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BFT 221 Link And Discussion


Ken Dryden

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#12. OK, how’s this? Art Farmer (flh,tp), Harry Sokal (ts), Fritz Pauer (p), Heiri Känzig (b), Joris Dudli (ds), rec. Vienna, 1981. Disc title is "Foolish Memories", which I misread as "Polish Memories" (no unwoke jokes please). Art almost becomes frenzied towards the end of his solo, something I've never heard before ...

 

 

 

Edited by Quasimado
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1 hour ago, Quasimado said:

#12. OK, how’s this? Art Farmer (flh,tp), Harry Sokal (ts), Fritz Pauer (p), Heiri Känzig (b), Joris Dudli (ds), rec. Vienna, 1981. Disc title is "Foolish Memories", which I misread as "Polish Memories" (no unwoke jokes please). Art almost becomes frenzied towards the end of his solo, something I've never heard before ...

 

 

 

Correct on all counts. It’s one of Art Farmer’s lesser known albums and a favorite of mine.

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3 hours ago, Quasimado said:

#12. OK, how’s this? Art Farmer (flh,tp), Harry Sokal (ts), Fritz Pauer (p), Heiri Känzig (b), Joris Dudli (ds), rec. Vienna, 1981. Disc title is "Foolish Memories", which I misread as "Polish Memories" (no unwoke jokes please). Art almost becomes frenzied towards the end of his solo, something I've never heard before ..

2 hours ago, Ken Dryden said:

Correct on all counts. It’s one of Art Farmer’s lesser known albums and a favorite of mine.

 

Well, at least I identified (a Polish?) Farmer... This is a good track. The album is on Spotify - https://open.spotify.com/album/1o3BgUGPQ6ecHpVLuZMLkH , will listen to it later today. 

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On 8/18/2022 at 0:21 PM, Quasimado said:

11# Last gasp ... that alto is post 50's ... Stan Kenton.

Try for more air, not Stan Kenton.

On 8/18/2022 at 0:31 PM, JSngry said:

If it's Kenton (and there is a bass sax in there, but no mellophoniums), it would be Charlie Mariano?

Not Charlie Mariano.

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1 hour ago, randyhersom said:

Names I recognize as pianists on the BMI Songview list of versions of Naima by John Coltrane are:

Brian Melvin Quartet

Great Jazz Trio

Marian McPartland

Hilton Ruiz

McCoy Tyner

Massimo Urbani

Cedar Walton.

 

Is 11 Gil Evans?

None of those artists is featured on “Naima.”

Track 11 isn’t Gil Evans.

Edited by Ken Dryden
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1 hour ago, randyhersom said:

Names I recognize as pianists on the BMI Songview list of versions of Naima by John Coltrane are:

Brian Melvin Quartet

Great Jazz Trio

Marian McPartland

Hilton Ruiz

McCoy Tyner

Massimo Urbani

Cedar Walton.

Whoever of them has four hands is your man. 

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1 hour ago, AllenLowe said:

were these tracks ever Id'd?

 None of the recent discussions have resulted in identifying titles or bands. I am surprised that some of them haven’t been guessed, though one or two of them are likely less familiar.

Edited by Ken Dryden
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Fine selection!

 

Track 3: without the applause, it almost sound as an overdubbing à la Reflections. Great rendition of Naima. It is a favorite of d'Andrea but I did not know about this duet with Bollani.

Track 4: Someone to watch over me where the pianist  sounds very familiar. Could be one those Venus piano trios.

Track 8: Sleepin' Bee! I know very little of Bertha Hope, I will have to check it out.

Track 9: Nice and already Ided!

Track 11: The classic bull-march or something of the kind. I had no clue Moussogsky was jazzified, no less by Bud Shank and Bill Perkins! I assume is it Paul Horn on alto. Very pleasant.

Track 12: Such a beautiful tone from Art and already IDed.

Track 13: Great sound from Svend Asmussen. Another Fabrik concert, I only know the EKAYA boot from 1981 in Hamburg. I listen to very very little Benny Goodman,  but would like to hear your take of the concert during the Reveal thread.

Track 14: Fine trio format. It sounds like You'd Be So Nice To Come Home To but I confuse so many standards. Gibbs or Tjader?


 

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1 hour ago, aparxa said:

Fine selection!

 

Track 3: without the applause, it almost sound as an overdubbing à la Reflections. Great rendition of Naima. It is a favorite of d'Andrea but I did not know about this duet with Bollani.

Track 4: Someone to watch over me where the pianist  sounds very familiar. Could be one those Venus piano trios.

Track 8: Sleepin' Bee! I know very little of Bertha Hope, I will have to check it out.

Track 9: Nice and already Ided!

Track 11: The classic bull-march or something of the kind. I had no clue Moussogsky was jazzified, no less by Bud Shank and Bill Perkins! I assume is it Paul Horn on alto. Very pleasant.

Track 12: Such a beautiful tone from Art and already IDed.

Track 13: Great sound from Svend Asmussen. Another Fabrik concert, I only know the EKAYA boot from 1981 in Hamburg. I listen to very very little Benny Goodman,  but would like to hear your take of the concert during the Reveal thread.

Track 14: Fine trio format. It sounds like You'd Be So Nice To Come Home To but I confuse so many standards. Gibbs or Tjader?


 

Track 3: Correct identification of D'Andrea, Bollani and "Naima."

Track 4: Correct song identification. Not a Venus piano trio.

Track 8: Correctly identified as "A Sleepin' Bee" by Bertha Hope.

Track 11: Correctly identified as Moussorgsky, but which piece? Paul Horn is the alto soloist. Bud Shank and Bill Perkins are present in the group

Track 13: Correctly identifed as Svend Asmussen, from a Benny Goodman concert (minus Benny on this song).

Track 14: Not "You'd Be So Nice To Come Home To", this selection is by someone other than Cole Porter.                                           Not Terry Gibbs nor Cal Tjader.

 

Edited by Ken Dryden
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  • 2 weeks later...

Apologies for a very late go this month.  Not a lot of IDs for me on this -- definitely off the main drag of my listening, which is a healthy thing.

Track 01 - Uhm... no idea.  Not my bag, though.  Interested in the story behind its inclusion, for sure.

Track 02 - Mathy-Monkish feel.  Vijay is always the first guy who pops into mind for this type of stuff, but seems to lean a bit further away from the protractor than his stuff.  This feels closer to someone who listened to a lot of Woody Shaw.  Settles into a good feel, though the drums feel like they're pushing to me.  Loses steam during the trombone solo.  I wanted a Roswell vibe, and it just wasn't there.  Trumpet is the star here, and my guess is it's the trumpeter's date.  Certainly a nod is due to Kenny Wheeler, this is a tick below that level of mastery of the instrument, but that's no criticism.  The time seems a bit loose during the trumpet solo -- again, not a negative, just not KW.  I know I'm on my porch with a shotgun yelling at kids, but the drummer is just too busy.  It's an interesting composition.

Track 03 - A different take on Naima.  Carla Bley meets a standard?  Clearly an accomplished pianist, and a melodic improvisation, but that pulse is off-putting. I recognize that's also what sets it apart, but I just can't warm to it.  Perhaps repeated listenings would change that (it did for Eastern Rebellion's version), but here, it seems to distract from a really well executed solo.  Could this be Toshiko?

Track 04 - Very familiar sound to this opening, but it's not what it's reminding me of.  Someone to Watch Over Me.  Very capable trio.  It's a BFT, so I'm prompted to assume it could be Gene Harris.  No new ground broken here, and that's fine, because it's doing what it does admirably.  Don't know if I want two full sets of this, but right now, it's fitting perfectly.  The exchange with the drums gets a bit hokey, but it still works.  No further guesses, though.

Track 05 - Nice compositional nod to Bud Powell.  Arrangement is nice, too.  Bassist is extremely capable, but spends too much time up the neck for my taste.  Mind you, the facility makes it okay.  Loses some steam on the alto solo.  Player has all the facility, none of the feel.  Has that thing that rubs me badly about Rudresh and TK Blue -- relax.  Hell, inhale if you have to, but calm down.  Tenor: yeah, I love Joe, too, dude.  Unsure who the players are, but the whole feel is hurried, and it just misses the nerve it's going for.  Maybe it's because I drank iced coffee instead of the real thing, but this one has left me feeling uneasy -- not the vibe or a Tuesday.  Really nice tune, though.  Maybe slow it a bit?  Maybe I'm just old.

Track 06 - If I'm wrong, I'll be disowned for typing this, but the feel of the phrasing says Zoot Sims to me.  Tune is obvious, The Very Thought Of You.  I'll commit to the Zoot guess.  As such, I believe it's from this which I do not have, but have heard some of.

Track 07 - This feels like the player is reading the chart (doing incredibly well, but that's the feel).  Sound here is odd.  Sounds like it was a room recording from a different time, but there's also a lot of effects on that guitar.  No idea what the tune is, but I like it.  Almost feels like this is a rehearsal take.  Very curious about this -- feel like I want to hear more of the session.

Track 08 - Sleeping Bee.  Not a version I'm familiar with.  Only thing I can say for sure, it's not Tommy Flanagan's version.  Harold Arlen wrote such nice tunes.  Drums here feel a bit rigid.  Can't tell if it's the style or intent in the version, but I'm sensing that trend with a number of the cuts on this BFT.  It settles down once the ride starts.  Then it has kind of a Connie Kaye vibe.   Pianist doesn't rush at all, which suggests a certain time period to my ear.  I believe these are players from that 70s/80s generation (maybe roots further back).  I could listen to a lot of this -- really strong take on the tune.  Sound suggests Concord.  Maybe Jamil Nassir on bass?  Actually feeling pretty strong about that one.  

Track 09 - Lover Man.  No idea who.  Has an older sound to the recording.  Sounds like a young player of the time playing a tribute to their idol.  Nothing wrong with that, but not sure I'd give it multiple spins.

Track 10 - Early reaction to this is strongly positive.  Bass + space.  What's that I hear?  Why, it's a rhapsody, of course.  This is doing different right.  It works from the get go.  On the laptop, now I hear a lot of reverb on the bass.  Not a problem, but definitely a choice.  Have an Art Davis recording like that -- very heavy on the verb.  Was almost thinking an older Dizzy on trumpet, but I think it's just someone expressing love for same.  I want it to be Konitz, but it's not.  Similar vintage of player, perhaps?  I mean, this works.  Everything about it just works.  I'm thinking it's high-tier players who lie just off the course of my listening.  

Track 11 - This is fun.  I see Peter Sellers snooping through a alley.  Like it, no idea what it is.

Track 12 - That Muse sound right of the bat.  Or perhaps better sound than that.  The patience of that warm, mellow flugelhorn has me thinking Art Farmer.  Nope.  The precision of attack just isn't there.  Very strong player, though.  80s tenor guy.  Could be Brecker, because it strikes me like that.  I'm not really buying any of it.  Oddly, project the same lines coming out of Johnny Griffin, and I'd be all in.  I'm just not in favor of the tenors out of this particular school -- I don't hear the uniqueness.  This falls into the category of a nice jazz record.  Bass seems fairly prominent in the mix, which makes me wonder if it's the bassist's record.  I don't know this bassist.  Very busy.  Perhaps Bobby Shew on trumpet?  Writing feels like his style.  

Track 13 - On The Sunny Side of the Street.  Odds of me getting a violinist are extremely low.  Pianist is not Ellington, which eliminates my top guess of Ray Nance.  I could cheat and guess Grapelli for even odds, but I don't think it's him.  Nice version, not trying to outdo itself.

Track 14 - Not something in my collection.  Maybe Gary Burton?  I'm not getting a strong identifier out of the vibes.  Solid piano solo, but not getting an ID there, either.  Can't even nail down the tune, but it sure is familiar.  Nothing wrong here, just not really grabbing me.

Track 15 - I wanted it to be Harold Alexander, but it's not.  Upbeat, interesting arrangement.  Before the vocalist solo, I was wondering if perhaps it was Christine Corea, but this seems more Flora Purim in nature.  Not sure this is a scat solo I needed.  Just doesn't really do anything.  

Again, sorry for the late participation, and thanks for putting together this month's challenge!

 

I'll be damned.  Farmer fooled me and I was thinking Paul Horn but couldn't pull the name from the recesses of my brain. 

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Coming in at the eleventh hour again, which I have been doing lately but it's been another crazy month. And now I see my esteemed colleague TK is in a similar boat. 

These are my thoughts as I listened, and I haven't looked at this thread apart from grabbing the link, but now I'll go back and see how wrong I got everything. :D

 

Track 1 - Hmmm. I'm guessing this is included because of the trombone player? Not really my cup of tea. 

Track 2 - I love the way the piano, bass & drums set up the feel here. Nice tune too. Maybe this is the same trombonist as on the previous tune? Nice trombone solo anyway, same for the trumpet. Overall I like this more when they get a bit more exploratory and hover on one chord for a while, as opposed to the section where they go through all the II-Vs... less interesting to me. Again, same with the piano solo... I think the pianist is at their most interesting when not sticking to changes. Overall I like this but it's slightly too polite for my tastes I think.

Track 3 - Ah, Naima! This starts out very mysteriously and I like that. I also like the way the left hand is very punctuated and rhythmically assertive, yet never too energetic, while the right hand maintains the gentle feeling of the piece. Some very thoughtful and beautiful playing here. To my ears, the pianist deeply understands this tune. Looking forward to finding out who this is!

Track 4 - The tune is "Someone to Watch Over Me"... I recognized the verse at the top but it took me a few seconds to remember what tune it was from. The swing quotient is high here. I like the pianist quoting "Swinging Til The Girls Come Home" too. All the players are proficient here... I'm envious of the bass player's bowed sound and technique. Overall a nice track, clearly a group who play well together and bring the swing.

Track 5 - Pretty good clip on this one, and another tight band. Nice bass solo right out of the gate... someone out of the Niels Pedersen school but I don't think it's him. I like the pianist. The alto player not as much. So many notes... so little rhythm. Technically this track is impressive but it doesn't hit me emotionally. The tenor player has more to say... I like the tenor solo a lot more.

Track 6 - A nice respite from the energy of the previous tune. Now this is some beautiful playing. This is just perfect. I'm blanking on the name of the tune, but I really like this. Fantastic tone and phrasing from the soprano player, masterful support from the guitarist. Ah! Who I guess is Bucky Pizzarelli! :D

Track 7 - Another good 'un for me, beautiful feeling and playing from everyone. Love the altoist's sound.

Track 8 - Boy this tune sounds familiar, and it's gonna kill me that I can't think of what it is. The pianist is very sensitive... nice use of space and the solo builds quite nicely. Great feel in the rhythm section. A pleasant listen.

Track 9 - "Lover Man," and I like it at this tempo. Another pleasant one but nothing jumps out to me.

Track 10 - An interesting bass sound, with all that reverb, but is it terrible to say I find the bass player's sound more interesting than the playing? Oh wow... wait a minute, that has GOT to be Clark Terry on trumpet. Beautiful solo! Now I am really confused. Don't know who the alto player is, but I really dig both the horns here. The interplay between the two of them is especially nice here. Seems like an odd mismatch with the bassist though, to my ears anyway. Definitely curious about this one though.

Track 11 - I'm intrigued right off the bat. Niiiice groove, love the low horns and the drummer is laying it down. Fantastic floaty alto solo over the top of this smoldering stew. The ensemble passages are great, and a bit unpredictable. For a second I even thought early Sun Ra, but it's not that. I'm stumped, and curious.

Track 12 - Those bass runs sound like they're from someone I should know. This has got to be from the 70s. That's some beautiful flugelhorn playing. Must be Art Farmer? Very nice tenor solo too. Hmmm, now that the bass player is soloing I like the bassist a little less... sorry! Just not a big fan of those repetitive high-register runs. Overall I like this track though.

Track 13 - "On the Sunny Side of the Street," of course, and I am feeling the sunshine. Nice easy feel. I don't listen to nearly enough jazz violin in this kind of context (as opposed to someone like Billy Bang, who I do listen to a lot of), but this is beautiful. VERY swinging piano solo, everyone is on the task here and driving it home. Oooh, I like the pizz stuff from the violinist too. This is fantastic.

Track 14 - This is "Beautiful Love." Excellent vibes player. Who needs a drummer? The bassist & pianist are right in the pocket. Digging the sound of this group, some good listening going on. I like the pianist's lines, I can hear "the search." I can hear a Ray Brown influence in the bass player-- definitely enjoyed the bass solo too. Overall a fine track!

Track 15 - Hello! You had me at the flute, and then the groove came in... whoa! I'm just trying to catch up with this. I like it! The wordless vocal adds a nice element. Killer feel. That almost sounds like some kind of wooden flute? Some great playing, whatever the case... I like the flutist very much. Now hang on... any chance this is Luciana Souza? I haven't heard her in a while but we used to run in the same circles. Whoever it is her solo is fantastic. Love this all the way around... solid, energetic, beautiful and exciting!

 

Couldn't ID a lot of this, not all of it was in my wheelhouse, but a really enjoyable listen overall. Thanks for putting this together Ken!

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Are we on BFT 221 or 222?  I'm responding to the latest I have heard, on September 1. 

1) J.J. Johnson: “Barbados” from Dial J.J 5–a first-rate version of the Bird tune.  Of course, just about anything by J.J. is first-rate.

2)  I know this.  Such a lovely tune from the 50’s…at least originally.  Isn’t this a Gerry Mulligan piece?  Great arrangement.  That sounds a bit like Lee Konitz.  Not hearing Mulligan himself.

3) “Milestones.”  There have been many fine covers of this great piece by Miles.  This is a superb piano trio version.  I know The Great Jazz Trio did this, but it’s clearly not that group.  Is it Billy Higgins on drums?  These guys are connected and they’re burning through it.

4) “Where or When.”  Nice tenor, channeling Ben Webster’s breathy tone.  I’m thinking it’s someone else, but maybe it is Ben.  It sounds like an older recording.

5)  This sounds like Andrew Hill. That session that went unreleased for a long time.  It has strings, but I believe it’s just a string quartet.  Good session.  I like Hill and the whole group, including strings. Ah, it’s “Poinsettia.”

6) Not sure about this one.  Bobby Hutcherson sometimes had a sound like this in the 1960’s, but not sounding like any Hutcherson I have (which is most of the Blue Note output). I like it, though it seems a bit too simple in terms of the rhythm.

9) “Afro Blue” on guitar--I feel I should know this.  Oh, it's John Scofield from the Roy Haynes record Love Letters.  Nice performance.   

10) “The Wedding” (Water from an Ancient Well)  by Abdullah Ibrahim.  One of the most beautiful pieces ever written by him—or anyone else!

14) Ellington for sure, but I can't name the piece.

I may come back on the others.  I really like your choices.  I am finding considerable musical pleasure all through the BFT. 

 

 

 

Edited by Milestones
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46 minutes ago, Milestones said:

Are we on BFT 221 or 222?  I'm responding to the latest I have heard, on September 1. 

1) J.J. Johnson: “Barbados” from Dial J.J 5–a first-rate version of the Bird tune.  Of course, just about anything by J.J. is first-rate.

2)  I know this.  Such a lovely tune from the 50’s…at least originally.  Isn’t this a Gerry Mulligan piece?  Great arrangement.  That sounds a bit like Lee Konitz.  Not hearing Mulligan himself.

3) “Milestones.”  There have been many fine covers of this great piece by Miles.  This is a superb piano trio version.  I know The Great Jazz Trio did this, but it’s clearly not that group.  Is it Billy Higgins on drums?  These guys are connected and they’re burning through it.

4) “Where or When.”  Nice tenor, channeling Ben Webster’s breathy tone.  I’m thinking it’s someone else, but maybe it is Ben.  It sounds like an older recording.

5)  This sounds like Andrew Hill. That session that went unreleased for a long time.  It has strings, but I believe it’s just a string quartet.  Good session.  I like Hill and the whole group, including strings. Ah, it’s “Poinsettia.”

6) Not sure about this one.  Bobby Hutcherson sometimes had a sound like this in the 1960’s, but not sounding like any Hutcherson I have (which is most of the Blue Note output). I like it, though it seems a bit too simple in terms of the rhythm.

9) “Afro Blue” on guitar--I feel I should know this.  Oh, it's John Scofield from the Roy Haynes record Love Letters.  Nice performance.   

10) “The Wedding” (Water from an Ancient Well)  by Abdullah Ibrahim.  One of the most beautiful pieces ever written by him—or anyone else!

14) Ellington for sure, but I can't name the piece.

I may come back on the others.  I really like your choices.  I am finding considerable musical pleasure all through the BFT. 

 

 

 

Must be 222, you added to the wrong thread.

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