BFT #116 Discussion Thread

[Jim R]

5. "You Belong To Me"? That's all I've got.

Well, I should have known better, but I think I've always been confused by the titling of this tune. I believe that the line "you belong to me" occurs about seven times in the lyrics, whereas "button up your overcoat" only occurs twice. Not only that, but "you belong..." occurs at the end of several verses. But I should have remembered that "You Belong To Me" was a well-known doo-wop ballad from the 1950's.

[Hot Ptah]

Enjoyed this one, Hot Ptah, although you'll see that there were a couple of tunes I didn't much care for toward the end. As usual, I haven't looked at this thread yet.

1. For awhile, it seemed like there was an unwritten rule that every blindfold test had to contain a Sun Ra track. Hot Ptah has raised the bar and set a new record, I think.

This is Fletcher Henderson’ “Yeah, Man,” played by Ra and the Arkestra, from the Horo album Unity, recorded live in 1977. It’s a glorious mess. Ra famed discipline led him to insist on accuracy of notes and rhythms, but the band didn’t seem to give much thought to ensemble blend when played swing material. The drumming’s kind of clunky, and Ra’s cheesy organ adds a weird touch.

That may sound like I don’t like this track, but I love it. The Arkestra gives this old tune lots of offbeat energy, and it’s fun to hear John Gilmore on clarinet as well as tenor sax. Ra’s music is often greater than the sum of its parts, and that’s the case here.

I love this recording too. You have correctly identified the song title and album. Sun Ra introduces the song as "Yeah Man" in a spoken bit which I edited away.

My original plan was an all-Sun Ra Blindfold Test, with wildly different styles of music, but then I decided to pare it down to only three Sun Ra songs.

2. Loves me some Hot Lips Page. This is Lips playing and singing “St. James Infirmary” with the Artie Shaw Orchestra, from 1941. Shaw himself is phenomenal. Some time back I read an interview with him in which he was asked about the pressure of being the second-best clarinetist in the world during the swing era. He immediately corrected the interviewer – “No: the best.” And he might have been right. George Auld is immediately recognizable on tenor sax – he may not have been one of the greats, but he always had a personal style. Johnny Guarnieri is the pianist; he always sounded good, but at this stage didn’t really have that personal style like Auld. I assume that the trombonist soloist is Jack Jenney, but I don’t really know. Dave Tough was the drummer in this band, but he’s not well recorded here; you can feel him, though, even if you can’t hear much of him.

Great Lips, great tune, great arrangement. I had a music-loving uncle who, according to my mother, was all over this record when it came out.

Yes, you have provided more information about this song, which was initially identified by Spontooneous.

I included it because Hot Lips Page had a big reputation, but I have not heard all that many recordings where his trumpet soloing is showcased as well as it is here. Plus, I just like this recording.

3. What is this beautiful recording? The drummer’s subtle tango is killing me. Great tune; the piano player is kind of overplaying, but if you’ve got chops like this, you might was well use them. I love this, but have no idea what it is.

I think that you will find the Reveal interesting on this one.

4. Sun Ra’s second appearance here. This is “Watusa” from The Nubians of Pluntonia, recorded in Chicago in the late 1950s. This tune stayed in the book – last night I listened to a live version from 1973. The percussionists are the heart of of this one, including set drummer Robert Barry, who was “rediscovered” by Ken Vandermark years later. This is a good one.

Yes, it is from "Nubians of Plutonia". I first heard this on a wonderful two part "Sun Ra from the 1950s" radio program on Madison, Wisconsin's WORT-FM in the spring of 1978. I wish I could find the two volunteer DJs who put those programs together because they started me on a lifetime of enjoying Sun Ra.

There is a version of this song on Sun Ra's "It's After the End of the World" LP, which features details from Hieronymus Bosch's "The Garden of Earthly Delights" as the cover artwork.

5. Is this “Button Up Your Overcoat?” Some beautiful playing here – the trumpet player has a wonderful, full sound that I was going to call “brassy,” but that word might have some negative connotations that I don’t intend. The pianist sounds like Ralph Sutton – great, interesting playing within an established style. I like this a lot.

I like it a lot too. That is the title of the song. It is not Ralph Sutton though.

6. Well, unlike Branford Marsalis, I can at least recognize Eddie Lockjaw Davis in a blindfold test. This is “Guanco Lament” from Afro-Jaws. Jaws sounds great in this context. The trumpet soloist is Clark Terry, sounding wonderful without trying very hard. Ray Barretto deserves a lot of credit on this one.

Yes, correct answers all around.

7. This certainly flows well after the last track. Great groove. The piano player reminds me of Vince Guaraldi, but I don’t really know who anybody is. Nobody’s playing is particularly original, but who cares? This is fun.

I agree, it is fun. It is not Vince Guaraldi on piano.

8. Good tune with interesting changes; good players and solos. What’s not to like?

This has already been identified by Spontooneous and Jim R.

9. A cool little string trio. Some pretty wild improvisation mixed in with the exotic melody. No idea who or what this is.

The Reveal may surprise you.

10. I recognized George Lewis first, then Dave Holland, then Sam Rivers, then I realized what this was. It’s the title track of Barry Altschul’s 1977 album You Can’t Name Your Own Tune. The melody amuses me – it’s full of bebop clichés, but transported somewhere else. The way Muhal Abrams plays with/against the time in his solo reminds me of Lennie Tristano, of all people. That’s one amazing trombone solo. Great Holland (back when he had more of a sense of adventure) and Rivers as well.

Yes--it is Sam Rivers, George Lewis, Muhal Richard Abrams, Dave Holland and Barry Altschul. You have identified the title and album. Altschul states in the LP liner notes that the song title is dedicated to Anthony Braxton.

The 32Jazz label reissued this on CD in 2000. In the CD liner notes, the author states that no one at 32Jazz at the time knew much about avant garde jazz, and that it took the scolding of Chuck Nessa to get them to reissue this album on CD.

11. Sun Ra makes his third appearance here, and Hot Ptah sets a new record. This amazing performance is “St. Louis Blues,” from the Improvising Artists album of the same name. That’s a strong left hand. This is a very interesting blend of tradition and outer space.

Yes, you have identified the song title, album, label and artist.

The Magnificent Goldberg, are you at all surprised by this?

12. Nothing wrong with this, really – it’s just too slick for me. Good saxophone playing, but the stereo-amped guitar sound and the general “breeziness” weren’t my thing. And I like guitar synths when they’re used to scream and wail, but ain’t none of that here.

Valid criticisms. I thought that the grouping of musicians was interesting.

13. A presumably classically-trained saxophone quartet performing “Airegin” and proving themselves unable to swing their way out of four wet paper bags. I try to listen to all BFT tracks at least twice, but I couldn’t make it all the way through this a second time. Sorry, Hot Ptah.

I think that you, and everyone else, will be surprised at the Reveal of this recording.

14. A beautiful solo version of J.J. Johnson’s “Lament.” The playing reminded me of Hank Jones, but I doubt that it’s him. Very nice, whoever it is.

Jim R has correctly identified this one as Tommy Flanagan from his "Trinity" album, and has supplied interesting information about how the song title got very messed up.

15. I’ve really come to love “eastern” style clarinet playing. This clarinetist is very good, as are the piano and violin players. No idea who this is, or even what musical tradition(s) they’re from, but I enjoyed it.

I think you will be surprised by the Reveal for this one.

Thanks for a very interesting and enjoyable BFT!

I am glad that you liked it. I thought that you would find identifications easy, and you did.

Edited November 6, 2013 by Hot Ptah

[Hot Ptah]

Until reading Spontooneous' post above, I had never realized that "Yeah, Man" and "Hotter Than Hell" are the same tune. Fletcher recorded "Yeah, Man" for Vocalion in 1933 and "Hotter Than Hell" for Decca a year later.

I was surprised by Spontooneous' assertion that the song title for this one is "Hotter Than 'Ell", so I listened to both songs as recorded by Fletcher Henderson. The two songs are very close if not identical. Sun Ra's arrangement on the "Unity" album seems to have combined certain parts of each song. There is a trumpet part near the end which is directly lifted from Fletcher' "Hotter Than 'Ell" recording, for example. But the beginning sounds more like Fletcher's "Yeah Man" recording.

Edited November 6, 2013 by Hot Ptah

[Jim R]

Jim R has correctly identified this one as Tommy Flanagan from his "Trinity" album, and has supplied interesting information about how the song title got very messed up.

Actually, the original album title was "Positive Intensity" (on CBS/Sony). "Trinity" came out a few years later, in Inner City (the original "Trinity" LP did not even include "Lament", according the the Fitzgerald discography).

[Hot Ptah]

Jim R has correctly identified this one as Tommy Flanagan from his "Trinity" album, and has supplied interesting information about how the song title got very messed up.

Actually, the original album title was "Positive Intensity" (on CBS/Sony). "Trinity" came out a few years later, in Inner City (the original "Trinity" LP did not even include "Lament", according the the Fitzgerald discography).

What a confused situation.

[The Magnificent Goldberg]

11. Sun Ra makes his third appearance here, and Hot Ptah sets a new record. This amazing performance is “St. Louis Blues,” from the Improvising Artists album of the same name. That’s a strong left hand. This is a very interesting blend of tradition and outer space.

Yes, you have identified the song title, album, label and artist.

The Magnificent Goldberg, are you at all surprised by this?

Funnily enough, no

Is this a solo piano album?

MG

[Hot Ptah]

11. Sun Ra makes his third appearance here, and Hot Ptah sets a new record. This amazing performance is “St. Louis Blues,” from the Improvising Artists album of the same name. That’s a strong left hand. This is a very interesting blend of tradition and outer space.

Yes, you have identified the song title, album, label and artist.

The Magnificent Goldberg, are you at all surprised by this?

Funnily enough, no

Is this a solo piano album?

MG

Yes. It is one of two solo piano albums by Sun Ra released on the IAI label in the late 1970s.

[The Magnificent Goldberg]

11. Sun Ra makes his third appearance here, and Hot Ptah sets a new record. This amazing performance is “St. Louis Blues,” from the Improvising Artists album of the same name. That’s a strong left hand. This is a very interesting blend of tradition and outer space.

Yes, you have identified the song title, album, label and artist.

The Magnificent Goldberg, are you at all surprised by this?

Funnily enough, no

Is this a solo piano album?

MG

Yes. It is one of two solo piano albums by Sun Ra released on the IAI label in the late 1970s.

Well, I'll see what the reveal has to reveal. Thanks.

MG

[Dan Gould]

Thanks to Bill for inviting me to participate. Some hits, some misses but that's pretty much a given, no?

1. An out-of-control swing band. Not my cuppa, especially that drummer who seems to have wandered in from a different gig.

2. St James Infirmary, and I like this a lot though its not in my bailiwick. I never seem motivated to actually investigate this era but its always nice to hear a track like this in a BFT.

3. Meh. I am reminded why clarinets don't generally appeal.

4. Don't hate me but this was 2:40 too long. I guess that's better than one of those 15 minute free blow-outs that I don't like either.

5. Sounds like a Woody Allen movie song - one that Woody doesn't play on. Another track from an era I don't seek out - Very nice!

6. Finally something recorded post-1950! I've been listening to a bit of Lock lately and I definitely recognize him but not the track.

7. Now this is more my cuppa. Piano-led and soulful but I vote "Not Gene". My first, albeit brief, thought was that the tenor is Mr. T but there was something in the tone that wasn't right. I'm going with Red Holloway, though that's a weak guess.

8. Very nice piano trio ... very much puts me in mind of Cedar Walton. I hope its him and that it's a recording I don't have, so i can go find it.

9. DKDC NEXT.

10. Not working for me ... too frenetic and something is 'off'. Oh hell no, I just hit the trombone solo and I'm channeling John McLaughlin: BYE-BYE!

11. One of those solo piano tracks which, for me, a little goes a long way. Roland Hanna?

12. What the hell was that solo after the workman-like tenor? The track was on life-support at that point and then I had to pull the plug.

13. WSQ? The tune sounds familiar but I can't put my finger on it. Anyway I am just spitballing here.

14. Lovely piano but no guesses.

15. It really doesn't matter the era, clarinets rarely float my boat.

Thanks again, Bill - looking forward to the reveal.

[Hot Ptah]

Thanks to Bill for inviting me to participate. Some hits, some misses but that's pretty much a given, no?

1. An out-of-control swing band. Not my cuppa, especially that drummer who seems to have wandered in from a different gig.

2. St James Infirmary, and I like this a lot though its not in my bailiwick. I never seem motivated to actually investigate this era but its always nice to hear a track like this in a BFT.

3. Meh. I am reminded why clarinets don't generally appeal.

I am not sure what you heard here, Dan. There is no clarinet on this track.

4. Don't hate me but this was 2:40 too long. I guess that's better than one of those 15 minute free blow-outs that I don't like either.

5. Sounds like a Woody Allen movie song - one that Woody doesn't play on. Another track from an era I don't seek out - Very nice!

6. Finally something recorded post-1950! I've been listening to a bit of Lock lately and I definitely recognize him but not the track.

Yes, it is Eddie "Lockjaw" Davis. By the way, Tracks 1 and 4 were recorded post-1950.

7. Now this is more my cuppa. Piano-led and soulful but I vote "Not Gene". My first, albeit brief, thought was that the tenor is Mr. T but there was something in the tone that wasn't right. I'm going with Red Holloway, though that's a weak guess.

The tenor player is not Stanley Turrentine or Red Holloway.

8. Very nice piano trio ... very much puts me in mind of Cedar Walton. I hope its him and that it's a recording I don't have, so i can go find it.

It is not Cedar Walton, who I like a lot too.

9. DKDC NEXT.

What does DKDC mean?

10. Not working for me ... too frenetic and something is 'off'. Oh hell no, I just hit the trombone solo and I'm channeling John McLaughlin: BYE-BYE!

I think that this trombone player would be surprised that he has been compared to John McLaughlin.

11. One of those solo piano tracks which, for me, a little goes a long way. Roland Hanna?

Not Roland Hanna. I think you will be surprised at who this is.

12. What the hell was that solo after the workman-like tenor? The track was on life-support at that point and then I had to pull the plug.

I thought that this was an interesting combination of musicians but no one seems to be getting into this one.

13. WSQ? The tune sounds familiar but I can't put my finger on it. Anyway I am just spitballing here.

No, not WSQ. If anyone guesses this one I will be quite surprised.

14. Lovely piano but no guesses.

I think it is truly lovely.

15. It really doesn't matter the era, clarinets rarely float my boat.

I can accept that. I am different--I could listen to someone blowing on a garden hose and appreciate it if it somehow created good music. The instrument does not matter to me. To each their own.

Thanks again, Bill - looking forward to the reveal.

Thanks for participating!

[Dan Gould]

Different John McLaughlin, Bill. I was referring to the long-time host of a political talk-show that was on PBS and NBC, not sure if it is still on. McLaughlin's sign off was BYE BYE! Dana Carvey spoofed him back in the day:

DKDC was an acronym coined in the early days of the BFTs and stands for Don't Know Don't Care.

[Hot Ptah]

Different John McLaughlin, Bill. I was referring to the long-time host of a political talk-show that was on PBS and NBC, not sure if it is still on. McLaughlin's sign off was BYE BYE! Dana Carvey spoofed him back in the day:

DKDC was an acronym coined in the early days of the BFTs and stands for Don't Know Don't Care.

Oh, I see. That makes more sense.

[Hardbopjazz]

I'm on my third listen and I can't get squat. I like every track. Time for listen number 5. I don't want to read the post yet. I want to get at least one track.

[Hot Ptah]

I'm on my third listen and I can't get squat. I like every track. Time for listen number 5. I don't want to read the post yet. I want to get at least one track.

Now you know how I feel most months, when I cannot identify any artists or tracks. I am glad that you are enjoying the music.

[Spontooneous]

The last part...

10 -- This one drives me crazy because I'm pretty sure I've heard it more than once before. The head has a Mingus feel, and piano solo could almost be Don Pullen. Trombone sounds like George Lewis. On first listen I thought tenor might be Ricky Ford, but on second I'm sure it isn't. I'm gonna be embarrassed when this one is revealed.

11 -- One of those good pan-stylistic piano players, Jaki Byard or maybe Dave Burrell. After an intro that maybe unconsciously quotes the piano solo on James Brown's "Sex Machine," it settles into "St. Louis Blues," and quite a stomping version, with wonderful left hand. Really beautiful in/out playing. An artificial fade at the end – we had applause at the beginning.

12 -- Should I know this tune, maybe Jobim or somebody else from around there? Sounds like a Brecker and a Metheny playing their instruments. OK, but seems a little cold after the last two.

13 -- A sax ensemble (bigger than a quartet?) playing "Airegin." It seems academic. Voicings at 1:56 make me think they might be playing a transcription of a Rahsaan solo. The vamp/improv section after that is pleasant but doesn't accomplish much. By about 4:45, it's all about the arranger. I can do without the additions to the coda, because the original coda of this song is quite strong enough without outside help.

14 -- J.J. Johnson's "Lament." Tasteful, but just a few more upper-register embellishments than I like to hear. Makes me think of Marian McPartland more than anybody else. There, I said it. Now some pianist is gonna want to slap me.

15 -- Piano, violin and clarinet, not one of my favorite ensembles (despite the Bartok-Szigeti-Goodman trio). Beautifully played. The violin work is really stunning. Is this from the same album as 9?

Some ear-opening things here, Bill! Thank you.

[Hot Ptah]

The last part...

10 -- This one drives me crazy because I'm pretty sure I've heard it more than once before. The head has a Mingus feel, and piano solo could almost be Don Pullen. Trombone sounds like George Lewis. On first listen I thought tenor might be Ricky Ford, but on second I'm sure it isn't. I'm gonna be embarrassed when this one is revealed.

It is George Lewis! Not Pullen or Ricky Ford though. You are the second member to comment on the Mingus feel, which I had never thought of before this BFT. The Magnificent Goldberg also commented on the Mingus feel.

11 -- One of those good pan-stylistic piano players, Jaki Byard or maybe Dave Burrell. After an intro that maybe unconsciously quotes the piano solo on James Brown's "Sex Machine," it settles into "St. Louis Blues," and quite a stomping version, with wonderful left hand. Really beautiful in/out playing. An artificial fade at the end – we had applause at the beginning.

Not Byard or Burrell--I had not noticed "Sex Machine" before.

12 -- Should I know this tune, maybe Jobim or somebody else from around there? Sounds like a Brecker and a Metheny playing their instruments. OK, but seems a little cold after the last two.

Not Brecker, but it is Metheny! You are the first to identify him.

13 -- A sax ensemble (bigger than a quartet?) playing "Airegin." It seems academic. Voicings at 1:56 make me think they might be playing a transcription of a Rahsaan solo. The vamp/improv section after that is pleasant but doesn't accomplish much. By about 4:45, it's all about the arranger. I can do without the additions to the coda, because the original coda of this song is quite strong enough without outside help.

Very interesting comments. I had not noticed that about the Rahsaan solo.

14 -- J.J. Johnson's "Lament." Tasteful, but just a few more upper-register embellishments than I like to hear. Makes me think of Marian McPartland more than anybody else. There, I said it. Now some pianist is gonna want to slap me.

Not Marian. Jim R has given us a great explanation of how this song came to be mistitled. It is "Lament".

15 -- Piano, violin and clarinet, not one of my favorite ensembles (despite the Bartok-Szigeti-Goodman trio). Beautifully played. The violin work is really stunning. Is this from the same album as 9?

Oooh, you are too good at this! It IS from the same album as #9. I thought that no one would hear that, and it would be the big surprise in the Reveal.

Some ear-opening things here, Bill! Thank you.

You are welcome! Thanks for taking the time to digest it and make such thoughtful comments.

[NIS]

I finally got to download the BFT yesterday. It took over an hour (rapidshare and my computer apparently don't play well together) but it was worth it. Some really good music here and some really different music as well for me. Only one time through so far but I am not done.

Real quick thoughts; The first three tracks of more traditional (not sure if that is the right word) music really appealed to me. Although with that organ or whatever it was, track 1 may be a more modern group. Obviously track 2 is a great song. I like everything but the string parts. For me they just don't add anything. Track 3 is the most interesting. Really like the piano.

The string trio reminds me of the Masada group, Feldman, Cohen and can't remember the other name (the years aren't being kind to my memory). Whoever it is plays music of great emotion. The string player on the final track plays with some of the same emotion. I really enjoyed both tracks.

I hope to get back to the thread later but I will definately listen to this BFT more and that is more important to me I think. Thanks Bill.

[tkeith]

Got to listen to this one three times, but really, did no better than when I listen once.

Track 1 - Sounds like Sonny Blount to me. In fact, at 1:20, that *has* to be John Gilmore. Not sure what the recording is. Something old and something new. I like it more on the second listen (something that rarely happens with a BFT, but the distraction of music masks the distractions at work these days). Vocalist could be a young Jimmy Rushing, but again, that's not a confident guess.

Track 2 - St. James Infirmary, but by whom? This is a difficult period for me. At times it has an early Ellington feel, but I don't think that's right. The more it continues, the more I'm thinking Ellington, but that would remove the vocal guess as I only know of one instance where they worked together. Bah! I'll just enjoy it and keep my guesses to myself.

Track 3 - No idea

Track 4 - Watusi. Not sure the recording, but it's early Sun Ra. Bitchin’ horn lines!

Track 5 - Nice vibrato on that trumpet. A nice, old-school recording. Not particularly sure who I’m listening to. It’s a big, fat, round trumpet sound. Could be Fatha Hines on piano — very percussive. This will break my heart if this is some retro-style group going way far out of their way to capture that style and sound.

Track 6 - Bitchin', bad-ass tenor. That's gotta be Lockjaw. Ah, yes, there's the triplets. MAN he was bad-ass! And there's Clark Terry. Oh, it's track 2 from this. Not a stretch to say this is a classic album.

Track 7 - That's a very familiar tenor. I want to say Harold Land, but that's against everything my mind is telling me. There'll be a third, nay, a fourth listen on this one. The trumpet is someone I’m less familiar with, but he sounds familiar. Man… I *know* that tenor. I’ll wimp out and say Red Holloway, because after 5 listens, I don’t have him, yet. Gah! The bass is entirely familiar, as well. This is going to piss me off because I *know* I’ll end up having this. GAH!

Track 8 - That's John Hicks. A few seconds confirms that. Sadly, I'm not as familiar with his trio work as I am with his work as a sideman. This flat-out cooks. Much love and I'll have to go buy it on the ID. Sounds a lot like the rhythm section from Journey to the One (Ray Drummond, Idris Muhammad), but something also has me thinking Al Foster or Louis Hayes on drums. Ah... crafty. I had to do some research, but it's from the DIW sampler. By the bass solo, I figured I was wrong about the bassist, and the title confirms that. Great tune, great playing. Should have stuck to my guns on the drummer.

Track 9 - This is interesting as hell, but I have no idea what it is. I find myself wondering if an entire album of this would maintain my interest. Reminds me a lot of the Abdul-Malik stuff.

Track 10 - The horns remind me of the Beaver Harris 360º Experience, but the drums seem too tight to be BH. I’m thinking this is a more modern band than that, perhaps European. It burns, but has a different swing to it than what it reminds me of (if that makes sense). The bass has a sort of thinner quality to it (not the right word, but it’s not a booming Mingus/William Parker sort of bass). Definitely a more modern tenor. Lots of execution, but seems to be more head than heart to my ear. There is a Sam Rivers influence, but I don’t recall him using that affected, strangled altissimo. If it’s him, I think it’s a later recording.

Track 11 - I don’t know who this is, but he’s all over and I like it. It’s not Kenny Barron, but s/he’s similarly versed. This has a little bit of many styles. Whomever it is, s/he can *play*! I’m hearing different tunes, ranging from “Don’t the moon look lonesome, shinin’ through the trees…” to “Ease on down, ease on down the road…” Very interested in this one.

Track 12 - This is a little modern/commercial for my leanings. It’s one of the newer bad-ass players (but not too new), and has that technical accomplishment that players can’t seem to get beyond. I like it, but I’d like it more if it were less perfect (like when Sonny Rollins did this stuff in the ’70s!). In fact, this reminds me a lot of Don’t Ask, but doesn’t have the same soul to my ear. That sounds a lot like Dave Stryker to me on guitar, but seems like a style he doesn’t tend towards. I’d like to take the effects away and see what happens (yes, I’m jaded about guitarists). I want to like this more than I do, and I can’t fully explain why. Oh, wait, yes I can — it’s the friggin’ synth sounds. Sorry, I’m out.

Track 13 - My first impulse was that this was the Microscopic Septet. It has that Kenton-esque straightness to it. I was leaning 29th Street Saxophone Quartet, but seems a little safer than that.

Track 14 - That’s J.J.’s Lament. A beautiful tune that somehow STILL doesn’t get covered enough. This has a beautiful feel to it. The sort of feel Tommy Flanagan got on solo piano. It doesn’t have Tommy’s loping swing, though. Could be someone more along the lines of Roland Hanna. I like this a lot.

Track 15 - I’m not sure what this is, but it instantly reminds me of the soundtrack to The Far Side animated special. It’s not that, but in it, there is a similarly haunting melody like this that has always captured my interest and imagination. There’s some heavy hand in there almost like Mal Waldron, but it’s a little stiffer than Mal. Oh! Tasty! *Loving* the violin! The Clarinet doesn’t really work for me. Seems to be trying too hard. Doesn’t really ruin it (and let’s face it, my bias against the instrument is very well documented), but I’d love it more without it.

GOOD test! Lots of tasty morsels in here! Looking forward to the reveal (and the loss of more accrued revenue as a result!).

[Hot Ptah]

I finally got to download the BFT yesterday. It took over an hour (rapidshare and my computer apparently don't play well together) but it was worth it. Some really good music here and some really different music as well for me. Only one time through so far but I am not done.

Real quick thoughts; The first three tracks of more traditional (not sure if that is the right word) music really appealed to me. Although with that organ or whatever it was, track 1 may be a more modern group. Obviously track 2 is a great song. I like everything but the string parts. For me they just don't add anything. Track 3 is the most interesting. Really like the piano.

#1 is by a more modern group.

#2 has already been identified as Artie Shaw. I have read that the strings were Artie's idea and that he was passionate about including them in his big band.

I really like the piano on #3 too!

The string trio reminds me of the Masada group, Feldman, Cohen and can't remember the other name (the years aren't being kind to my memory). Whoever it is plays music of great emotion. The string player on the final track plays with some of the same emotion. I really enjoyed both tracks.

Both #9 and #15 do feature Mark Feldman on violin, and Greg Cohen is the bassist on #9. #9 is the Masada String Trio--you got it! You are the first to identify them. Now what is the album?

I hope to get back to the thread later but I will definately listen to this BFT more and that is more important to me I think. Thanks Bill.

[Hot Ptah]

Got to listen to this one three times, but really, did no better than when I listen once.

Track 1 - Sounds like Sonny Blount to me. In fact, at 1:20, that *has* to be John Gilmore. Not sure what the recording is. Something old and something new. I like it more on the second listen (something that rarely happens with a BFT, but the distraction of music masks the distractions at work these days). Vocalist could be a young Jimmy Rushing, but again, that's not a confident guess.

It is Sun Ra and John Gilmore, yes.

Track 2 - St. James Infirmary, but by whom? This is a difficult period for me. At times it has an early Ellington feel, but I don't think that's right. The more it continues, the more I'm thinking Ellington, but that would remove the vocal guess as I only know of one instance where they worked together. Bah! I'll just enjoy it and keep my guesses to myself.

Not Ellington, but from his great era.

Track 3 - No idea

Track 4 - Watusi. Not sure the recording, but it's early Sun Ra. Bitchin’ horn lines!

I have it as "Watusa" on my album cover, from Sun Ra's "Nubians of Plutonia" album. Jeffcrom had identified this one.

Track 5 - Nice vibrato on that trumpet. A nice, old-school recording. Not particularly sure who I’m listening to. It’s a big, fat, round trumpet sound. Could be Fatha Hines on piano — very percussive. This will break my heart if this is some retro-style group going way far out of their way to capture that style and sound.

Not Hines, and not a retro group.

Track 6 - Bitchin', bad-ass tenor. That's gotta be Lockjaw. Ah, yes, there's the triplets. MAN he was bad-ass! And there's Clark Terry. Oh, it's track 2 from this. Not a stretch to say this is a classic album.

Yes, that is correct!

Track 7 - That's a very familiar tenor. I want to say Harold Land, but that's against everything my mind is telling me. There'll be a third, nay, a fourth listen on this one. The trumpet is someone I’m less familiar with, but he sounds familiar. Man… I *know* that tenor. I’ll wimp out and say Red Holloway, because after 5 listens, I don’t have him, yet. Gah! The bass is entirely familiar, as well. This is going to piss me off because I *know* I’ll end up having this. GAH!

It's not Red Holloway or Harold Land.

Track 8 - That's John Hicks. A few seconds confirms that. Sadly, I'm not as familiar with his trio work as I am with his work as a sideman. This flat-out cooks. Much love and I'll have to go buy it on the ID. Sounds a lot like the rhythm section from Journey to the One (Ray Drummond, Idris Muhammad), but something also has me thinking Al Foster or Louis Hayes on drums. Ah... crafty. I had to do some research, but it's from the DIW sampler. By the bass solo, I figured I was wrong about the bassist, and the title confirms that. Great tune, great playing. Should have stuck to my guns on the drummer.

I did not know it was on a DIW sampler. I have the "Inc.1" album on CD, and that is what I took it from.

Track 9 - This is interesting as hell, but I have no idea what it is. I find myself wondering if an entire album of this would maintain my interest. Reminds me a lot of the Abdul-Malik stuff.

NIS identified the group, the Masada String Trio. The album has not been identified yet.

Track 10 - The horns remind me of the Beaver Harris 360º Experience, but the drums seem too tight to be BH. I’m thinking this is a more modern band than that, perhaps European. It burns, but has a different swing to it than what it reminds me of (if that makes sense). The bass has a sort of thinner quality to it (not the right word, but it’s not a booming Mingus/William Parker sort of bass). Definitely a more modern tenor. Lots of execution, but seems to be more head than heart to my ear. There is a Sam Rivers influence, but I don’t recall him using that affected, strangled altissimo. If it’s him, I think it’s a later recording.

It is Sam Rivers. Jeffcrom identified this. It is the title cut from Barry Altschul's "You Can't Name Your Own Tune" (dedicated to Anthony Braxton). The lineup is Sam Rivers, George Lewis, Muhal Richard Abrams, Dave Holland, Barry Altschul.

Track 11 - I don’t know who this is, but he’s all over and I like it. It’s not Kenny Barron, but s/he’s similarly versed. This has a little bit of many styles. Whomever it is, s/he can *play*! I’m hearing different tunes, ranging from “Don’t the moon look lonesome, shinin’ through the trees…” to “Ease on down, ease on down the road…” Very interested in this one.

Jeffcrom identified this one too. It's Sun Ra, solo piano, the title cut from his IAI album "St. Louis Blues."

Track 12 - This is a little modern/commercial for my leanings. It’s one of the newer bad-ass players (but not too new), and has that technical accomplishment that players can’t seem to get beyond. I like it, but I’d like it more if it were less perfect (like when Sonny Rollins did this stuff in the ’70s!). In fact, this reminds me a lot of Don’t Ask, but doesn’t have the same soul to my ear. That sounds a lot like Dave Stryker to me on guitar, but seems like a style he doesn’t tend towards. I’d like to take the effects away and see what happens (yes, I’m jaded about guitarists). I want to like this more than I do, and I can’t fully explain why. Oh, wait, yes I can — it’s the friggin’ synth sounds. Sorry, I’m out.

It is not Dave Stryker. Spontooneous identified the guitarist as Pat Metheny. No one has identified the other musicians.

Track 13 - My first impulse was that this was the Microscopic Septet. It has that Kenton-esque straightness to it. I was leaning 29th Street Saxophone Quartet, but seems a little safer than that.

It is not the Microscopic Septet or 29th Street Saxophone Quartet. I will be surprised if anyone gets this one.

Track 14 - That’s J.J.’s Lament. A beautiful tune that somehow STILL doesn’t get covered enough. This has a beautiful feel to it. The sort of feel Tommy Flanagan got on solo piano. It doesn’t have Tommy’s loping swing, though. Could be someone more along the lines of Roland Hanna. I like this a lot.

It is "Lament", and it is Tommy Flanagan playing. Jim R has provided a great explanation of how this came to be titled something else on the CD packaging which I took this from.

Track 15 - I’m not sure what this is, but it instantly reminds me of the soundtrack to The Far Side animated special. It’s not that, but in it, there is a similarly haunting melody like this that has always captured my interest and imagination. There’s some heavy hand in there almost like Mal Waldron, but it’s a little stiffer than Mal. Oh! Tasty! *Loving* the violin! The Clarinet doesn’t really work for me. Seems to be trying too hard. Doesn’t really ruin it (and let’s face it, my bias against the instrument is very well documented), but I’d love it more without it.

NIS has already identified the violinist as Mark Feldman, and Spontooneous has correctly guessed that this is from the same album as #9 (which I had intended to be the shocking surprise of the Reveal). But no one has identified the album yet.

GOOD test! Lots of tasty morsels in here! Looking forward to the reveal (and the loss of more accrued revenue as a result!).

Glad you liked it!

[NIS]

Friedlander is the other Masada member (had a brief moment of lucidity). The only album by them I know is the 50th anniversity one, which I foolishly sold. Bad move on my part.

I listened to the BFT again on my last two morning walks and wanted to mention that track 10 was really tripping my musical trigger. Having now read through the comments, I now see why. What a group.

I have listened to the album "Visions" by Walt Dickerson and Sun Ra alot in the last couple of months. I like Sun Ra's playing on that album more and more each time I hear and was wondering if he ever made any solo piano recordings. Now I know. I will be very interested to hear you thoughts on the album and any other Sun Ra solos for that matter.

[Hot Ptah]

Friedlander is the other Masada member (had a brief moment of lucidity). The only album by them I know is the 50th anniversity one, which I foolishly sold. Bad move on my part.

Yes, Erik Friedlander is the cello player on #9.

I listened to the BFT again on my last two morning walks and wanted to mention that track 10 was really tripping my musical trigger. Having now read through the comments, I now see why. What a group.

Indeed! I bought that album as a LP in the 1970s. The names of the musicians on the album cover sold it to me.

I have listened to the album "Visions" by Walt Dickerson and Sun Ra alot in the last couple of months. I like Sun Ra's playing on that album more and more each time I hear and was wondering if he ever made any solo piano recordings. Now I know. I will be very interested to hear you thoughts on the album and any other Sun Ra solos for that matter.

I like Visions, and the two IAI solo piano albums by Sun Ra, from the late 1970s, "Solo Piano Vol. 1" and "St. Louis Blues."

[Hardbopjazz]

I give in. I am looking at the answers others posted. I can't guess any of these. I listened on the train to work and on the way home couldn't get any.

[JSngry]

Greetings!

Sorry to be so late (again), listening for the first time while typing/reacting but the usual thanks and stipulations firmly in place as ever, let's go to town (and stay for supper!)

TRACK ONE - I believe that's Sun Ra playing a Fletcher Henderson chart form that Hat Hut album. Yeah, that's John Gilmore. Don't know waht to say about that...so much context and subtext and all that stuff...but we'll never hear all that ever again. It's gone, as all things eventually are. Except as recordings, of course. But here it is, science being dropped in that uniquely Ra-ian way. Catch it and you keep it!

TRACK TWO - Artie Shaw w/Lips. Didn't know that right away, actually thought the band sounded like Goodman's on the intro, but then the clarinet & strings gave it away. Some pretty interesting personnel too, session FF as listed here: http://www.mosaicrecords.com/discography.asp?number=244-MD-CD&price=$119.00&copies=7%20CDs I'm guessin g that's Auld on tenor & Jack Jenney on bone. Auls is pretty well known, but Jack Jenney (although...Ray Coniff? Possible?)...famous for "Stardust" (again with Shaw_, but other than that, I don't really know his work, which is an error on my part. Not sure what the chronolgy would be, but around this same time you had Guarniei, Mike Bryan, & Dave Tough playing in Goodman's band, although at the same time, I can't say. But those ware three good guys (and in Tough's case, an outstanding guy) to have in those chairs. And dude, I so much love the blends sax sections were getting in those days. They all had their own sound, but they all blended so beautifully. Brass sections too, but the saxes...even an outfit like Glenn Miller's, one that was basically pop even when it was jazz, lord have mercy, that sax section, I just listen to them and marvel. That's another thing you'll likely never hear again, because the dynamics of playing have changed completely - venues, amplifications, horns, mouthpieces, arranging demands/techniques, everything. But geez, a big band is a thing of joy, except when it's not, but lord, when it is, it IS.

TRACK THREE - Very Ellington-ish in concept, but the drummer is not Sonny Greer, and the piano player is not Duke, although strongly coming from there. Interesting piece, especially the rhythm section, and especially the drummer. And the trumpeter does not call attention to his/her self, which put him/her right there in the Freddie Jenkins/Arthur Whetsol/Shorty Baker (even!) lineage of truly noble Ellington interpretive trumpetes, although this is not Ellington. And even though it's not, it does nothing to cheapen the originator, and just how rare is that, ever?

TRACK FOUR - Ra again? Sounds familiar, but I can't place it exactly. Sounds like a revue number (I would say "floor show", but that has trivializing implications in general conversations), something with at least one dancer being showcased in front of the band. Something "exotic" (another word that has generally trivializing implications), but really part of Ra's (or whoever's) overall quest to create a mythology of self that overrode all the trivial (for real) mythologies that had been foisted on his mind by others. The visual is a powerful tool of conveying information, people hear with their eyes (as they say), and dancers, well hey. Try to not look.

TRACK FIVE - I recognize "Button Up Your Overcoat" and should recognize the trumpeter...a gorgeous Pops-inspired sound...it's a trio, no bass, but do you need one with that piano player? HA! I think not! Wild guess - Ruby Braff & Mel Powell? It just has the vibe of those two. No idea who the drummer would be though (but kudos for doing the right thing all the time, you're exposed as hell in a context like this). Mel Powell, now there's somebody who can slip under the radar if you're not careful, Earl Hines with a less crazy sense of time and with the occasionally arresting harmonic tangent. Braff was around for a long time, and kinda wore out his welcome as far as I'm concerned, just too much of a good thing for too long (my problem, though, not his, not at all), but always good in small (enough) doses. And this is a very nice dose. Nice and tasty.

TRACK SIX - Well hell, that's Jaws. Get the rest of the shit out of the way and let Jaws play. Always. Always. Even with Griff, although then it's not quite such a pressing imperative. Oh, there's Clark Terry...is this from Afro-Jaws? I never really got into that one, although I did rescue a copy of the LP cover from a dumpster in 1979 (true). But, yeah, More Jaws, please, less "other".

TRACK SEVEN - For the piano, the dots themselves are not all that interesting, but the way they're connected sure are. Is that Richard Williams on trumpet? Oliver Nelson on tenor? But not Red garland, right? Ok, I am confused. Maybe they should have left the "Latin trimmings" alone?

TRACK EIGHT - I kept waiting for the point to come when I could say "ok, that's enough of that" and it never came. Whazzup widdat? "Funny" time feel in the bass/drum hookup, it's like the drummer is just a tad behind on his ride cymbal, which ends up with it hitting a pretty hard backbeat, almost like Vernel Fournier did in a toally different way with Ahmad Jamal back in the day. Of course, nobody's "behind" in the sense of not having good time, that's just where this particular pocket is. And once you realize that no, it's not going to lag/scuffle, it's going to groove, then you can smile out loud about all that. I dig that bass palyer too, nice lines, good notes, and in that pocket.

TRACK NINE - I kept waiting for the point to come when I could say "ok, that's enough of that" and it came pretty quickly. The time feels tight, not flowing. Not intense, just tense. Not by incompetence or anything, just how they feel it, and...sorry, I don't. All the gesturing in the world falls flat if the time don't flow. It don't meant a thing, etc.

TRACK TEN - Oh HELL yeah! Barry! And Sam! I was in a group a while back, well, "group", a duo, me and a drummer, and we played this tune. Transcribed rather easily actually, a few odd-metered bars here and there, but a very natural-falling composition, it really is. And that last phrase, it seems to be a lift from the Kent jingle line "smooth taste, fine tobacco, that's what happiness is"...right? This is one of the great sorta-kinda "lost" great jazz records of its time. Hard as hell to not play this, the lead/title cut overnadoverandoverandover, but once you do, it's all just superior. Ask for it by name!

TRACK ELEVEN - whoa...I never even thought about there being a point when I could say "ok, that's enough of that"... no idea who it is, but...that's a helluva lot of information, all of it sound (no pun intended).

TRACK TWELVE - I swear, that tenor player sounds like either Jimmy Heath or Grover Washington, that tone, upper register in particular. The tune itself, I could get tired of it for it's cleverness, except it's so damn clever. Ok, that's Metheney, so this must be that Midem album that's been around on a gazillion different labels, right, with The Heath Brothers & Gary Burton & Brubeck & BB & Chick, right? I always avided it thinking it would just be some silly jamming, but this is actually pretty good. Well, dig - Grover got a part of his sound from Jimmy Heath, that Philly thing. So...information gets conveyed in all kinds of ways. ok? Did the Heath Brothers record this on Columbia? That's such an infectious tune, crossover appeal out the ass, in the best way.

TRACK THIRTEEN - Well, that's a saxophone quartet alright. And that's "Airegin" alright. Some of the voicings are Hemphill-esque, the group intonation and time gets pleasantly quirky at times, very occasionally for all of it, but...none of the playing is really on point. But that sopranoist is finger-wiggling in such a way that suggests some kind of knowing that might be better heard in another context, almost Sam River-ish in a not yet fully/barely formed kind of way...but I dunno, maybe not? The balance between native wit and learned skill is not necessarily indicating itself towards a positive balance. Not necessarily, though. Maybe it's a lot of badass cats operating outside of their comfort zone recording not particualrly well. But the soprano spots...whoever that is, I think they know more than the others. How much that is, hell if I can tell by this one cut. But see the comments for Track Two and see what I mean about sax section sound never gonna be like that again. Those guys never knew that anythng could sound like this, and these guys could only play like that by making a consciously retro-fit of their entire minds and beings, and even then/once that...yeah (or to the point, no). That's just how it is.

TRACK FOURTEEN - "Lament". I never appreciated what a great tune this is until actually playing it semi-regularly (just within the last two years, actually). This pianist is very much staying inside the tune, which is, I think, the best place to be with it. It's not a structure you can really open up/stretch out on with wild abandon. Well, maybe you could, but I don't know how well for how long. It's not that type of thing. It is what is, and is best treated as such, just a beautiful melody with a lot of harmonic movement in the service of that melody, movement that can trick you into thinking you're going to land some place other than you actually do (if you're paying attention, and if you're not, well...UH-oh! )

TRACK FIFTEEN - As with Track Nine & Thirteen, I feel, in different ways, a certain lack of fluidity in the expression. That type of thing is subjective, but no matter how clean music (any music) is on top, there should always be a spot somewhere, even if it's in a place that is beyond hidden, that stanks. Because everybody stanks. Babies stank. Old folks stank, everybody in between stanks, you stank when you're alive and you stank when you're dead. Stank is beyond "funky" or "nasty" or any of that. Stank is uncreatable and stank is irrevocable. So if music ain't got that stank in it somewhere, I get to...wondering. Maybe it's in here and I just don't know where to go to get it. I'm a patient man, but time is tight, as the radio used to tell me.

But apart from that, hey, nice compilation here, plenty of provocative implication in most of the music. Wish I'd had the opening to get to it much sooner than this. My loss.

Thanks, and Happy Thanksgiving!

[JSngry]

5. "You Belong To Me"? That's all I've got.

Well, I should have known better, but I think I've always been confused by the titling of this tune. I believe that the line "you belong to me" occurs about seven times in the lyrics, whereas "button up your overcoat" only occurs twice. Not only that, but "you belong..." occurs at the end of several verses. But I should have remembered that "You Belong To Me" was a well-known doo-wop ballad from the 1950's.

This is a song I remember (more or less) from my early childhood on, first from The Ames Brothers (my dad was a fan) & then later, by the Hi-Lo's (I still am a fan)..

Button up your overcoat

When the wind blows free

Take good care of yourself

You belong to me

Eat an apple every day

Get to bed by three

Take good care of yourself

You belong to me

Be careful crossing streets

Cut out sweets

Stay away from spicy meats

You'll get a pain and ruin your tum-tum

Keep away from bootleg hooch

When you're on a spree

Take good care of yourself

You belong to me

That last verse seems kinda...cheeky, so maybe it's Hi-Lo's only.