Jump to content

BFT 178 Link and Discussion


Dan Gould

Recommended Posts

I am really enjoying this Blindfold Test. It is sheer pleasure. I don't know very many of the musicians, but I think I may know a few.

Track 4 is Jive Samba, and that is Wild Bill Davis on organ. I can pick out his distinctive sound and approach. I don't know the album.

Track 10 is Ben Webster. It sounds like something from late in his career, perhaps recorded with a European trio. That is all I've got.

I actually know Track 12. I am astonished that I know one. I bought a stack of 3 Sounds CDs at Brothers Music in Mission, Kansas, recently. When I saw them in the bin, I thought of you, Dan Gould, and decided to get them all. This song is from their Black Orchid album, and it is a Gene Harris composition, "Oh Well Oh Well".

Track 11 is also :"Oh Well Oh Well." I have no idea who is playing it. I like the 3 Sounds version better.

 

Edited by Hot Ptah
Link to comment
Share on other sites

6 minutes ago, Hot Ptah said:

I am really enjoying this Blindfold Test. It is sheer pleasure. I don't know very many of the musicians, but I think I may know a few.

Track 4 is Jive Samba, and that is Wild Bill Davis on organ. I can pick out his distinctive sound and approach. I don't know the album.

Very good!

Track 10 is Ben Webster. It sounds like something from late in his career, perhaps recorded with a European trio. That is all I've got.

Yes, though that European trio is kinda the reason why it was picked. Late, but not super late in Ben's career.

I actually know Track 12. I am astonished that I know one. I bought a stack of 3 Sounds CDs at Brothers Music in Mission, Kansas, recently. When I saw them in the bin, I thought of you, Dan Gould, and decided to get them all. This song is from their Black Orchid album, and it is a Gene Harris composition, "Oh Well Oh Well".

Track 11 is also :"Oh Well Oh Well." I have no idea who is playing it. I like the 3 Sounds version better.

This was the risk run, that someone would have the original recording and recognize which is The Three Sounds. Going to hold out hope that Jim is so closely attuned to the Trio that he will recognize that way.

I'd say the remaining question is whether track 11 is also Gene?

 

Actually the remaining question is who will say "Is it Live or is it Memorex?" first.  :g

Pretty good percentage on the guesses at least! Thanks Bill glad you are enjoying the tunes.

Link to comment
Share on other sites

6 minutes ago, Hardbopjazz said:

I haven't read the other responses yet. The only ones I have any guesses on so far are track

#10. Summertime. Is this Ben Webster? If so I don't know this recording. I thought I've collected all his albums.

Yes it's Ben, no the tune isn't Summertime.  #9 was ID'd as Summertime but there's no tenor soloist on that one.

#11 is Gene Harris on piano. 

Not Gene.

I will listen again before reading the other participants answers. 

 

Thanks Tom.

Link to comment
Share on other sites

Ok, time to lavarito mi tonetta (con plamasa!)

TRACK ONE - Can't jump that high, sorry.

TRACK TWO - Oh geez, this is how a lot of people think Buddy Rich plays. And if this is him, then I guess he did, this time. But The Last Blues Album Vol. 1, this ain't. I like the tenor player well enough, though.

TRACK THREE - Sal Nistico was a baaaaad motherfucker. If you don't believe me, ask Rita!

A-1283662-1383842980-4707.jpeg.jpg


HELL YEAH.

TRACK FOUR - You know what would be hip as shit? If the Negro League(s) had been the mainstream of American culture, made all the money and had all the attention. And they had bigass stadiums with organs that played like this between every inning and if THIS was the Seventh Inning Stretch song, that would be hip as shit, almost as hip as this record. But that didn't happen. Or did it? Maybe that is what really happened, and I've been living in somebody's bad dream who fell asleep out in the bleachers after one too many beer, feel asleep during the Seventh Inning Stretch, poor bastard, and I'm living HIS dream. That would explain a lot of things.

TRACK FIVE - abipbopboopiedoopydippydoppiedoo

TRACK SIX - I guess I do? Maybe not? As they used to (allegedly) tell Leonard, *** for the band, all the stars in the world for the trumpet player. (or is that a coronet?)

TRACK SEVEN - sugar's sweet and so is this, as long as it's the tenor and/or pianist. The pianist sounds like one of those cagey Earl Hines motherfuckers, you don't play poker with them, And the tenor player is brining it for real Hawk-style with no fake. Just as the painist is almost Earl Hines, the tenor is almost Buddy Tate. But that shit is real as far as I can hear, , so yeah, that'll work. Guy Lafitte, maybe? And if you want to get a side bet going on Count The Quotes, I'll play, just as long it's not poker, not with this Earl Hinesy cat sitting there with his third hand tied behind your back. I know how they do.

TRACK EIGHT - Very nice, not so easy, but definitely living!

TRACK NINE - Am I sure about if I like this one? No sir, I am not. It sounds like Almost Clark Terry, and then definitely "Too Damn" Long on trombone. And the bass intonation is just enough to disqualify any sense of real comfort. I hope it's "local", that would make it ok-ish enough.

TRACK TEN - I like the bass solo! Somebody tell Sarge that I can't pay attention and be at ease at the same time...oh, ok, take it to the governor, then. He always says the right thing. Case in point...

TRACK ELEVEN - Hmmm....I'd have preferred the RVG piano - and studio - sound here.

TRACK TWELVE - That's more like it!

TRACK THIRTEEN - At least it's not Venezuela...Google leads me to find that this is some guy named Ben Markley who has a big band that has a trombonist named Paul McKee. So there!

TRACK FOURTEEN - Oh, a funk blues with a Lee Morgan whole-tone twist! Kenny Garrett on alto? I dig how he's got Maceo and Gary Bartz in his wallet as well as all the other stuff. What did Milee call him, Sonny Stitt's dirty drawers. I'm thinking this is earlier rather than later because at some point it seems like he just wanted to "burn", and ok, when your drawers get too dirty, maybe you do have to burn them, but it shouldn't be let to go that far? Anyway...this works. Is that Grover? Wow....

TRACK FIFTEEN - Mr. Magic. Really?!?!?!?! You know, I have played this tune on I don't know how many gigs since...1975? I know it's older than that but, jsut sayin' it was still a hit as far as playing it in clubs. And there's a lot of clubs where it still is. There's a reason for that, that shit copped a groove, found the pocket, and when it went to that transition, that was the right place to go, Ralph McDonald tune, right? Bob James arrangement (for Grover) on a Creed Taylor label. I like this version, they get what the song is about/for. I'm not even going to try to guess who this might be, but I will show a lot of love for players who know enough about what the functionality of the environment is and let that be there focus...and just as I say that, the tenor player gets all ego-y, but then somebody, hopefully the voice inside htier own head, gets them out of there. This is really good. But, just let me tell you - if you go into any city with a good sized black population that still has live music, you will find bands that still play this song and play it at least this well. This is one of those songs that everybody is in on. Beware!

TRACK SIXTEEN - That's sounds like Bnois King, that's how he played, jazz vocabulary with a backwood blues twang/accent. But there's other people who play like that, each in their own way. And I love the organist, got all them knowledges speaking through the blues. When I say it could be anybody, I don't mean that as a dismissal, I mean it as an expression of humility realizing how deep, wide, and long this shit has run through the peoples to whom it has run through.

TRACK SEVENTEEN - That's probably Freddy Hubbard, or somebody influenced by him. No idea who the trumpeter is.

Is this really your last BFT? Say it ain't so! But lest you go Garbo instead of Judd, let me say this - your "zone" might appear "narrow" to those who don't spend time in your loop, but I swear - you keep finding stuff that I've never heard of within that zone that is almost always really damn good, and, quite often enough, great. You are a true connoisseur - you know what you like, why you like it, and dammit, you know the finest gradients of it. These BFTs of yours have been a public sharing of your findings, and I pity the public who will no longer have the privilege of checking them out.

No, I don't like everything, far from it. But dude - if it were anybody else, this well would have been drained dry years ago.  But you keep bringing fresh water out of it. As I like to say about other things, that shit don't happen by accident or by magic. It takes work, perseverance, and skill. So....thank you, and may you still persist. May you always persist!

 

 

Link to comment
Share on other sites

9 hours ago, JSngry said:

Ok, time to lavarito mi tonetta (con plamasa!)

TRACK TWO - Oh geez, this is how a lot of people think Buddy Rich plays. And if this is him, then I guess he did, this time. But The Last Blues Album Vol. 1, this ain't. I like the tenor player well enough, though.

Not Rich and I guess that's another "no" on the drummer, the reason for the selection, though its the tenor I was collecting in 2018.

TRACK THREE - Sal Nistico was a baaaaad motherfucker. 

Picked this track after your "Lockjaw code" comment so I figured you would know Nistico.

TRACK EIGHT - Very nice, not so easy, but definitely living!

Perhaps my favorite track for the "that's ______?" reveal in a few days.

TRACK NINE - Am I sure about if I like this one? No sir, I am not. It sounds like Almost Clark Terry, and then definitely "Too Damn" Long on trombone. And the bass intonation is just enough to disqualify any sense of real comfort. I hope it's "local", that would make it ok-ish enough.

Hmm, interesting in that its "partially" "local" and real interesting for the fact that you've dissed two major artists. Or is that 1 and 1/2? I'd definitely take Too Damn Long on trombone as a diss.

TRACK TEN - I like the bass solo! Somebody tell Sarge that I can't pay attention and be at ease at the same time...oh, ok, take it to the governor, then. He always says the right thing. Case in point...

I interpret your oblique references as your knowing the album and the background story for why I selected, so credit there. The rest of you will figure it out at the reveal.

TRACK THIRTEEN - At least it's not Venezuela...Google leads me to find that this is some guy named Ben Markley who has a big band that has a trombonist named Paul McKee. So there!

Damn Google. But yeah, that's Free doing his thing when he's not teaching. Too bad he doesn't hang here anymore but when I saw this CD cheap had to include it.

TRACK FOURTEEN - Oh, a funk blues with a Lee Morgan whole-tone twist! Kenny Garrett on alto? I dig how he's got Maceo and Gary Bartz in his wallet as well as all the other stuff. What did Milee call him, Sonny Stitt's dirty drawers. I'm thinking this is earlier rather than later because at some point it seems like he just wanted to "burn", and ok, when your drawers get too dirty, maybe you do have to burn them, but it shouldn't be let to go that far? Anyway...this works. Is that Grover? Wow....

Yes,, Grover, which is why we did the tracking into #15.  And because this was, I suspect, one of his last straightahead dates though I could certainly be wrong on that.

TRACK FIFTEEN - Mr. Magic. 

TRACK SIXTEEN - That's sounds like Bnois King, that's how he played, jazz vocabulary with a backwood blues twang/accent. But there's other people who play like that, each in their own way. And I love the organist, got all them knowledges speaking through the blues. When I say it could be anybody, I don't mean that as a dismissal, I mean it as an expression of humility realizing how deep, wide, and long this shit has run through the peoples to whom it has run through.

Not Bnois.

TRACK SEVENTEEN - That's probably Freddy Hubbard, or somebody influenced by him. No idea who the trumpeter is.

:shrug[1]:

Is this really your last BFT? Say it ain't so! But lest you go Garbo instead of Judd, let me say this - your "zone" might appear "narrow" to those who don't spend time in your loop, but I swear - you keep finding stuff that I've never heard of within that zone that is almost always really damn good, and, quite often enough, great. You are a true connoisseur - you know what you like, why you like it, and dammit, you know the finest gradients of it. These BFTs of yours have been a public sharing of your findings, and I pity the public who will no longer have the privilege of checking them out.

'Fraid so. Glad you've enjoyed the mining of the vein but I'm all tapped out. Hell I don't even have any leftovers to keep in mind for a next time.

 

Link to comment
Share on other sites

1 minute ago, JSngry said:

Please reconsider my response to # 17?

TRACK SEVENTEEN - That's probably Freddy Hubbard, or somebody influenced by him. No idea who the trumpeter is.

It's more likely than not Freddy Hubbard, or its someone influenced by him, and you have no idea who the trumpeter is ....

I am in Naples visiting Mom and left my JSngry decoder ring at home, sorry.

Link to comment
Share on other sites

Just now, JSngry said:

My guess of Freddie Hubbard was not about the trumpeter....

OH did Freddie do porn on the side and you were guessing him as the male half of the couple?  The answer would be "no" then, though the male performer is probably as famous in his field as Freddie was in music. To my knowledge, failure to warm up his chops has never had an adverse impact on his ability to perform. :g

 

Link to comment
Share on other sites

3 hours ago, JSngry said:

Fluffing means different things in different worlds, right?

Well nowadays one only fluffs a pillow. That other meaning has been superceded by use of the blue pill. But you never hear about fluffers, out of work because of Big Pharma.

I'm thinking that the drummer on #2 might be somebody like Charlie Watts? Either that or some really REALLY old guy who's old enough to be long-dead by now.

Not Watts, and not dead yet, let alone long-dead.  He's extremely well regarded by many here.  However, this is my only recording with him (I think). You may read something between those lines.

 

Link to comment
Share on other sites

Well, I hardly knew who anyone was, but I really enjoyed most of the tracks.

  1. A big-toned alto player whom I don't know is playing Mr. Ellington's “Jump for Joy.” A really nice quartet version; I particularly like the bass player's pacing. I thought the alto player might be Sonny Criss, but I can't find any evidence that he ever recorded this tune.

  2. “Jumpin' With Symphony Sid” by another quartet I can't identify. For a hot minute I thought the tenor player might be Budd Johnson, but then he played some very un-Budd-like licks. Whoever he is, he's tasty. The organ player reminded me of Shirley Scott.

  3. Wow, this is hot! I may be totally off base, but the tenor player sounds older than the rhythm section – at least maybe from a later generation than the pianist. I love the pianist's harmonic imagination. The tenor player is more conservative, but swings hard, and builds a nice solo. The drummer is something else, too. Oh, the tune is what Charle Parker called “The Hymn.”

  4. I love the energetic organ playing and drumming. The guitar and tenor weren't quite on the same level, in my opinion.

  5. This one drove me nuts, because I know it's either something in my collection or something I used to have. Whoever it is, it sounds like one of those younger New Orleans trumpeters who have one foot in traditional jazz, like Leroy Jones, Nicholas Payton, or Wendell Brunious. It's simple, but I like it a lot. Great second-line funk groove by the drummer. The pianist reminded me of Marcus Roberts when he went into the stride stuff. This track will continue to vex me until the reveal.

  6. I have two tracks labeled “Track 6,” so I assume one is supposed to be track 7. This one is a swinging “Bye Bye Backbird.” The tenor player is a delight. I feel that I should know who it is, but I don't. The piano and bass soloists weren't as interesting to me.

  7. “Do You Know What It Means to Miss New Orleans” - a little sprightlier than I usually like it. An older trumpet player, I'm pretty sure. The piano solo gets more interesting as it progresses. This is good, but I really think the tempo detracts from the effectiveness.

  8. A beautiful “Easy Living.” Once again, I don't who the tenor player is, but every nuance is just right, down to the subtle use of vibrato.

  9. I'll probably be horrified by my comments when I find out who this is, but this is the first track that I really didn't enjoy. The soloists are good brass players, but this performance seems reined-in and just doesn't go anywhere for me. It's just not interesting enough to justify yet another recording of this tune.

  10. Ha! I see what you did there with that transition. “St. Louis Blues,” not “Summertime,” but the same key. I didn't know this recording, but I recognized Ben Webster right away. His playing is just beautiful. The Dutch rhythm section gives me pain, though. The piano player is pretty cliché, and that's some of the most vertical jazz drumming I've ever heard – straight up and down, as opposed to horizontal – moving the pulse forward. But hooray for Frog.

  11. This is very good, swinging jazz, where everything is done just right. But it's so much that that it's kind of anonymous and uninteresting to me. I feel bad saying that, in a way, because Dan and others probably love these musicians – and again, it's very good. It just doesn't get to me.

  12. See above, plus tambourine.

  13. Very nice. Pretty straightforward big band arranging, but very well done. I particularly like the very melodic piano solo. Trombone soloist is good, too.

  14. This is hot. Is this Dr. Lonnie? The alto solo should have been last – in spite of the fact that the alto doesn't have as much “weight” as the tenor, the altoist really built his solo in an exciting way, and the rhythm section was right there with him. I like this a lot.

  15. I was going to say something like I said about tracks 11 and 12, but the tenor player generates so much heat that he won me over.

  16. I like the guitarist's wiry sound – more string than amplifier. He knows all the tricks. Again, same old same old good bluesy jazz – except that I like this a lot more than 10 and 11. The guitarist has more of an original voice, somehow, and the organist definitely does, even though he sounds like he's in the next room. This was a pleasure.

  17. I turned this off pretty quickly. Premature exasperation, I guess.

    Thanks for the enjoyable listen.

 

Link to comment
Share on other sites

14 minutes ago, Dan Gould said:

Check your spelling but yeah, I knew that hint would help give it away. What do you think now?

I think that explains everything. He's the clown prince of jazz when he wants to be, and this time he definitely wanted to be. I still don't like this cut, but the cat can play for real when he wants to. I have a late 60s bootleg of him playing with Sonny (Rollins) that is wonderful. And he's on Dolphy's Last Date as well.

On this occasion, for whatever reason, he wanted to go there with it. I wish he hadn't, but this is not "how he plays", except when he wants to be that guy, in this case, that guy who thinks that halfass (or less) Buddy Rich is the way to go, and then we can all of us have a laugh about that. Well, almost all of us.

Link to comment
Share on other sites

10 minutes ago, jeffcrom said:

Well, I hardly knew who anyone was, but I really enjoyed most of the tracks.

  1. A big-toned alto player whom I don't know is playing Mr. Ellington's “Jump for Joy.” A really nice quartet version; I particularly like the bass player's pacing. I thought the alto player might be Sonny Criss, but I can't find any evidence that he ever recorded this tune.  Yeah, not Criss, similar generation though. Glad somebody liked it I always tried to pick a strong tune at the start.

  2. “Jumpin' With Symphony Sid” by another quartet I can't identify. For a hot minute I thought the tenor player might be Budd Johnson, but then he played some very un-Budd-like licks. Whoever he is, he's tasty. The organ player reminded me of Shirley Scott.

  3. Wow, this is hot! I may be totally off base, but the tenor player sounds older than the rhythm section – at least maybe from a later generation than the pianist. I love the pianist's harmonic imagination. The tenor player is more conservative, but swings hard, and builds a nice solo. The drummer is something else, too. Oh, the tune is what Charle Parker called “The Hymn.”

  4. I love the energetic organ playing and drumming. The guitar and tenor weren't quite on the same level, in my opinion.

  5. This one drove me nuts, because I know it's either something in my collection or something I used to have. Whoever it is, it sounds like one of those younger New Orleans trumpeters who have one foot in traditional jazz, like Leroy Jones, Nicholas Payton, or Wendell Brunious. It's simple, but I like it a lot. Great second-line funk groove by the drummer. The pianist reminded me of Marcus Roberts when he went into the stride stuff. This track will continue to vex me until the reveal. You can stop searching to figure this out the recording has been on the market only a scant two months.  Glad you liked it so much I wasn't sure given the reception from others.

  6. I have two tracks labeled “Track 6,” so I assume one is supposed to be track 7. This one is a swinging “Bye Bye Backbird.” The tenor player is a delight. I feel that I should know who it is, but I don't. The piano and bass soloists weren't as interesting to me.

  7. “Do You Know What It Means to Miss New Orleans” - a little sprightlier than I usually like it. An older trumpet player, I'm pretty sure. The piano solo gets more interesting as it progresses. This is good, but I really think the tempo detracts from the effectiveness.

  8. A beautiful “Easy Living.” Once again, I don't who the tenor player is, but every nuance is just right, down to the subtle use of vibrato.  Everybody likes this track, looking forward to the reveal.

  9. I'll probably be horrified by my comments when I find out who this is, but this is the first track that I really didn't enjoy. The soloists are good brass players, but this performance seems reined-in and just doesn't go anywhere for me. It's just not interesting enough to justify yet another recording of this tune. Nobody likes this track, looking forward to the reveal.

  10. Ha! I see what you did there with that transition. “St. Louis Blues,” not “Summertime,” but the same key. I didn't know this recording, but I recognized Ben Webster right away. His playing is just beautiful. The Dutch rhythm section gives me pain, though. The piano player is pretty cliché, and that's some of the most vertical jazz drumming I've ever heard – straight up and down, as opposed to horizontal – moving the pulse forward. But hooray for Frog. Yeah its supposed to be an infamous recording - wanted to check folk's ears when they don't know.  So far Thom has thought the pianist was Gene Harris. :g

  11. This is very good, swinging jazz, where everything is done just right. But it's so much that that it's kind of anonymous and uninteresting to me. I feel bad saying that, in a way, because Dan and others probably love these musicians – and again, it's very good. It just doesn't get to me.

  12. See above, plus tambourine. Tambourine, plus secret sauce, as this is the original by Gene and the Boys.

  13. Very nice. Pretty straightforward big band arranging, but very well done. I particularly like the very melodic piano solo. Trombone soloist is good, too.

  14. This is hot. Is this Dr. Lonnie? The alto solo should have been last – in spite of the fact that the alto doesn't have as much “weight” as the tenor, the altoist really built his solo in an exciting way, and the rhythm section was right there with him. I like this a lot. Yes it is Dr Lonnie.  Others got the alto and tune, Jim got Grover on tenor.

  15. I was going to say something like I said about tracks 11 and 12, but the tenor player generates so much heat that he won me over.

  16. I like the guitarist's wiry sound – more string than amplifier. He knows all the tricks. Again, same old same old good bluesy jazz – except that I like this a lot more than 10 and 11. The guitarist has more of an original voice, somehow, and the organist definitely does, even though he sounds like he's in the next room. This was a pleasure.

  17. I turned this off pretty quickly. Premature exasperation, I guess.

    Thanks for the enjoyable listen.

 

Thanks for indulging me Jeff I know its tough wading thru such a large compilation. Glad you enjoyed a good chunk of it.

Link to comment
Share on other sites

8 minutes ago, JSngry said:

 

:tupYou are quite adept though I guess if you found a Bennink disco and stuck with non-free compatriots that would stick out as an option.

For those who liked the tenor there's a nice date with Horace Parlan and a more restrained Ellington-oriented set with Benny Green, both available for d/l on Amazon.  I like the Parlan a bit more.

https://www.amazon.com/s/ref=nb_sb_ss_i_1_7?url=search-alias%3Dpopular&field-keywords=joe+van+enkhuizen&sprefix=joe+van%2Cdigital-music%2C157&crid=1GGQTB8YH9LZ7

Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

  • Recently Browsing   0 members

    • No registered users viewing this page.
×
×
  • Create New...