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BFT 132 Discussion Thread

Tom in RI

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Sorry to be tardy, my computer has been hors de combat since Monday and I didn't want to start on Sunday out of deference to Colinmce and BFT 131. This set of tunes will be quite a departure from 131 and may be a little boring in comparison, forewarned.

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I'll jump in. I'm no threat to any of the more knowledgeable guys who can actually ID this stuff. I don't know what's what, but I know what I like.

1 – Very pleasant. I like the guitar player’s sound. Assume it is a well-known guy.

2 – Old fashioned for me. Out of my comfort range.

3 – “St. Thomas” of course. Have never been fond of that comp. Not Sonny Rollins. Sounds like an electric tenor, like Eddie Harris and Sonny Stitt used in the late 60’s/early 70’s. Strange recording.

4 – Right up my alley, hope I have this. If not, will look to get it.

5 – Newer recording. I admire it, though would not play it on my own. It goes very well in the background of my work day.

6 – Totally competent, but feels by the numbers, plus the voice(s) in the background very annoying on headphones. Latter day recording, I’m sure.

7 – I do like this one. Interested to know what it is, Tenor player is a monster on this, takes solo honors to my ears. I assume he is someone I am well familiar with. If not, I will hunt him down. Trumpet, not so much. Reminds me of Freddie Hubbard or Donald Byrd when they were in decline.

8 – “Spring Can Really Hang You Up The Most”. Great version, love the first sax solo! And the piano solo is fine.

9 – Again, admire it more than I enjoy it. Too relaxed for me on balance. Strangely, the one element that really catches my ear is the bass player. Love what he is doing on this. The tenor player is no doubt a big name, and he is fine, but doesn’t really pull me in until late in his solo, when it gets a little knottier. I don’t like the drums on this.

10 – That is a guitar tone I really dislike, came to prominence in the past 20 years. Again, the best part of this for me is the bass player. He’s just playing time, but I love bass players playng time. Tenor player is again fine, and I probably have enjoyed him in a number of contexts, but he doesn’t grab me here, and I doubt if he’s a favorite of mine.. Lots of tenor/guitar stuff on this BFT, and if I remember, there was on your last one also.

11 – This one works for me. Really like the tenor solo. This sounds like something I would have at home, wouldn’t be surprised if it’s a 60’s Blue Note with Hank Mobley or something. Even seems to have that Englewood Cliffs sound. This and #4 are the two I want in my collection.

Thanks for the BFT, a good companion to a March workday with 10 inches of new snow on the groud.

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no. 5. Ah, lovely, lovely bossa!
Dr. Lonnie Smith – Boogaloo to Beck: A Tribute - ft David Fathead Newman – song Tropicalia – composer: Beck – organ – Lonnie Smith, guitar – Doug Munro, tenor – David Fathead Newman, drums – Lafrae Sci – label: Scuffin’ Records.

I have a boogaloo among my repertoire. My first thought was bossa though, buth both lov-e-ly!

To respond at your comment, Tom. Your BFT is not in the least boring, really! I'm enjoying to the full. :)

Edited by page
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Hi Tom, I can imagine. I always check the used bin myself, you can run into a little treasure there. :) I'm going to check whether that album is still available myself. This music has this influence on me to make me start smiling.

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  1. Nice guitar playing. Very clean. I want to say Herb Elllis.
  2. Modern band playing early jazz. Don’t know any of the musicians.
  3. St. Thomas. I have this CD, "Tenor Legacy." I’m not a fan of James Carter who is on this CD. This tack it is Benny Golson and Harold Ashby, Geoff Keezer- piano.
  4. Sonnymoon for Two. Nice version. I don’t know who is playing on this.
  5. I’ve heard this before. I don’t recall who it is though.
  6. A blues in 5/4 time. I like it but no clue.
  7. No idea.
  8. Spring Can Really Hang You up the Most. Frank Wess and Frank Foster “Two For the Blues” Kenny Barron on piano.
  9. No idea but I like it a lot.
  10. Jug, Gene Ammons. The album is "Swingin’ the Jug", Bob Pierce on b3. Tune is "Hi Ruth"
  11. Don’t know this one. I do like it

Thanks for a really nice BFT.

Edited by Hardbopjazz
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Apologies for the late sign-up. Listening at work (getting the productive juices flowing. Some good stuff in here in the early offerings. I'm not entirely confident, but I've definitely scored a few IDs.

Track 1 - If it's not clear by now, I'm a sucker for all things in 3. This would ordinarily be a bit clean for my ears, but it's in three, so I like it. Not a guitarist I'm familiar with, but seems to be out of the Doug Rainey neck of the woods. I like the bass (again, not a surprise), though overall, the improvisation of the guitar is leaving me a bit cold. It's thoughtful, but not particularly interesting.

Track 2 - Sounds like a Concord recording. Understated. Just swings without being ostentatious. I like it.
Track 3 - St. Thomas a la two tenors. First has a big sound but out of more of a modern player. Reminds me of Booker T. with a lot more chops. Second one sure sounds like Harold Ashby to me. In fact, that's who it is. That's a clue... trying not to resort to looking it up, but I've got to think who he collaborated with. Sounds a lot like somebody out of the Kenny Barron school on keys. [second Listen] A clue around 1:20 to this guy's ID. Again at 1:33. At 1:40, I'm calling it: that's Benny Golson, albeit later BG. I don't know what this, but Benny is rippin'!
Track 4 - Man, the sound on this recording is rubbing a bad part of me. Sonny Moon For Two. I know that tenor. He's got some filth on there, despite the clunky articulation (which works, by the well). Could be later Johnny Griffin. First impression was Stitt on the second tenor, but then George Coleman. Could even be Golson, again. [Third listen] Not sure on the first guy, but not JG. Not a bad guess, though. Middle is definitely Big George. Third guy sounds a lot like Stitt, but not as proficient. Could be later Houston Person. [Fourth listen] First guy... it doesn't fit, but there are some lines and phrasing that have me leaning Stubblefield, but the overall tone is too Texas Tenor for him... maybe Patience Higgins? I have to move on.
Track 5 - First thoughts are Dave Stryker on guitar. Sure sounds like Fathead to me (a good thing). This is a weird comment, but it sounds to me like the sax is dubbed in later. I'm 98% sure that's Fathead. The rhythm section is striking me too hard. Organ is too tasteful to be any of my first thoughts. Very patient in the way he builds his improv -- I like that. Drums and guitar just aren't bringing a helluva lot to this to my ear. Organ solo is veyr nice, again, very patient.
More later...
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Second half:

Track 6 - More odd meter. I know this guy. If not Billy Pierce, somebody out of that school. Second guy is an older player. Touches of Shepp at times, but it's not him. If not an older player, somebody a tick below the first guy. Something about the bass has me leaning Ray Drummond. Almost Elvinish drums at the tail end of the solo. [second listen] That's definitely Billy Pierce on tenor. No idea on the second guy -- not Shepp. Still leaning Ray Drummond on bass. Huh... something weird here... I'm typically not a big Alan Dawson guy, but I like this a lot and I'm nearly positive that's him on drums.

Track 7 - Very clean (maybe a bit too much so). I'm hearing Bergonzi. Don't recognize the bari. This reeks of the conservatory.
Track 8 - I know this. At least the tune. Pretty sure I have this. Oh man. I know this, definitely in the collection. Yeah, something about that tenor -- I know this guy but I'm missing it. Second solo, and there's Frank Wess. Oh! Yes, it's track 7 from this. Yeah, man, there's Kenny Barron. Gotta re-queue this again -- love me some Frank Foster!
Track 9 - Oh, that's a familiar bass hook. Something not quite firing on this. I like the tone of this guy, almost a little out -- has a cry to it, but doesn't seem like it's his best day (sort of like more recent Shepp). Oh! About 2:45 -- that's Cedar Walton on piano. Yes, definitely. Doesn't sound like smiling Billy on drums, so I'm going to assume it's more recent. Can't place the bassist, but I like his note choices. Something with Cedar -- best I can do.
Track 10 - Later Jug, that much is certain. Terrible sound. Could be Grady Tate on drums. No idea who that guitarist is, but I wish he wouldn't. Could be Ron Carter on bass. Something both old and new in that pianist. I feel like that's a clue, but I can't place him.
Track 11 - Trumpet sounds like one of those Steeplechase guys -- Smoker/McNeil/Swana. Not that familiar with them, but getting that way thanks to a trumpet-playing friend hooking me up. Tenor is not familiar, but seems like he should be. A definite survivor, but not one I'm familiar with. A bit like Junior Cook, but more muscular. Second tenor has touches of Rouse, but it's not him. Two guys I need to know better. This isn't a 100% hit for me, but something I feel like should be in my collection (sort like the later Buck Hill stuff).
Looking forward to the reveal!
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Apologies to Tom for the delay in listening and posting. You promised a straightahead BFT and you delivered. Almost every track was good to excellent and I am definitely looking forward to the reveal. Wish I had more guesses to share but I'm usually pretty skimpy in that regard.

1. Pleasant guitarist but in the end his playing wasn't totally involving to me.

2. This one I dig a lot and feel like I should know the title but it won't come to me. I often realize how much I enjoy older styles only thru BFTs, I never follow up on the pleasure recordings like this give me.

3. St Thomas, of course, nice but there is something about the sound that is hindering my enjoyment.

4. Sonnymoon for Two, which also get's a "d'uh" response but I treasure the chance to ID tunes since I do it so infrequently.

5. OK, this is Fathead on tenor, and part of the reason I am sure is that, being next up for BFTs, I was listening to a couple of his albums recently.

6. More bluesy goodness but no guesses this time. 6/6 on tunes, I think this is the longest a BFT has gone without aggravating me.

7. And ... well, no aggravation, just noticeably less enjoyment for me on this one. Didn't hate it, just OK.

8. Once again working on tracking for an upcoming BFT helps me. I was listening to Frank Foster/Frank Wess Frankly Speaking and while I don't find this track on there, it sure sounds like those two old pros. Best track yet, Tom!

9. Could this be Ralph Moore on tenor? The piano solo sounds like Cedar Walton, and I thought I had all of Cedar's work with Ralph. Didn't Vincent Herring play tenor when he started gigging/recording with Cedar?

10. This is another one where the sound is hindering my enjoyment.

11. This has me in mind of the output on Criss Cross / Steeplechase / Sharp Nine - younger guys playing in a style older than they are. I'm not complaining, I've bought plenty of those releases over the years.

Thanks again Tom this was a very, very enjoyable listen for me. I'm glad I signed up and look forward to the end of the month to finding out who is playing on what.

Edited by Dan Gould
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Late to the game, but at least this month for a change I had time to play!

1 The tune's seesaw chordal motion doesn't do much for me, but the guitar solo is a winner. I like the way this player voices everything. Eager to learn the identity.

2 It's neo-something, maybe a Nagel-Heyer record, 1990s or later. Is Randy Sandke involved? The highlight here is the trumpet solo, something like a cross between Ruby Braff and Fats Navarro. Clarinet is almost as good. Nice arrangement too.

3 St. Thomas of course. Some kind of studio pairing where the horns are supposed to sound like a jam session but not play more than a couple of choruses. In the first tenor solo, the tone is wan but the time and ideas are lovely. Second solo lets the Hawkins influence show a little. Nobody gets to play long enough.

4 I love the piano intro so much. On first listen, I thought it was the head and was actually disappointed when the horns came in with Sonnymoon for Two. I want to transcribe that intro and use it as a head.

First tenor: Somebody letting the Rollins influence show, but also pushing a little too hard to get it all in the alotted space.

Second tenor: I hear some ideas borrowed from Clifford Jordan. It's not him, but someone with good taste in sources.

Third tenor: Love the rexlaxed delivery.

Piano: Too short.

Nobody let the vibist play.

5 Should I recognize the tune itself? I don't. Tenor learned some worldview from Getz and maybe glosses over some things that should be dug into more deeply, but that first bridge is really nice. I wish the snare drum was mixed lower and maybe tuned lower too.

6 More multiple-choice tenors on a blues in 5/4. Where did those timpani come from? I'm almost worn out on guessing tenors. Doesn't George Coleman have a blues head in 5/4, and is he involved, maybe the first solo? Is that James Williams on piano?

7 I like everything about this one. Everybody brings a little spark to it. This one's gonna cost me some money.

8 A bopped version of Spring Can Really Hang You Up the Most, a tune that works really well this way. I suspect a West Coast connection and the presence of Pete Christlieb.

9 An interesting waltz on altered blues changes. But the tenor solo doesn't do much for me.

10 Is this neo-soulful tenor or the real thing? Does a good job of sounding like the real thing.

11 OK, but ultimately it glides right past me. Some nice moments in the piano solo. The curveball coda is a good idea.

This is fun, Tom! Thank you.

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I didnt' wait until the last day this time - but almost. I don't think most of what I say here is very profound. I don't do as well on all-mainstream BFTs; I find more to say about old New Orleans stuff and wild free jazz. But here goes.

1. This reminded me of John Scofield’s early trio – but it’s not, of course. Guitar and bass are both very melodic - which might seem like a stupid thing to say; I mean melodic in a direct, uncomplicated way. I like the drummer very much; he has a beautiful cymbal sound.

2. Good, imaginative playing all around on what sounds like a show tune I don’t know. I like the burr in the trumpet player's sound.

3. Two very individual-sounding tenor players playing Rollins. The left-channel first soloist has got some off-center stuff going on that I like. The pianist has very impressive technique and a nice sense of rhythm.

4. More multi-tenor Rollins. The right-channel first soloist is aggressive and really rides the beat. The second and third guys are more relaxed; the second soloist does some interesting stuff.

5. Interesting fatback bossa/funk feel. Some nasty basslines by the organist. Tenor solo is just fine; organ solo is a bit more than that, but I love the drummer; every lick is perfectly placed.

6. This drummer has taken lessons (metaphorically) from Elvin Jones. I don’t think it is Elvin – the snare doesn’t sound right. The tune itself is not very interesting, except that it’s in five, but the soloists are very good indeed. You’re really presenting some slightly odd tenor sax sounds and styles. (That’s a good thing.)

7. I’m not sure I’ve ever before heard a jazz original based on “Just Friends.” This is good, but I think I’m starting to get grumpy about the mainstream nature of this BFT. Nothing wrong with that; I just like a little more variety. Possibly because of this, the soloists didn’t make much of an impression on me – even though, as I said, they’re good.

8.”Spring Can Really Hang You Up the Most” is such a weird tune – in a good way. Again, very accomplished tenor players. I like the second soloist, who seems to have a little more personality to me.

9. Well, it sounds like Clifford Jordan, but I can’t place the tune. Beautiful playing – heartfelt, but restrained. I like this one a lot.

10. Jug! Gene Ammons always makes me feel good. It sounds like George Freeman on guitar; he’s only slightly less eccentric than his late brother Von. And that’s some tasty bass playing.

11. More solidly mainstream jazz, but I can’t complain, because this is just so good. Everyone is playing at the top of their game. I’ve heard this, and it’s probably sitting on my shelves, but I can’t place it. Thanks for this one.

Thanks for putting this together. There was nothing I didn't like, in spite of the slight grousing I indulged in.

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