BFT 237 Discussion Thread

[randyhersom]

3 hours ago, felser said:

Still, credit where credit is due.  I constantly fail to ID BFT cuts I have on my shelves!

And now it's my turn, lol

237
1. R&B organ workout
2. Woody Shaw circa Blackstone Legacy?  No, there's an organ.  Larry Young's Mothership album?
3. Pretty sure this is Sam Rivers.  The question is early Blue Note with Bobby Hutcherson or later with Bryan Carrott.  I kinda think the bone is Julian Priester, so later...  But that alto solo screams Dolphy to me.  And there's a Bari too!  Got to drop all the other names but Bobby and say this is from Andrew Hill's Point of Departure.
4. Later McCoy Tyner? Maybe the album he made with Mike Brecker?, No, no guitar on that one.  Not McCoy then, the pianist basks in the influence but has a lighter touch.  I'll throw out Joe Henderson as a guess, but can't get a handle on who the piano is.  Feel like I should know.
5. Vocalist that I don't recognize.  Good band.
6. Has the seventies Blue Note feel.  Herbie Hancock?
7. Gotta be Pullen-Adams
8. Composition feels like Andrew Hill, Bobby Hutcherson on vibes.  Jackie McLean?  If I'm right about Jackie I may be wrong about Andrew.
9. You Caught Me Smiling.  Pop styled vocals over a jazz informed R&B groove.
10. There's a Love Supreme quote in there in the seventh minute.  Billy Harper?  Not as cutting edge as Black Saint.
11. More vocals, with electric piano and bass and organ.
12. Woody Shaw circa Blackstone Legacy?  

 

 

[felser]

1 hour ago, randyhersom said:

And now it's my turn, lol

237
1. R&B organ workout 

and a great one at that!
2. Woody Shaw circa Blackstone Legacy?  No, there's an organ.  Larry Young's Mothership album?

Not Shaw or Young, but it is a Shaw composition.
3. Pretty sure this is Sam Rivers.  The question is early Blue Note with Bobby Hutcherson or later with Bryan Carrott.  I kinda think the bone is Julian Priester, so later... But that alto solo screams Dolphy to me.  And there's a Bari too!  Got to drop all the other names but Bobby and say this is from Andrew Hill's Point of Departure.

None of the above.  Will be an interesting reveal.
4. Later McCoy Tyner? Maybe the album he made with Mike Brecker?, No, no guitar on that one.  Not McCoy then, the pianist basks in the influence but has a lighter touch.  I'll throw out Joe Henderson as a guess, but can't get a handle on who the piano is.  Feel like I should know.

None of the above.
5. Vocalist that I don't recognize.  Good band.

Vocalist is not obscure, this should be a fairly fascinating reveal.
6. Has the seventies Blue Note feel.  Herbie Hancock?

Not Hancock, not Blue Note.
7. Gotta be Pullen-Adams

Both present, but not their group.
8. Composition feels like Andrew Hill, Bobby Hutcherson on vibes.  Jackie McLean?  If I'm right about Jackie I may be wrong about Andrew.

None of the above.  Previously ID'd.
9. You Caught Me Smiling.  Pop styled vocals over a jazz informed R&B groove.

Yes.
10. There's a Love Supreme quote in there in the seventh minute.  Billy Harper?  Not as cutting edge as Black Saint.

Not Harper.
11. More vocals, with electric piano and bass and organ.

Yes, artists ID'd but not cut or album.
12. Woody Shaw circa Blackstone Legacy?  

Nope, though I see where you're coming from.  One listener knows the ID, but chose not to reveal it, just gave some hints.

 

 

 

[mjazzg]

So if Track 7 is pre 1975 with Adams and Pullen, are we talking Mingus Changes band I wonder? I haven't listened to them in a long while

[felser]

14 minutes ago, mjazzg said:

So if Track 7 is pre 1975 with Adams and Pullen, are we talking Mingus Changes band I wonder? I haven't listened to them in a long while

Close, but not exactly.  Earlier than the full Changes band.

[mjazzg]

25 minutes ago, felser said:

Close, but not exactly.  Earlier than the full Changes band.

OK, I'm going to wait for an ID now. I have just listened to 'Changes Two' for the first time in years though, so something else good comes out of the BFT!

[randyhersom]

https://en.wikipedia.org/wiki/Mingus_Moves

no timings match exactly but...

[T.D.]

I thought #11 had been IDd as this

but it might actually be the remaster that's on bandcamp.

[felser]

3 minutes ago, randyhersom said:

https://en.wikipedia.org/wiki/Mingus_Moves

no timings match exactly but...

That is the correct album.

3 minutes ago, T.D. said:

I thought #11 had been IDd as this

but it might actually be the remaster that's on bandcamp.

You're correct, thanks!

[Big Al]

Haven't read any guesses yet. This was an overall enjoyable BFT with only a couple of clunkers and a few I will be seeking out and one that is just so darn special I about cried when it started!

1. I need this album RIGHT NOW! It has the feel of an opening-credits TV theme from the 60's, back when those themes were so much more memorable.
2. Sounds like a Larry Young Blue Note date but I think the tenor may actually be the leader.
3. No clue and even less interest. Next!
4. This was nice but I also have no idea. Carla Bley maybe with a bassist not named Steve Swallow?
5. Wow! Is that Esperanza Spaulding? If not, I'm betting the singer is one of the musicians on this track. Doesn't matter: I love it!
6. Again, no clue but I sure like it. I really enjoy how it was recorded.
7. No idea but I like it. The tenor sure likes him some Trane.
8. Sounds like something from a Bobby Hutcherson BN from the early 70's, but the stereo spread is messing with me with the piano in the left channel and the horns in the right.
9. I need this album RIGHT NOW! I could ride that extended groove for hours! In fact, since I first typed this up about 10 hours ago, I've listened to this track at least 10 times and that groove just keeps getting better with every listen!!!
10. Sounds like the same bunch that made track 7 except they didn't know when to stop.
11. I'm curious about the story of how this track made it onto a BFT. It sounds more rock than anything else, but I dig it nonetheless.
12. LOVE LOVE LOVE THIS ALBUM!!! A desert-island album if there ever was one! Recognized this track right from the first chord! In fact, I used a track from this album on my BFT from 2013 and it was between this and the track I eventually used, so I'm glad to see this track on someone else's BFT! Side 3, track 1 of this monumental album! The pianist, who is also the composer, included this on his album of the same name, which is just as phenomenal. Whatta way to end a BFT! And speaking of that: it occurs to me that on my previous BFT from earlier this year, I used a track from another monumental double-album to close out my BFT and you nailed that guess too! Pretty cool if you ask me! 🙂

Nice job, Fel Z! I always know I'm gonna enjoy your BFT's!

Edited December 1, 2023 by Big Al

[felser]

17 minutes ago, Big Al said:

Haven't read any guesses yet. This was an overall enjoyable BFT with only a couple of clunkers and a few I will be seeking out and one that is just so darn special I about cried when it started!

1. I need this album RIGHT NOW! It has the feel of an opening-credits TV theme from the 60's, back when those themes were so much more memorable.

It shows up on many excellent anthologies.  I can help point you to a few.
2. Sounds like a Larry Young Blue Note date but I think the tenor may actually be the leader.

Not Young, not BN, yes, tenor is the leader.
3. No clue and even less interest. Next!

Well all right, then!
4. This was nice but I also have no idea. Carla Bley maybe with a bassist not named Steve Swallow?

Not Bley.
5. Wow! Is that Esperanza Spaulding? If not, I'm betting the singer is one of the musicians on this track. Doesn't matter: I love it!

Not Spaulding.  This one may surprise some people.
6. Again, no clue but I sure like it. I really enjoy how it was recorded.

It's a great album.
7. No idea but I like it. The tenor sure likes him some Trane.

Yes he does.  Previously ID'd.
8. Sounds like something from a Bobby Hutcherson BN from the early 70's, but the stereo spread is messing with me with the piano in the left channel and the horns in the right.

Not Hutch or BN.  Previously ID'd.
9. I need this album RIGHT NOW! I could ride that extended groove for hours! In fact, since I first typed this up about 10 hours ago, I've listened to this track at least 10 times and that groove just keeps getting better with every listen!!!

It's pretty fascinating stuff.  Mark also really likes it.  Will make for a fun ID.
10. Sounds like the same bunch that made track 7 except they didn't know when to stop.

About 25-30 years apart and no common musicians between the two tracks.
11. I'm curious about the story of how this track made it onto a BFT. It sounds more rock than anything else, but I dig it nonetheless.

It made it into a BFT because I have much broader boundaries for BFT selections than many others (which some people here appreciate, and others don't) and I also dig this one.  Not the first time I've had this guy on one of my BFT's.  Previously ID'd.
12. LOVE LOVE LOVE THIS ALBUM!!! A desert-island album if there ever was one! Recognized this track right from the first chord! In fact, I used a track from this album on my BFT from 2013 and it was between this and the track I eventually used, so I'm glad to see this track on someone else's BFT! Side 3, track 1 of this monumental album! The pianist, who is also the composer, included this on his album of the same name, which is just as phenomenal. Whatta way to end a BFT! And speaking of that: it occurs to me that on my previous BFT from earlier this year, I used a track from another monumental double-album to close out my BFT and you nailed that guess too! Pretty cool if you ask me! 🙂

Indeed, on all counts!

Nice job, Fel Z! I always know I'm gonna enjoy your BFT's!

Thanks, Big Al, great to have you back in the house!

 

Edited December 1, 2023 by felser

[Milestones]

Certainly a diverse set of tunes.

The second track sounds a bit like Michael Brecker, but not his his organ album with Larry Goldings. It's probably someone influenced by Brecker.

On the third I'm thinking Oliver Lake (in Dolphy mode) and David Murray.  Maybe Jay Hoggard on vibes.

The seventh track is a Mingus tune, but can't think of the title.  It might be the man himself, as the players sound like George Adams and Don Pullen.   Ah, the song is "Opus 4."  

Edited December 1, 2023 by Milestones

[felser]

31 minutes ago, Milestones said:

Certainly a diverse set of tunes.

The second track sounds a bit like Michael Brecker, but not his his organ album with Larry Goldings. It's probably someone influenced by Brecker.

Not Brecker, but you're probably right about the influence.

On the third I'm thinking Oliver Lake (in Dolphy mode) and David Murray.  Maybe Jay Hoggard on vibes.

None of them are involved.

The seventh track is a Mingus tune, but can't think of the title.  It might be the man himself, as the players sound like George Adams and Don Pullen.   Ah, the song is "Opus 4."  

Correct on all counts!  I love this tune and performance and album (which, to me, is grossly under-appreciated).

 

[Milestones]

I would say Mingus Moves, Changes One, and Changes Two are the three essentials of Mingus' last decade. 

 

 

[felser]

1 minute ago, Milestones said:

I would say Mingus Moves, Changes One, and Changes Two are the three essentials of Mingus' last decade. 

 

 

Those and 'Let My Children Hear Music', totally with you. 

[tkeith]

I'm accustomed to doing my thing, but realize it couldn't hurt to have a blurb about process.  Stream-of-onsciience comments
on the first listen, no peaking.  If I listen more than once, I'll say so.

Track 01 - It's too late, she's gone too far, she's lost the sun... she's come undone.  I'm sure my chronology is backwards, but I can't unhear it.  Gets serious mileage out of the most basic formula.  No idea what I'm listening to, but no complaints.

Track 02 - Not an Elvin project, but the owe him a tip of the cap.  Absolutely nothing wrong with it musically, but the tenor is living precisely in the neighborhood that turns me off these days.  All the note are right, but I'm not getting the story.  Amazing technician, but I liken him to reliever Joe "Fight Club" Kelly.  Yeah, you had the hardest fastball in the majors for several years, but if you took a little off, you were much more effective.  The tenor player has put many hours into the craft to get to a certain point (focusing on technique).  Now walk away from the practice room, forget all that, and tell me a story.  PLEASE!  Keys were there but didn't  make a huge impression.  Trumpet saves this for me.  Same chops as the tenor, but far more musical to my ear.  Drummer is busy doing the Elvin thing, but it works.  Maybe Blade?  Kiermayer?  Wait, a band where the guitarist has the least ego?  Actually my favorite of the group, which is rare.  I sniff a Martino flavor here.  So, clearly the tenor's date, as s/he/s hogging the solo time.  I'd rather have heard more of the trumpet and guitar.  Again, everything is 'correct', I just don't care.  Good tune, though!  

Track 03 - Maybe Khan Jamal.  I like the ragtag feel of the rhythm section, and the odd vibes sound.  Not entirely in love with the alto (or, at all).  Kind of a James Spaulding sound with a Braxton-ish approach to rhythm, which is always a turn off for me.  It's got an honest feel, though.  Brutish tenor continues that trend.  Kind of feel like this is guys just off my radar.  It's close, but missing a bit too much of the blues to warm my belly.  Though, I confess to being an old fart in such matters.  Bari was my preferred solo, then tenor, but the quirky nature of the tune prevents me from completely getting there.

Track 04 - I've just realized the majority of this song passed without impression.  No idea who it is, but it's in that contemporary category that just doesn't grab my attention.  Nothing wrong with it, just didn't make me care.

Track 05 - I mean, 3/4, poppy late-60s/early-70s hippie feel -- I'm *SO* in.  

Track 06 - These last two are right in the wheelhouse of Felser that I was anticipating.  There's nothing to NOT like here.  Tune, vamp, feel, it's all here.  Punchy alto.  Not a first-tier player, but it's honest and the player is working hard.  I'll take it.  If the tenor on the second track had done this, I'd have been all in.  This player is a notch beneath #2 technically, but this solo just works.  Musical, logical, interesting, and I feel a story.  Carter Jefferson's neighborhood, but not his house.  Pianist sounds like a poor man's Harold Mabern, which is to say, I like him (or her).  

Track 07 - Not out, but slightly off the beaten path.  Like a cross between Bill Barron and a later Mingus project. Alright, I was going to say NOT Don Pullen, but as that's clearly George Adams, we'll go with Don Pullen and, despite the fact that I'm having trouble hearing the bass, I'll say it's a later Mingus project.  I haven't dug out Changes One & Two in years, but it could be from that.  

Track 08 - Uhm, yes please.  More of this, all the time.  Had to rewind after the melody.  This is a Tolliver tune, is it not?  Explains why I'm instantly in love with it, if so.  So, that could be Hutch.  This is not the version I'm acquainted with.  I think the version I know is from one of those Arista/Freedome albums with the pink cover.   Paper Man or The Ringer.  LOVE the drums on this.  That could well be Jimmy Hopps.  Sure sounds like Charles.  Very in your kitchen (in a good way).  LOVE that guy.  SWAGGER!  But with purpose.  Joe, with a purpose of his own.  MUCH swagger here.  That piano sound suggests this is perhaps a Strata-East date.  

Track 09 - Hang on, I have to tie my roller skates.  It's a pleasant enough feel, but nothing that makes it stand out.  I'd probably have more love for it without the vocals.  Rock-side band crossing over?

Track 10 - Love right off the bat.  Really a lot to love about this feel. Open chords and relentless, energetic drums.  Tenor doesn't go freak out, instead locking into that vibe, maybe a little shy of what's been set up, but it works.  I respect the struggle of the tenor.  Like the technique is just a tick off from what he's hearing and he's (or she's) fighting for it.  Personally, I appreciate the struggle.  If track 2 had this energy, it would have been right in the wheelhouse.  This is honest, real and gets its point across for me.  Feel like I should probably know the tenor.  

Track 11 - Guessing this is the same band as one of the other tracks... track 5 or track 9.  There's attitude in her voice, and I love it.  This is what I WANTED pop radio to be when I was a kid.  A little Purdie Shuffle never hurt anyone.

Track 12 - Cerebral piano went in a different direction than I expected.  A bit too far in the funk direction for my preference, but certainly works.  Reminds me of that Roy Haynes band with George Adams, but seems a bit more toward the commercial side.  Okay, now I'm messing with myself.  I was going to comment that the keys reminded me of a Nat Adderley recording I had with Onaje Allan Gumbs.  I'm thinking this may actually be that record.  

A good listen, if a bit less life-altering than past Felser BFTs.   

[felser]

10 minutes ago, tkeith said:

I'm accustomed to doing my thing, but realize it couldn't hurt to have a blurb about process.  Stream-of-onsciience comments
on the first listen, no peaking.  If I listen more than once, I'll say so.

Track 01 - It's too late, she's gone too far, she's lost the sun... she's come undone.  I'm sure my chronology is backwards, but I can't unhear it.  Gets serious mileage out of the most basic formula.  No idea what I'm listening to, but no complaints.

Got the Guess Who lyrical reference!  This has been ID's, was actually a top 20 pop hit in early 1965 (years before 'Undun').  I've always loved it.  Previously ID'd.

Track 02 - Not an Elvin project, but the owe him a tip of the cap.  Absolutely nothing wrong with it musically, but the tenor is living precisely in the neighborhood that turns me off these days.  All the note are right, but I'm not getting the story.  Amazing technician, but I liken him to reliever Joe "Fight Club" Kelly.  Yeah, you had the hardest fastball in the majors for several years, but if you took a little off, you were much more effective.  The tenor player has put many hours into the craft to get to a certain point (focusing on technique).  Now walk away from the practice room, forget all that, and tell me a story.  PLEASE!  Keys were there but didn't  make a huge impression.  Trumpet saves this for me.  Same chops as the tenor, but far more musical to my ear.  Drummer is busy doing the Elvin thing, but it works.  Maybe Blade?  Kiermayer?  Wait, a band where the guitarist has the least ego?  Actually my favorite of the group, which is rare.  I sniff a Martino flavor here.  So, clearly the tenor's date, as s/he/s hogging the solo time.  I'd rather have heard more of the trumpet and guitar.  Again, everything is 'correct', I just don't care.  Good tune, though!  

Understood on the tenor.  It is his record, and he's not someone that I've ever considered a particular favorite, but I like this particular record and love this cut.  It's a Woody Shaw composition, and a really good one at that.  The guitarist is the one musician involved who I do consider a favorite of mine.

Track 03 - Maybe Khan Jamal.  I like the ragtag feel of the rhythm section, and the odd vibes sound.  Not entirely in love with the alto (or, at all).  Kind of a James Spaulding sound with a Braxton-ish approach to rhythm, which is always a turn off for me.  It's got an honest feel, though.  Brutish tenor continues that trend.  Kind of feel like this is guys just off my radar.  It's close, but missing a bit too much of the blues to warm my belly.  Though, I confess to being an old fart in such matters.  Bari was my preferred solo, then tenor, but the quirky nature of the tune prevents me from completely getting there.

I'm not big on Spaulding or his sound either.  This cut doesn't have anyone you mention.

Track 04 - I've just realized the majority of this song passed without impression.  No idea who it is, but it's in that contemporary category that just doesn't grab my attention.  Nothing wrong with it, just didn't make me care.

And yet I'll virtually guarantee that some of what the sax player recorded earlier in his career did make you care.  Pretty radical transformation.

Track 05 - I mean, 3/4, poppy late-60s/early-70s hippie feel -- I'm *SO* in.  

Reveal will be really interesting.

Track 06 - These last two are right in the wheelhouse of Felser that I was anticipating.  There's nothing to NOT like here.  Tune, vamp, feel, it's all here.  Punchy alto.  Not a first-tier player, but it's honest and the player is working hard.  I'll take it.  If the tenor on the second track had done this, I'd have been all in.  This player is a notch beneath #2 technically, but this solo just works.  Musical, logical, interesting, and I feel a story.  Carter Jefferson's neighborhood, but not his house.  Pianist sounds like a poor man's Harold Mabern, which is to say, I like him (or her).  

It's a great group, a great album, and a great cut, unduly ignored in an explosive era.  The alto is a marvelous composer.

Track 07 - Not out, but slightly off the beaten path.  Like a cross between Bill Barron and a later Mingus project. Alright, I was going to say NOT Don Pullen, but as that's clearly George Adams, we'll go with Don Pullen and, despite the fact that I'm having trouble hearing the bass, I'll say it's a later Mingus project.  I haven't dug out Changes One & Two in years, but it could be from that.  

Mingus, Adams, and Pullen, but not Changes.  Previously ID'd.

Track 08 - Uhm, yes please.  More of this, all the time.  Had to rewind after the melody.  This is a Tolliver tune, is it not?  Explains why I'm instantly in love with it, if so.  So, that could be Hutch.  This is not the version I'm acquainted with.  I think the version I know is from one of those Arista/Freedome albums with the pink cover.   Paper Man or The Ringer.  LOVE the drums on this.  That could well be Jimmy Hopps.  Sure sounds like Charles.  Very in your kitchen (in a good way).  LOVE that guy.  SWAGGER!  But with purpose.  Joe, with a purpose of his own.  MUCH swagger here.  That piano sound suggests this is perhaps a Strata-East date.  

Yes, early Tolliver tune and Tolliver on trumpet, but not his album.  Drummer will surprise you, as will label.  Previously ID'd.  Surprised no one has called out the tenor player.  Label a long way from Strata-East!

Track 09 - Hang on, I have to tie my roller skates.  It's a pleasant enough feel, but nothing that makes it stand out.  I'd probably have more love for it without the vocals.  Rock-side band crossing over?

Jazz guys trying to cross over in the opposite direction, though they weren't purists to start with.  A couple others here have fallen in love with this one, but it's not for everyone.

Track 10 - Love right off the bat.  Really a lot to love about this feel. Open chords and relentless, energetic drums.  Tenor doesn't go freak out, instead locking into that vibe, maybe a little shy of what's been set up, but it works.  I respect the struggle of the tenor.  Like the technique is just a tick off from what he's hearing and he's (or she's) fighting for it.  Personally, I appreciate the struggle.  If track 2 had this energy, it would have been right in the wheelhouse.  This is honest, real and gets its point across for me.  Feel like I should probably know the tenor.  

Doubt you (or anyone, I just stumbled into him) knows the tenor, but I find the cut honest and compelling.

Track 11 - Guessing this is the same band as one of the other tracks... track 5 or track 9.  There's attitude in her voice, and I love it.  This is what I WANTED pop radio to be when I was a kid.  A little Purdie Shuffle never hurt anyone.

Not the same band.  This is what early free-form FM Rock radio was when I was a young teenager, and this cut received airplay in that context.  Composition and its source known well beyond the context of this performance.

Track 12 - Cerebral piano went in a different direction than I expected.  A bit too far in the funk direction for my preference, but certainly works.  Reminds me of that Roy Haynes band with George Adams, but seems a bit more toward the commercial side.  Okay, now I'm messing with myself.  I was going to comment that the keys reminded me of a Nat Adderley recording I had with Onaje Allan Gumbs.  I'm thinking this may actually be that record.  

Not Gumbs, cut previously ID'd.

A good listen, if a bit less life-altering than past Felser BFTs.   

Thanks Thom, and thanks for hosting!  I find myself at a couple of crossroads on my BFT's.  One, I"ve been doing them for a long time, so have used up a lot of my obvious first-call tracks.  Second, I find myself at cross-purposes, as some listeners really like the out of left field semi-jazz or non-jazz cuts I include (and those are my favorite ones to use), but others complain or even boycott (I know that for a fact, they've told me) my BFT's because of their inclusion.  Consensus seemed to be that I was too far out of bounds on too many cuts last year, so I pulled it in some this year, which leads to less life-altering possibilities, though hopefully still makes for a good listen.  I like every cut on here a lot.  I admire my good friend Dan Gould, who willingly wades through my BFT's every year, even though he knows he will not find them rewarding!  Wish more had that same generosity of spirit. 

 

[Milestones]

Could it be Dolphy himself on #3?  It's either Eric or a dead ringer.

 

[felser]

26 minutes ago, Milestones said:

Could it be Dolphy himself on #3?  It's either Eric or a dead ringer.

 

Not Dolphy!

[sidewinder]

Track 6 is Art Blakey Jazz Messengers, the 'Gypsy Folk Tales' album on Roulette. Don't have the album at hand but I think the track is 'Ronnie's A Dynamite Lady". Valerie Pononarev, Dave Schnitter, Bobby Watson, James Williams, Dennis Irwin, Blakey. I saw that band !

3 hours ago, Milestones said:

Ah, the song is "Opus 4."  

Definitely, and from the very underrated 'Mingus Moves' album.

[felser]

6 minutes ago, sidewinder said:

Track 6 is Art Blakey Jazz Messengers, the 'Gypsy Folk Tales' album on Roulette. Don't have the album at hand but I think the track is 'Ronnie's A Dynamite Lady". Valerie Pononarev, Dave Schnitter, Bobby Watson, James Williams, Dennis Irwin, Blakey. I saw that band !

Group and album are correct, and it's a gem!  Song ID is incorrect.

[sidewinder]

Track 2 I think is Woody Shaw's 'To Kill A Brick'. Not by Shaw though. Is that Larry Goldings on organ? The trumpeter sounds a bit like David Weiss. Is it his NY repertory group/octet?

5 minutes ago, felser said:

Group and album are correct, and it's a gem!  Song ID is incorrect.

Ah, I'll have to dig it out then. Good album - Blakey's late 70s comeback.

[felser]

2 minutes ago, sidewinder said:

Track 2 I think is Woody Shaw's 'To Kill A Brick'. Not by Shaw though. Is that Larry Goldings on organ? The trumpeter sounds a bit like David Weiss. Is it his NY repertory group/octet?

Not 'To Kill A Brick', though it is a Shaw composition.  Not Goldings, not Weiss.  Tenor player is the leader.

[sidewinder]

5 minutes ago, felser said:

Not 'To Kill A Brick', though it is a Shaw composition.  Not Goldings, not Weiss.  Tenor player is the leader.

Oh silly me - it's 'Rahsaan's Run'. I thought the tenor player sounded a bit like Ralph Moore but I'm probably way off the mark.

[felser]

6 minutes ago, sidewinder said:

Oh silly me - it's 'Rahsaan's Run'. I thought the tenor player sounded a bit like Ralph Moore but I'm probably way off the mark.

Correct on the composition!  Not Moore, but same era (a few years younger than Moore).

[sidewinder]

Track 6 composition is Bobby Watson's 'Time Will Tell' - one of his best.