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BFT 227

mikeweil

By mikeweil
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mikeweil Mentor

mikeweil

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3 hours ago, Dan Gould said:

hints won't help me but might help others?

Some hints? A tittle difficult, as they easily come close to identifying the tunes or musicians. But let me try:

# 1 is from a Riverside LP that many here like very much - the tune was identified. I'm puzzled as I thought this version was a giveaway track.

# 2 & 10 feature the same pianist.

# 3 The trumpet, as I said, is not his main instrument, it isn't even a horn. It is a Prestige album this is taken from.

# 4 This brass band also worked with Carla Bley and decided to do some more as a unit.

# 5 & 8 & 12 are an All Stars band with varying personnel that recorded a string of albums for a British label between 1995 and 1999, it was named after a part of the label's name, which doesn't suggest jazz albums.

# 5 & 12 feature the same tenor player

# 6  is co-led by a very famous bass player with a strong affinity to Brazilian music

# 7 the singer is from Venezuela and was included on one of my previous BFTs.

# 9 was identified

# 11 is impossible to guess unless you have the CD

# 13 was released on a compilation on the same label that released the All Stars recordings of # 5 & 8 & 12 and is from one of the sessions of these All Stars.

# 14 is connected to # 4 via its co-leader. I included a track of this band on one of my previous BFTs.

So will this help? Anyway, I will post the reveal on Tuesday. 

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JSngry Grand Master

JSngry

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Ok, here we go then!

TRACK ONE - Familiar in all ways except specific name LOL. It's good, I like it. Very well-seasoned, players who are not just in a bag, but in a life.

TRACK TWO - Piano, yes! Scatting, uh, respectfully no. I see Jimmy Rowles has already been identified, and yeah, for the piano, that's apparent-ish. He's got a kind of slashing touch, but he's very specific about it, I enjoy him much. But that scatting...he scats like he's playing a bass solo, if that's any consideration. But then he goes into "All Too Soon"? wtf????? was it this all along? No, it was not.

TRACK THREE - Yeah, this is a mindfuck. Upon further thinking, I was once told a story that comes back that makes this cut have some sense to it. More upon the reveal.

TRACK FOUR - How I feel about this depends on what I think it is I'm hearing. It almost feels like a "classical" ensemble, only they're using American root-jazz as their basis. That's totally cool with me, and as such, I enjoy it. If they're supposed to be actually playing American rooty-jazz, then...no thanks, it doesn't feel particularly rooty. So through one lens, pretty much totally successful, through another, pretty damn much jivey, But the orchestration is really well executed, no matter what.

TRACK FIVE - "Cubano Chant", but by who? Pretty easily sleuthed, and I'm kinda surprised that it's Gato. He sounds older and more tired than I would have liked, only giving himself away at the end of the solo. Andy Gonzalez on bass is always a good thing! And Bob James!

TRACK SIX - Oh my! That's a goofy intro, in the best possible way! "Desafinado", surely one of the earliest versions, Brazilian record? Only not with that bass sound...this is beautiful. There's a place for making things happen, but there is also a place for letting things happen, which is what is happening here.. Just SO damn beautiful. The Portuguese lyrics flow so much more musically than do the English ones...can I marry this record?

TRACK SEVEN - Interesting vocal style, a bit of Flamenco flavor? I can say that I am appreciative, but not particularly moved. My problem, not theirs.

TRACK EIGHT - hmmm....it's a "Footprints"..."homage", I suppose...but it's got that early digital hollowness to the sound and nobody really does anything to elevate it past the homage level. But that's Kenny Burrell, maybe. The problem with these type things is that people have gotten so good at re-creating the original voices that it stops mattering if it's real or if it's a re-creation. That kind of pisses me off, not this record in particular, just the whole trend, the replicability of originality. It's devaluing and only brings on the Borg. Id do kinda like that trumpet solo, though, sounds like some thinking is going on.

TRACK NINE - HA! Not sure what or who, but that's totally on it.

TRACK TEN - Red/Rowles, I like it.

TRACK ELEVEN - Nice, intimately played. But I personally don't get a strong feel for it right away. It is very empathetic between the players, that I can feel. Definitely sounds like people wo niether mean nor do harm to and in the world, so kudos for that, for sure.

TRACK TWELVE - Ok, THAT sounds like Gato, and very nicely so, from the same album as #5, and a lot more meaningful performance, imo. Gato was really one of the great melodists of the tenor, imo.

TRACK THIRTEEN - That's really nice. Your hint leads me both to the record as well as to a recognition of this Herbie Nichols composition. Just wonderful.

TRACK FOURTEEN - As much as I truly do like the instrumental arrangement, I dislike the vocal. Intensely dislike, in fact. I suppose it's all part of a piece, but so is liver and onions.

Pretty nice compilation, Mike, and thanks for highlighting the HipBop Essence label. There were some interesting records done there, ones that I had forgotten. Good to be reminded!

 

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Dan Gould Mentor

Dan Gould

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2 hours ago, JSngry said:

Pretty nice compilation, Mike, and thanks for highlighting the HipBop Essence label. There were some interesting records done there, ones that I had forgotten. Good to be reminded!

 

Oh great, so a good chance that we could have a new record of tunes on a BFT that I own. :(

 

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tkeith Enthusiast

tkeith

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Listened earlier in the month while doing drywall work.  Finally getting around to putting thoughts on paper (with second listen).  

Track 01 - Grooveyard, but not a version I'm familiar with.  Pleasant enough, but I'm missing Harold Land.  :D Great tune.

Track 02 - There's a certain quality here reminding me of Rolf, one of my favorite muppets.  A Mose Allison feel, but doesn't sound like him (though I'm certainly no expert on Mose). I appreciate the piano work more than the vocals.  Perhaps it's just the phones, but are there two pianos here?

Track 03 - Tune seems to be borrowing from a Clifford Brown tune, if I'm not mistaken.  Guessing mid-50s from the recording.  I like this, but not sure how often I'd go back to it.

Track 04 - Full brass band, which leaves me with about two options from my collection, and it's neither, so I'm just going to listen.  

Track 05 - Love the song (and it's familiar-ish).  Sax player has that modernish think I can't quite get to.  Reasonably sure it's a tenor, but also has a James Spaulding-ish quality to it (but to my ear lacks his story).  Fun ride.

Track 06 - Recognize the song, but can't put the title to it.  That Getz CD was one of the first available when our household migrated to CDs.  Could be Anthony Ortega on alto.  This is the keeper for me thus far.  Damn if I can remember the song name, though.

Track 07 - I'm getting pulled in multiple directions.  I think like is winning, though.  This is strange.  Like Tristano-meets-Randy Weston-meets-Flora Purim-meets-... I dunno... middle eastern/north African flavor?  Hell, I'm in.

Track 08 - Another winner.  Do I recognize the tune, or am I recognizing adjacent works? (Footprints, Teo)  Tenor loses me.  Same issue I had with track 5.  It's too much from the practice room, and the feel of this tune is NOT that.  That 2-4 feel sets this up with a really unique feel.  Guitarist gets closer than the tenor did, for sure.  Trumpet caps it off with the top solo of the three.  Damned tenor players.  Curious what this is -- really like the feel of the tune.

Track 09 - Bittersweet.  Certainly narrows down the options.  With the bass lead, I have to assume it's a Sam Jones record.  Only other versions I know are Eastern Rebellion and Glenn Wilson/Rory Stuart (which I believe I first heard in a BFT).  Just printed charts for this, today (you hear that, Tim!?).  Doesn't sound like Sam.  No idea.

Track 10 - Nice trio work, but nothing that stands out for me to recognize.  Familiar-ish tune, again.

Track 11 - I like this, but the recording frustrates me (headphones).  It's nearly complete stereo separation, which is NOT they way a human hears music.  Musicianship is excellent.  Reminds me of Surman, but I don't think it's him.  And then, around 1:40, we go all practice room.  Just don't.  

Track 12 - Somebody gonna get knifed.  Getting a distinct Gato vibe, but that sure sounds like an alto.  

Track 13 - I'm just not hearing this going anywhere.

Track 14 - This one is weird. Actually really like the band, but can't get past the, uh... vocals.  These seems like an animated soundtrack.  Vibes are doing something distinctly in the groove, and the quirky arrangement is perfect.  But that vocal.  Eesh.  

Think this is basically all new to me.  I have three piles:  Like  -  Keep  -  No thanks.  The small pile is that last one.  :D  

 

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webbcity Enthusiast

webbcity

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Coming in just under the wire!! Below are my thoughts as they occurred to me while listening, and I have not cheated and looked back at others comments to ruin it for myself, but will do so just as soon as I submit this post...

1. Off to a great start! This is "Grooveyard" by Carl Perkins, though I'm not sure yet if I know this recording. I suspect whoever this is got their inspiration from the Montgomery Brothers record of the same name? Nice easy feel here, the swing is real. I'm a particular fan of guitar/piano/bass trios and this is hitting the spot. Great solos all the way around, particularly that bass solo, very nice. Clearly the guitarist is inspired by Wes but I have no guesses.

2. Funny, I like the way this starts. I'm thinking this is not someone who makes their living as a singer, but rather a horn player who enjoys a bit of boodeedledeedooing on the side. Oh... or maybe it's the pianist? OK, this is a solo performance. Solid playing, I'm liking the confident feel...whoever this is also doesn't need a drummer to feel the time. I like the way the tempo is brought down at the end.

3. This sounds vaguely familiar. I'll make an early guess-- Clark Terry? I'm a fan of this whole group so far... great feeling from the bass & drums, and I love that bass sound. Big thumbs up for the bass solo as well. Hmm... no, I think I'm gonna take back my Clark Terry guess. Not sure who this is but I like it!

4. Well right off the bat I'm thinking Lester Bowie's Brass Fantasy or something like that. Hmmm... nope, we're a bit more inside now. Something in the arrangement actually now sounds very Quincy Jones to me. So... ok... now I'm back to thinking that trumpet player does almost sound like Bowie. I am all sorts of confused now. In any case, this is cool. Fun arrangement, great playing.

5. It's bugging the heck outta me that I can't remember the name of this tune. I like the dirt & grit in the tenor player's sound. Got some bite! Not as much a fan of the solo ideas as I am the sound though. The way the drummer is hitting the cymbals it has almost a Vernell Fournier feel. Overall a fun track, nice feeling.

6. Interesting intro! Boy, my head is spinning a little from all these turnarounds... or is it the coffee? And now I will reluctantly have to admit that I am one of those few people who has never fully clicked with the Getz/Gilberto thing (not saying this is them, I don't know). This is really great, of course, just doesn't do a ton for me personally. But I can still appreciate it on the level of knowing that it is spot on.

7. I like that ostinato line a lot. The singer is very interesting and I feel like I've actually heard her before. Is that possible though? Hmm. This is Italian, yes? My language detector is a bit slow. Nope, it's Spanish! See, I told you. I really like the juxtaposition of the active bass/piano line and the floating middle eastern sort of vocal line on top. Very cool track.

8. Ahhh... right away the bassist & drummer have pulled me in. Wonderful feel. Very quickly I'm in a world I like. This is clearly modern, and I hear that the tenor player can do some of those "modern" runs and things but I like that he or she is holding back a bit. The best parts for me are where they respect the space. The guitar solo is good and the trumpet solo even better. Beautiful tone! Overall I really like this tune and the overall group sound in particular.

9. Well right away I like the instrumentation with the flute and cello. Good piano solo but no guesses as to who it is. Oh, the cello player must be Sam Jones? It's funny because the tune sounds very much like a Pettiford tune but it's not OP. Cool track! Not sure of the rest of the players so I'm anxious to hear who it is.

10. ROCK solid feel, once again, for two instruments with no drums. They are feeling it deep down here. Boy I love the bass sound too... very familiar sound. Don't know the pianist but I'm really digging the solo. Ah! That's Red Mitchell on bass. Still not sure who the pianist is. What a great recording too... I love being able to hear the breathing sounds etc in the background. Feels like you're there. And yeah, if there was any doubt this was Mitchell, it vanished as soon as he hit that LOW note. And I love the trading between the piano & bass, this is pure communication. Great track!

11. So... lots of good bass players in this BFT. Just sayin. And this track? You had me at hello. Not only with the bass, but then you throw in a bari? Come on. As the tune goes on, though, I do wish they would take a few more risks, it feels a bit safe to me. Some nice playing though. And I think the tune itself is interesting, I just wish they'd cut loose and really go for it. Put it this way, as deep and telepathic as the communication was on the last track, I feel it's missing here. Boy, I turned on this track pretty quick. :D

12. This one is not really my bag. It's obviously played well but it just doesn't do a lot for me. Despite it sounding like an emotional piece of music it oddly leaves me a bit cold. I can't connect with it.

13. I'm intrigued right from the get-go, and my first thought is, "please let this be Amina Claudine Myers!" It sure sounds like her, but I can't place the recording. This is absolutely hypnotic though, I love every note. A++++

14. Hmmm, I liked it before the vocal came in. Sounded like it was going to be an interesting arrangement, and the vibes are adding a lot. But yeah, I really do not get the singer. Every time he stops, I really enjoy the other elements of the arrangement. Fire the singer! :D


Thanks so much for your efforts Mike! Some really great stuff here and I look forward to the reveal.

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