bLiNdFoLd TEST #7 ANSWERS!

[Man with the Golden Arm]

I hope you all have enjoyed the latest BFT. I tried my best to make a compilation that read through as a sort of wave form but think it got a bit more out of hand on the front end, then proceeded to fizzle out a bit in the fourth quarter. I concentrated on the segues to get a good flow going across the entire mix while keeping it sneaky, by not revealing too much and by including players that are frequently assessed on this board, and not just dribble it into areas of complete obscurity. As I prefaced in my opening caveat: I am not bringing a vast knowledge of these cuts or cats included here and knowing the heads on board I really just hoped for some honest opinions and deeper knowledge of what was going on. Please do post up some goodies as I look forward to knowing even more about the endless variety of chit I listen to.

Please insert your own smileys at random.

Here are the answers to Blind Fold Test #7:

Track 1 : "Life in the Green House Effect" - Steroid Maximus is Jim Thirlwell with Lucy Hamilton. Big Cat Records. 1991 UK.

I bought this disc about a decade ago after hearing a snippet of it in a used record store. I was really only attracted to it initially by the cover artwerk, and was pleasantly surprised by the sonic antics that are going on on a few of it's "jazzier" cuts. While I know nothing of this Thirlwell character or his regular running grouping - "Feotus", it's easy to surmise that he's out of his mind. Bombastic might be too subtle for this over the top swinger. It's amazing that so much noise can actually come together as a raucous big band chart that really has rooting in some Krupa or Jsngry's Baby Dodds, well maybe. The use of found stuff is all over these days but certainly not over done here. Electronica horn section with some knife sharpening underneath lead right into some great burbling bowels of beezlebubb sludge. I think of one of R. Crumb's 'yeti women' doing some exotic belly-dancing in a setting painted by Hieronymus Bosch.

Track 2 :"Va Va Voom" - Gil Evans from the 'Absolute Beginners OST'. Featuring (I think) Gil Evans (cond); Chris Hunter (as); Stan Sulzman (ts, ss); Ray Russell (g); John Surman (bari) and many more. Virgin Records Ltd. UK 1986. (Evans w/ band featured on 4 cuts and as arranger on 5 others)

A critics pan-fest but some great cheesy pop and over the top frantic jazz. Only out for a spit, the recording features Gil on just a few cuts heading up a band from the UK that made an album at the same time as he was taking up the scoring and musical direction charge for this 60's London era movie. Mike Weil has described this percussion within the discussions thread and I would love more. I thought it was great that Randy's test included a Gil that I could not place and that this one seemed to confound everybody, guess when the artist is doing it for the money, maybe, it might have that adverse effect. I'd really like to know who is all over this in the rhythm section? The cuica yapping is worth the price of a rental. I did hint that this relates in a way to a later cut (#15) but not really.

Track 3 :"Crazy Horse Swing" - Serge Gainsbourg w/ Alain Goraguer and Band from the movie "Strip Tease". Cinema De Serge Gainsbourg box. Original EP on Phillips from the film by Jaques Poitrenaud. Paris 1963.

What can be said here but this is an absolute favorite of mine. Couw was on the money here venturing that this was Serge without it having his typically recognizable afro approach. The conga driving the beat is so understated and the horns so bawdy that I just can't get enough. Even that little spy geetar just sets this into a great mood enhancer. I wonder where this piece was used in this movie but can only imagine that it was cued up during some Go Go at Le Crazy action. I'd definitely toss another franc in the garter to have a few more minutes of this piece.

Track 4 :"The Three Doors" - Steve Beresford : his piano and orchestra 'Signals For Tea' on Japan DIW Avant 039. Steve Beresford (p); Dave Douglas (tr); John Zorn (as); Greg Cohen (bs); Kenny Wolleson (dr). Recorded at Baby Monster. NY 7/1994

This lite swinger is from the pen of Steve Beresford, British jazz wack (David Toop, Evan Parker etc...) and soundtrack interpreter, compose and multi-instrumentalist. The album is wholly made up of the obscure lyricism of Andrew Brenner and this is one of two outstanding instrumental cues. This here is the Masada Quartet with Joey Baron being replaced. Fun stuff even though some might quibble at Zorn's output here. I think it's just nice to hear him going at it with respect to the band and not playing so completely within his Borsch belt narcissism. I love Jim's remark about this being 'Monk with all the night-time removed'. Douglas plays beautifully as well on this and I think Beresford's piano is steeped in the Monk but the bag was removed before letting it get too strong. (Can someone please tell me from what song the melody is based?) If anyone has more to dish on Beresford I'd love to hear. The fact that he played with another Mancini hornist Tony Coe lead to my association here.

Track 5 :"Black Nightgown" - Gerry Mulligan / Art Farmer Jazz Combo from 'I Want To Live' OST. Johnny Mandel w/ Gerry Mulligan (bari); Bud Shank (as, fl); Art Farmer (tr); Frank Rosolino (tmb); Pete Jolly (p); Red Mitchell (bs); Shelly Manne (dr). United Artists. Los Angeles 5/1958.

Another groovy gas of a tune. A night out before hitting the chamber has got to have some smokey cool mixed with a little butch-wax on wax. Many were onto this one but named Mulligan on other tunes rather than here. Nate and a couple others hit the Mulligan and the Rosolino sound (whatever that sound is?). Great track that certainly touches a bit on those Mancini does the dick sides. This was essentially a companion album to the sound track. (They even out out a version that I have with the MJQ etc doing "Odds Against Tomorrow" on the B-side.)

Track 6 :"Blue Jungle" - Les Baxter from 'Jungle Jazz' with Plas Johnson and The Les Baxter Orchestra. found on the essential Rhino double "The Exotic Moods of Les Baxter". Los Angeles 1963.

This follows up that Pink Panther tip with a more jazz purr than the typical post Denny exotica that was Baxter's cash kitten. Most all that ventured a guess here were on knowing that big smooth Plas Johnson sound. I do not know who the other players featured as soloists might be but the flute and trumpet solos are meow. Dig that last minute swagger here that brings this up to a fine closer that can be followed by just about anything.

Track 7 :"Cleopatra's Needle" - Ronnie Ross 'Cleopatra's Needle' taken from Impressed w/ Gilles Peterson. Ronnie Ross (bari); Les Condon (tr); Art Ellefson (ts); Bill LeSage (vb); Spike Heatly (bs); Ron Stephenson (dr). Original album "Cleopatra's Needle" Fontana Records. London 6/1968.

Couw brought us Tooter's website to honor the great baritone (un)known to all for his solo on Lou Reed's 'Walk on the Wild Side'. This is just a cooker and Bill LeSage and Les Condon are crazy good here. For me it's the duo in that back that pump this thing into overdrive. Ross is all over that big boy! Another British jazzer who is obviously in serious need of the Mosaic Select at the least. Please, someone go on about this piece. I have yet to tire of it.

Track 8 :"Elusive Samantha" - Johnny Hawksworth. ...from a disc on Plastic records called 'Morphine: Mambo Jazz Club'.

I tried my best to find out more about this piece and this composer / bassist. All I can come up with is some snippet British TV show soundtracks that are here and there and widely unavailable. He might very well play the vibes on here too, a bit of 60's overdubbing? As you can tell I dig a little noir-ish groove as is apparent here. This cut goes down swell with a little of Tubby's "Beathaven" or even some Victor Feldman vibe. Be great if someone knew a bit about this gentleman?

This serves as the end to "Side 1" so go pick that needle out of the groove and ... Get ready to rhumba!

Track 9 :"Get Ready to Rhumba" - John Lurie National Orchestra. 'Blue In The Face' OST. John Lurie (as); Calvin Weston (prc); Billy Martin (dr). Luaka Bop Records 1995.

Known right off the bat by one (soothing music for couws) and thought to be Benny Carter or Johnny Hodges on a bender. Well it's fake jazzer John Lurie and a couple of men with stix. Not your usual fare from the Lizards' (by far the ass-shakinist band around for the neuvo bohos) leader and evidently he had the line on the whole score for this very small house movie but got into a snit with David Byrne's Luaka Bop heads so the project was taken out of his ever pursed lips and he was given this minute. As it kicks off the second side to this disc we get set to shake it up a little even though that little-latin-loopy-lilt has been setting us up all along.

Track 10 :"Shadow Song (Mario's In)" - Kip Hanrahan 'Vertical's Currency'. Jack Bruce (vx, p); David Murray (ts); Mario Rivera (bari); Ned Rothenberg (ts); Andrieau Jeremie (ts); Richie Vitale (tr); Lew Soloff (tr); Steve Swallow (bs); Milton Cardona (cnga); Kip Hanrahan (prc); Ignacio Berroa (dr) etc... American Clave 1010 / IRS / JustinTime. NYC 2/1984.

Surprised that Jack Bruce was not known immediately as his voice is 'so damn sweet to me' ? And his piano playing as credited here is wonderful. Granted Kip's 'other' lyrics are supposed to emit that sweat and slurp of the barrio but they can be a bit non-sensicle after some time and I'd much rather hear them in Spanish or Portuguese so I don't have to know what he's talking about. But his ability to gather forces like this and have them work at 90% is better than most crack outfits in this genre. Tight as boogaloo Banlon. Murray and Rothenberg blow some hot stuff along with some real dealers like Mario Rivera at the bari this time. Milton Cardona, Kip's main timekeeper, ain't gonna have to wind his watch after this! This is one to crank up as loud as it will go and just pretend that it's really hot outside. Truly as his label describes: American Clave! Mr. Bauza would be proud.

Track 11 :"Cha Cha du Loup" - Serge Gainsbourg 'Les Loups Dans la Bergerie' Roger Guerin (tp); Georges Grenu (alto); William Boucaya (bari); Pierre Michelot (bs); Chritian Garros (dr). Plus some unknown congueros? Philips EP from Jazz in Paris "Jazz et Cinema V3" Universal Music France. 10/1959 Paris.

Some short little piece to pick up where Mario leaves off. Right into a nice cha cha or a montuno as Mr. Weil calls it. Couw had tossed in a piece from this on his BFT and that's how I was able to toss a ringer. Cowbell clave for the crazy wolf!!

Track 12 :"Swing 39" - Barney Wilen 'Jazz Sur Seine'. Barney Wilen (ts); Milt Jackson (p); Percy Heath (bs); Kenny Clarke (dr); Gana M'Bow (prc). Philips LP reissue from Jazz in Paris. 2/1958 Paris.

On fire here. Who baby this is one hot swinger and considering how crazy good this is it's curious as to whether John Lewis got the 'Quartet's' bow ties too tight. This MJQuintet has been discussed previously and it looks as if all might now have this...or else!

Neuf said!

Track 13 :"Rip A Dip" - Juan Amalbert's Latin Jazz Quintet. Juan Amalbert (cnga); Bobby Capers (as); William Coleman (mldca); Arthur Jenkins (p); Bill Ellington (bs); Ernest Newsom (dr, timbls). from 'Hot Sauce' New Jazz (Prestige). RVG New Jersey 5/1960.

We now cross the pont over to the Latin Quarter ... but wait what's that guy with a Melodica and a hose doing under this bridge. It's the portable organissimo, perfect for that holiday down the Seine. Having only heard Bobby Capers on some Mongo Santamaria discs I was so glad I tossed this cut into the mix to prompt some unexpected discussion. Mike Weil is a huge fan of the LJQ and he sent me an exhaustive discography that he has compiled. Great stuff and I can't wait to hear more from this group.

Track 14 :"Suicide Waltz" - John Zorn 'Filmworks XIII: Invitation to a Suicide'. Rob Burger (ac); Marc Ribot (g); Trevor Dunn (bs); Kenny Wolleson (dr, vbs). Tzadik Archival Series 7341. Brooklyn NY 9/2002

Nice little eastern euro sounding piece from one of many Film sets in the Zorn discography. Rob Burger, who is heard on accordion here, heads up the Tin Hat Trio. Not familiar with them and rally only tossed this in as a lead for the accordion. Simply beautiful tune with everybody just kindly comping along and allowing the squeezebox and doorbells some room.

Track 15 :"Heart On My Sleeve" - Kip Hanrahan 'Coupe de Tete'. Chico Freeman (ts); Teo Macero (ts); Dave Liebman (ss); Orlando DiGiroland (acc); Carlos Ward (as); Cecil McBee(bs); Victor Lewis(dr). American Clave 1007 / IRS / JustinTime. NYC 11/1980-2/1981.

Penned by Teo Macero, who takes the second solo, from a short little album from Kip's early days. I was going to toss up the more sultry 'India Song' by Carla Bley but figured we wouldn't hear from Mr. Sangrey for a long time. This one goes in just to confuse. (And see that I tossed in two or more things that relate to Miles while turning my back at the same time.) I'm hoping that ya'll will talk a bit more about what you think now that you know who's who.

Track 16 :"Pine Float" - Angelo Badalamenti -'Twin Peaks : Fire Walk With Me". Badalamenti (p, vb); Al Regni (ts); Kinny Landrum( kyb); V Bell, (gtr); Buster Williams (bs); Grady Tate (d). Warner Bros. Los Angeles 1993.

You guys thought this was a bore but if you just imagine me with longer hair hiding behind your couch you'll soon be up dancing to Pennsylvania Six Five Thousand. This groove picks up on Audrey's snapping good juice and harkens a day when Donna Hayward had meat on the bones. And you can't go wrong with the rhythm mates can you?

Track 17 :"Going To Dinner" - John Zorn 'Filmworks I:She Must be Seeing Things'. Marty Ehrlich (ts); Anthony Coleman (kyb) Wayne Horvitz (org); David Weinstein (fx); Mark Dresser:(bs); Bill Frisell (gtr); Carol Emanuel (harp); Bobby Previte (dr). Wave/EVA 2024. Radio City Studios NYC 12/1986

A great band that Mr. Anger put together for one of many film sessions. I love Marty's playing here and agree I could also do without the SFX but had to bring us down from all that accordion and stringy stuff.

Track 18 :"Thieves Nocturne" - Thieve's Quartet - John Zorn 'Filmworks III'. Dave Douglas (tr); John Zorn (as); Greg Cohen (bs); Joey Baron (dr). Tzadik Archival Series. NYC 7/1993.

The Masada Quartet before they settled into their current klezm-ornette model. Or even on a name. It does have a certain stripped down Milesian quality to it. A beautiful little breather that was a sign of Zorn to come.

I guess this could have ended the set but I tossed up a couple others jest for fun

Track 19 :"Police Story Blues" - Mark Helias 'Desert Blue'. Marty Ehrlich (ts); Herb Robertson (tr); Mark Helias (bs); Anthony Davis (p); Pheeroan akLaff (dr). enja Records. NYC 1989.

Some real gut-bucket going on with Marty (obvious to Nate) and Herb Robertson (Tom Storer placed him on the elusive #4) getting all down with a nice Roux de Tete. Some sawankeh delights going on here and I think Anthony Davis plays it pretty darn good. Someone here sez Helias is his main cat but I can't remember who?

Bonus Track-not on original LP cofiguration :"My Brothers" - Hanrahan's Conjure: 'Cab Calloway Stands in for the Moon'. Eddie Harris (ts, vox); Don Pullen (org); Elysee Pyronneau (g); Milton Cardona (prc); Robert Ameen (dr) text of Ishmael Reed.American Clave 1015 / IRS / JustinTime. NYC 1987/88.

Don Pullen! Don Pullen!!

A sweet little ditty for all the Organissimo brothers and sisters. No matter what, this guy ... "the electrifying"..., still keeps coming back for more, as we all do, cause it ain't all over at midnight.

I'll try to post up some links later.

Edited March 2, 2004 by Man with the Golden Arm

[Nate Dorward]

Oh right, Steve Beresford. Haven't got much of his on disc, but he's a great inside-outside player, like Misha Mengelberg or Veryan Weston.

It's Rosolino not Rosolini & yes, he's got a very identifiable sound/style! I should pick up more of his stuff--caught a bit of some of his 1970s work on the radio the other day & was struck how good it was. The only disc of his I have is the very good Free For All, which has a sad story to it (it was recorded in 1958 & the record company refused to release it despite Rosolino's pleas--it only appeared after his death).

I like the soundtrack to She Must Be Seeing Things a lot, but god help us it's a horrible film--I actually tracked down a videotape at one point. One gets the impression from Zorn's liner notes that the other two films whose soundtracks are compiled on the disc are probably just as trashy.

Sidenote: Art Ellefson, the tenor on #7, ended up settling in Canada; he has a not-bad disc on the Sackville label.

Edited February 29, 2004 by Nate Dorward

[mikeweil]

Track 2 :"Va Va Voom" - Gil Evans from the 'Absolute Beginners OST'. Featuring (I think) Gil Evans (cond); Chris Hunter (as); Stan Sulzman (ts, ss); Ray Russell (g); John Surman (bari) and many more.

A critics pan-fest but some great cheesy pop and over the top frantic jazz. Only out for a spit, the recording features Gil on just a few cuts heading up a band from the UK that made an album at the same time as he was taking up the scoring and musical direction charge for this youthful exuberance of this 60's London picture. Mike Weil has described this percussion within the discussions thread and I would love more. I thought it was great that Randy's test included a Gil that I could not place and that this one seemed to confound everybody, guess when the artist is doing it for the money, maybe, it might have that adverse effect. I'd really like to know who is all over this in the rhythm section? The cuica yapping is worth the price of a rental. I did hint that this relates in a way to a later cut (#15) but not really.

Track 5 :"Black Nightgown" - Gerry Mulligan / Art Farmer Combo from 'I Want To Live'. Johnny Mandel w/ Gerry Mulligan (bari); Bud Shank (as, fl); Art Farmer (tr); Frank Rosolino (tmb); Pete Jolly (p); Red Mitchell (bs); Shelly Manne (dr).

Another groovy gas of a tune. A night out before hitting the chamber has got to have some smokey cool mixed with a little butch-wax on wax. Many were onto this one but named Mulligan on other tunes rather than here. Nate and a couple others hit the Mulligan and the Rosolino sound (whatever that sound is?). Great track that certainly touches a bit on those Mancini does the dick sides.

Track 6 :"Blue Jungle" - Les Baxter from 'Jungle Jazz' with Plas Johnson and The Les Baxter Orchestra.

This follows up that Pink Panther tip with a more jazz purr than the typical post Denny exotica that was Baxter's cash kitten. Most all that ventured a guess here were on knowing that big smooth Plas Johnson sound. I do not know who the other players featured as soloists might be but the flute and trumpet solos are meow. Dig that last minute swagger here that brings this up to a fine closer that can be followed by just about anything.

# 2: So that's Gil Evans? Must be from the same time when he cut his rare LP "The British Orchestra" - never found a copy of that one either.

That it's British players explains the eclecticism of the percussion, I'm not a fan of these mixes of Cuban, Brazilian and other rhythms, although it generally works, as long it is all in the same time signature, because the differences between the rhythms/dances get evened out, but it sure make a fine groove here.

The piece takes a surprising turn after the opening theme, perhaps suggested by what is seen on the screen ...

There's a bunch of movie music on this CD: A Genre underestimated with many hidden gems, it seems. Basically, I always thought jazz is the ideal movie score music for its flexibility.

Many players seem to change their attitude and sound as well: I'd never have thought it was Mulligan on # 5 - rather some other West Coast cats, and well, there they are ....

# 6: That Les Baxter: I like his music very much, have only his Capitol double CD compilation, which I highly recommend, but haven't listened to it often enough, it seems ...

I didn't have as much time for this BFT as I would have liked to ....

[couw]

I am not familiar with Steroid Maximus (track 1), but did like what I heard here. I have some similar stuff, albeit either not so far out WHACK! or WHACK in its own unique way (this is probably true for all things WHACK). This has a similar bombastic, sometimes gothic quality as much of Amon Tobin's output. The big band spy movie stuff is very reminiscent of Jerry Van Rooijen's 25000 Miles per Hour, and the unexpected weird sounds seem straight out of Funki Porcini's.

This kind of sampling over a heavy trip hop beat is often scuffed off as stealing and not very original or whatever. When viewed as a sonic painting, different qualities can be found. Many of these artists are absolutely on top of things musically. The comparison with Jeroen Bosch certainly befits this wacko master of the groove.

And when talking about sonic painting, Gil Evans is sure to be mentioned. Track 2 is certainly not what I associate with Evans, though. It was a very enjoyable track nonetheless. Only goes to show that weirdness is everywhere on this disk...

Right, so that guitar-noir did prove to be a sonic signature of Gainsbourg. I don't have this actually, but I believe I have heard this at a friend's place. Cool stuff. What's the rest of the box like?

With the answers in front of me, I can now positively state that I do not have track 4 somewhere there. Beats me why I had the impression I did... And believe it or not, the same goes for track 5

more later...

Edited March 1, 2004 by couw

[JSngry]

What's cracking me up is that I bought the Absolute Beginners ST on secondhand cassette about 3 years ago because I'm an aspiring Gil Evans completist and that was the only way I could find it, but was so unmotivated to actually listen to it due to all the pans it's received that this is the firsttime I've heard anything from it!

But that defintiely explains my enthusiasm for the intro, before it gets silly. THAT'S writing!

Edited February 29, 2004 by JSngry

[Jim R]

Seeing these answers is somewhat consoling, in that I only own one of these albums (Jazz Sur Seine), and have never heard of several of these artists. Anyway, it's the musical discovery that's important, and I found the music on this test to be generally fairly intriguing. It will be fun to listen again with the answers in mind. If possible, I'd like to see more discographical data (record labels, recording dates).

Thanks again

[tjobbe]

oh oh... so much Zorn... I never had bought any of his records as the snippets I heard so far have been all not my taste but what you put together here does sound great..maybe I need to revise my decision

on #2: I I thought I've heard most of Evans records but I was not aware he did any cinema score...

on #3 how is the rest of that record ?

anyway... lot of fun, lot of new sounds. Thanks a lot

Cheers, Tjobbe

[rockefeller center]

HA! I have all those Kip Hanrahan LPs and recognized not even one song. I'm going to get the albums #7 and #14 are taken from. Ribot on #14 is a big surpise, Kenny Wolleson can play vibes too!? I like these guys very much. Thanks for your efforts, Arm!

[JSngry]

Does Steve Beresford have a history as a student/protege/whatever of Stan Tracey?

[tooter]

Sorry that I did not participate in your BFT - missed a really good one - it was because I was agonising about whether or not I could see myself compiling in due course. But I would like to thank you for the plug "Cow brought us Tooter's website to honor the great baritone". I have yet to upload the largely completed version of the discography but it should be ready soon. Still no doubt many errors and omissions - it's like sweeping dust from concrete!

[Dmitry]

No blindfold needed for this one - didn't know/guess any of the cuts aside from Mulligan. The rest was mui esotheric for me.

Edited March 1, 2004 by Dmitry

[Man with the Golden Arm]

Some free association reveals this??

Edited March 1, 2004 by Man with the Golden Arm

[catesta]

I re-visited the cd over the weekend, track 20 really grew on me.

Nice one VG.

[Man with the Golden Arm]

Right, so that guitar-noir did prove to be a sonic signature of Gainsbourg. I don't have this actually, but I believe I have heard this at a friend's place. Cool stuff. What's the rest of the box like?

I got this BOX at DGA ages ago when it was in the twenty something range. (Now much more expensive and I don't feel all that necessary.) But it is the only place, I believe, where some cuts from 'Strip Tease' are available. The two Mercury comps of his afro-cuban work, as well as a more recent "Gainsbourg Percussions" that is a compilation and not the EP original, are excellent. The film box has a huge bit of his later work that is in that wacky Morricone spacey pop genre. If JIP does a Jazz et Cinema 5 they should represent a greater body of Serge's jazz work such 'Strip Tease', 'L'Eau a la Bouche' and 'Comment Trouvez-Vous ma Souer'? -all recorded from '59 - '63.

While he lead with his nose in his early afro-jazz-works I believe the other part got the best of him from here out.

[couw]

It's always astounding to note that Plas Johnson's tenor sound is soooo recognisable, yet he hardly gets mentioned. I believe he got mentioned twice on the guess-thread and both times there was a question mark. Yet very many people had a pink panther association with track 6.

WRT track 7: I should have known earlier. It took me WAY too long to put the right tag on this fabulous music. Les Condon on trumpet is absolutely great, hysterical was what Nate called it. Reminds me of Nat Adderley on a weird day. Bill Le Sage on doorbells absolutely RULES and I was surprised so many people were 100% sure it was Booby. I didn't hear that (as if I know anything about vibists).

I would certainly like to know more about track 8 and that Hawksworth guy.

more later...

[RDK]

Well I guess I can't be too surprised that I didn't correctly identify any of these since I barely know any of these cats. Gil Evans I know, of course, and even have bits of John Lurie, Zorn and a few others in my collection as well, but nothing that I'm too familiar with. I actually have one of those Kip Hanrahan albums on an old cassette that I bought years ago as a cutout but it never did anything for me at the time. But I liked that track (10) so I'll have to scrounge around and try to revisit that one again.

Overall, this was perhaps the toughest BFT for me - and there's nothing wrong with that; my ears are open and I love a challenge.

[Man with the Golden Arm]

I would certainly like to know more about track 8 and that Hawksworth guy.

Now here you go... I've been all over trying to find out more about him too and I Googled a different way and lookie here:Danger Girl! (w/ sound bite) click play all audio samples and it's more bft #7!!! Yowzzaaa! even some killer John Barry Seven? I see that he appears on some other compilations regarding TV themes from the UK. Another link that talks up his bio.

[Man with the Golden Arm]

Does Steve Beresford have a history as a student/protege/whatever of Stan Tracey?

This seems to be Beresford's most concise discography.

On another note: I do see on this site that he played with Piet Noordijk at some point. I had read long ago somewhere that Zorn "stole" his style from him, I believe. Any help there as to where you might see Zorn fitting in with other stylists? During Randy's test I immediately thought of Zorn on the McLean and percussion cut.

Edited March 1, 2004 by Man with the Golden Arm

[couw]

I would certainly like to know more about track 8 and that Hawksworth guy.

Now here you go... I've been all over trying to find out more about him too and I Googled a different way and lookie here:Danger Girl! (w/ sound bite) click play all audio samples and it's more bft #7!!! Yowzzaaa! even some killer John Barry Seven? I see that he appears on some other compilations regarding TV themes from the UK. Another link that talks up his bio.

and that site with the bio also has this useful comment:

"There are plenty of Ted Heath Band CDs available now, though you?d have to hunt for those that credit arrangers. "Lunar Walk" has been on quite a few Castle Communications CDs of TV theme compilations."

thanks for clearing the mist chaps!

[mikeweil]

It makes me kind of sad this very entertaining Blindfold Test Disc doesn't get more feedback here - but maybe you just didn't have enough time just like me.

I would like to add some more comments on the Latin Jazz Quintet, which was a fine band, but the liner of the Prestige reissue states they had problems to maintain a stable personnel due to lack of gigs. Conga drummer Juan Amalbert (who later changed his name to Emanuel Rahim and recorded with John Coltrane and others before moving to Scandinavia) founded the band, obviously inspired by the Cal Tjader groups. Prestige gave them a chance to record some albums after two sessions as backup band for Shirley Scott (Mucho Mucho) and teamed with Eric Dolphy (Caribé). The first session stayed in the vaults for almost a year until part of it was released in combination with tracks from the next session, which had alto saxophonist Bobby Capers added to the group. Another mix album from these sessions and another one followed, but it seems they didn't sell much. A different personnel with some members of the first records recorded another LP with Dolphy for United Artists; Amalbert took a shot at a more Latin Soul oriented approach with Pharoah Sanders as guest soloist.

Capers had played but not recorded with Max Roach before joining the LJQ and went with Mongo Santamaria in late 1962 after they disbanded. Trumpeter Marty Sheller and Saxist Pat Patrick of Sun Ra Arkestra fame were his front line partners in Mongo's band, Capers played tenor, Patrick alto and baritone, but Capers adopted the latter role when Hubert Laws replaced Patrick in 1964. He stayed with the band until 1966. It seems he attempted a band with his piano playing sister Valerie (who wrote many arrangements for Mongo over the years and remains active as a piano teacher), but a session they did together and an earlier one with members of Mongo's band, both for Atlantic, were not issued and were probably destroyed by the fire in the Atlantic tape storage facility in 1974. Capers did a handful of sessions as a section man, he soloed only with the LJQ or Mongo. I find him a no-nonsense soloist, modern bop with a good feeling for the Latin rhythms.

For a player of his level, he's severely under-recorded. He is no longer with us, but so far I could not find out the date or circumstances of his death; any information would be greatly appreciated.

The Latin Jazz Quintet LPs:

1 - Prestige 7182 Shirley Scott - Mucho Mucho

2 - New Jazz 8251 The Latin Jazz Quintet + Eric Dolphy - Caribé

3 - Tru-Sound 15003 The Latin Jazz Quintet - Hot Sauce

4 - Tru-Sound 15012 The Latin Jazz Quintet - The Chant

5 - New Jazz 8321 The Latin Jazz Quintet - Latin Soul

6 - United Artists UAS 5071 The Latin Jazz Quintet (w. Eric Dolphy)

7 - Phoenix LP PLP-8008 Pharoah Sanders with the Latin Jazz Quintet - Oh! Pharoah Speak

Latin Jazz Quintet CD reissues:

Original Jazz Classics OJCCD-819-2 The Latin Jazz Quintet + Eric Dolphy - Caribé

Palladium PCD 145 The Latin Jazz Quintet (UA LP)

P-Vine (number ?) The Latin Jazz Quintet ? The Chant

Prestige PRCD-24128-2 The Latin Jazz Quintet - Hot Sauce (incl. 3 & 4)

Prestige VICJ-23132 The Latin Jazz Quintet - Hot Sauce (incl. 5 & 4)

Prestige VICJ-23146 Shirley Scott - Mucho Mucho

Mongo Santamaria LP's with Capers:

Battle BM/BS (9)6120 Mongo Santamaria - Watermelon Man

Battle BM/BS (9)6129 Mongo Santamaria - Mongo At The Village Gate

Riverside (9)3523 Mongo Santamaria - Mongo Introduces La Lupe

Riverside (9)3529 Mongo Santamaria - Mongo At The Village Gate

Riverside (9)3530 Mongo Santamaria - Mongo Explodes

Riverside S-3008 Mongo Santamaria - Mongo At The Village Gate

Columbia CL2298/CS 9098 Mongo Santamaria - El Pussy Cat

Columbia CL2375/CS 9175 Mongo Santamaria - La Bamba

Columbia CL2411/CS 9211 Mongo Santamaria - El Bravo!

Columbia CL2473/CS 9273 Mongo Santamaria - Hey! Let?s Party!

Columbia CL2612/CS 9412 Mongo Santamaria - Mongomania

Mongo Santamaria CD's with Capers:

Milestone MCD-9210-2 Mongo Santamaria - Mongo Introduces La Lupe

Milestone MCD-47075-2 Mongo Santamaria - Watermelon Man

Milestone MCD-47038-2 Mongo Santamaria - Skins

Original Jazz Classics OJCCD-490-2 Mongo Santamaria - Mongo At The Village Gate

Columbia Legacy 498708-2 Mongo Santamaria - Greatest Hits

Edited July 13, 2004 by mikeweil

[Man with the Golden Arm]

Well Mike I will add a bit more here so as not to look like I'm talking to myself.

I was going to post up more of that disco you compiled and glad you put this up here. A well done bio for a band that seems to be an enigma when you start googling around. I'm so glad I included that cut as, with your comments, it became more than just a novelty in the midst of the set. I've listened to Mongo quite a bit but for some reason never get into really listening to a solo as hard as I should when it comes to Latin stuff. Lesson #1 here is that I will do so with much more concentration in the future.

Putting together this test for me was more of a reaching out to hear what you all think of these tunes / artists as well as trying to confound you ringers at the same time.

Quite a few of the tunes spurred a decent amount of conversation. I'd really like to hear the educated chew a bit more out of a few of these tracks.

My questions within the answers:

#2) I'd like to know of more of this "silly" Gil Evans piece. I am in no way a Gil guy. Have the standard Miles collabs as well as the Impulses and absolutely loved the "individualism" from Randy's test... where do I go from here?

#3) Not much other Goraguer compos that are this over the top. It's that little conga bongo romp or whatever you call it that floats this along so well. Not quite as indulgent as say a Quincy Jones of the time but cooking at it's best. What else is like this??

#4) I just caught a snippet of a "dance on camera:Fly" tv show that featured the piano and score of Steve Beresford. Unfortunately I only saw the last minute and then the credits.

The way the group makes room for each other here is so nice to hear. Not a typical "I'm John Zorn don't ya know" feature and Douglas is just so good on this piece too. It's that happy loping along that I really dig. While not entirely Monk-y I'd like to know what else is like this, too???

#10) Jumping ahead as the others have been talkd over a bit elsewhere. Many kind of just passed this one off but to tell the truth this thing is one of my favorites. Maybe it's that David Byrne's 'Rei Momo' album came out as well or that I saw this group with Pullen after 'Days and Nights of Blue Luck' and then only a couple weeks later got to see the real Mario Bauza at the same venue. To me Bruce is so nice and warm here and with a lyric that is intellegently silly for once. Bringing that Latin in with such a stellar group though is such a coupe. If you just try to listen to only the percussion you almost can't do it. The horns are just so damn tight - Mario Rivera and Ned Rothenberg building a nice wall for Murray to sharply point the mortar. You got to play this one LOUD possibly after your own bender! And I love how Serge's cha cha won't give you time to exit the floor.

#11) This Wilen piece really re-kindled a very slight interest and how. The cut is the odd duck out on the JiP disc and I guess kind of Duke Jordans up the Django classic. So what's going on here? This thing is a cooker that a smart record clerk would put on the hi-fi and sell every copy in the store. Seeing that the first BFT included a cut from 'Jazz sur Seine' was purely an oversight. I need more of exactly this!!! ???

Well aside from the Latin Jazz Quintet I think this thing kind of petered out. If I had to re-work it I'd pick up after that accordion piece with Ribot and move into something a bit more fun. But I still love the solo playing by the quartet of horns on Teo's "Heart on my Sleeve". With all that Coleman vs Farrell on the other BFT I was surprised this tune did not spurr more debate. Maybe it's just a tad boring.

It would be good to see more posts as the next two-fer is on deck in a week.

Edited March 5, 2004 by Man with the Golden Arm

[couw]

#3) Not much other Goraguer compos that are this over the top. It's that little conga bongo romp or whatever you call it that floats this along so well. Not quite as indulgent as say a Quincy Jones of the time but cooking at it's best. What else is like this??

more stuff with Gainsbourg on board? It's also the little nasty spy movie guitar, isn't it? I am no expert on either Gainsbourg nor Goraguer; I wish I were! I only know that Gainsbourg often has such crazy things going on that are in part true exponents of a pop-culture.

[couw]

#10) Jumping ahead as the others have been talkd over a bit elsewhere. Many kind of just passed this one off but to tell the truth this thing is one of my favorites. Maybe it's that David Byrne's 'Rei Momo' album came out as well or that I saw this group with Pullen after 'Days and Nights of Blue Luck' and then only a couple weeks later got to see the real Mario Bauza at the same venue. To me Bruce is so nice and warm here and with a lyric that is intellegently silly for once. Bringing that Latin in with such a stellar group though is such a coupe. If you just try to listen to only the percussion you almost can't do it. The horns are just so damn tight - Mario Rivera and Ned Rothenberg building a nice wall for Murray to sharply point the mortar. You got to play this one LOUD possibly after your own bender! And I love how Serge's cha cha won't give you time to exit the floor.

This one has grown on me mucho! Because I knew and love the following track by Gainsbourg, I was sort of underwhelmed by this particular version. Not any more. A great track, pretty nice vocals and cool lyrics. Serge remains a keeper of course.

[couw]

as for the accordion/melodica stuff: the first two tracks (#13 & 14) I still like a lot. #14 even more when I put my "Lurie-listening-cap-with-special-ears" on. Track 15 is still a bit of a downer. Indeed a bit boring in its slickness perhaps. That Twin Peaks track has also grown on me after I put my Lurie cap back on again. Still a tad too slick (the ending sucks I think) for my tastes, but definitely with some very interesting interplay. The Lurie cap still on, #17 suddenly enters a whole new ballpark and has several very nice outfield hits. Funny how expectations and setting can influence the hearing. The ending is as slick as in track 15. Still a bit too yucky for couw. Track #18 scores very high if I keep my cap on, in spite of its shameful shortness. I guess nothing much changes once track 19 hits us. More of that stuff I need to be in a certain mood for.

I wasn't wearing the right ears for the second half of this BFT before, when I wrote my comments, partly because I generally didn't feel like it, and partly because of what came before in this BFT compilation. I'm liking it a whole lot better now. I guess I do agree with you tough, Vint, that you somehow lost the drive and mood you had so diligently created up to the accordion tracks. It is certainly a valid way of doing the compilation, but a bit more fun might indeed have saved the evening and put an entirely different spin on the thing. Maybe you should have opted for a Marvin Pontiac track

[Man with the Golden Arm]

Maybe you should have opted for a Marvin Pontiac track

Oh yeah, and the "brothers" they'd be puttin down the "doggie" fer sure.