BFT122

[The Magnificent Goldberg]

The links have gone out, so here's the discussion thread.

MG

[tkeith]

Whoo-hooo! First! Big whoop! I think I may have ID'd one player!

Listening at work, next to a construction zone as the steamroller attempts to vibrate my building off the foundation. Egad.

Track 1 - Blue Man Group meets Sun Ra meets Frank Zappa. I’m in. Not sure what else to say.

Track 2 - I could stand a lot more music like this. It’s got that quiet storm feel, but it’s also maintaining a creative level of musicality. Not sure who the vocalist is, but I like the deep, contralto quality of her voice.

Track 3 - This is a cool feel. There’s some Mulligan influence in the bari, but I’m thinking it’s someone more like Serge Chaloff or perhaps even a multi-instrumentalist like Jimmy Giuffre. Reminds me a lot of the Charade soundtrack, so I’m in.

Track 4 - A bit smooth for my taste. Sounds a bit like a neutered David Sanborn (or, later DS, which is about the same). Not feeling this one.

Track 5 - Had no clue early, but it’s obviously Afro Blue. The two guys I know who did that voice+flute thing this well would be Yusef and Shihab. I don’t believe it’s either.

Track 6 - I like the basic feel of this, but I’m not sure how well it would hold up over time. In general, I tend to like that repetitive, trancy sort of thing. Groovy.

Track 7 - A little, good ol’-fashioned, straight-ahead Jazz. I’ll make the embarrassing guess of Sweets on trumpet. No new ground broken, but pleasant to listen to (maybe a bit too much so in the latter half of the 6th minute).

Track 8 - Any of this Tito-esque influenced Latin music is a win for me. No idea who it is, but give me more of it. Ah! Especially in Spanish! I’d LOVE to work with a band playing this music… sadly, I live in the whitest state in the nation.

Track 9 - Predates my ability to identify. Sounds like Gee Baby, Ain’t I Good To You, to me. Okay… got the song, anyway.

Track 10 - I like this, but the saxophonist seems to have that over-affectedness of the modern player in his attack. Like he’s going for that Marsh effect, but doesn’t have Warne’s story behind it.

Track 11 - In from the get go. Plenty of story behind this. Pretty sure this lurks within my collection, but not instantly certain what it is. Hints of Frank Wright in that tone. A little Joe McPhee in there, too. He doesn’t have that A-list technique, but sure as hell means it.

Track 12 - This sounds very much like Misty to me, but I can’t make any guesses as to what it’s called here and/or who might be playing it. Something reminds me of the muzak my grandmother used to have going on the radio at her house when I would visit her. I can’t say it wins me over. Wait a second, now. That tenor certainly sounds like Ike Quebec enough to get me to rethink my opinion.

Track 13 - This is bitchin’. Head sounds very familiar. Beastly tenor! Not someone I’m overly familiar with, but a BIG sound and aggressive approach. The ideas strike me as early Harold Land, but this is more of a brute than that. Liking this a LOT!

Track 14 - This one has the same quality I described on track 12, minus the bitchin’ tenor (which I still think was Ike Quebec).

Track 15 - Right of the bat it sounds like The Thrill Is Gone. Another brute. I could stand a lot of this. Guitar does nothing for me, but the rest of it is spot on.

Track 16 - No idea. Does not seem to be a heavy-weight player. Intonation issues abound and the ideas are generally not very interesting.

Track 17 - I believe that’s Serenade to a Soul Sister. If it’s not Rahsaan, it’s someone who desperately wants to be. Ah… it’s not him, but again, desperately wishes to be.

Thanks for the listenables. Some stuff in here I want to add to the collection for sure.

[The Magnificent Goldberg]

Whoo-hooo! First! Big whoop! I think I may have ID'd one player!

Sorry, you didn't

Listening at work, next to a construction zone as the steamroller attempts to vibrate my building off the foundation. Egad.

Track 1 - Blue Man Group meets Sun Ra meets Frank Zappa. I’m in. Not sure what else to say.

Nope

Track 2 - I could stand a lot more music like this. It’s got that quiet storm feel, but it’s also maintaining a creative level of musicality. Not sure who the vocalist is, but I like the deep, contralto quality of her voice.

One of my favourite singists, this lady.

Track 3 - This is a cool feel. There’s some Mulligan influence in the bari, but I’m thinking it’s someone more like Serge Chaloff or perhaps even a multi-instrumentalist like Jimmy Giuffre. Reminds me a lot of the Charade soundtrack, so I’m in.

You're probably right about the Mulligan influence, but this guy is a lot less well known than the people you've mentioned.

Track 4 - A bit smooth for my taste. Sounds a bit like a neutered David Sanborn (or, later DS, which is about the same). Not feeling this one.

A definite Sanborn influence, but somewhat more of the guy Sanborn copies, in my view.

Track 5 - Had no clue early, but it’s obviously Afro Blue. The two guys I know who did that voice+flute thing this well would be Yusef and Shihab. I don’t believe it’s either.

You're right, it's neither.

Track 6 - I like the basic feel of this, but I’m not sure how well it would hold up over time. In general, I tend to like that repetitive, trancy sort of thing. Groovy.

I find a lot of this guy's stuff lasts well. But I haven't had this one long...

Track 7 - A little, good ol’-fashioned, straight-ahead Jazz. I’ll make the embarrassing guess of Sweets on trumpet. No new ground broken, but pleasant to listen to (maybe a bit too much so in the latter half of the 6th minute).

Not Sweets.

Track 8 - Any of this Tito-esque influenced Latin music is a win for me. No idea who it is, but give me more of it. Ah! Especially in Spanish! I’d LOVE to work with a band playing this music… sadly, I live in the whitest state in the nation.

'Tis a great pity that this is from the only album this band made.

Track 9 - Predates my ability to identify. Sounds like Gee Baby, Ain’t I Good To You, to me. Okay… got the song, anyway.

Song's right. Yes, it's early.

Track 10 - I like this, but the saxophonist seems to have that over-affectedness of the modern player in his attack. Like he’s going for that Marsh effect, but doesn’t have Warne’s story behind it.

You're getting the story right, there, Thom. I never thought of Warne Marsh in this connection, as I've heard very little of his music. It's from a MOST unsatisfactory album, but this track is a likeable one, without being really satisfactory.

Track 11 - In from the get go. Plenty of story behind this. Pretty sure this lurks within my collection, but not instantly certain what it is. Hints of Frank Wright in that tone. A little Joe McPhee in there, too. He doesn’t have that A-list technique, but sure as hell means it.

I hope this IS in your collection. But I think you'll say that he really is an A-list player when the end of the month comes.

Track 12 - This sounds very much like Misty to me, but I can’t make any guesses as to what it’s called here and/or who might be playing it. Something reminds me of the muzak my grandmother used to have going on the radio at her house when I would visit her. I can’t say it wins me over. Wait a second, now. That tenor certainly sounds like Ike Quebec enough to get me to rethink my opinion.

It's not Ike, but a contemporary.

Track 13 - This is bitchin’. Head sounds very familiar. Beastly tenor! Not someone I’m overly familiar with, but a BIG sound and aggressive approach. The ideas strike me as early Harold Land, but this is more of a brute than that. Liking this a LOT!

One of the greatest of the well known but hideously underrated tenor players the world has ever known. Hope you become a fan.

Track 14 - This one has the same quality I described on track 12, minus the bitchin’ tenor (which I still think was Ike Quebec).

This is more a guess the arranger job.

Track 15 - Right of the bat it sounds like The Thrill Is Gone. Another brute. I could stand a lot of this. Guitar does nothing for me, but the rest of it is spot on.

I agree about the guitarist. The tenor player is the man. I know who it is but nothing much about him. Maybe someone else does.

Track 16 - No idea. Does not seem to be a heavy-weight player. Intonation issues abound and the ideas are generally not very interesting.

Heavyweight in a different ring.

Track 17 - I believe that’s Serenade to a Soul Sister. If it’s not Rahsaan, it’s someone who desperately wants to be. Ah… it’s not him, but again, desperately wishes to be.

Not 'Serenade to a soul sister' but another tune first recorded on Blue Note (but retitled for this recording). I don't THINK anyone in this band had aspirations towards being like Kirk, but I could be wrong.

Thanks for the listenables. Some stuff in here I want to add to the collection for sure.

Thanks for those comments, Thom. Glad you liked some. More discussion of #10 might be productive after the reveal (or if someone gets it earlier).

MG

[Spontooneous]

Well, here's about half of it...

1 – Studio psychedelia. An Emil Richards thing? Love the gongs.

2 – The James Taylor song responds well to this treatment. Wonder if the instrumentalists could make more of it, but what's here is good, and maybe that's enough.

3 – Sweet bossa, with not a note too many. I guess the vibist is the leader?

4 – A Brasiolofunkified "You'd Be So Nice to Come Home To," with a happy sax and a synth I don't respond well to. The guitarist almost makes something of it, but falls back into licks. It's too studio-manufactured for me. I like the groove, but I wish something else were happening on top of it.

5 – I like the mysterious, muted intro so much that I'm almost disappointed when "Afro Blue" comes in. Flute solo is pretty wonderful, though, and the alto is nice. And I wonder what happens after the fade.

6 – Tjader, I guess? Works up a pretty good lather, and has a lot of dynamics, in a fairly small dynamic range.

7 – An almost Sun Ra-sounding ensemble, with snaky, bluesy guitar. The bridge sounds like something Mingus would have written. And is that a bassoon along the bottom? Then the trumpet sounds like Charlie Shavers or somebody of that era, and the alto maybe Willie Smith. I'm confused, and I love it!

8 – Wonderful groove of its time and place, and superb horn solos.

9 – That's the original. Best studio band ever assembled, masquerading as McKinney's.

[The Magnificent Goldberg]

Well, here's about half of it...

1 – Studio psychedelia. An Emil Richards thing? Love the gongs.

Not Emil Richards.

2 – The James Taylor song responds well to this treatment. Wonder if the instrumentalists could make more of it, but what's here is good, and maybe that's enough.

Do you mean the James Taylor who wrote 'You've got a friend'? The composer credits say 'J V Taylor' - is that the same man?

3 – Sweet bossa, with not a note too many. I guess the vibist is the leader?

Vibes? Thought it was a marimba. Oh well, I initially thought the guitar was a tres Yes.

4 – A Brasiolofunkified "You'd Be So Nice to Come Home To," with a happy sax and a synth I don't respond well to. The guitarist almost makes something of it, but falls back into licks. It's too studio-manufactured for me. I like the groove, but I wish something else were happening on top of it.

What's 'Brasiolofunkified'? Well, I get the last half of the word.

5 – I like the mysterious, muted intro so much that I'm almost disappointed when "Afro Blue" comes in. Flute solo is pretty wonderful, though, and the alto is nice. And I wonder what happens after the fade.

They play another tune

6 – Tjader, I guess? Works up a pretty good lather, and has a lot of dynamics, in a fairly small dynamic range.

Not Cal Tjader.

7 – An almost Sun Ra-sounding ensemble, with snaky, bluesy guitar. The bridge sounds like something Mingus would have written. And is that a bassoon along the bottom? Then the trumpet sounds like Charlie Shavers or somebody of that era, and the alto maybe Willie Smith. I'm confused, and I love it!

Yes - first time I heard this, the Sun Ra resemblance (fortuitous I'm sure) struck me heavily. Yes, there's a bassoon in there. These are, as you thought, earlier musicians than might be suspected.

8 – Wonderful groove of its time and place, and superb horn solos.

9 – That's the original. Best studio band ever assembled, masquerading as McKinney's.

Yes, BOINGGGG!!! BOINGGGG!!! BOINGGGG!!! I was wondering if anyone would know this. I love the band and this cut is just a dream!

Looking forward to your thoughts on the rest.

MG

[Hot Ptah]

This is a very intriguing Blindfold Test, and also very enjoyable to listen to.

1. This is so mysterious to me. It sounds like it could be the introductory first track of a prog rock album, or a CTI track from the 1970s, or some other fusion group. I don't know what it is. I like it and can't wait to find out.

2. This song, "Secret of Life", was originally released on James Taylor's 1977 album JT. I note that the sidemen on this album included Red Callender and David Sanborn.

I really like the vocalist on Track 2 here. She has a soulful voice. I do not know who it is, but want to know!

3. This is an appealing track, with a rhythmic feel that I really like. That seems to be a characteristic of this Blindfold Test, that several tracks have extra percussionists who create very infectious, appealing grooves. I have no idea who is playing the vibes, baritone sax or guitar, but I like all of them.

4. This sounds a little bit too smooth jazz for me, but may predate the smooth jazz era. The saxophone player sounds like someone who can play more, but is fitting in to the format. It reminds me of what someone like Hank Crawford would play if he was told, "do this."

5. This is a very appealing "Afro Blue". I like the version on Cal Tjader's "Soul Sauce" a lot, but in its own way, this version is just as good. Who is playing that breathy flute and singing along? It does not sound like Roland Kirk. The saxophone player is excellent. I want to get this.

6. Vibes over a funky beat with lots of Latin percussion. Cal Tjader would be an obvious guess, but it does not sound like Tjader to me. It almost sounds like the early 1950s Tito Puente recordings with vibes. Who is that organist? The organist plays a characteristic sound that was used on Miles Davis' "In a Silent Way" album by the organist there, but that would mean it is Josef Zawinul, and I never heard Zawinul play the robust funk organ stuff at the beginning of this track.

So you have really baffled me, in a good way. I really want to get this one.

7. This sounds like an exotica recording from the late 1950s or early 1960s. There is a great radio program on Kansas Public Radio, "The Retro Cocktail Hour", by Darrell Brogdon, which plays the best of that stuff every week. www.retrococktail.org/listen.html I bet that Darrell Brogdon would identify this song in two seconds. There is a slight early Sun Ra twinge at one point, but this is not Sun Ra. It reflects how Sun Ra enjoyed some of the exotica music and incorporated it into his sound palette in his early years (as described in John Szwed's biography of Sun Ra, Space is the Place). But then this track gets really interesting. Who are those jazz soloists? The muted trumpet soloist is excellent. That is either Johnny Hodges or someone trying to play like him. I can't identify the clarinet player at all. I am not aware of jazz soloists of this caliber playing so well on an exotica track. Extremely interesting!

8. I love this Latin recording, the vocal, the song itself, the performance. Who is this? I want it!

9. "Gee Baby, Ain't I Good To You". I should know who the clarinet player and vocalist are. I don't know. A fine recording.

10. I love that big sound, breathy tone tenor sax player. The guitarist plays cleanly, but not with great ideas, in my opinion.

11. This could only have been recorded by musicians who really know their "Crescent"/"A Love Supreme" era Coltrane. The drums sound like Ed Blackwell at times.

12. Making Whoopee. The guitarist has that characteristic distorted sound that guitarists playing in a more bloodless style use sometimes, the ECM type guys. The organist and tenor sax player are really good. This one has me stumped. It is a mix of elements that don't often get used together, in my experience, but it works.

13. A bop tune. I love the tenor saxophonist. I love his big, rough tone and the depth of his ideas. I could listen to him all day.

14. The vocal with the "ooo ooo" chorus at the beginning, and easy listening type ensemble singing at the end, really has me stumped. Who would put all of these ingredients together?

15. The tenor sax player has a gritty sound, and uses the popping sound that George Adams and Roland Kirk used, but it is not them. It sounds like a blues guitar player who I can't place.

16. Oh, I bet I have this and have enjoyed listening to it, but I just can't name it! I love this kind of 1940s/early 1950s rhythm and blues. At one point they play the head of "Night Train." The sax player, blues pianist and r&b guitarist are all fine.

17, This is such a mystery to me. It sounds like McCoy Tyner playing the intro to "My Favorite Things", but it is not him. It sounds like someone trying to sound like Roland Kirk, but it is not him. I have heard this composition, it is familiar, but I can't name it. It has a recorded sound quality not like the Blue Notes or Impulses of the time period that I think this comes from, the 1968-74 period. I am really stumped, but I find this to be immensely appealing.

TMG, you have presented quite a treat. I love most of it, like the rest, and have no clue on any of it. Much of it sounds tantalizing just out of my mental reach to identify it--so close....but yet so far. It will be quite an enjoyable experience to read the rest of the comments, and the Reveal!

Edited May 14, 2014 by Hot Ptah

[The Magnificent Goldberg]

Glad you liked so much of this. Here are answers - not THE answers but AN answers

This is a very intriguing Blindfold Test, and also very enjoyable to listen to.

1. This is so mysterious to me. It sounds like it could be the introductory first track of a prog rock album, or a CTI track from the 1970s, or some other fusion group. I don't know what it is. I like it and can't wait to find out.

All your guesses are wrong, I'm afraid. Sorry, you'll have to wait.

2. This song, "Secret of Life", was originally released on James Taylor's 1977 album JT. I note that the sidemen on this album included Red Callender and David Sanborn.

I really like the vocalist on Track 2 here. She has a soulful voice. I do not know who it is, but want to know!

I never heard this song until I got the album, several years ago, and it immediately struck me as one of those completely real songs. So it's a great surprise to me that it was written by a young man.

3. This is an appealing track, with a rhythmic feel that I really like. That seems to be a characteristic of this Blindfold Test, that several tracks have extra percussionists who create very infectious, appealing grooves. I have no idea who is playing the vibes, baritone sax or guitar, but I like all of them.

Yes, it's not exactly a 'theme' but there is quite a bit of stuff like that. Something to do with my mood a few months ago, when I picked 'em.

4. This sounds a little bit too smooth jazz for me, but may predate the smooth jazz era. The saxophone player sounds like someone who can play more, but is fitting in to the format. It reminds me of what someone like Hank Crawford would play if he was told, "do this."

I reckon this guy has been influenced by Hank Crawford rather more than by David Sanborn. It IS smooth, I'll agree, and the smooth jazz movement goes back to Wes Montgomery's and Stan Getz' Verve recordings, if not to Glenn Miller

5. This is a very appealing "Afro Blue". I like the version on Cal Tjader's "Soul Sauce" a lot, but in its own way, this version is just as good. Who is playing that breathy flute and singing along? It does not sound like Roland Kirk. The saxophone player is excellent. I want to get this.

Well, you can, because it's still available. Oh, and it's not Mrs Kirk's little boy.

6. Vibes over a funky beat with lots of Latin percussion. Cal Tjader would be an obvious guess, but it does not sound like Tjader to me. It almost sounds like the early 1950s Tito Puente recordings with vibes. Who is that organist? The organist plays a characteristic sound that was used on Miles Davis' "In a Silent Way" album by the organist there, but that would mean it is Josef Zawinul, and I never heard Zawinul play the robust funk organ stuff at the beginning of this track.

So you have really baffled me, in a good way. I really want to get this one.

It's not Zawinul. The organist is, according to the discography, playing an electric piano. Oh well, I thought it was an organ, too

7. This sounds like an exotica recording from the late 1950s or early 1960s. There is a great radio program on Kansas Public Radio, "The Retro Cocktail Hour", by Darrell Brogdon, which plays the best of that stuff every week. www.retrococktail.org/listen.html I bet that Darrell Brogdon would identify this song in two seconds. There is a slight early Sun Ra twinge at one point, but this is not Sun Ra. It reflects how Sun Ra enjoyed some of the exotica music and incorporated it into his sound palette in his early years (as described in John Szwed's biography of Sun Ra, Space is the Place). But then this track gets really interesting. Who are those jazz soloists? The muted trumpet soloist is excellent. That is either Johnny Hodges or someone trying to play like him. I can't identify the clarinet player at all. I am not aware of jazz soloists of this caliber playing so well on an exotica track. Extremely interesting!

The Sun Ra sound bashed me right in the face, when I git this album, it was so unexpected from these musicians

8. I love this Latin recording, the vocal, the song itself, the performance. Who is this? I want it!

Sorry, this has never, as far as I know, been issued on CD. I don't think the LP sold much, either. Just at the precisely wrong time, I guess.

9. "Gee Baby, Ain't I Good To You". I should know who the clarinet player and vocalist are. I don't know. A fine recording.

Yes, EVERYBODY should know who these people are!!! Well, I suppose they really do

10. I love that big sound, breathy tone tenor sax player. The guitarist plays cleanly, but not with great ideas, in my opinion.

To me, the guitarist is much more satisfactory than the tenor player - but then, I've read the sleeve notes

11. This could only have been recorded by musicians who really know their "Crescent"/"A Love Supreme" era Coltrane. The drums sound like Ed Blackwell at times.

Well, maybe. Oh well, sure, but one at least of these players predates Trane by a good many years. Which DOESN'T mean he didn't listen. But doesn't mean that he was greatly influenced, either.

12. Making Whoopee. The guitarist has that characteristic distorted sound that guitarists playing in a more bloodless style use sometimes, the ECM type guys. The organist and tenor sax player are really good. This one has me stumped. It is a mix of elements that don't often get used together, in my experience, but it works.

Not 'Making Whoopie'. If JimR were in this, he'd get the guitarist like a shot.

13. A bop tune. I love the tenor saxophonist. I love his big, rough tone and the depth of his ideas. I could listen to him all day.

Yes, a bop tune, but only recorded this once and quite a while after the end of the bebop era.

14. The vocal with the "ooo ooo" chorus at the beginning, and easy listening type ensemble singing at the end, really has me stumped. Who would put all of these ingredients together?

A very good question - who would indeed? A very famous musician

15. The tenor sax player has a gritty sound, and uses the popping sound that George Adams and Roland Kirk used, but it is not them. It sounds like a blues guitar player who I can't place.

Well, I can't deny Adams and Kirk used that sound, but it goes way back. The most immediate earlier master of it (relative to this recording) was Fred Jackson, "the greatest jazz musician of all time" as used to be written on the walls of some of the listening booths at Dobells.

16. Oh, I bet I have this and have enjoyed listening to it, but I just can't name it! I love this kind of 1940s/early 1950s rhythm and blues. At one point they play the head of "Night Train." The sax player, blues pianist and r&b guitarist are all fine.

Yes, I feel sure you do have a copy of this knocking around amidst the multifarious compilations you have.

17, This is such a mystery to me. It sounds like McCoy Tyner playing the intro to "My Favorite Things", but it is not him. It sounds like someone trying to sound like Roland Kirk, but it is not him. I have heard this composition, it is familiar, but I can't name it. It has a recorded sound quality not like the Blue Notes or Impulses of the time period that I think this comes from, the 1968-74 period. I am really stumped, but I find this to be immensely appealing.

The tune was, in fact, composed for a Blue Note session a little earlier than your time frame, one that is very well thought of around these parts, but identifying it won't help, as the producer of this album retitled it and snaffled the composer and publisher royalties.

TMG, you have presented quite a treat. I love most of it, like the rest, and have no clue on any of it. Much of it sounds tantalizing just out of my mental reach to identify it--so close....but yet so far. It will be quite an enjoyable experience to read the rest of the comments, and the Reveal!

Well, the big clue is that I'm not quite a jazz fan

MG

[Spontooneous]

Past time to fill in the rest...

10 – "Moonglow." Thought this might be on the Zoot Sims-Bucky Pizzarelli duo album, but it isn't there. Beautiful, especially the tone of the tenor's high notes.

11 – Well, that's different. The tenor borrows some of Booker Ervin's wail. I'd like it better if the drummer didn't do so much pseudo-military stuff on the snare. But I like it anyway. Propers to the bass player, who always seems to be doing what's right.

12 – E-bow and "Please Send Me Someone to Love." It's not Frisell, is it? I appreciate the organist's enthusiasm. I'd like to hang out at the bar where this band plays.

13 – The tenor-guitar unison isn't as together as it could be, but then again, that's not the point. Love the tenor's dark, acidic sound. Do I sense Pat Martino? And an electric piano along with the organ? This is fun.

14 -- Didn't care for the vocal arrangement at first, but warmed to it after the words kicked in. The organist plays off of the arrangement beautifully.

15 – Some really beautiful blues from the tenor player. I mean really beautiful. I mean makes-my-day beautiful. Is that somebody like Grover Washington? The guitar player tries, but the tenor is the star.

16 – Sweet, but doesn't tell me as much as 15 did. Earl Bostic? I confess, I'm burned out on Fats Domino-style triplets right now.

17 – Recorded on the cheap and the piano is skeevy, but these players mean every note. Nice.

Thank you, MG! These will be staying on the MP3 player for quite a while after this month.

[The Magnificent Goldberg]

Past time to fill in the rest...

10 – "Moonglow." Thought this might be on the Zoot Sims-Bucky Pizzarelli duo album, but it isn't there. Beautiful, especially the tone of the tenor's high notes.

11 – Well, that's different. The tenor borrows some of Booker Ervin's wail. I'd like it better if the drummer didn't do so much pseudo-military stuff on the snare. But I like it anyway. Propers to the bass player, who always seems to be doing what's right.

The tenor player did work with Ervin at one time.

12 – E-bow and "Please Send Me Someone to Love." It's not Frisell, is it? I appreciate the organist's enthusiasm. I'd like to hang out at the bar where this band plays.

I don't know what E-bow is. It's not the Percy Mayfield song. Nor Frisell.

13 – The tenor-guitar unison isn't as together as it could be, but then again, that's not the point. Love the tenor's dark, acidic sound. Do I sense Pat Martino? And an electric piano along with the organ? This is fun.

I don't THINK the piano's electric. I know the guitarist isn't Pat Martino. I'm pretty sure Martino hadn't made any records when this was done.

14 -- Didn't care for the vocal arrangement at first, but warmed to it after the words kicked in. The organist plays off of the arrangement beautifully.

15 – Some really beautiful blues from the tenor player. I mean really beautiful. I mean makes-my-day beautiful. Is that somebody like Grover Washington? The guitar player tries, but the tenor is the star.

Not someone like Grover Washington. But he is the star of this.

16 – Sweet, but doesn't tell me as much as 15 did. Earl Bostic? I confess, I'm burned out on Fats Domino-style triplets right now.

Oh well, sorry you're burned out on Fats type triplets. It's not Earl Bostic.

17 – Recorded on the cheap and the piano is skeevy, but these players mean every note. Nice.

Thank you, MG! These will be staying on the MP3 player for quite a while after this month.

Really glad you liked this stuff, Spoon.

MG

[fent99]

Wow

Been listening during my commute the last couple of days and haven't written notes yet so will try to do that before the end of the month (didn't manage on the last bft :-( )

Loving it and like the exotica, soul and the 'otherness' of a lot of the tracks.

First track reminds me of those library music recordings (De Wolfe?) and something says Basil Kirchin to me... I could be sooo wrong though (and probably am).

More later though and there is one track I think I may have id'd and indeed may have...

[The Magnificent Goldberg]

Wow

Been listening during my commute the last couple of days and haven't written notes yet so will try to do that before the end of the month (didn't manage on the last bft :-( )

Loving it and like the exotica, soul and the 'otherness' of a lot of the tracks.

First track reminds me of those library music recordings (De Wolfe?) and something says Basil Kirchin to me... I could be sooo wrong though (and probably am).

More later though and there is one track I think I may have id'd and indeed may have...

Basil Kirchin!!!!

No.

I don't think I really know what library recordings are, unless they're stuff Muzak used to rent out. I don't have any of those.

Waiting anxiously to see what you've id'd.

MG

[Dan Gould]

A lot more "misses" than "hits" for me, and none that trigger any useful thoughts, I'm afraid.

Now that I've said that I am sure there will be at least one track that MG picked with me in mind, or at least that, at the reveal, I will hang my head like this: .

[The Magnificent Goldberg]

A lot more "misses" than "hits" for me, and none that trigger any useful thoughts, I'm afraid.

Now that I've said that I am sure there will be at least one track that MG picked with me in mind, or at least that, at the reveal, I will hang my head like this: .

One or two, I suspect

Well, post your hits, anyway, Dan.

MG

[page]

So on the road/ in the nick of time, my thoughts on your BFT which I loved, your foresight was correct indeed. Sorry that I haven't been able to dig into all of it.

Here are my thoughts/impressions:

BFT 122
01. nice, oriental, nice flute parts
02. Gloria Lynn – Secret O’ life (James Taylor) album: From my heart to yours (2007) Highnote Records, Inc.
Beautiful song, James Taylor is a true poet, yes I love that. I could recommend the documentary about this place called the Troubadour which shows his musical history and music.
Gloria Lynn does a great job on this one.
03. a bossa, I know this song or at least heard it before. Really nice. I love bossas, one of my favourite styles in music to sing and listen to.
04. funky, a bit R & B influence, nice beginning. I think I know this song too, at least I recognize the melody.
05. lovely tune, a bit bossa-like too, but not completely. Never heard it and am curious about the artist.
06. funky song, nice groove.
07. Great song, I love the latin rhythm and this sort of suspense that is in the song. The change to swing and then back again. Yes, one of my favourite tracks on your BFT.
08. Joe Torres – Get out of my way (Ric de Silva)album Latin con soul (1967) Blue Note / Pacific Jazz or Original soundtrack Pinero (2002) Universal Music Latino
Our drummer really liked this one and sang it all the time. The lyrics aren’t really suited for a woman to sing, so it didn’t make the repertoire list.
09. reminds me of the movies I used to watch on television when I was a girl which was actually my first rendez vous with jazz without knowing it at the time. I carry a warm heart for this.
Gee, ain’t I good to you (Andy Razaf & Don Redman) – McKinney’s Cotton Pickers, vocal Donald Redman (1929) Victor label 78 rpm record ?
(probably better known as the title: Gee baby, ain’t I good to you) I love Ella's version on this song btw.
10. I can’t come up with the title right now, but know the song, not this version. sax/guitar duet.
I like it. Pretty tight accompaniment.
11. A bit bluesy start, melody sounds familiar.
12. have no clue. 20 bar blues. Nice, slow blues is always the best.
13. no clue. Theme doesn’t sound familiar. Fun song. I like the guitarist.
14. Shadows of Paris (Henri Mancini & Robert Wells) – Shirley Scott trio – Great Scott!! orchestra conducted by Oliver Nelson. (1964) Impulse Shirley Scott – organ & vocals and on For members only (1963) lovely! I had never heard it before.
15. No clue. A bit R & B influence. Tune sounds familiar.
16. ah, great! 12 bar blues. nice. no clue who the artist is.
17. blues as a jazzwaltz, really nice. No clue.

Thanks again. Your BFT will stay on my playlist, that I'm sure of.
Kind regards,
page

Edited May 27, 2014 by page

[The Magnificent Goldberg]

[l)Well, you got LOTS Page![/l)

So on the road/ in the nick of time, my thoughts on your BFT which I loved, your foresight was correct indeed. Sorry that I haven't been able to dig into all of it.

Here are my thoughts/impressions:

BFT 122

01. nice, oriental, nice flute parts

02. Gloria Lynn – Secret O’ life (James Taylor) album: From my heart to yours (2007) Highnote Records, Inc.

Beautiful song, James Taylor is a true poet, yes I love that. I could recommend the documentary about this place called the Troubadour which shows his musical history and music.

Gloria Lynn does a great job on this one.

[l)Yes! Gloria Lynne. One of my favourite singers. Boing! Boing! Boing![/l)

03. a bossa, I know this song or at least heard it before. Really nice. I love bossas, one of my favourite styles in music to sing and listen to.

[l)Yes this is a well known bossa.[/l)

04. funky, a bit R & B influence, nice beginning. I think I know this song too, at least I recognize the melody.

[l)I should hope a singer would recognise the tune [/l)

05. lovely tune, a bit bossa-like too, but not completely. Never heard it and am curious about the artist.

06. funky song, nice groove.

07. Great song, I love the latin rhythm and this sort of suspense that is in the song. The change to swing and then back again. Yes, one of my favourite tracks on your BFT.

08. Joe Torres – Get out of my way (Ric de Silva)album Latin con soul (1967) Blue Note / Pacific Jazz or Original soundtrack Pinero (2002) Universal Music Latino

Our drummer really liked this one and sang it all the time. The lyrics aren’t really suited for a woman to sing, so it didn’t make the repertoire list.

[l)Boing! Boing! Boing! I really didn't expect anyone to get this. I see your drummer liked it, so that's how. But I never knew it was in a film. Not a woman's song, definitely.[/l)

09. reminds me of the movies I used to watch on television when I was a girl which was actually my first rendez vous with jazz without knowing it at the time. I carry a warm heart for this.

Gee, ain’t I good to you (Andy Razaf & Don Redman) – McKinney’s Cotton Pickers, vocal Donald Redman (1929) Victor label 78 rpm record ?

(probably better known as the title: Gee baby, ain’t I good to you) I love Ella's version on this song btw.

[l)Boing! Boing! Boing! Another one, though Spooontaneous was first with it.[/l)

10. I can’t come up with the title right now, but know the song, not this version. sax/guitar duet.

I like it. Pretty tight accompaniment.

[l)Another song a singer should know [/l)

11. A bit bluesy start, melody sounds familiar.

12. have no clue. 20 bar blues. Nice, slow blues is always the best.

13. no clue. Theme doesn’t sound familiar. Fun song. I like the guitarist.

14. Shadows of Paris (Henri Mancini & Robert Wells) – Shirley Scott trio – Great Scott!! orchestra conducted by Oliver Nelson. (1964) Impulse Shirley Scott – organ & vocals and on For members only (1963) lovely! I had never heard it before.

[l)Boing! Boing! Boing! And another one I didn't think anyone would get![/l)

15. No clue. A bit R & B influence. Tune sounds familiar.

[l)It's a well known blues tune, very popular in the early 70s, but not so much lately, I think.[/l)

16. ah, great! 12 bar blues. nice. no clue who the artist is.

17. blues as a jazzwaltz, really nice. No clue.

Thanks again. Your BFT will stay on my playlist, that I'm sure of.

Kind regards,

page

Very glad you liked a lot of this.

MG

[page]

"02. Gloria Lynn – Secret O’ life (James Taylor) album: From my heart to yours (2007) Highnote Records, Inc.
Beautiful song, James Taylor is a true poet, yes I love that. I could recommend the documentary about this place called the Troubadour which shows his musical history and music.
Gloria Lynn does a great job on this one.
[l)Yes! Gloria Lynne. One of my favourite singers. Boing! Boing! Boing![/l)"

Yeah, she's great. I must look into her.

"03. a bossa, I know this song or at least heard it before. Really nice. I love bossas, one of my favourite styles in music to sing and listen to.
[l)Yes this is a well known bossa.[/l)
04. funky, a bit R & B influence, nice beginning. I think I know this song too, at least I recognize the melody.
[l)I should hope a singer would recognise the tune [/l)"

My mind doesn't seem to come up with any of the two. I suddenly thought " A day in the life of a fool/Manha de Carnaval for no. 4, since it seems part of the changes are the same, but it doesn't seem to be it. The saxplayer does a lot of "jodeling", or at least I call it when singer sings that way. It is why I commented a link to R & B. It is hard to completely determine the melody that way. It is at the tip of my tongue but I still can't come up with the title.

"08. Joe Torres – Get out of my way (Ric de Silva)album Latin con soul (1967) Blue Note / Pacific Jazz or Original soundtrack Pinero (2002) Universal Music Latino
Our drummer really liked this one and sang it all the time. The lyrics aren’t really suited for a woman to sing, so it didn’t make the repertoire list.
[l)Boing! Boing! Boing! I really didn't expect anyone to get this. I see your drummer liked it, so that's how. But I never knew it was in a film. Not a woman's song, definitely.[/l)"

Ah, I actually knew it already when he sang it since the radio station I listen to played it quite often. It was sort of a hit there, in 2006 I think. I think the drummer, especially liked to sing the part "ugly woman", which was quite funny.

"09. reminds me of the movies I used to watch on television when I was a girl which was actually my first rendez vous with jazz without knowing it at the time. I carry a warm heart for this.
Gee, ain’t I good to you (Andy Razaf & Don Redman) – McKinney’s Cotton Pickers, vocal Donald Redman (1929) Victor label 78 rpm record ?
(probably better known as the title: Gee baby, ain’t I good to you) I love Ella's version on this song btw.
[l)Boing! Boing! Boing! Another one, though Spooontaneous was first with it.[/l)"

Ah, yes of course he has beaten me to it.

Again, I didn't get to listen until yesterday, so I was surprised to recognize any of the tunes and expected to be too late to guess anyway. Thanks again MG.
page

Edited May 30, 2014 by page

[page]

Wait a minute
no 15 The thrill is gone (Rick Darnell, Roy Hawkins)? I have sung it at a session, I think it could be it.

btw Shadows of Paris took my breath away so I will certainly look into more of the Shirley Scott trio!
page

Edited May 28, 2014 by page

[The Magnificent Goldberg]

Wait a minute

no 15 The thrill is gone (Rick Darnell, Roy Hawkins)? I have sung it at a session, I think it could be it.

btw Shadows of Paris took my breath away so I will certainly look into more of the Shirley Scott trio!

page

Yes, it's 'The thrill is gone'.

You'll find that this isn't at all typical of Shirley Scott, though she always plays nice clear lines.

MG

[page]

It doesn't have to sound just alike for me. I usually fall first for emotion in a voice (or any other instrument) whether that is caused by how someone phrases or that there is something in the voice itself that makes it sound true to me. I believe I hear both of those with her.

Thanks again,
page