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felser

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Track 4 is "Habiba" from Harold Land's Mapenzi with Blue Mitchell, Kirk Lightsey, Reggie Johnson and Tootie Heath, recorded 1977.

 

Track 7 is Shirley Scott playing Horace Silver's "Senor Blues" from the album Shirley Scott Plays Horace Silver with Henry Grimes and Arthur Edgehill, recorded 1961.

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4 hours ago, BillF said:

Track 4 is "Habiba" from Harold Land's Mapenzi with Blue Mitchell, Kirk Lightsey, Reggie Johnson and Tootie Heath, recorded 1977.

 

Track 7 is Shirley Scott playing Horace Silver's "Senor Blues" from the album Shirley Scott Plays Horace Silver with Henry Grimes and Arthur Edgehill, recorded 1961.

Correct on both.  I thought this was unusually aggressive playing for Scott.

4 hours ago, BillF said:

Track 5 sounds like Sarah Vaughan, but probably isn't.

Not Vaughan, that indeed is part of why I included this.  Very very underrated singer to me.

1 hour ago, tkeith said:

Because I had the copy slightly ahead, I've actually listened and comment, but I'm going to wait a few days before posting because this test was right up my alley.  (Felser, we have GOT to hang some time!)

I agree and look forward to opportunity!

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Track 1 - So quiet at first, I thought there was a problem.  Aw yeah, baby.  Hannibal and his sister from this.  Why this guy is not heralded as a legend is so far beyond me.  They were in Boston when I was a kid the week AFTER I saw Clifford Jordan.  Money was tight, so my father would take me to a couple of shows a year, himself to maybe two or three more than that.  This one was not in the cards.  Opportunity lost, for sure.  I just love what Diedre Murray brings to the sound of this band.

Track 2 - Two for two, baby!  Another unsung hero (is this the theme!?!?).  Michael Session from this.  Adele Sebastian wrote the lyrics, which are a tad clunky, but it still works.  Session just *gets* it.  I'm probably the only living person who thinks of this song every time I see Family Guy.

Track 3 - Hmmm... definitely more LA guys.  I was thinking Billie Harris at first, but now I don't think so.  This is just a tick off from the first two, but I still like it.  The overall feel of the band is very good.  The solos are a bit off the mark, but as a unit, this works very well.  I'm intrigued.

Track 4 - That's Harold Land, for sure.  To tell the truth, I couldn't peg the album right away.  I was thinking Oscar Brashear at first, but once the trumpet solo got going, I knew it wasn't him, and then I remembered the album.  A quick check verified that it's a Kirk Lightsey tune from this.

Track 5 - I'll remember April.  At first, I found the singer off-putting in her liberties with the melody, but it grew on me.  She has a very nice voice (a little too diva-ish in the approach, though).  Pianist needs to calm down.  ;)  Not sure what it is but I'm on the fence about it.

Track 6 - NICE!  I was going to include this on my last BFT, but I couldn't find it!  My guy, Billy Harper, in a very early appearance with Art Blakey and the Jazz Messengers doing THE rendition of Angel Eyes (for my money).  There is a LOT to like about this record.  Slide Hampton's 2-chord molly with a ferocious, if a bit raw, solo from Mr. Harper.  I love the approach on this tune.  Absolutely stellar!  It's from this.  Man!  When they break into the solo... Harper is dripping soul and Blakey is outright STRUTTING!

Track 7 - Señor Blues.  I'm not sure who by.  It's not Groove... not Patton... McDuff... Shirley Scott maybe?  Dunno.  I like it though.

Track 8 - At first I was thinking The Crusaders, but the tenor is as tight as Wilton on the head.  Reminiscent of Eddie Harris and certainly owes a nod to Les McCann's group.

Track 9 - Holy Rhodes!  I was about to say Harold Land on tenor, but it definitely is NOT.  I like it, but I'm wishing it WAS Harold Land!  ;)

Track 10 - Wow! This is obscure!  It's Ensemble El-Salaam from the deeply buried annals of Strataeast from this.

Track 11 - I could not guess I harmonica player if you were paying cash.  Only Jazz guy I can name is Toots, and it's not him.  Otherwise, if it's not John Popper, Stevie Wonder of Paul Butterfield, I can't even guess.  Therefore, I will not.  I like the guitar solo.  I have never cared for the Harmonica.  A neat finish to the test, though.  Yeah, definitely not a Jazz guy on harp.

 

 

Huh!  Did better than I thought on the ones I didn't get.  Nice. 

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13 hours ago, tkeith said:

Track 1 - So quiet at first, I thought there was a problem.  Aw yeah, baby.  Hannibal and his sister from this.  Why this guy is not heralded as a legend is so far beyond me.  They were in Boston when I was a kid the week AFTER I saw Clifford Jordan.  Money was tight, so my father would take me to a couple of shows a year, himself to maybe two or three more than that.  This one was not in the cards.  Opportunity lost, for sure.  I just love what Diedre Murray brings to the sound of this band.  

You got it, and I surely agree with your sentiments.  I got to see the Hannibal/George Adams group at the Ethical Center in Philly back in the day, but wish I also had been able to see a group led by just Hannibal. 

Track 2 - Two for two, baby!  Another unsung hero (is this the theme!?!?).  Michael Session from this.  Adele Sebastian wrote the lyrics, which are a tad clunky, but it still works.  Session just *gets* it.  I'm probably the only living person who thinks of this song every time I see Family Guy.

Wow, surprised anyone would ID this!  I just discovered Session in the past year.  Love that whole LA/UMGAA/Nimbus West thing, my best musical discovery in many years.  Thank you Mr. Tapscott.

Track 3 - Hmmm... definitely more LA guys.  I was thinking Billie Harris at first, but now I don't think so.  This is just a tick off from the first two, but I still like it.  The overall feel of the band is very good.  The solos are a bit off the mark, but as a unit, this works very well.  I'm intrigued.

Not L.A. guys.  Power of suggestion by the previous cut, I guess.  You'll find this one interesting, for sure.  The writer of this tune was a favorite of mine during this period.

Track 4 - That's Harold Land, for sure.  To tell the truth, I couldn't peg the album right away.  I was thinking Oscar Brashear at first, but once the trumpet solo got going, I knew it wasn't him, and then I remembered the album.  A quick check verified that it's a Kirk Lightsey tune from this.

Yep.  I've always loved this one.  Previously ID'd also by BillF.  Wasn't sure if people were familiar with this album due to the unexpected label, but obviously many of you are. 

Track 5 - I'll remember April.  At first, I found the singer off-putting in her liberties with the melody, but it grew on me.  She has a very nice voice (a little too diva-ish in the approach, though).  Pianist needs to calm down. ;)  Not sure what it is but I'm on the fence about it.

I love this singer and this cut.  I want people to be more aware of her.

Track 6 - NICE!  I was going to include this on my last BFT, but I couldn't find it!  My guy, Billy Harper, in a very early appearance with Art Blakey and the Jazz Messengers doing THE rendition of Angel Eyes (for my money).  There is a LOT to like about this record.  Slide Hampton's 2-chord molly with a ferocious, if a bit raw, solo from Mr. Harper.  I love the approach on this tune.  Absolutely stellar!  It's from this.  Man!  When they break into the solo... Harper is dripping soul and Blakey is outright STRUTTING!

Yes, incredible stuff, and a shame this set is so obscure.  Not sure if it ever had a legit release, seems to have been born in the label netherworld, has been released in many shady forms.  And an otherwise unrecorded (AFAIK)but awesome version of the Jazz Messengers.

Track 7 - Señor Blues.  I'm not sure who by.  It's not Groove... not Patton... McDuff... Shirley Scott maybe?  Dunno.  I like it though.

Previously ID'd by Bill.  I never would have guessed Scott if I didn't know it.

Track 8 - At first I was thinking The Crusaders, but the tenor is as tight as Wilton on the head.  Reminiscent of Eddie Harris and certainly owes a nod to Les McCann's group.

There's a reason for those references, though neither Harris nor McCann are on this.  Tenor player is an interesting one for this context. 

Track 9 - Holy Rhodes!  I was about to say Harold Land on tenor, but it definitely is NOT.  I like it, but I'm wishing it WAS Harold Land! ;)

The reveal on this will turn some heads.

Track 10 - Wow! This is obscure!  It's Ensemble El-Salaam from the deeply buried annals of Strataeast from this.

Buried treasure, for sure.  The first few years of Strata-East were awesome, though the label quality then quickly fell off the cliff with misfire after misfire in the second half of their run.

Track 11 - I could not guess I harmonica player if you were paying cash.  Only Jazz guy I can name is Toots, and it's not him.  Otherwise, if it's not John Popper, Stevie Wonder of Paul Butterfield, I can't even guess.  Therefore, I will not.  I like the guitar solo.  I have never cared for the Harmonica.  A neat finish to the test, though.  Yeah, definitely not a Jazz guy on harp.

Maybe not a "jazz guy" on harp, but the recording holds to all jazz conventions, including the classic jazz composition.  So, is it "jazz"?  Hoping we can all talk at length about that and about the guitar solo/player in this thread.

 

 

 

Edited by felser
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1. No guess. But the playing and singing are better than fine, the whole thing coheres, and I really like that little bit of cello around the edge. There's a moment of beautiful trumpet-cello improvised counterpoint near the end that's what it's all about.

2. At first I thought the altoist was Bobby Watson. Later, as the player reached for ever higher notes, I thought it was Gary Bartz. I see somebody ID'd it – the player is known to me only as somebody in the small print on a Tapscott album.

3. You're just trying to see how many times you can make me say "Bobby Watson," right? Because this is the real Bobby Watson playing a real Bobby Watson composition, "Time Will Tell," with the real Jazz Messengers on the real Roulette label.

4. Harold Land's tone is conspicuous (yeah!). It's that Concord record that doesn't sound like a Concord record. And I see Bill F. figured it out first.

5. No idea who it is – part Sarah, part Dinah, part Nancy -- but I should probably be collecting this singer.

6. "Angel Eyes," Billy Harper with Art Blakey on a recording that's made the rounds of the bootleg labels.

7. Senor Blues. Organist with an acoustic bassist, suggesting Shirley Scott. I see Bill got there first.

8. Is this a real Blue Note, or a very accurate re-creation of the RVG sound? From that tenor solo, I thought for sure this was on the Tyrone Washington album, but no. Never heard 7/4 time boogaloo'd quite like this. This needs to be in my collection.

9. I'm suspecting a Detroit Tribe thing here. Belgrave, Ranelin, Wendell Harrison, Harold McKinney, none of the above? The first 30 seconds of that trumpet solo are priceless.

10. No guess, but I like the attitude.

11 From the Butterfield Blues Band classic "East-West." At this point in my life I'm disappointed that they chose to blow on blues changes instead of the "Work Song" changes. But there's some joyous innovation going on here nonetheless, in the barrier-breaking attitude and in the geetar department.

Many thanks for a BFT that will keep reverberating in my brain!

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38 minutes ago, Spontooneous said:

 

 

 

39 minutes ago, Spontooneous said:

1. No guess. But the playing and singing are better than fine, the whole thing coheres, and I really like that little bit of cello around the edge. There's a moment of beautiful trumpet-cello improvised counterpoint near the end that's what it's all about.

ID'd by Thom.  Yes, truly a cut of beauty.

2. At first I thought the altoist was Bobby Watson. Later, as the player reached for ever higher notes, I thought it was Gary Bartz. I see somebody ID'd it – the player is known to me only as somebody in the small print on a Tapscott album.

Also ID'd by Thom.  Unknown to me until I read the book about the UGMAA.

3. You're just trying to see how many times you can make me say "Bobby Watson," right? Because this is the real Bobby Watson playing a real Bobby Watson composition, "Time Will Tell," with the real Jazz Messengers on the real Roulette label.

Correct, from the album 'Gypsy Folk Tales'.  I think this is a criminally overlooked album, and to me, Watson could do no wrong back in that era when he first hit the scene.  He seemed to later run out of ideas to me. 

4. Harold Land's tone is conspicuous (yeah!). It's that Concord record that doesn't sound like a Concord record. And I see Bill F. figured it out first.

And Thom second, and you third. In the words of Ray Davies "Who'll be the next in line?".  Maybe not the best BFT choice.

5. No idea who it is – part Sarah, part Dinah, part Nancy -- but I should probably be collecting this singer.

All of us should be collecting this singer.  And no one has come close to ID'ing yet.

6. "Angel Eyes," Billy Harper with Art Blakey on a recording that's made the rounds of the bootleg labels.

Great album.   I've wanted to included Harper in a BFT, and thought this might be a sneaky-good way to do so.  If nothing else, some others may go look up this fine recording from a litte-recorded Blakey congregation.

7. Senor Blues. Organist with an acoustic bassist, suggesting Shirley Scott. I see Bill got there first.

Yep.

8. Is this a real Blue Note, or a very accurate re-creation of the RVG sound? From that tenor solo, I thought for sure this was on the Tyrone Washington album, but no. Never heard 7/4 time boogaloo'd quite like this. This needs to be in my collection.

Not a BN, and not Tyrone Washington.  

9. I'm suspecting a Detroit Tribe thing here. Belgrave, Ranelin, Wendell Harrison, Harold McKinney, none of the above? The first 30 seconds of that trumpet solo are priceless.

Not Detroit, this one may open some eyes.

10. No guess, but I like the attitude.

ID'd by Thom.  I also like the attitude!

11 From the Butterfield Blues Band classic "East-West." At this point in my life I'm disappointed that they chose to blow on blues changes instead of the "Work Song" changes. But there's some joyous innovation going on here nonetheless, in the barrier-breaking attitude and in the geetar department.

The lead geetarist was incredible during that era.  And the second geetarist wasn't a slouch either.

Many thanks for a BFT that will keep reverberating in my brain!

Thanks for your thoughtful answers and kind encouragement!  It's a joy to share this music.  #'s 5,8, and 9 still not ID'd. 

Quote

 

 

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Michael Bloomfield and Elvin Bishop, the guitarists on #11, were excellent on the first two Butterfield Blues Band albums, and on the tracks by that band released on the Elektra album "What's Shakin'", which had songs by different groups and is very much worth checking out.

 

Bloomfield's "County Boy" and "Blues For Roy", recorded in 1964 and available on a CD which came with his biography, are incredible, especially as they were recorded in 1964. He was years ahead of everything else being recorded in electric blues at that time.

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1 hour ago, Hot Ptah said:

 

Bloomfield's "County Boy" and "Blues For Roy", recorded in 1964 and available on a CD which came with his biography, are incredible, especially as they were recorded in 1964. He was years ahead of everything else being recorded in electric blues at that time.

He was also ahead of everything else being recorded in the entire rock pantheon.  Compare his work on the early Butterfield stuff to what "guitar gods" Beck, Page, Clapton, and Hendrix were doing (at least on record) in '65-early '66.  Hendrix got there soon afterward, and arguably Jorma Kaukonen did also., Page got there eventually.  I'd argue that Clapton and Beck actually never got there (though with the Yardbirds, Beck may have been state of the art prior to Bloomfield, but Bloomfield blew him away).  The quailitative difference between the Bloomfield side of 'Super Session' and the Stephen Stills side is stunning.

Listen to the title track of "East-West", and consider this was recorded in July 1966!

 

 

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1 hour ago, felser said:

He was also ahead of everything else being recorded in the entire rock pantheon.  Compare his work on the early Butterfield stuff to what "guitar gods" Beck, Page, Clapton, and Hendrix were doing (at least on record) in '65-early '66.  Hendrix got there soon afterward, and arguably Jorma Kaukonen did also., Page got there eventually.  I'd argue that Clapton and Beck actually never got there (though with the Yardbirds, Beck may have been state of the art prior to Bloomfield, but Bloomfield blew him away).  The quailitative difference between the Bloomfield side of 'Super Session' and the Stephen Stills side is stunning.

Listen to the title track of "East-West", and consider this was recorded in July 1966!

 

 

To me, "East West" is the best of the long rock instrumentals, nothing else ever matched it. It is musical and listenable, even today. So many other rock groups tried to record instrumental tracks which fall short of this.

Is the vocalist on #5, Lorez Alexandria? I am not that familiar with her work, but I remember hearing her on a public radio program.

 

The trumpet player on #8 sounds like Jimmy Owens to me. I have other albums by him, but not this album.

 

 

 

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44 minutes ago, Hot Ptah said:

Is the vocalist on #5, Lorez Alexandria? I am not that familiar with her work, but I remember hearing her on a public radio program.

 

The trumpet player on #8 sounds like Jimmy Owens to me. I have other albums by him, but not this album.

 

 

 

 Correct on both!  So name the album (and/or other players) that Owens is playing on.

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On December 5, 2015 at 8:09:29 PM, felser said:

 

Track 2 - Two for two, baby!  Another unsung hero (is this the theme!?!?).  Michael Session from this.  Adele Sebastian wrote the lyrics, which are a tad clunky, but it still works.  Session just *gets* it.  I'm probably the only living person who thinks of this song every time I see Family Guy.

Wow, surprised anyone would ID this!  I just discovered Session in the past year.  Love that whole LA/UMGAA/Nimbus West thing, my best musical discovery in many years.  Thank you Mr. Tapscott.

 

I concur!

 

 

On December 5, 2015 at 8:09:29 PM, felser said:

 

Track 7 - Señor Blues.  I'm not sure who by.  It's not Groove... not Patton... McDuff... Shirley Scott maybe?  Dunno.  I like it though.

Previously ID'd by Bill.  I never would have guessed Scott if I didn't know it.

 

I'm finding that very description leads me to think of her, now.  She always seems to surprise me; very underrated player.

 

 

On December 5, 2015 at 8:09:29 PM, felser said:

Track 8 - At first I was thinking The Crusaders, but the tenor is as tight as Wilton on the head.  Reminiscent of Eddie Harris and certainly owes a nod to Les McCann's group.

There's a reason for those references, though neither Harris nor McCann are on this.  Tenor player is an interesting one for this context. 

 

I meant to say "isn't" as tight as Wilton.  I'm curious about this one, now.

 

 

 

 

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On Monday, December 07, 2015 1:42:45, felser said:

 Correct on both!  So name the album (and/or other players) that Owens is playing on.

.R-3404421-1329078146.jpeg.jpg

 

Track 8 is the title track from this 1967 album.

Trumpet, Composer– Jimmy Owens

Tenor SaxophoneBenny Maupin

PianoKenny Barron

BassChristopher White

DrumsFreddie Waits

 

Edited by Hot Ptah
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Well done!  Seems to be a little-known album for some reason, doesn't seem to have stayed in print very long back in the day from what I can tell.  Still waiting on ID for #9.  Not an easy task, but you guys have gotten tougher ones than this, even on this BFT!  May raise some eyebrows, though.

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2 hours ago, felser said:

Well done!  Seems to be a little-known album for some reason, doesn't seem to have stayed in print very long back in the day from what I can tell.  Still waiting on ID for #9.  Not an easy task, but you guys have gotten tougher ones than this, even on this BFT!  May raise some eyebrows, though.

 

#9 sounds to me like a late 1960s British jazz session, just from the sound of the instruments and the approach. I have not come up with any identification yet though.

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A good BFT makes the morning at the gym go down a whole lot easier. Not my normal listening so no ID's here. I will say that you have pretty good taste in music though. One blanket statement, there is some good piano playing throughout.

My favorite track is 08. One of the nice piano solos here. Enjoyed the horns as well. Well shoot, I should just say I like it all.

I kind of got into 11 too. A different take on a classic song. My problem is that I can't name that tune for the life of me. Getting old. Butterfield is the only name I can come up with for this stuff but that is probably too obvious.

Don't have much but I am enjoying listening to your effort. Thanks very much.

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9 minutes ago, NIS said:

A good BFT makes the morning at the gym go down a whole lot easier. Not my normal listening so no ID's here. I will say that you have pretty good taste in music though. One blanket statement, there is some good piano playing throughout.

My favorite track is 08. One of the nice piano solos here. Enjoyed the horns as well. Well shoot, I should just say I like it all.

I kind of got into 11 too. A different take on a classic song. My problem is that I can't name that tune for the life of me. Getting old. Butterfield is the only name I can come up with for this stuff but that is probably too obvious.

Don't have much but I am enjoying listening to your effort. Thanks very much.

Glad you're enjoying it, thanks for the kind words!  All except #9 are ID'd.  #11 is indeed Butterfield Blues Band doing Nat Adderley's "Work Song".  I wasn't looking to fool the crowd on that as much as to have opportunity for us to discuss "is it jazz or not?" and also to admire the musicianship of Buttefield and the guitarists (Elvin Bishop and Mike Bloomfield).  "East-West" from that album was one serious groundbreaking recording.

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You are pretty quick on the trigger tonight.  : 0 )

"Work Song" of coarse.  I'm not good with labels but I probably wouldn't put this in the jazz section of my record collection.  I certainly wouldn't say it is out of place on a BFT though.  

Even though I didn't recognize them I am happy that I said I liked Barron and Maupin, a couple of favorites for me.

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I can't go any further with an identification of #9. Someone else will have to pick up the baton.

Something I like about the Butterfield Blues Band on the first two albums. I have read that Paul Butterfield and Mike Bloomfield had played in the black blues bars in Chicago and were respected by Muddy Waters and the other blues greats. Their bass player and drummer were black blues sidemen from Chicago. But Bloomfield also brought more unusual music to the group, such as "East West" and the group could play it and Butterfield himself was into the new directions. It is a pity that the group did not want to stay together and evolve musically together. They were ahead of the rock pack in 1965 and 1966 and none of them were ever quite as compelling in their recordings, after the original lineup split apart.

Edited by Hot Ptah
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After Hot Ptah recognized Tubby Hayes and suggested it was from the late 60s, it wasn't too hard for someone with a copy of Simon Spillett's biography of Hayes (which includes a discography) and Spotify at their disposal to put two and two together.

I think it's "Greenwell's Glory" by the Ian Hamer Sextet featuring Hamer (tpt), Keith Christie (tbn), Hayes (tnr), Alan Branscombe (elp), Daryl Runswick (bg) and Spike Wells (dms), recorded at BBC Studios, London on 2nd July 1972.

Edited by BillF
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