years later was largely responsible for the New Orleans brass band revival. The Fairview band never recorded, but the Hurricane Brass Band, which grew out of the Fairview group, did. That led, directly or indirectly, to the Dirty Dozen.

But he also was looking to make some money - he thought that every bar in New Orleans would want these records on their jukebox. It didn't work out that way, for reasons I'll explain later.

And yes, the "Jazz a la Creole" sides with Albert Nicholas are extremely "important," too. The Baby Dodds solo and trio sides are merely excellent.

So, maybe I'm wrong and get egg on my face but I think the singer on 12 is the wonderful Danny Barker. This is totally from the comments, not from my ears. My record of his is from much later in his life.

However you figured it out, you are correct, sir! Now maybe someone will track down more info on this unusual record.

And heck, even if it wasn't an "official" guess, I'm giving you a point for recognizing Han Bennink - it is indeed him on track 11.

eee

I will gladly take a point, doesn't happen very often. I did mean to comment on that track. The only Bennink I know of with that instrumentation is the Clusone Trio. I can almost talk myself into Reijseger but I really don't think the horn guy sounds like Michael Moore.

Not Clusone, Reijseger, or Moore.

Edited May 6, 2013 by jeffcrom

[JSngry]

But he also was looking to make some money - he thought that every bar in New Orleans would want these records on their jukebox. It didn't work out that way, for reasons I'll explain later.

Jukeboxes? Problems? Are we looking at..."interference" here, if you know what I mean?

[jeffcrom]

But he also was looking to make some money - he thought that every bar in New Orleans would want these records on their jukebox. It didn't work out that way, for reasons I'll explain later.

Jukeboxes? Problems? Are we looking at..."interference" here, if you know what I mean?

Dang, I'm not going to have anything left to talk about in the reveal thread. But that's okay - I'm enjoying the conversation now.

Jukebox problems, but not the way you're thinking. More like poor business decisions on Danny's part. He financed the session himself, and issued the records on his King Zulu label. But apparently it took him a few years to get the money up to have the records pressed. To quote from his A Life In Jazz: "This recording project was a disaster: when the records were printed the jukeboxes had changed over from 78 rpm to 45 rpm, so I could not put the records on the new boxes."

[tkeith]

Egad! Two pages already and it's only the 6th!??!?! Oh well, at least I'm in on the first week. One listen, no peakies. Much to like on this one... track 14 notwithstanding.

Track 1 – I want to like this more than I do. Definitely a strong Kenny Dorham influence in the player. Something about the sound… hyper-compressed? I don’t know, but it’s just not quite hitting where I want it too. Not a thing wrong with it, it’s just missing for me. Well, so much for what I thought was a KD influence – now we’re into full Freddie Hubbard land. The fours section resonates more for me.

Track 2 – I’m always wrong on my Monk titles, but I’m reasonably sure this Crepuscule With Nellie. Sounds like a needle drop. I like the interpretation. It’s maintaining the originality of the player, but also respecting Monk, something not everybody can pull off.

Track 3 – Predates the majority of my listening, so there are no educated guesses I can make. I’ll say one thing for much of this vintage that finds its way into the BFTs, it’s honest.

Track 4 – I like this track better. It’s got a little more swamp to it. Clearly a newer recording than the last. Yeah, that woman was not nice to this clarinet player.

Track 5 – Early on has a bit of a Laswell feel to it. Not into the Klez-feel, but overall, I like the direction this goes in after the Bar Mitzvah. It’s just strange enough to win me over. Can’t wait to find out what this is.

Track 6 – But THIS is more like it. Sounds like one of Charles Earland’s bands to me. In fact, it’s the opening cut off of this and that’s none other than Grover Washington, Jr., on tenor.

Track 7 – I like the piano intro and the band has a nice feel to it. Stupid song, though. No idea who the vocalist is. No clue on either soloist, but they don’t sound like they’re guys accustomed to taking the spotlight. Neihaus on alto?

Track 8 – I like the staggering vamp on this. Alto has chops, but it’s also on the raw side, which I like. A little too post-Coltrane-typical at times, but overall, the feel carries it through. Except for the sound of the recording, I’d guess it’s one of the Tapscott disciples, because that’s the impression I get from it. Something like Billie Harris or Michael Session would do. Sound quality is better than most of those dates, though. Man, I have to have this. Rapidly falling in love with it during the piano solo. Man, nothing not to love here now that the trumpet has arrived. I could stand a LOT of this in my collection. There are times where this strikes me like Gary Bartz of the 70s, but it’s definitely not him. I’m wondering if it’s a guy I usually don’t take to having a great day. Either way, this is da bomb. LOVING that bass.

Track 9 – Smoke Gets in Pharoah’s Eyes. A very technical pianist – maybe someone like Armen Donelian or Michel Pettruciani. Not sure Pharoah has played with either, but I’m sure it’s him on tenor. Unless it’s Jim Pepper doing an impersonation of him.

Track 10 – It’s not Johnny Hodges, but somebody is shamelessly trying, and doing a pretty good job. I could stand a whole lot of this. It’s got the same flavor as that Illinois cut in the last BFT. Almost like the horn player is mimicking a melodramatic vocalist. Call me a sucker, but I love when that happens. (In addition to this, and that great Jacquet cut, check out James Carter’s take of it on Chasin’ The Gypsy!)

Track 11 – Sounds like an Ornette cover to me, though I couldn’t name the tune. I like this a lot – pity about the sound. Alto has an underlying feel of strength in the tradition, but he’s definitely taking it out. Could be Sonny Simmons, but the tone sounds a bit… I don’t know… deeper? Drums remind me of Smiley Winters. I’d very much like to have this.

Track 12 – It’ ain’t heavy, but I love it. This is a weird comparison, but this feel is how I hear Morphine. This works for me, though I haven’t a clue who it is.

Track 13 – Seems a pretty good bet who the vocalist is. A strong assumption that he’s also the trumpet player. J

Track 14 – I have an actual guess, but I’m not going to make. There is a woman in my region who plays and sings like this, and she’s very serious about it. I’m going to go pull a Pi and drill out the right side of my brain just to erase the horror I’m now experiencing.

[tkeith]

Just read the thread. Glad I got made the Jim Pepper connection, but shame on him for aping Pharoah. Also just want to add because it needs to be said, Jim Sangry just f***ing hears!!!! Keep posting that stuff man, I can't get enough!

[jeffcrom]

Egad! Two pages already and it's only the 6th!??!?! Oh well, at least I'm in on the first week. One listen, no peakies. Much to like on this one... track 14 notwithstanding.

Track 1 – I want to like this more than I do. Definitely a strong Kenny Dorham influence in the player. Something about the sound… hyper-compressed? I don’t know, but it’s just not quite hitting where I want it too. Not a thing wrong with it, it’s just missing for me. Well, so much for what I thought was a KD influence – now we’re into full Freddie Hubbard land. The fours section resonates more for me.

By now you probably know who it is - his style was probably fairly mature by the time Hubbard hit the scene.

Track 2 – I’m always wrong on my Monk titles, but I’m reasonably sure this Crepuscule With Nellie. Sounds like a needle drop. I like the interpretation. It’s maintaining the originality of the player, but also respecting Monk, something not everybody can pull off.

"Monk's Mood," as, again, you know by now. This came from a CD, but was obviously recorded on acetate disc, not tape.

Track 3 – Predates the majority of my listening, so there are no educated guesses I can make. I’ll say one thing for much of this vintage that finds its way into the BFTs, it’s honest.

Track 4 – I like this track better. It’s got a little more swamp to it. Clearly a newer recording than the last. Yeah, that woman was not nice to this clarinet player.

Love your last sentence.

Track 5 – Early on has a bit of a Laswell feel to it. Not into the Klez-feel, but overall, I like the direction this goes in after the Bar Mitzvah. It’s just strange enough to win me over. Can’t wait to find out what this is.

I'm glad that someone besides me likes this one.

Track 6 – But THIS is more like it. Sounds like one of Charles Earland’s bands to me. In fact, it’s the opening cut off of this and that’s none other than Grover Washington, Jr., on tenor.

Yep. Lots of folks recognize this, but I'm still glad I included it.

Track 7 – I like the piano intro and the band has a nice feel to it. Stupid song, though. No idea who the vocalist is. No clue on either soloist, but they don’t sound like they’re guys accustomed to taking the spotlight. Neihaus on alto?

"They sound like they're guys accustomed to taking the spolight." At this point, that's dead on concerning Konitz - this is one of his earliest recorded solos. Come to think of it, the trumpet soloist hasn't been identified yet, has he? I think I know who it is.

And the song - I don't consider it stupid, although I certainly get why you think it is, particularly in terms of the lyrics. But it's kind of interesting musically - nobody has mentioned the ten-bar bridge yet. And as Sangrey zeroed in on, it's all about Gil's arrangement.

Track 8 – I like the staggering vamp on this. Alto has chops, but it’s also on the raw side, which I like. A little too post-Coltrane-typical at times, but overall, the feel carries it through. Except for the sound of the recording, I’d guess it’s one of the Tapscott disciples, because that’s the impression I get from it. Something like Billie Harris or Michael Session would do. Sound quality is better than most of those dates, though. Man, I have to have this. Rapidly falling in love with it during the piano solo. Man, nothing not to love here now that the trumpet has arrived. I could stand a LOT of this in my collection. There are times where this strikes me like Gary Bartz of the 70s, but it’s definitely not him. I’m wondering if it’s a guy I usually don’t take to having a great day. Either way, this is da bomb. LOVING that bass.

Da bomb, indeed. No Tapscott connection, although I hear where you get that.

Track 9 – Smoke Gets in Pharoah’s Eyes. A very technical pianist – maybe someone like Armen Donelian or Michel Pettruciani. Not sure Pharoah has played with either, but I’m sure it’s him on tenor. Unless it’s Jim Pepper doing an impersonation of him.

About this and your next post - I don't hear it as Pepper imitating Pharoah, particularly given the recording date. There was maybe something there that made you think Jim Pepper.

Track 10 – It’s not Johnny Hodges, but somebody is shamelessly trying, and doing a pretty good job. I could stand a whole lot of this. It’s got the same flavor as that Illinois cut in the last BFT. Almost like the horn player is mimicking a melodramatic vocalist. Call me a sucker, but I love when that happens. (In addition to this, and that great Jacquet cut, check out James Carter’s take of it on Chasin’ The Gypsy!)

Glad you liked this.

Track 11 – Sounds like an Ornette cover to me, though I couldn’t name the tune. I like this a lot – pity about the sound. Alto has an underlying feel of strength in the tradition, but he’s definitely taking it out. Could be Sonny Simmons, but the tone sounds a bit… I don’t know… deeper? Drums remind me of Smiley Winters. I’d very much like to have this.

Not an Ornette tune, but the influence is certainly there. The drummer has been ID'ed as Han Bennink.

Track 12 – It’ ain’t heavy, but I love it. This is a weird comparison, but this feel is how I hear Morphine. This works for me, though I haven’t a clue who it is.

This has been discussed pretty thoroughly by now. Interesting comparison - Morphine!

Track 13 – Seems a pretty good bet who the vocalist is. A strong assumption that he’s also the trumpet player. J

Yep.

Track 14 – I have an actual guess, but I’m not going to make. There is a woman in my region who plays and sings like this, and she’s very serious about it. I’m going to go pull a Pi and drill out the right side of my brain just to erase the horror I’m now experiencing.

You have my sympathy.

Thanks for listening and commenting. And for liking track 5!

Edited May 6, 2013 by jeffcrom

[JSngry]

But he also was looking to make some money - he thought that every bar in New Orleans would want these records on their jukebox. It didn't work out that way, for reasons I'll explain later.

Jukeboxes? Problems? Are we looking at..."interference" here, if you know what I mean?

Dang, I'm not going to have anything left to talk about in the reveal thread. But that's okay - I'm enjoying the conversation now.

Jukebox problems, but not the way you're thinking. More like poor business decisions on Danny's part. He financed the session himself, and issued the records on his King Zulu label. But apparently it took him a few years to get the money up to have the records pressed. To quote from his A Life In Jazz: "This recording project was a disaster: when the records were printed the jukeboxes had changed over from 78 rpm to 45 rpm, so I could not put the records on the new boxes."

Without exact dates...it's possible then that if it might have been seen as a cover-ish of Sugar Boy's tune, when in fact, no.

Historically significant without being historically relevant.

[jeffcrom]

But he also was looking to make some money - he thought that every bar in New Orleans would want these records on their jukebox. It didn't work out that way, for reasons I'll explain later.

Jukeboxes? Problems? Are we looking at..."interference" here, if you know what I mean?

Dang, I'm not going to have anything left to talk about in the reveal thread. But that's okay - I'm enjoying the conversation now.

Jukebox problems, but not the way you're thinking. More like poor business decisions on Danny's part. He financed the session himself, and issued the records on his King Zulu label. But apparently it took him a few years to get the money up to have the records pressed. To quote from his A Life In Jazz: "This recording project was a disaster: when the records were printed the jukeboxes had changed over from 78 rpm to 45 rpm, so I could not put the records on the new boxes."

Without exact dates...it's possible then that if it might have been seen as a cover-ish of Sugar Boy's tune, when in fact, no.

Historically significant without being historically relevant.

I've always assumed that the King Zulu sides were issued before the Sugarboy's record, but it's kind of irrelevant, since practically nobody heard Danny's records for years.

Edit: ...which is more or less the same thing that you're saying, I guess.

Edited May 7, 2013 by jeffcrom

[JSngry]

Ok, I know it's not, because you say so, but the second part of #2 really sounds like a Ran Blake variation of "Monk's Mood". There's enough brief melodic and/or harmonic pivot points throughout to sound like that to me. That, and there's something just a little "off" about Monk's Mood" itself, the tempo is not as airy as Monk, and one or few notes/chords sound just a little off-Monkish (there's a cheap tune title for anybody who wants it...), that...hmmm... and this is obviously an extract from a larger melody, given the whhooom intro and the rapid fade out, so...what have we got here? Billy Taylor?

I dunno, maybe listening to enough Ran Blake makes it possible for everything to sound like everything else? Not necessarily a bad thing?

[jeffcrom]

Ok, I know it's not, because you say so, but the second part of #2 really sounds like a Ran Blake variation of "Monk's Mood". There's enough brief melodic and/or harmonic pivot points throughout to sound like that to me. That, and there's something just a little "off" about Monk's Mood" itself, the tempo is not as airy as Monk, and one or few notes/chords sound just a little off-Monkish (there's a cheap tune title for anybody who wants it...), that...hmmm... and this is obviously an extract from a larger melody, given the whhooom intro and the rapid fade out, so...what have we got here? Billy Taylor?

I dunno, maybe listening to enough Ran Blake makes it possible for everything to sound like everything else? Not necessarily a bad thing?

Not Billy Taylor. Here's a hint on the second tune, which is admittedly obscure: I know the pianist takes a pretty free approach rhythmically, but try to scope out the meter.

I want to give more hints, but I think I talk too much in my BFT threads.

[lipi]

Subjective rants ahead (but of course). I haven't read the rest of the thread (again, of course).

1: Modern garbage with a trumpet player, who, in the "style" of Miles Davis, fails to play anything resembling a pleasing melody. Jerk.

2: Piano solo taken from a 78. (Why a 78? Because it sounds like the record is slightly off-balance or warped, and I can hear the "scratchy" bit go by a little more than once a second.) No idea who it is, but it's pretty. I wouldn't be surprised if you told me it's Hoagy Carmichael, but that's because of the feel of the piece, not because of the playing. Anyway. No real idea, but I like it O.K.

3: Well. This is right up my alley, up and over the wall at the very end of it, up the fire escape beyond it, straight in my bedroom window, and snuggled deep within my covers. I assume it's been ID'ed by now, but: "Perdido Street Blues", the New Orleans Wanderers, 1926. Dodds (that note at 0:47 always gives me chills), Mitchell on cornet, Ory, Lil Hardin Armstrong, and Johnny St Cyr.

I always think of Bechet when I hear this, for two reasons. One is that, to my ears, Dodds sounds a fair bit like Bechet here. The second is of course the 1940 Armstrong-Bechet recording of the same tune. If pressed, I have to admit I like that one better, even though it's perhaps cleaner and less hot. One issue I've always had with the 1926 recording is the ending: I wish it weren't so abrupt. It always sounded to me like the band was caught a little off-guard about the end of the wax.

4: "Tin Roof Blues", of course. A modern band, I suspect. Curious to find out who the clarinettist is; the (wo)man can play. I wish the pianist would try to do a little less in his solo spot near the end. How old is this? I wouldn't be surprised if these guys were still playing together.

5: Oh sweet lord... Music for a History channel documentary on ancient Egypt or the Maya.

6: These guys need Ritalin.

7: At first I (in a drunken stupour?!?--I wish I had some excuse!) thought of Bob Crosby. But this is Claude Thornhill's band. I wouldn't have known that without having heard the track before. It's a cute song. I like it.

8: Things that go on for 8:34 are annoying. They remind me that the Blanton-Webster band never was able to stretch out like that on record. That the Armstrong Hot-X never were. That Jelly Roll Morton never was. I have nothing intelligent to say about this track, obviously.

9: Well, it's "Smoke Gets in Your Eyes" by a pianist and tenor. That's all I know. It's O.K. Not *really* my thing, but worth a few listens, surely.

10: Someone playing an actual organ--like, with pipes and things--none of these funny electrical gadgets that you can fit in your garage. No, an organ for Real Men. But, it being an organ for Real Men, it's super far away, lest it blow the recording equipment out into the Panama Canal. Again, I have nothing intelligent to say about this track. My feelings about it are close to those I had at #9.

11: People who indiscriminately hit drum sets like that ought to be (rim) shot. There's also some dude having a wrestling match with, what appears to be, a saxophone of some sort. Or a rare Amazonian snake. What do I know. Next.

12: Yeaaaaaaaah! Danny in the late 40's. This is on that funny GHB release "Jazz à la Creole", which has a bunch of Baby Dodds tracks mixed with this stuff. Good stuff.

13: "Dream a Little Dream of Me". This had me running to a discography, because I know the 1950 duet with Ella and the Sy Oliver orchestra, but I did not know this one. So, uh, I cheated. I didn't even try to identify the members of the All-Stars at this point--there was actual running towards the bookcase ten seconds into the track.

14: Ha. I assume this has been ID'ed (and I'm surprised it has taken so long to show up in a BFT). It's Jo and Paul having their little bit of fun. I also assume that, if it has indeed been ID'ed, someone has pointed out how wicked hard it is to do what Jo is doing here (well, unless it comes naturally, of course--but it didn't to her!).

Love the things you'd think I'd love, hated the things you'd think I'd hate, and found some middle ground there to listen to again and give another chance. ;o) Thanks, Jeff!

Edit: Read the thread, and woah--did I see that right? Danny Barker ID'ed, but not the Dodds? I wouldn't have predicted that.

Edited May 8, 2013 by alex.

[jeffcrom]

Subjective rants ahead (but of course). I haven't read the rest of the thread (again, of course).

1: Modern garbage with a trumpet player, who, in the "style" of Miles Davis, fails to play anything resembling a pleasing melody. Jerk.

2: Piano solo taken from a 78. (Why a 78? Because it sounds like the record is slightly off-balance or warped, and I can hear the "scratchy" bit go by a little more than once a second.) No idea who it is, but it's pretty. I wouldn't be surprised if you told me it's Hoagy Carmichael, but that's because of the feel of the piece, not because of the playing. Anyway. No real idea, but I like it O.K.

No - taken from a CD, apparently transferred from an acetate master that wasn't in good shape. Not Hoagy Carmichael. Check out the composer of the tune in the first half of this medley - revealed elsewhere in this thread.

3: Well. This is right up my alley, up and over the wall at the very end of it, up the fire escape beyond it, straight in my bedroom window, and snuggled deep within my covers. I assume it's been ID'ed by now, but: "Perdido Street Blues", the New Orleans Wanderers, 1926. Dodds (that note at 0:47 always gives me chills), Mitchell on cornet, Ory, Lil Hardin Armstrong, and Johnny St Cyr.

I always think of Bechet when I hear this, for two reasons. One is that, to my ears, Dodds sounds a fair bit like Bechet here. The second is of course the 1940 Armstrong-Bechet recording of the same tune. If pressed, I have to admit I like that one better, even though it's perhaps cleaner and less hot. One issue I've always had with the 1926 recording is the ending: I wish it weren't so abrupt. It always sounded to me like the band was caught a little off-guard about the end of the wax.

I figured you would nail this one. It's one of my favorite Johnny Dodds tracks.

4: "Tin Roof Blues", of course. A modern band, I suspect. Curious to find out who the clarinettist is; the (wo)man can play. I wish the pianist would try to do a little less in his solo spot near the end. How old is this? I wouldn't be surprised if these guys were still playing together.

Not as modern as you think. It's from the LP era, and old enough that all of these guys are now dead. And yes - that clarinetist. He became one of my favorites when I heard this track.

5: Oh sweet lord... Music for a History channel documentary on ancient Egypt or the Maya.

6: These guys need Ritalin.

7: At first I (in a drunken stupour?!?--I wish I had some excuse!) thought of Bob Crosby. But this is Claude Thornhill's band. I wouldn't have known that without having heard the track before. It's a cute song. I like it.

I almost included some Bob Crosby on this BFT. Glad you like this one.

8: Things that go on for 8:34 are annoying. They remind me that the Blanton-Webster band never was able to stretch out like that on record. That the Armstrong Hot-X never were. That Jelly Roll Morton never was. I have nothing intelligent to say about this track, obviously.

9: Well, it's "Smoke Gets in Your Eyes" by a pianist and tenor. That's all I know. It's O.K. Not *really* my thing, but worth a few listens, surely.

ID'ed above. You'll probably never like anything else these guys recorded as much as this track.

10: Someone playing an actual organ--like, with pipes and things--none of these funny electrical gadgets that you can fit in your garage. No, an organ for Real Men. But, it being an organ for Real Men, it's super far away, lest it blow the recording equipment out into the Panama Canal. Again, I have nothing intelligent to say about this track. My feelings about it are close to those I had at #9.

Not sure it's a pipe organ. (Opinions, anyone?) I thought you might like this one.

11: People who indiscriminately hit drum sets like that ought to be (rim) shot. There's also some dude having a wrestling match with, what appears to be, a saxophone of some sort. Or a rare Amazonian snake. What do I know. Next.

Okay, that's kind of funny.

12: Yeaaaaaaaah! Danny in the late 40's. This is on that funny GHB release "Jazz à la Creole", which has a bunch of Baby Dodds tracks mixed with this stuff. Good stuff.

Points on this one. It's been identified already, as you know , but only after a bunch of discussion and hints.

13: "Dream a Little Dream of Me". This had me running to a discography, because I know the 1950 duet with Ella and the Sy Oliver orchestra, but I did not know this one. So, uh, I cheated. I didn't even try to identify the members of the All-Stars at this point--there was actual running towards the bookcase ten seconds into the track.

I included this because it doesn't seem to be a well-known track, and I think it's pretty fabulous.

14: Ha. I assume this has been ID'ed (and I'm surprised it has taken so long to show up in a BFT). It's Jo and Paul having their little bit of fun. I also assume that, if it has indeed been ID'ed, someone has pointed out how wicked hard it is to do what Jo is doing here (well, unless it comes naturally, of course--but it didn't to her!).

For those not familiar with Jonathan and Darlene Edwards, Alex is letting you know that they were the alter egos of Jo Stafford and Paul Weston.

Love the things you'd think I'd love, hated the things you'd think I'd hate, and found some middle ground there to listen to again and give another chance. ;o) Thanks, Jeff!

Edit: Read the thread, and woah--did I see that right? Danny Barker ID'ed, but not the Dodds? I wouldn't have predicted that.

I thought that might be a quick, easy ID myself. But I guess it is, really - it's only the eighth day of the month. I think that plenty of folks around here like early jazz, but not that many are as conversant with it to the extent that they are with hard bop, etc.

Thanks for listening and commenting. I don't know what to say about your comments on track one except that I wish I could unread them. I knew you wouldn't like everything, but some of your other comments on stuff you didn't were pretty entertaining.

[lipi]

Thanks for listening and commenting. I don't know what to say about your comments on track one except that I wish I could unread them. I knew you wouldn't like everything, but some of your other comments on stuff you didn't were pretty entertaining.

Ah, sorry. A visceral reaction there that could have been tempered somewhat.

Have been listening to Johnny Dodds all morning because of this BFT. (Not that I need a tremendous amount of excuse to listen to Dodds.) And I added a CD with 13 to my wishlist.

[jeffcrom]

Thanks for listening and commenting. I don't know what to say about your comments on track one except that I wish I could unread them. I knew you wouldn't like everything, but some of your other comments on stuff you didn't were pretty entertaining.

Ah, sorry. A visceral reaction there that could have been tempered somewhat.

Have been listening to Johnny Dodds all morning because of this BFT. (Not that I need a tremendous amount of excuse to listen to Dodds.) And I added a CD with 13 to my wishlist.

I understand. And since you hadn't read the thread yet, you weren't familiar with Dan's handy little new acronym.

And now, Alex, you'll be able to follow one of my favorite recipes, in which Kermit Ruffins explains the timing not in minutes, but by number of beers and which track of Louis' album is playing.

Edited May 8, 2013 by jeffcrom

[The Magnificent Goldberg]

For those not familiar with Jonathan and Darlene Edwards, Alex is letting you know that they were the alter egos of Jo Stafford and Paul Weston.

Oh, I didn't know that. My friend had one of hers - I thing it was 'Erutan yob'.

MG

[The Magnificent Goldberg]

Thanks for listening and commenting. I don't know what to say about your comments on track one except that I wish I could unread them. I knew you wouldn't like everything, but some of your other comments on stuff you didn't were pretty entertaining.

Ah, sorry. A visceral reaction there that could have been tempered somewhat.

Have been listening to Johnny Dodds all morning because of this BFT. (Not that I need a tremendous amount of excuse to listen to Dodds.) And I added a CD with 13 to my wishlist.

I understand. And since you hadn't read the thread yet, you weren't familiar with Dan's handy little new acronym.

And now, Alex, you'll be able to follow one of my favorite recipes, in which Kermit Ruffins explains the timing not in minutes, but by number of beers and which track of Louis' album is playing.

Nice - but I haven't got the album

And my missus wouldn't put up with it while SHE'S cooking anyway

MG

[JSngry]

I've been listening to Creole Jazz for the better part of three days now, and the Danny Marker cuts of Indian songs are fucking me up (in the best way!). I mean, WHOA!

The whole disc is great, but my own personal semi-part-time obsession (sic) with the Indians is making those cuts, like, all of a sudden the wall you though was five feet away just got ten feet away.

[jeffcrom]

Okay, I think that this blindfold test is like a woman, beautiful in an interesting way, who walks into a party and immediately attracts lots of attention. Then everyone realizes how annoying she is and avoids her for the rest of the evening.

[Hot Ptah]

Okay, I think that this blindfold test is like a woman, beautiful in an interesting way, who walks into a party and immediately attracts lots of attention. Then everyone realizes how annoying she is and avoids her for the rest of the evening.

No, I just think it is a difficult test. Maybe you could provide some hints?

[Dan Gould]

Okay, I think that this blindfold test is like a woman, beautiful in an interesting way, who walks into a party and immediately attracts lots of attention. Then everyone realizes how annoying she is and avoids her for the rest of the evening.

No, more that she played it all mysterious and shit, but some people at the party knew her story, revealed most of her secrets, and then, like Sinatra said to the hooker,

"I'm through with you."