tkeith

Gotta get in here somewhat early this month. track 1 - Low-end forward swinging big band. Heavy on the altered extensions, but with purpose. Got a little bit of that two-chord molly thing going. Or three. Busy tenor acquits himself well. Never been a fan of that type of mute. Maybe for section work, but just doesn't sound good to me on a solo. Solid bari work. Maybe a young Cuber? Doesn't quite have his edge, but the ideas are similar. Solid starter, fun tune with solid solos. Arrangement hints to me this might not be the usual format for either band or arranger. 3.5/5 track 2 - Nice, loping feel. Can't tell what the higher stringed instrument is (or is that a double plucked single instrument?). Okay, so two tenors on a live date with a somewhat rambunctious audience (if not an attentive one). Suggests a new(ish) recording (audiences have forgotten how to behave). Okay, that sounds like a pizzacato cello to me. Getting over a cold and can't tell if I'm hearing a bass back there, as well, or it's just a drum. Or maybe that's an oud. That strolling drum beat works well, here. Appreciate that the string instrument soloed first, but really want the tenors to do something. Alas, they don't care what I want. Okay, so there IS a bass. Very solid. 3.5/5 track 3 - Angry alto player. Was brought onto a session once and given instructions to "Zorn out" at a particular point. That's how this hits me -- not a bad thing, but certainly need to be in a particular head space. (Takes a lot more energy to get there these days!) Maybe Arthur Doyle? Not sure it finds his groove, but that's the name that springs up. 2.5/5 (could be higher, but my ears aren't on that planet at the moment) track 4 - That's different flavor. Straight forward swinging, burly tenor. Very KC sound to the band. That tenor sound is ticking something in my memory. Rhythmically I'd almost say Zoot, but nothing close to his tone. Wondering if maybe somebody like Frank Wess or Jimmy Hamilton, one of those unsung "second" tenors. Very cool. 4/5 track 5 - Very busy. If this clicked, I might be inclined to think a William Parker project, but this one isn't fully hitting for me. Drummer doesn't seem to have any purpose besides busy, and bass player is having to work very hard as a result. Like the alto a lot. I probably have stacks that someone would say sound just like this, but this genre really has to hit a niche for me (and I think for most people who listen to it). This doesn't miss, but I'm unlikely to be able to ID anyone here. In a cohesive set, this might work really well. In this context, I'm just hearing it as noisy. (Thought I'm glad to see some bits like this popping up in a BFT!) 3.5/5 track 6 - That transition works well. Thoughtful opening turns more reactionary (not a negative, just an observation). I was hoping for more of the pensive stretch. Could be the same band, but I think I like this sax player a bit better. Drummer, too, though the approach is similar. Nice bow work on the bass. Percussion is a bit clangy, but as a whole, this track works better than the last for me. There's more listening and it seems more of an honest interaction. 4/5 track 7 - First thought was Sonny Simmons, but sounds a little clean for him. Love the feel of this tune and what this band is doing with it. Not so clean as the glossy covered stuff that gets promoted to radio stations, though -- this has some grunt to it. I think I know this player, but it's coming through clearly. Possible that they double? Not John Hicks, but they've heard him plenty. Solid solo by a bassist I don't recognize. 4/5 track 8 - Of the period, not just period correct. Does what it's supposed to. Not my avenue, but well done. When I got up, I clicked on the tube and an old episode of Soul! was on, and a woman was barking out a gospel-blues -- this strikes me kind of like that. I'm not surprised by anything going on, but it works. Well... then somebody has to sing. 😕 The only thing I know for sure is that I don't know who this is. Genre just isn't my bag. I respect it when done well (and this is), but it just doesn't hit me where I need to be hit. 2.5/5 track 9 - This one was neither good nor bad, just didn't really even register for me. I know there was some sort of flute, but that's about as much as it caught my attention. 2/5 track 10 - Wouldn't be my chosen genre, but does what it does very well (in spite of that atrocious bass sound!). Might be a tad clean for what it is, but it gets you moving. It's neither Gator nor Purdie, but they like those guys (who don't!?). Got a little taste of The Meters in there, too. 3/5 track 11 - Well, it's Johnny Hartman. Tenor is pinging hard. [On second listen] Okay, that's Frank Wess, so this is from this. 4/5 And the drought ends! A varied listen, which I greatly appreciate. A lot in here I want to know more about. Thanks! Damnit! Talked myself out of both Ra and Fortune. Figures.

https://www.discogs.com/release/4022167-Walter-Benton-Quintet-Out-Of-This-World?srsltid=AfmBOorhrGFPQNkBEUXSUWBaLQfSY7d9fDII95EF4N1E7fsqHu8LvGS-

Egad. Never thought of Rufus. Benton is one of those weird guys I don't know much by, but I know him when I hear him (think Tate Houston). I had his record Out Of This World when I was a kid (may still have that on vinyl, actually).

With apologies, made my usual commitment to get to this sooner rather than later, but here we are. I don't think I had a full-on ID in the whole set, but there's definitely familiarity here. track 01 - Absolutely love the sound of this recording. First impressions were maybe Lou Donaldson, but this guy's got a bit more Bunky Green in him. Not sure if I'm for or against that. Neither Bunky nor Lou. Real player, for sure. Almost seems like he's playing a bit out of his normal circle? It's there, it's right, but something is kind of poking me. I wonder if I know the player from a different corner of the genre. No matter, everything about this works. 3.5/5 (probably because I'm being stubborn on the aforementioned point; I really like this) track 02 - Quality older recording. This is definitely in the era (40s?), not tributary. I don't know the player, but it's a real gutty, reedy sound, which I appreciate. Swings beautifully. Has the feel of Charlie Christian on the head, but that's probably just by association. Huh. Yeah, not Charlie. I can enjoy this as it sits, but the really remarkable thing is to compare stuff like this to Christian, et al, and see exactly how in-another-universe THOSE guys really were. 3.5/5 track 03 - I was thinking Serenata, but then it took a turn. Love this smoky, feel. Feel like I'm watching a Cary Grant film where he takes the fem fetale out for a night on the town and gets stalked by the bad guys (yes, I'm talking about Charade). Trumpet seems more modern than that, but the rest of it seems period correct. Ooo, love the way that tenor comes in. Tasty tenor work. Nice bone. This track is killin'. 4/5 track 04 - Big band track for people who love the big band sound. Not one of the golden bands (Ellington, Basie, etc.). Well, that's Pepper Adams. That certainly narrows the field. Not thinking the Jazz Orchestra, although, that very well could be Mel Lewis. Not sure on the first, west-coastie tenor. Second sounds like Walter Benton. Man, there's nothing wrong with this track. Arrangement didn't sell me immediately, but these are heavy weight guys, fors sure. 4.5/5 track 05 - Obviously Blue Bossa. I'm worthless IDing clarinet/bass clari outside of like four players, and this is none of them. Pet peeve -- "BLUE Bossa". Why does everybody feel the need to play this tune too fast? Great musicianship throughout, but the pet peeve overwhelms that. 3/5 track 06 - "A gentlemen is someone who can play the accordion, but doesn't." -- Tom Waits Mean, but it's one of those instruments I just can't get beyond (harmonica is another). Seems of the period, and I'll give it that, but I can't do the timbre of that instrument. 2.5/5 track 07 - Double guitars. Always leads me towards Jimmy Rainey, but that wouldn't be right in this case. Sure sounds like Joe Pass in my left channel. Guy in the right channel doesn't have a "jazz" swing. Maybe a more commercially known player foraying into the jazz realm? Not Les Paul, but I'm leaning towards that neighborhood. Gotta be Joe on the other side. 3/5 track 08 - More bands. I like this because my big band snobbery has held me back from a lot of stuff like this. Not proud of it, but I'm learning on the fly. Killin' tenor solo. Great mix of skill and music. Alto is no slouch, either. Don't think I know either player. Reminds of the type of guys who played in Maynard's early 60s bands. They weren't elsewhere in my collection, but sure seemed like they should be. 3.5/5 track 09 - Touches on Booker Ervin, but isn't. Shades of Bill Barron, but isn't. There's a powerful intent here. Maybe not A-list technique, but there's an underlying seriousness here that is undeniable. Ari Brown has that, but this is earlier. Loving this drummer. Is the tenor perhaps a doubler? Pianist doesn't quite maintain the intensity, but the bass, drums are working overtime. This would be a very enjoyable setting to play in, but the underlying message is one of attitude. I'm guess late-60s. Maybe that Philly thing. It's not angry, but determined. 4.5/5 track 10 - Dueling unemployment sticks? Wait, 3?! Gotta be overdubbed. Yeah, that's overdubbed, same player for sure. I guess it's okay, but isn't hitting me in the feels. Feel like it's been done before, and I'd like it more without the overdubs. Makes me want to go listen to the intro to Soran Bushi, B.H. 2/5 track 11 - Aaah... we've entered the unemployment stick phase of the program. Sound reeks of ECM. Nothing wrong here, I just don't connect with it. It's exactly the pocket of the genre I tend to avoid. Great tech, but I'm not getting the feels. 2.5/5 track 12 - This didn't grab me, immediately, but as I'm working with this on in the background, I found myself bouncing along with it (like happens with Very, Very Circus). Pianist for my group would describe this as, "a real toe-tapper." It's got that. The tenor is feisty and aggressive, but doesn't seem to have the attitude of track 9. I like it, but wish it was THAT tenor player. Not sure how well the solo fits here. Trumpet player is on it. I don't think it's as out as the tenor took it. Maybe these are lesser known guys feeling out this pocket. Perhaps an international band? It's got that somewhat sloppy (and I mean that only as a descriptor) South African feel, but I don't think this is that. But maybe a band from another part of the world dipping their toes in that water. It's a bop, for sure. 3/5 track 13 - This is precisely the sort of thing I enjoyed as a young listener just getting into this music. Recording is a little reverb happy, but it works. Feels like it's leading somewhere, but we're not there, yet (2:30). Twangy guitar. Please don't f*** this up, guitar guy. Alas, he can't help himself. We got awfully poppy all the sudden, like an angry Carol King. Rock drummer, because I can feel myself starting to drool. They're staying close to the feel, but it's not quite where it started. This seems really familiar, but I'm feeling the lament of it going more poppy than it began. Feel like I know this, but can't quite get my hand on it. The Drooler-in-Chief is pinging hard, but... ARRRRGHHH! 3/5 I liked the vast majority of the test, and even some of what I was on the fence about is sticking with me as I walk away. Can't ask for more than that from a BFT.

Playlist is all set up. I'll hold of on adding the code to the page until we get a little closer, and then I'll send you the link.

I love that idea! I was going to step in if nobody else did, but June or July work much better for me, so if you're up for it, that would be stellar!

Thank you, sir!

Thanks, Mike. Didn't want to bug you until I had more responses. But if you're around and want to update the OP with my calendar from the prior post, that'd be greatly appreciated.

Indeed, sir. June is Tom in RI. Just a quick update on this: Jan - Dan Feb - Randy Mar - Joe Apr - May - Ken Jun - Tom in RI Jul - Aug - Sep - Oct - Nov - Dec - felser I'm holding off choosing my own, so I'll take one of them, but right now, the important one to be filled is April.

Struggled greatly with the first part of this, then the mid-section got REAL good, and then I went back on the struggle bus. Good to stretch the ears, though. Stars out of 5 track 01 - Busy but interesting. Bass clari just seems to add something whenever it shows up. Arrangement doesn't really hit for me, but it doesn't put me off, either. Lovano-ish tenor. Kind of stalls during the tenor solo. Again, nothing bad, just doesn't seem to get any traction. *** track 02 - This gets caught in a genre vortex. If I heard this on a pop or college station, I'd listen to it. From the Jazz perspective, I loathe that bass, and the singing is a miss. Bizzare, but that's the case. Reminds me of Tom Scott's stuff in the 70s, but a shade or three hipper. Sax embraces the smooth licks but plays them busy. Vocalist reminds me of one I've heard with Travis Sullivan's Bjorkestra. Es no mi bolsa. ** track 03 - Had hopes on the intro, but this is a bit math-y for my tastes. Rhythmically challenging, for sure, but that doesn't make me want to listen. Once the solos begin, it's very interesting. Guitarist is working off the busy drums and making it interesting. Two drummers? About 2:30 I'm glazing over. Just don't care for that "melody". Trumpet solo is nice. After that quirky head, the improv is very patient and melodic. Maybe I'm just old. **1/2 (hurt by the melody) track 04 - Nothing in this one for me. At about the 1:00 mark, I'm twitchy on the FF button. They seem to be getting the result they want, but I'm not here for it. Syncopated noise. [Get off my lawn!] * track 05 - Already hopeful because it's acoustic. Shades of Shipp. Also a Tristano influence to my ear, rhythmically speaking. Math-y, but it's got that stabby lefthand bringing some Elvis to the party. I don't think I'd want a whole night of it, but this cut works well, here. Don't think it's Shipp, but I wouldn't be surprised if they've listened to him a bunch. ***1/2 track 06 - That opening vamp and the bass/bugaloo really hit a nice spot. I'm not sure the piano has capitalized on the setup. Almost has the feel of the piano playing to a rhythm track that was pre-recorded. I'm flirting with liking it, but the pianist doesn't bring it home. At half the duration, I'd give this an extra 1/2-star. It just flounders too long and gets too bangy. *** track 07 - Points for humor. Vocalist is pretty good. Bass line is nice, sitting right in the pocket. The pianist annoys me. Not a huge scat fan, but she acquits herself well. Pianist is too extension happy and it kind of ruins the feel. *** track 08 - That's Stanley. And I'd guess Shirley Scott. Man... what a difference. All of this happening here is what was missing on the previous cut (to say nothing of the six before). I guess I'm a Jazz curmudgeon. Stanley rarely misses for me (that SOUND!). Yeah, definitely Shirley. Can't hear the bass real well but the time is solid. Maybe Cranshaw? Not sure on the drummer. **** track 09 - 3/4, I'm in. Sounds like Betty Carter. This is a keeper. **** track 10 - Stating the obvious, needle drop. Bad sound, but that trumpet is familiar. The mute is throwing me. No guesses, but this works. ***1/2 track 11 - Don't recognize the vocalist. This tune always brings me to Walt Dickerson, which is not fair to the rest of the universe. I appreciate that she's not taking crazy liberties with the melody. Very pleasant. Nice brushes, nice lead-in to the solo. Another familiar trumpet, but it's not coming through clear. A bit of a technician, but also has an honest feel. ***1/2 track 12 - The unemployment stick arrives, and bring with it... a harmonica? Nope. **1/2 (because of the musicianship, but just not in my play pen) track 13 - Don't like this feel a bit. It's different, but not pleasing. The drums are almost trying to be out of time. Very rigid, but trying for lazy feel, like a Bacharach tune. Not feeling this one a'tall. When the arrangement comes in it's got that fusiony pop thing going on. I liked the later mid-section best. ** Welp, I've been outed as an old man on this one, I guess.

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

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 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. ** 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. *** 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? **** 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 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. *** 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 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.

Jan - Dan Feb - Randy Mar - Joe Apr - May - Ken Jun - Jul - Aug - Sep - Oct - Nov - Dec - felser If you're sandbagging, please choose at your earliest convenience. Seems like we're very low on presenters in 2026. Also, just putting this out there -- this is a very small portion of what is, at the moment, a very busy world for me due to some family stuff. I'll do what I can, but this is NOT my job. Please remember that when asking questions. Thank you.

Would you like February?

Ken, please note the date on the quoted message above. Randy, some shared a quoted post above with months that are taken. Of the untaken months, there are two claimed (you and me).