BFT 261 (December 2025) Reveal

[felser]

 

1 – “Ordinary Joe” by Terry Callier, from the album ‘Occasional Rain’, Cadet Records, 1972.  Callier and this song became legends on the British Northern soul circuit, and were widely championed by Beth Orton when she had her breakthrough in the late 90’s.  Great production by Charles Stepney.  For years I’ve wanted to start one of my BFT’s with this cut’s opening lyrics, and 2025 seemed utterly appropriate for that:  “And for my opening line
I might try to indicate my state of mind”.

2 – “Sunrise Sunset” by the Bob Thiele Collective, from the album “Sunrise Sunset”, Red Baron Records, 1991.  I run hot and cold on Murray, who does too many ill-conceived projects, but he shines when in a quartet setting with John Hicks, and Cecil McBee and Andrew Cyrille are a great way to finish out the ensemble.  And I’ve always loved the song, from ‘Fiddler on the Roof’ one of the two best musical scores IMO (the other is West Side Story).

3 – “Prayer for Peace” by Stanley Cowell, from the album ‘Musa: Ancestral Streams’, Strata-East Records, 1974.  One of the greatest solo piano albums, reissued in 2025 by Mack Avenue.  And be sure to buy the downloads of the excellent outtakes (not available on the physical releases, which in the case of the CD is egregious).

4 – “Make No Mistake” by John Martyn, from the album ‘Live at Leeds’, Island Records, 1975.  Amazing bass playing by Danny Thompson.  Martyn is an acquired taste, but at his best is stunning if you “get” him.

5 – “Singing Winds, Crying Beasts” by Santana, from the album ‘Abraxas’, 1970, Columbia records.  This is the opening cut to the album, leads beautifully into the classic “Black Magic Womam/Gypsy Queen”.   This album topped the USA pop album charts for six weeks - we lived in a different musical world then.  Cut shows the group’s instrumental chops, and that Carlos was far from being the whole show.

6 – “Bumpin’ on Sunset” by Brian Auger’s Oblivion Express, from the album ‘Live at the Baked Potato’, 2005, Ghostown Records.  Brian Auger on keyboards (it’s a live album, only one keyboard player),  Auger’s daughter Savannah Grace on vocals and his son Karma on drums and vocals.  This track was generally not well-received on the BFT, but I listen to it frequently while cleaning up the kitchen, it sets a mood for me.

7 – “Strauss” by the Arpeggio Jazz Ensemble, from the album “Le-Le”.  1987, Silk Skin Records.  Long-running local Philadelphia group (I saw them live post-Covid) led by bassist Warren Oree.  They are authentic, honest musicians spreading the love.

8 – “Little Sunflower” by Johnny Lyte, from the album ‘Happy Ground’, Muse Records, 1991.  A nice take on the beautiful Freddie Hubbard composition.  Houston Person and Melvin Sparks are along for the ride.

9 – “Soul Brother” by Hannibal Marvin Peterson from the album ‘Hannibal’. MPS Records, 1975.  Amazing energy by Peterson, with Diedre Murray on cello and a fabulous rhythm section of Michael Cochrane, Stafford James, and Michael Carvin.  Many people really enjoyed this cut.

10 – “Goodbye Pork Pie Hat” by Horace Parlan, from the album ‘Blue Parlan’, Steeplechase Records, 1979.  Lovely take on the Mingus classic, with Dannie Richmond on drums and the undersung Wilbur Little on bass.  Parlan was the pianist and Richmond the drummer on the original recording of this on 1959’s incredible ‘Mingus Ah Um’, so Parlan had lived with the composition for two decades when this was recorded, and you can hear that intimacy.

11 – “Someday We’ll All Be Free” by Alicia Keys, from the album “America: A Tribute to Heroes’, 2001, Interscope Records.  The beloved Donny Hathaway song.  Keys was 20 when she recorded this, fresh off her first album, just her alone at the piano in a sequestered studio, in a concert being broadcast to 50,000,000+ people, ten days after 9/11, reaching out to a still-stunned nation.  It was an amazing, healing night in many ways.  In an event that included Bruce Springsteen, Stevie Wonder, Tom Petty, and Neil Young among many others, the artists who shockingly moved me the most were Keys, Faith Hill, and Bon Jovi, and I would tell you that otherwise I don’t care for any of those three, but they were somehow transcendent that night. 

https://www.youtube.com/watch?v=p8l2OO6xxIc&list=RDp8l2OO6xxIc&start_radio=1

https://www.youtube.com/watch?v=-Xp6ZrilmNk&list=RD-Xp6ZrilmNk&start_radio=1

https://www.youtube.com/watch?v=r5Xyl3lxJv0&list=RDr5Xyl3lxJv0&start_radio=1

Thanks to all who participated in BFT 261, and have a blessed 2026.

 

 

 

 

Edited December 31, 2025 by felser

[Joe]

Thanks for sharing the stories behind these choices!

[Dan Gould]

Because my BFT is all predicated on tunes people should know, I'd like to point out that I named track 2 correctly and first, but without any acknowledgement.

[felser]

1 hour ago, Dan Gould said:

Because my BFT is all predicated on tunes people should know, I'd like to point out that I named track 2 correctly and first, but without any acknowledgement.

Dan, I did't think you'd want to be further associated with a track you called offensive and rated zero stars!  Looking forward to a relaxed January BFT full of Gene Harris, Percy France, and the like.  Happy New Years, my friend!

[Dub Modal]

HNY! Thanks for putting this together.  Didn't know any of these songs so definitely enjoyed hearing them and reading the reveal. 

[T.D.]

19 hours ago, felser said:

 

1 – “Ordinary Joe” by Terry Callier, from the album ‘Occasional Rain’, Cadet Records, 1972.  Callier and this song became legends on the British Northern soul circuit, and were widely championed by Beth Orton when she had her breakthrough in the late 90’s.  Great production by Charles Stepney.  For years I’ve wanted to start one of my BFT’s with this cut’s opening lyrics, and 2025 seemed utterly appropriate for that:  “And for my opening line
I might try to indicate my state of mind”.

2 – “Sunrise Sunset” by the Bob Thiele Collective, from the album “Sunrise Sunset”, Red Baron Records, 1991.  I run hot and cold on Murray, who does too many ill-conceived projects, but he shines when in a quartet setting with John Hicks, and Cecil McBee and Andrew Cyrille are a great way to finish out the ensemble.  And I’ve always loved the song, from ‘Fiddler on the Roof’ one of the two best musical scores IMO (the other is West Side Story).

3 – “Prayer for Peace” by Stanley Cowell, from the album ‘Musa: Ancestral Streams’, Strata-East Records, 1974.  One of the greatest solo piano albums, reissued in 2025 by Mack Avenue.  And be sure to buy the downloads of the excellent outtakes (not available on the physical releases, which in the case of the CD is egregious).

4 – “Make No Mistake” by John Martyn, from the album ‘Live at Leeds’, Island Records, 1975.  Amazing bass playing by Danny Thompson.  Martyn is an acquired taste, but at his best is stunning if you “get” him.

5 – “Singing Winds, Crying Beasts” by Santana, from the album ‘Abraxas’, 1970, Columbia records.  This is the opening cut to the album, leads beautifully into the classic “Black Magic Womam/Gypsy Queen”.   This album topped the USA pop album charts for six weeks - we lived in a different musical world then.  Cut shows the group’s instrumental chops, and that Carlos was far from being the whole show.

6 – “Bumpin’ on Sunset” by Brian Auger’s Oblivion Express, from the album ‘Live at the Baked Potato’, 2005, Ghostown Records.  Brian Auger on keyboards (it’s a live album, only one keyboard player),  Auger’s daughter Savannah Grace on vocals and his son Karma on drums and vocals.  This track was generally not well-received on the BFT, but I listen to it frequently while cleaning up the kitchen, it sets a mood for me.

7 – “Strauss” by the Arpeggio Jazz Ensemble, from the album “Le-Le”.  1987, Silk Skin Records.  Long-running local Philadelphia group (I saw them live post-Covid) led by bassist Warren Oree.  They are authentic, honest musicians spreading the love.

8 – “Little Sunflower” by Johnny Lyte, from the album ‘Happy Ground’, Muse Records, 1991.  A nice take on the beautiful Freddie Hubbard composition.  Houston Person and Melvin Sparks are along for the ride.

9 – “Soul Brother” by Hannibal Marvin Peterson from the album ‘Hannibal’. MPS Records, 1975.  Amazing energy by Peterson, with Diedre Murray on cello and a fabulous rhythm section of Michael Cochrane, Stafford James, and Michael Carvin.  Many people really enjoyed this cut.

10 – “Goodbye Pork Pie Hat” by Horace Parlan, from the album ‘Blue Parlan’, Steeplechase Records, 1979.  Lovely take on the Mingus classic, with Dannie Richmond on drums and the undersung Wilbur Little on bass.  Parlan was the pianist and Richmond the drummer on the original recording of this on 1959’s incredible ‘Mingus Ah Um’, so Parlan had lived with the composition for two decades when this was recorded, and you can hear that intimacy.

11 – “Someday We’ll All Be Free” by Alicia Keys, from the album “America: A Tribute to Heroes’, 2001, Interscope Records.  The beloved Donny Hathaway song.  Keys was 20 when she recorded this, fresh off her first album, just her alone at the piano in a sequestered studio, in a concert being broadcast to 50,000,000+ people, ten days after 9/11, reaching out to a still-stunned nation.  It was an amazing, healing night in many ways.  In an event that included Bruce Springsteen, Stevie Wonder, Tom Petty, and Neil Young among many others, the artists who shockingly moved me the most were Keys, Faith Hill, and Bon Jovi, and I would tell you that otherwise I don’t care for any of those three, but they were somehow transcendent that night. 

https://www.youtube.com/watch?v=p8l2OO6xxIc&list=RDp8l2OO6xxIc&start_radio=1

https://www.youtube.com/watch?v=-Xp6ZrilmNk&list=RD-Xp6ZrilmNk&start_radio=1

https://www.youtube.com/watch?v=r5Xyl3lxJv0&list=RDr5Xyl3lxJv0&start_radio=1

Thanks to all who participated in BFT 261, and have a blessed 2026.

 

 

 

 

Thanks, John. Enjoyed your BFT as always: some shared tastes plus  interesting less familiar directions.

I like Brian Auger. I bought a couple of his Soul Bank Productions (which seems to be his enterprise) box sets. I gradually drifted away from rock in the '70s and '80s, but consistently enjoy his work from that period. He seems like an interesting and simpatico individual, based on interviews I've heard/read.

Good to hear Callier, I couldn't ID the track but could have if I'd thought harder. I generally like witty lyricists, though he sometimes is a little *too* clever and arch. IIRC he (with Stepney) was in your last BFT.

Well said on Murray and #2.

As stated upthread, whiffed on the Santana album, even though I probably owned it once. Caravanserai is my favorite, though. Strangely drew a blank on Cowell despite owning the album. Considered him but rejected it as unlikely. 🤣The Hannibal track is even funnier: I'm a fan, had preordered that album from The Bastards. It arrived shortly before you posted the BFT, but I peeked at the thread (and saw the ID) before I'd had time for careful listening.

Rest of the tracks were good, but I was in listening rather than guessing mode. Alicia Keys is the big surprise there.

 

[felser]

11 hours ago, Joe said:

Thanks for sharing the stories behind these choices!

thanks so much, really enjoyed your responses!

1 hour ago, Dub Modal said:

HNY! Thanks for putting this together.  Didn't know any of these songs so definitely enjoyed hearing them and reading the reveal. 

Thank you, HNY, glad I could introduce you to some new stuff!  Grab that Hannibal album (and the Santana!

14 minutes ago, T.D. said:

Thanks, John. Enjoyed your BFT as always: some shared tastes plus  interesting less familiar directions.

I like Brian Auger. I bought a couple of his Soul Bank Productions (which seems to be his enterprise) box sets. I gradually drifted away from rock in the '70s and '80s, but consistently enjoy his work from that period. He seems like an interesting and simpatico individual, based on interviews I've heard/read.

Good to hear Callier, I couldn't ID the track but could have if I'd thought harder. I generally like witty lyricists, though he sometimes is a little *too* clever and arch. IIRC he (with Stepney) was in your last BFT.

Well said on Murray and #2.

As stated upthread, whiffed on the Santana album, even though I probably owned it once. Caravanserai is my favorite, though. Strangely drew a blank on Cowell despite owning the album. Considered him but rejected it as unlikely. 🤣The Hannibal track is even funnier: I'm a fan, had preordered that album from The Bastards. It arrived shortly before you posted the BFT, but I peeked at the thread (and saw the ID) before I'd had time for careful listening.

Rest of the tracks were good, but I was in listening rather than guessing mode. Alicia Keys is the big surprise there.

 

Thanks Tom.  I've had Callier on two other BFT's ("Dancing Girl" and "Alley-Wind Song", but it's been a couple of years.  I knew I would eventually use all three songs, so stretched them out across years. As per Cowell, I whiff on cuts I already own all the time on BFT's! 🥲   'Caravanserai' is my favorite album in the whole world, ever, by anybody!   Glad you got the Hannibal - I also bought it pre-order from Da Bastids, along with Billy Harper's 'Trying to Make Heaven My Home'.  Both were pricey, but were dream-come-true CD  releases.  Agreed on Alicia Keys, this and 'Fallin' from her first album are the only two songs by her that stick with me. 

[T.D.]

I bought that same Harper album in my preorder. It's a really good one! Due to the ongoing demise of the CD medium, most of my CD purchases are now Japanese imports. Pricey, but I'm buying fewer.

[felser]

12 minutes ago, T.D. said:

I bought that same Harper album in my preorder. It's a really good one! Due to the ongoing demise of the CD medium, most of my CD purchases are now Japanese imports. Pricey, but I'm buying fewer.

Especially since we can't safely determine price to order from CDJapan.  I would have bought the Hannibal and Harper from them pre-tariff.

[randyhersom]

Holy Freakin' Cow!!  I worked with Lamont King at the Northeast Philly Peaches record store in the late 70s, knew he was a sax player and thought he was a great guy.  It was obvious he was deeply dedicated to playing music even with little hope of financial reward.

Bass – Warren Oree
Saxophone – Lamont King, Steve Murphy
Drums – Greg Jones
Vibraphone – Bill Lewis
Vocals – Sherry Butler
Congas, Percussion – Ed Watkins

This one's on Bandcamp and Amazon Music Unlimited.

[randyhersom]

He told the tale of buying Trane's Meditations and returning it to the record store, sincerely certain the record was defective.  Second one sounded the same and he ended up loving it.

[felser]

2 hours ago, randyhersom said:

Holy Freakin' Cow!!  I worked with Lamont King at the Northeast Philly Peaches record store in the late 70s, knew he was a sax player and thought he was a great guy.  It was obvious he was deeply dedicated to playing music even with little hope of financial reward.

Bass – Warren Oree
Saxophone – Lamont King, Steve Murphy
Drums – Greg Jones
Vibraphone – Bill Lewis
Vocals – Sherry Butler
Congas, Percussion – Ed Watkins

This one's on Bandcamp and Amazon Music Unlimited.

And dirt cheap, $4 on bandcamp.  Highly recommended if you like the cut I included.

1 hour ago, randyhersom said:

He told the tale of buying Trane's Meditations and returning it to the record store, sincerely certain the record was defective.  Second one sounded the same and he ended up loving it.

Great story!  I "got" 'Meditations' when I first bought it, the ones especially lost on me were (are) 'Om' and 'Expression', though 'Ascension' and 'Live in Seattle' remain tough listens also 50 years on, though I'm more at peace with them due to adjusted expectations.