BFT 262 - Discussion Thread

[tkeith]

Remembered a name to go with the face:  Doc Cheatham.

[Dan Gould]

16 hours ago, tkeith said:

And as though scripted, here I be.  Been a stretch, apologies for the lag.  Some of this was very unexpected.  

Track 01 - First tenor sure sounds like Buddy, but the time doesn't seem fully locked in.  Maybe older Buddy?  Second is nowhere near as locked in as the first, but I enjoyed both.  Piano solo I could have done without.  The a capela horns is WAY cool, and any time issues are gone (maybe it's the drummer?).  My guess is it's 2nd guy's album. ***1/2

Neither you nor Jim got Plas ... It's a two-tenor leader date.

Track 02 - Who are you and what have you done with Dan!?  Very busy, and VERY overdubbed.  Not my jam.  Reminds me of a Tom Scott record I had as a kid (w/Starsky & Hutch theme).  Oh, and a wah pedal to boot -- no thanks.  Busy, but doesn't hit me in the feels.  Almost sounds like Sanborn when I can hear the horn through all the effects, particularly on that strangled note at the end of the solo.  Be okay in a movie, but I'd never spin it.  **

Well it is Sanborn, and programmed so that I could end with Houston's version, which you also didn't like.

Track 03 - Things Ain't What They Used To Be.  The time is NOT syncing.  I was prepared to take a kitchen knife to this, but that sax player is for real.  He's maybe post-prime (because there's certainly a story in that sound), because the time is a little wonky.  Again, could be the drummer.  Hang on.  I know this sound (trumpet).  Can't come up with a name, but I see a face.  Video I watched on the old A & E back when it did such things.  It was the 80s and the guy seemed ancient then.  Oh gosh... I hate my memory.  Not Rabbit, but has certainly put his ears there (which is a SMART move).  I'd feel better about this if I could hear the individual, but I'm really hearing Hodges redone, here.  Audience is into it. ***

You came up with Cheatham later ... and he is the leader.

SO - hint for knocking off another of the final mysteries:

This is a greymarket release headlined by Doc Cheatham.

 

16 hours ago, tkeith said:

Track 04 - A variation Jerome Kern by a tenor who likes Warne Marsh a lot.  I don't believe it's him, though.  Recording sound lets me down, a lot.  Just before the two minute mark, starts sound A LOT like Marsh, but then seems to lose it.  I've never really heard him "off", but I suppose it's possible.  Love the bassist's time.  Drummer is a little tight for my taste, but that bassist is killin'.  Come on, that's GOT to be Marsh.  Such a space shot!  Gotta love it.  Second time listening, that's Marsh.  I know in the 80s he was touring with a guy who was trying to be him, but this is the actual artifact.  Bad sound threw me but it's got to be him.  I'm trying to think of anything I have him on with a trumpet outside of SuperSax.  Possible NHOP on bass?  ****

ID'd previously ... there are other Warne performances in the Phil Schaap Jazz Collection. I thought the trumpeter in the front line a bit of a surprise.

Track 05 - A different take on Who Can I Turn To.  I think I like it.  Could be Gator.  Whomever it is has great facility and swings like hell.  Okay, the sound of that piano suggests a Concord recording.  Not feeling the guitar at all.  Now I'm getting a bit of a Houston Person feel.  I'm also fine with that.  This a definite lull when the tenor drops out, and a net-negative when the guitarist comes in, but that's not an uncommon reaction for me to the instrument.  Very interested in the tenor player, but the guitarist really hurts this for me.  ***1/2 w/ guitar ****1/2 without

Had never noticed you dissing guitarists before.

Track 06 - Rhythm section kinda had me for a bit. Tenor is not quite Harold Ashby (not as personal), but seems to be aiming for that mark.  Not hitting it for me.  Can't help but hear a little irony given the tune.  Rhythm section works for me, particularly the bass.  Drums are a little forward in the recording, which suggests it's newer (mid-90s or later).  A perfect Webster line coming into the solo.  And when he gets a little busy, sounds more like Getz.  Dude can play, but I'm not sure he gets a spot on my roster.  ***

Many would put him on the roster, some wouldn't.  ID's previously.

Track 07 - More Tickle-Toe, but Jesus, I gotta put my seatbelt on.  Okay, Jaws, no question.  SUCH a baaaaaaaaaad MF!  VICIOUS!!!!!  AH!  J-Grif fools no one, AGAIN!  That's a lot of MF on one stage!  That guy VIBRATES!  What can you do, man?  You gotta laugh!  That shit is IMPOSSIBLE!  WICKED!  *****

Track 08 - I see what you're up to, here.  Alright, that's GOT to be Gator.  I'll take it.  ****

Track 09 - All The Things you put on your BFT.  I've got a better chance of solving the grand unification theory than I do of IDing a clarinetist. Pianist has a nice touch.  They are laying back nicely and not getting tripped up by the slow tempo.  Good band.  Wow, really nice clarinet sound (and I LOATHE the instrument).  Nice.  Doesn't get greedy, hits the bridge instead of dragging the solo into March.  Don't know who it is, but these guys are for real. ****

Track 10 - No clue.  Another one that work as a soundtrack, but as far as a spin, I don't care for this at all.  It's a style, just not one I'm into.  Hmm... this wouldn't be those semi-famous brothers who were very popular in the late 70s/early 80s for their band?  Sounds like Randy on trumpet, but the sax doesn't sound like the other brother.  Absolutely nothing in this composition for me.  Egad.  Just looked and there's quite a stretch to go, yet.  Maceo is about the only guy I can deal with playing this stuff.  GET OFF MY LAWN!  I'm so wanting him to DO something with that one note.  Just commit and give me, "The roof!  The roof!  The roof is on fire!"  [note:  I realize this was likely recorded well before that]  **1/2

You got a Houston vibe before but missed the real article.   I thought this track would be more popular than it was.
 

You know, there were several on here I really dug!  #commonground

 

 

Here's an obnoxiously long cover of Pick Up The Pieces by the Phil Collins Big Band.  It's WAY stiffer than that sounds, however, if you have 22 minutes to kill, I say it's worth it for James Carter at the end.  Dan, I'll save you the 22 minutes, you'll hate it.   

Yup, I did!  Why does Carter have to make so much extracurricular noise on his sax? Such respect and knowledge of the history and then when he does his own thing it just gets f-ing GET OFF MY LAWN for me.