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BFT 223 - NOW BOARDING!!!


JSngry

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Hi Jim, first try at this.

First impressions: Interesting, to say the least.

#1: In the Jacquet/Doggett mode, but more "modern". Maybe Don Patterson on organ, tenor sax sounds vaguely familiar but no wild guessing.

#2: Not-a-clue! Cute and well done, but ...

#3: Lost interest very quickly. Organist seems to be playing at playing the organ.

#4: "Live" Mulligan & Baker assaulted by some jive-assed, jumped up rhythm effects, to no good effect to these 80-year old ears. Why mess with a real classic? Ouch!

#5: Asian/Tibetan-ish percussive mantra, with swishing sea-like background, filled with special effects, etc. Held my interest.

#6: India(n)/Raga-like strummed rhythmic vamping with soprano solo in the lead. Do I hear an oud? And cascading guitar? Reminded me of some early Abdul-Malik work.

#7: Was it early Leroi (Baraka) and maybe Roswell Rudd & John Tchicai? Dug the sawing, bowed bass work. Good stuff!

#8: Earl Coleman, in soulful form, with Rollins and Kenny Drew. Better than I remembered it. Very nice.

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1 hour ago, jojazz said:

Hi Jim, first try at this.

First impressions: Interesting, to say the least.

#1: In the Jacquet/Doggett mode, but more "modern". Maybe Don Patterson on organ, tenor sax sounds vaguely familiar but no wild guessing.

That's the second such guess on this one. If they keep coming in like this, I will have to consider the possibility that I got the wrong record! Seriously, though - the only player on this cut with anywhere even close to that level of name recognition is the guitarist, who is not exactly dominant in the mix.

#2: Not-a-clue! Cute and well done, but ...

..."but..." is exactly why but was included! More about that at reveal time. But the song's lyrics is explicit about who the group is and why the record is being made. So if anybody wants to figure that out...it's in there.

#3: Lost interest very quickly. Organist seems to be playing at playing the organ.

Don't know your taste in organists, but this organist (and guitarist, and drummer) are well known in B-3 circles, and are quite often beloved. The only principal on this record who is NOT is the leader!

#4: "Live" Mulligan & Baker assaulted by some jive-assed, jumped up rhythm effects, to no good effect to these 80-year old ears. Why mess with a real classic? Ouch!

Objective: Live and Mulligan yes and yes. Baker, no.

Subjective: I totally stumbled across this record and still have no idea who made it. But as somebody who likes both dance music and jazz, what blew me away, still blows me away, is how there's the DJ stuff on the bottom, the jazz playing on the top, and they both feed into each other. If you listen to the bottom, it takes you up top, and if you listen up to, it pulls you down deep!. This is about the only such record of its type that I know of that works with a full performance and not just snippets of sample. Almost, maybe all, of them create a groove clash between players and beat, almost all mixologists lack the rhythmic acumen to just take the original rhythm section out and put in their beat. They either have to work with fragments or else live with the clumsiness and hope that nobody notices. Not only that, but the looping and such is done with no loss of pocket. I would give almost anything to her a live band hit this groove, but most live players today don't really play with a dance feel. And even if they did, how many drummers would it take to get this beat going? I knew one guy who said that he'd like to try, but he didn't have enough limbs!

#5: Asian/Tibetan-ish percussive mantra, with swishing sea-like background, filled with special effects, etc. Held my interest.

The record itself is old enough to pre-date special effects! I've had this CD for not even a year, and it did more than hold my interest. It took me out of my time and place into...I don't know where. The last thing that had that sort of effect on me was an Albert Ayler bagpipe piece. Quasimodo has identified the genre, which is really more than enough, imo!

#6: India(n)/Raga-like strummed rhythmic vamping with soprano solo in the lead. Do I hear an oud? And cascading guitar? Reminded me of some early Abdul-Malik work.

None of that (except for the soprano), but those are all totally reasonable impressions!

#7: Was it early Leroi (Baraka) and maybe Roswell Rudd & John Tchicai? Dug the sawing, bowed bass work. Good stuff!

Right names, but not early!

#8: Earl Coleman, in soulful form, with Rollins and Kenny Drew. Better than I remembered it. Very nice.

I know, right? I have known this cut for a good while now, but had forgotten about it until putting this BFT together. The reacquaintance has been delightful!

Again, thank you for participating, and thank you for your honest, informed opinions. Much appreciated!

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1- Early Jack McDuff on B3? If not him (because maybe too much bass) then Earl Van Dyke? Punchy R&B style reminiscent of both
2- MOA advertisement as in the jukebox company? Interesting
3- B3 comping in a pyschedelic way almost. At times it seems to mimic vibes sounds. Fun track. 
4- Quirky, with some interesting samples/layers. House artist? Opening sample sounds like something from Can. Not sure of the sax. 
5- This sounds like one of those shits from a cassette you buy from Squidco's front page. Those things sell out in maybe a week and good luck finding a copy. I imagine there's someone out there with a treasure trove of these things that they run through a basic tape deck and know all of them by heart. If not that, there's a Japanese film score feel about it. My favorite track so far. Should be on mainstream terrestrial radio. 
6- Sun Ra-ish opening. Doesn't sound like a Ra-style production though. Too slick. Someone was listening though b/c there's Ra elements all over this. Lee Perry percussion style around that 3:45 mark for a little bit too. Listen to Zap Pow's River Stone and you'll know what I'm referencing (Maybe. The Voodooism comp is the easiest way to get that track for comparison). 
7- When the room starts asking me questions I get a little weirded out. Narrator's running through late 20th century events like Forrest Gump, only African American-centric. Here comes the pee pee and doo doo. Reminds me of Bookman from Seinfeld. 
8- This is like if Johnny Hartman woke up at 4am, rolled directly out of bed into the recording booth to sing this song. Late at night, brown liquor in hand and I can connect. 

Edited by Dub Modal
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27 minutes ago, Dub Modal said:

1- Early Jack McDuff on B3? If not him (because maybe too much bass) then Earl Van Dyke? Punchy R&B style reminiscent of both

Neither!


2- MOA advertisement as in the jukebox company? Interesting

Yep! But not an advertisement about them, but TO them. The artists are not without interest in their own right. If one is inclined to check into it, that is.


3- B3 comping in a pyschedelic way almost. At times it seems to mimic vibes sounds. Fun track. 

I think it's a blast! The B3 player is very well know, but the leader...not so much. This record especially.


4- Quirky, with some interesting samples/layers. House artist? Opening sample sounds like something from Can. Not sure of the sax. 

The sax player was identified by jojazz. I have no idea who actually made this mix. More about that in the Reveal, unless somebody know the record already and calls it out. But the only thing I've ever heard that syncs up anywhere close to this perfectly is the mashup of "Single Ladies" and "Harlem Air Shaft that was up on YT a few years ago (and may still be?).

5- This sounds like one of those shits from a cassette you buy from Squidco's front page. Those things sell out in maybe a week and good luck finding a copy. I imagine there's someone out there with a treasure trove of these things that they run through a basic tape deck and know all of them by heart. If not that, there's a Japanese film score feel about it. My favorite track so far. Should be on mainstream terrestrial radio. 

Quasimodo has identified the genre of music. The actual artist will most likely be forever forgotten. the record itself probably should have been lost to history, but it wasn't!

6- Sun Ra-ish opening. Doesn't sound like a Ra-style production though. Too slick. Someone was listening though b/c there's Ra elements all over this. Lee Perry percussion style around that 3:45 mark for a little bit too. Listen to Zap Pow's River Stone and you'll know what I'm referencing (maybe - the Voodooism comp is the easiest way to get that). 

Ra may or may not have been in this person's ears at the time, I would not want to venture a guess one way or the other. And Ra may or may not have heard this record. My guess is not, but again, not betting any money on that. This is probably not going to be an easy guess for anybody who doesn't know the record. But it has come up here from time to time, so....stay tuned!

7- When the room starts asking me questions I get a little weirded out. Narrator's running through late 20th century events like Forrest Gump, only African American-centric. Here comes the pee pee and doo doo. Reminds me of Bookman from Seinfeld. 

Poet already identified as Baraka, with a latter-day edition of the New York Art Quintet. I found the first part of it perhaps a self-parody (intentionally or not), but he pivots on a dime when he shifts to the Mantan Moreland stuff. Maybe most people are too young to have been exposed to the era of Charlie Chan movies that had Mantan Moreland as Chan's chauffer Birmingham Brown, but if you were...then there is a major resonance to be had in those lines...BIRMINGHAM!!!! BIRMINGHAM!!!! BIRMINGHAM!!!! 

8- This is like if Johnny Hartman woke up at 4am, rolled directly out of bed into the recording booth to sing this song. Late at night, brown liquor in hand and I can connect. 

I would remain skeptical of anybody who couldn't! But it's Earl Coleman, and that's a guy who will pretty much always connect like that. Character aplenty!

Thanks for your participation, open mind/ears, and for listening to everything and finding some kind of connection to something you already know. Whether you realize it or not, you're on to something about the selection here...

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30 minutes ago, JSngry said:

Thanks for your participation, open mind/ears, and for listening to everything and finding some kind of connection to something you already know. Whether you realize it or not, you're on to something about the selection here...

It’s a fun and eclectic mix. Definitely unexpected but enjoyable to listen to. 

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1 hour ago, Dub Modal said:

Yeah, that actually worked. Very unexpected. 

Has anyone done a breakdown of the all the shots from different films?  But as good as the visual montage is, the sound montage is even more spectacular it seems to me.  this must have required a lot of work.  Anyone know who did it? 

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1 hour ago, medjuck said:

But as good as the visual montage is, the sound montage is even more spectacular it seems to me.  this must have required a lot of work.  Anyone know who did it? 

It appears to be this person/people:  oki music - YouTube

But both this and BFT #4...I have no way of knowing who made the record for sure. I evenhave a copy of the record on BFT #4, and there is no indication as tho who/what/when/where/etc. HAven't examined the dead wax yet, though....

Not claiming any great expertise on this area, but I have dug around enough to know that the DJ culture did have an area of people who would make a mix and then get a very limited quantity of 12" singles pressed up for distribution to clubs/fellow/DJs, very much NOT going for the mass exposure. 

and even though it's on YouTube, this Ellington/Beyonce thing doesn't seem like it's making a play to become an "influencer" or anything like that.

It all seems a bit underground, an I like that!

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Having read some posts, but not all, already I'm seriously intrigued by this selection especially as it fits gagaku in, so time to listen

1. my knowledge of organ Jazz is pitiful but I really like this, that would have got me dancing in my younger years at Dingwalls. I want to know who's playing

2. I literally have no reference points to this at all! Fun, at least

3. from the off I'm into this one, doesn't sound like much else I've really heard but it's got a great groove. Something Caribbean in there, I can hear this on a London street. I think they used to say this rhythm lilts

4. This is great.  Again, rhythm is driving the piece. More Jazz Dance, a theme emerging through a few of these. was about to say it overstayed it's welcome and the switch came in, loved that. No idea who though

5. Yes, just yes!

6. Could this be one of Tony Scott's excursions or maybe actually Lloyd Miller. I like it's adventure, and once again the rhythm's standing out as a dominant element. It gets nice and gnarly too. Definitely want to know who this is. Late 50s/early 60s experimenter?

7. As soon as the trombone comes in, that's Rudd. So NYAQ with I guess Baraka. No dancing to this one

8. and with reference to my answer to 1. above, my knowledge of vocal Jazz is pretty slim but I'd say that Mark Murphy knew this. It reminds me of him in his later years. This works for me though, rather gorgeous actually. Kind of what I thought Jazz sounded like before I started listening to it

Well that was a ride, and a fun one at that.  Tracks 1-6 all made me nod, tap or jiggle in some way or other and I'm intrigued by several, some reveal. 7-8 are a bit like the comedown after the party with a hefty dose of political instruction. Absolutely no chance at an ID apart from 7. which I'm fairly confident about
 

Edited by mjazzg
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1 hour ago, mjazzg said:

Having read some posts, but not all, already I'm seriously intrigued by this selection especially as it fits gagaku in, so time to listen

1. my knowledge of organ Jazz is pitiful but I really like this, that would have got me dancing in my younger years at Dingwalls. I want to know who's playing

The organist is not an unknown by any means, but might be teetering on the edge of about to be forgotten. That would be a real pity.

2. I literally have no reference points to this at all! Fun, at least

Maybe even more fun when you get the reference points (yes, plural)!

3. from the off I'm into this one, doesn't sound like much else I've really heard but it's got a great groove. Something Caribbean in there, I can hear this on a London street. I think they used to say this rhythm lilts

They should STILL say that! 

4. This is great.  Again, rhythm is driving the piece. More Jazz Dance, a theme emerging through a few of these. was about to say it overstayed it's welcome and the switch came in, loved that. No idea who though

I have no idea either. Seriously. I keep waiting for Bill F to come in and identify at least the song...I think he would know it. We do have the baritonist already identified as Gerry Mulligan, though.

5. Yes, just yes!

This one is getting a lot more positive responses that I would have ever expected, for which I'm glad. Its real intent was more for the most possibly extreme "narrative effect", but hey, people digging it, so much the better!

6. Could this be one of Tony Scott's excursions or maybe actually Lloyd Miller. I like it's adventure, and once again the rhythm's standing out as a dominant element. It gets nice and gnarly too. Definitely want to know who this is. Late 50s/early 60s experimenter?

Not Scott or Miller. The composer/main performer was around before the late 50s/early 60s, but this record is from after then.

7. As soon as the trombone comes in, that's Rudd. So NYAQ with I guess Baraka. No dancing to this one

Correct on all counts, although, maybe Mantan Moreland is dancing in his grave?

8. and with reference to my answer to 1. above, my knowledge of vocal Jazz is pretty slim but I'd say that Mark Murphy knew this. It remind me of him in his later years. This works for me though, rather gorgeous actually. Kind of what I thought Jazz sounded like before I started listening to it

Gorgeous indeed, and very humanly so. Correctly identified as Earl Coleman singing on a Sonny Rollins date.

Well that was a ride, and a fun one at that.  Tracks 1-6 all made me nod, tap or jiggle in some way or other and I'm intrigued by several, some reveal. 7-8 are a bit like the comedown after the party with a hefty dose of political instruction. Absolutely no chance at an ID apart from 7. which I'm fairly confident about

Thank you for your participation, and for some pretty astute comments. I never put my BFTs together with the "guessing game" as Goal #1. I like to get listeners impressions and opinions first, always. As for the "narrative flow"...that's something that I really don't expect people to figure out, since it's largely in my imagination. But - you did pick up on that there IS one, even if not the one to which you allude.

Kudos, and feel free to come back for more if and when the urge occurs. We're here all month!

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Tracks 1 and 8 are fine. I don't know that I really care for the singer on number 8 but I'd listen to him all day long before voluntarily listening to the tracks in between. 

Track 1 I actually found myself motivated to try to figure out the answer but ultimately I am clueless for "no later than early sixties, and the guitarist is the best known player and organist teetering on edge of being forgotten".  I first thought about the Peri Lee Blackwell album I tracked down a year or so ago with Clifford Scott, which had shorter tunes, too. Then I thought about Trudy Pitts and Rhoda Scott - Pitts doesn't fit for recording with a sax or for the timing and Rhoda Scott  has recorded in the last decade if not more recently. So she ain't teetering yet, IMO and her earliest recordings don't have tune timings to match.

So, clueless on track 1 but I did dig it a lot and look forward to the reveal.

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7 minutes ago, Dan Gould said:

Tracks 1 and 8 are fine. I don't know that I really care for the singer on number 8 but I'd listen to him all day long before voluntarily listening to the tracks in between. 

Track 1 I actually found myself motivated to try to figure out the answer but ultimately I am clueless for "no later than early sixties, and the guitarist is the best known player and organist teetering on edge of being forgotten".  I first thought about the Peri Lee Blackwell album I tracked down a year or so ago with Clifford Scott, which had shorter tunes, too. Then I thought about Trudy Pitts and Rhoda Scott - Pitts doesn't fit for recording with a sax or for the timing and Rhoda Scott  has recorded in the last decade if not more recently. So she ain't teetering yet, IMO and her earliest recordings don't have tune timings to match.

So, clueless on track 1 but I did dig it a lot and look forward to the reveal.

Nope, none of them. Great players, though, whose names should also not be forgotten!

There's only a finite number of organists to run through before you land on this player. Somebody will get it eventually! 

Mid-month clues coming the latter part of next week. As for track one, here's an early one - this artist did not record on small, back room labels with sketchy distribution.

And oh - thanks for making time to listen. I know post-hurricane is probably still making demands on your time. And if everything is back to normal, hey, thanks even more!

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4 minutes ago, JSngry said:

Nope, none of them. Great players, though, whose names should also not be forgotten!

There's only a finite number of organists to run through before you land on this player. Somebody will get it eventually! 

Mid-month clues coming the latter part of next week. As for track one, here's an early one - this artist did not record on small, back room labels with sketchy distribution.

And oh - thanks for making time to listen. I know post-hurricane is probably still making demands on your time. And if everything is back to normal, hey, thanks even more!

Freddie Roach? He was Prestige/BN exclusive pretty much. 

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It's track 10 from this but that makes your clue about guitarist being most famous player not really appropriate. KB played on four of that album's tracks and not this one.

Edited by Dan Gould
Clarifying number of KB tracks on the album in question.
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17 minutes ago, JSngry said:

 

But that is the cut - "Two Different Worlds"

Same song as Track 8.

Ah, the kind of bow-tying that compilers enjoy and participants are usually "whatever". :g

Edit to add: oh how I wish there were more Conrad Lester out there.

Edited by Dan Gould
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There is more Conrad Lester available on record than there is Percy France...which still is not very much! But not all of it shows him to the advantage that this record does.

To add even more "whatever" to the bow-tying, some compilers like to have both a theme and a narrative in how you can get there frome here. This is not Bert & I...:g

 

 

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