BFT 118 reveal

[Spontooneous]

Track 1 -- "400 Years Ago Tomorrow" (Davis), Walter Davis Jr. Trio. Davis, p; Santi Debriano, b; Ralph Peterson, d. From "Scorpio Rising," Steeplechase, June 27, 1989.

I started to make this BFT entirely of piano trios. I gave up the idea, but this arresting track never gave up the opening spot. Some people may know the tune from Woody Shaw's performances of it; I like it this way better. I love the way Ralph Peterson navigates the rhythmic shifts.

Some didn't like that the vamp in 7 wasn't varied more. Doesn't bother me much, but now that you mention it...

Michael Weiss nailed this track right away.

(no cover art available for 2)

Track 2 -- "When You Surrender" (Larry Cummings/Ted Battaglia), Luqman Hamza (as Larry Cummings), from "The Clear Sounds of Kansas City Jazz," various artists, July 1989. Hamza, p, v; Will Matthews, g; Tim Brewer, b; John Cushon, d.

For a while I considered making a BFT entirely of Kansas City-related material. That idea faded away. But since I admire Luqman's artistry so much and very few people have heard this disc, I wanted to spread this track around anyway.

The tune was a minor hit single in 1952, recorded by Luqman (he was Larry Cummings then) for Kansas City's Damon label but picked up for national distribution by Decca. People around Kansas City have been heard to grumble that Luqman's career never took off because of Johnny Mathis. But never mind; he became one of the most respected people in Kansas City music, as a performer and as a mentor to other musicians (including some of the guys on this performance). And past 80 he's still in one piece and sounding great.

This performance is from a various-artists album produced as a fundraiser for the Kansas City Jazz Festival. Unfortunately there's only one Luqman track on the compilation. And the festival went belly-up anyway.

Track 3 -- "Medi II" (Mary Lou Williams), Buddy Tate. Tate, Illinois Jacquet, ts; Roy Eldridge, tp; Williams, p; Steve Jordan, g; Milt Hinton, b; Gus Johnson, d. New York, June 1, 1973. From "Buddy Tate and His Buddies," Chiaroscuro.

This track answers the musical question, what happens if you take a "modern" tune and have some older guys play it? The answer here is that they adapt very well. Mary Lou made it happen. First tenor solo is Illinois, second is Buddy. Just imagine what these players might have sounded like if they'd worked out on material like this for a solid week.

Thom Keith was the first to figure this one out.

It's another vestige of my attempt to make a Kansas City-related BFT.

Track 4 -- "Quietsville" (Mike Wofford). Mike Wofford, from "Synergy" (Heavywood Music). Wofford, p; Rob Thorsen, b; Joe LaBarbera, d. Nov. 18-19, 1997.

Perhaps the least popular track on this BFT? With competition from 5 and 11.

I've become a big fan of Mike Wofford's artistry. Here the attraction is the writing, a piece inspired by the work of Morton Feldman, and the most successful evocation of Feldman's style I've heard in jazz (not that I've heard very many).

Just needed a spot of quietude and weirdness before some of the frenetic activity that follows.

BFT regulars may recall that I used another track from this album on a previous go-round.

Track 5 -- "Stretch" (Wilder), Roger Wilder. Wilder, p; Dave Chael, Matt Otto, ts; Seth Lee, b; Sam Wisman, d. From "Stretch," self-produced. Kansas City, 2011.

Here I am guilty of trying to promote a friend's CD. (I have no financial interest or other involvement.) And it's another vestige of my attempt to make a KC-related BFT.

I love the composition, a distended blues line. I like the solos (Chael first, then Otto as "Warne Gonsalves," as Jim S. put it). I'm sorry this one didn't seem to gain much traction with other listeners.

I like Roger's album, his first, very much – it reflects his whole personality very well. Maybe I should have picked a different track. Anybody willing to give it another chance is encouraged to check the previews on CD Baby. (Try tracks 1 and 7.)

http://www.cdbaby.com/cd/rogerwilder

Track 6 -- "Beat It" (Michael Jackson), Mal Waldron, from "Breaking New Ground," Baybridge. Waldron, p; Reggie Workman, b; Ed Blackwell, d. June 28-29, 1983.

I wonder if this track started out as a goof in the studio. Even if it was, it's a subtle performance that's grown on me over time. And fer cryin' out loud, it's Waldron, Workman and Blackwell. Sangrey nailed it.

Track 7 -- "'Round Midnight," Illinois Jacquet. Jacquet, bassoon; Wynton Kelly, p; Tiny Grimes, g (maybe sitting out this cut); Buster Williams, b; Oliver Jackson, d. New York, Sept. 16, 1969; from "The Blues, That's Me," Prestige.

I was secretly hoping for a "What kind of crazy saxophone is that?" response, but y'all are too smart for that. This one was figured out quickly. Illinois had a lovely, woody bassoon sound, and I like that kind of sound much better than more metallic, saxophone-like sound you often hear on the instrument today. His technique is not to be looked down upon, and the Illinois soul comes through.

It was just a happy accident that Illinois appeared twice on this BFT.

As the bumper on the Johnny Carson show said while the band was playing --

More to come.

Edited February 1, 2014 by Spontooneous

[Spontooneous]

Track 8 -- "Sticky Mack" (Goldings), Larry Goldings Trio, from "Awareness," Warner Bros. Goldings, p; Larry Grenadier, b; Paul Motian, d. Dec. 18/19, 1996.

A leftover from my attempt to make a piano trio BFT. What can I say, except I'm a sucker for Monkish tunes? And I love the chorus of improvised piano counterpoint. And Paul Motian! Paul Motian! (Jeff identified Paul.)

Track 9 -- "Wheel Within a Wheel" (Bobby Watson), Bernie Senensky, from "Wheel Within a Wheel," Timeless. Senensky, p; Bobby Watson, as; Ray Drummond, b; Marvin "Smitty" Smith, d. (Recorded circa 1987; can't find the exact info today because I've misplaced the disc at some point over the last month.)

Another vestige of my Kansas City BFT. A couple of people identified Bobby Watson and the tune. Nobody fully identified this version, from a Canadian pianist's date. Bobby seems in especially loose and voluble form. At the end he gets into his preaching bag a little bit (he's the only one of his siblings who didn't become a Bible preacher, he says). Senensky aids and abets well.

Someone thought the alto was Frank Strozier. I've noticed a similarity to Bobby's playing before. I'll ask him about that sometime.

Track 10 -- "Sweet Dawn" (Coleman), Steve Coleman, from "Rhythm in Mind," BMG-Novus. Coleman, as; Von Freeman, ts; Kenny Wheeler, tp, flh; Kevin Eubanks, g; Tommy Flanagan, p; Dave Holland, b; Ed Blackwell, Marvin "Smitty" Smith, d. April 29, 1991, NYC.

Another example of what happens when you give an older player a chance to do some new tricks. Steve Coleman makes this original into a concerto for Tommy Flanagan. Thom Keith identified Tommy.

Yeah, I could do without the bell tree too.

Track 11 -- "I Don't Care That I Don't Care" (Lurie), Jessica Lurie Ensemble, from "Shop of Wild Dreams." Lurie, v (also as, ts, fl, accordion, ukulele, but I don't hear those things here); Erik Deutsch, keys; Brandon Seabrook, g; Todd Sickafoose, b; Allison Miller, d. Copyright 2008, no other dates given.

Much of the rest of the album is closer to "jazz," with good blowing and writing, but this song stuck in my mind for a long time. Placed on this BFT though I knew some folks wouldn't care for it. I'm in the minority here for liking the lyric, which some didn't like for being nihilistic, but I think there's more to it than that. How 'bout that second-line throwdown from Allison Miller?

Track 12 -- "My Gal Sal," Harlan Leonard and His Rockets. This transfer is from "Harlan Leonard 1940," Classics. Leonard, cl, as, bars; Edward "Peanny" Johnson, William H. Smith, James Ross, tp; Fred Beckett, Richmond Henderson, tb; Darwin Jones, as; Henry Bridges, Jimmy Keith, ts; William Smith, p; Effergee Ware, g; Winston Williams, b; Jesse Price, d. Arrangement by Richard J. Smith. Recorded for Bluebird, Jan. 11, 1940, Chicago.

A little Kansas City from back in the day, as they say. The Tin Pan Alley tune was corny by 1940, but the treatment lacks corn. First tenor solo by Henry Bridges. The highlight for me is the solo by the short-lived Fred Beckett, whose way of making a slide trombone sound un-slide-y was cited as a big influence by J.J. Johnson. James Ross takes the trumpet solo; last tenor break is said to be Jimmy Keith.

Track 13 -- "Howdy Doody" (Braam), Bik Bent Braam, from "Howdy," Timeless. Michiel Braam, p, ldr; Eric Boeren, Jarmo Hoogendijk, tp; Wolter Wierbos, Joost Buis, tb; Frank Nielander, ss, as; Bart Van Der Putten, as; Frans Vermeerssen, ts; Rutger Van Otterloo, bars; Peter Haex, tenor tuba, tb; Patrick Votrian, bass tuba; Wilbert De Joode, b; Joop Van Erven, d. Jan. or Feb. 1992.

Yes, it's silly, and dead serious. I confess this music is new to me and I don't know much about it. Apparently named after the cowboy puppet who was wildly popular in the early days of American television; the CD also has a tune called "Clarabell," another character on the Howdy Doody show. One abrupt but clean tempo change makes me think this is spliced together from two performances.

Track 14 -- "Springtime for Hitler" (Mel Brooks), Toshiko Akiyoshi Trio, from "Four Seasons," Crown (Japan). Akiyoshi, p; George Mraz, b; Lewis Nash, d. June 1990.

First of all, anyone who wonders whether they ought to be offended by the Hitler reference here is asked to please read the Wikipedia synopsis of the film and the musical show that feature this tune:

http://en.wikipedia.org/wiki/The_Producers_%281968_film%29

And check out the movie or the musical. You'll like 'em.

This track is the last vestige of my never-made piano trio BFT.

Somebody had the weak idea of having Toshiko make an album of songs with seasons in the titles. So the disc has "Spring Is Here," "Winter Wonderland," "Summertime" and "Autumn Leaves." Then, at the end, the idea is neatly subverted by the inclusion of this song, which I've never heard in a jazz treatment before.

The tune doesn't make a half-bad bebop vehicle, and who better to bop it than a leading Bud Powell disciple? After all these years, I still love percussive bebop piano at nearly out-of-control tempos.

I'd like to dedicate this track to the current government of the state where I live.

Much gratitude to all who participated in this BFT. I'm thrilled that some people cared to listen through more than once. And happy to perhaps recruit some fans for Luqman.

Edited February 1, 2014 by Spontooneous

[felser]

Fascinating. I love Mary Lou Williams, and that makes perfect sense since she was so able to bridge musical generations (and also explains what that cut would be my favorite). Bernie Senensky indeed. If the disc were less expensive, I'd go buy it right now. I second the recommendation for "The Producers", a brilliant movie.

[Hardbopjazz]

I have number 7. I didn't even recognize this.

[page]

Not perhaps but definite recruit for Luqman! You are really modest to think people would only listen once to your line up, you should give yourself more credit! I really enjoyed your BFT and you know all that beautiful music I didn't know about and will have to explore more, makes me feel humble but grateful too. It is so great that between all the terrible things that happen in the world that there are people who still are able to create such beautfiul things like this music and we can all hold on to that.
Thank you, Spontooneous!
Kind regards, page

Edited February 1, 2014 by page

[NIS]

"Springtime for Hitler", that is too good. : 0 )

I am really sorry that I didn't get back to the discussion (time goes by too fast) but I did listen to the BFT quite a bit. Some really good piano. Mike Wofford and Walter Davis are now on my find out more about these guys list.

So here is how old I am. When I was a young one, the guy across the street had a little television shop in his front room. My dad took me over to check it out and the first TV show I ever saw was Howdy Doody in all it's black and white glory. I am surprised I can still pull that out of my poor age addled memory. I have had Braam's "Howdy" on my list but I now see that Jazz Loft no longer has it. Where did you get that one?

If I haven't said it, that very much for the great listen.

[tkeith]

Track 14! Classic! Awesome! Just showed this to film class because a few students had never seen it. Mouths were agape. We also watched the interview with Mel where he talked about the outrage from Jewish groups when the movie came out. "They didn't get the joke." Wow. What a great pick!

[page]

Track 13 -- "Howdy Doody" (Braam), Bik Bent Braam, from "Howdy," Timeless. Michiel Braam, p, ldr; Eric Boeren, Jarmo Hoogendijk, tp; Wolter Wierbos, Joost Buis, tb; Frank Nielander, ss, as; Bart Van Der Putten, as; Frans Vermeerssen, ts; Rutger Van Otterloo, bars; Peter Haex, tenor tuba, tb; Patrick Votrian, bass tuba; Wilbert De Joode, b; Joop Van Erven, d. Jan. or Feb. 1992.

Yes, it's silly, and dead serious. I confess this music is new to me and I don't know much about it. Apparently named after the cowboy puppet who was wildly popular in the early days of American television; the CD also has a tune called "Clarabell," another character on the Howdy Doody show. One abrupt but clean tempo change makes me think this is spliced together from two performances.

I saw Eric Boeren perform quite a few times, but not with this band. His bands all are different. I have played with one of his drummers, a young talented guy. Eric has an eye for talent as well. I never expected him to end up in a BFT though, so I didn't even think of him but it seems he's making a name for himself abroad. That's good.

[Spontooneous]

I'm fascinated that even people who have seen "The Producers" many times didn't pick up on "Springtime for Hitler." I guess we're all guilty of putting certain tunes in the "jazz" category and not thinking that some other tunes may enter the category too. I know I am.

[Cyril]

Track 13 -- "Howdy Doody" (Braam), Bik Bent Braam, from "Howdy," Timeless. Michiel Braam, p, ldr; Eric Boeren, Jarmo Hoogendijk, tp; Wolter Wierbos, Joost Buis, tb; Frank Nielander, ss, as; Bart Van Der Putten, as; Frans Vermeerssen, ts; Rutger Van Otterloo, bars; Peter Haex, tenor tuba, tb; Patrick Votrian, bass tuba; Wilbert De Joode, b; Joop Van Erven, d. Jan. or Feb. 1992.

Yes, it's silly, and dead serious. I confess this music is new to me and I don't know much about it. Apparently named after the cowboy puppet who was wildly popular in the early days of American television; the CD also has a tune called "Clarabell," another character on the Howdy Doody show. One abrupt but clean tempo change makes me think this is spliced together from two performances.

I saw Eric Boeren perform quite a few times, but not with this band. His bands all are different. I have played with one of his drummers, a young talented guy. (...)

Is it allowed to ask the name of this Dutch drummer? I'm always curious to know....

[Hot Ptah]

Also in the category of "how can this be?"--I attended a live concert last summer by the musicians on Track #5, and could not recognize the musicians when I heard them on this BFT.

Edited February 4, 2014 by Hot Ptah

[jeffcrom]

Interesting stuff. Track 10 sounded familiar to me because I have that excellent album. That's my least favorite track, obviously.