tkeith

I'm going to try to get some others who were one-offs to contribute again. I know Eric Klaxton is interested.

@felser said "Gilbert O'Sullivan was a one-shot (to me, a no-shot). " Me, too. I referred to him in connection with the "wrist-slitter" comment. I know it's not something to joke about, however, when my cousin dropped that one on me, we wound up programming a mixed tape (CD-R actually) of tunes that fit that bill. John Denver's Old Folks, Gilbert, David Soul's Don't Give Up On Us Baby. Gallows humor at its best.

track 01 - Love the feel of this. The piano is so understated it's just perfect. No new ground broken here, but that's not the point. Does just what it wants to. And the lyrics are still incredibly pertinent (and, apparently, ignored). I don't know who this is, but I love it. track 02 - Sounds like one of those early-90s Charles Lloyd ECM dates, which is fine by me. Piano is a heavy McCoy influence, but not one I'm familiar with. Nice Africa quote on the bass at the beginning of the solo. Didn't know this was live. Another winner. Whoo! This bass player is burnin'! Almost sounds like earlier Alex Blake in spots. Maybe Avery Sharpe? Tenor, unfortunately, is underwhelming, as is so often the case with practice room monsters. Tremendous player, but doesn't make me care. Unfortunate. It drags on at the end. What needed to be said has been said. Move on. track 03 - Electric bass and I just don't agree. I'm certain Tim and I will disagree about this one. Works a lot better when the guitar comes (but takes awhle to get there). Sounds more acid-rock to me than Jazz, but on that basis, it's fine. Got a bit of an Allman Brothers feel in those guitar harmonies. Drums are a bit more proggy than that. Mayhaps The Byrds (or adjacent?). I don't like the bass either way but the rest of it (the group as a unit) works very well. In the right mood, I'd take second helpings of this. Runs a bit long, but could be as much my mood of the day as anything about the music. Something very familiar about those drums. Loses me with the vocals. Doesn't bring what it thinks it does. Cut it at 7:22, and you've got a winner. track 04 - YES! The REAL McCoy. Gilmore, Strozier, Thad, and his little brother. Easily one of my favorite cuts, ever. I remember working an overnight for a pump test when I was working environmental. Had a truck with a decent stereo and this came on (forget if it was my cassette or a DJ with taste), and I CRANKED it. 11PM, sitting in the middle of a well field in the cold losing my mind with the radio cranked to 11. Worth the whole duration if only for Elvin's break at the end (but really, not a weak moment on this track). Gilmore is a god to me. Poor Frank has to follow that guy. Does it, but man, that had to be stressful. And Jimmy holding it all down... man, what a great moment. That bottom lip rolled over, moaning. So great. Elvin -- ELECTRIC! track 05 - Not a fair programming choice, bud. This would be in the same category as track 3, but following that last track, it's hopeless. But if I'm GOING to listen to rock, this is the sort of thing I like. Has that grooviness of late-60s to early-mid-70s that I like. For a guy that was never into the drug scene, I sure as hell did enjoy the music. track 06 - Not into the snake charmer, but this bass!!!! Yes, please! It's like listening to Tim with that beastly low-end. I might give the pianist the Eddie Coyle treatment if he doesn't step back -- lemme hear that bass, man! OOOOOH! Okay! Seven Minds. That's not Sam, is it? Jesus! MOSTROUS! Obviously Billy Higgins. I want to say Walton on the chords on the head, but then he gets much more greasy than I'm used to for Cedar. Seems a bit more angular than Cedar, but every time we get to the top of the form, it feels like Cedar. I probably have this and have just neglected it (I HOPE so!). Such a great tune. Okay, I got impatient. Apparently, based on the track time, it IS the full magic triangle from Sam's album where this is the title track. Man... this digs in. Strange to me to hear Cedar this aggressive. When I saw him (about 10 years after this) it was straight bop and the Eastern Rebellion stuff, but no angry left-hand. Man, I LOVE this. Sam is so filthy. So was that Walton playing whatever wood flute-like item that was? track 07 - Obiously Mulligan from the 70s (my favorite period for him -- don't judge me). I love how he dug in during this era. There was something heavier about his approach to my ear. That certainly sounds like Chet, so this is the Carnegie Hall Concert. Love this record, even if it IS CTI! track 08 - Another weird transition. Alternate take? Vocals seem more compressed, but does sound like them. Purchased the box set awhile back and sprung for the British Mastered version -- huge difference compared to the shit they put out here. Like hearing it all for the first time. track 09 - You know I'm in. Has a later Sonny Simmons feel early on. Doesn't quite maintain that, but it works. Bartz influence here, but this isn't him. Like Bartz feel with more of a Sonny Criss sound. Busy, but it works. Okay, hold on, now THAT is actually Bartz. Got that tenor-ish edge to his alto sound. Guy just has something. I assume this is more recent as his time is not as aggressive as when he was younger. Maybe with one of his students? I'm not familiar enough with the names that would encompass, but that's him, for sure. Not in love with the melody, but it's a means to an end. track 10 - You'd have a good Jazz side and a good rock/pop side if this were pogrammed that way. This way, the rock stuff suffers for me. (I suppose a "rock guy" would feel just the opposite) This is gray day music (which today is). Not sure my mood was solid enough for this, today. This one's a bit Gilbert O'Sullivan for me at the moment. My cousin would say, "that's a real wrist-slitter." Dark, but accurate. No idea who it is. track 11 - No idea what this is. Perfect pairing with the last track, though. This is certainly your most eclectic mix that I've heard. Think I might re-listen with the tracks programmed into sides by genre. Cool set, John. Predictably, I enjoyed the vast majority, to different degrees. I feel very attacked. @felser said "Interesting take. That pianist has been called many things, good and bad, but I don't remember "pedestrian" being one of them! I agree the tenor solo is the low point, despite the pedigree." Might I assume this is Ravi, then?

I will convert to lower for the online. If people want the higher quality DL, that would be up to the presenter. It's just a matter of space on the server (which should NOT be an issue, but somehow is, and I'm tired of fighting with people working from a script whose first language is not my own). I'm not 100% certain, but I believe the online player chokes things down to 128, anyway, for "optimization". Basically, I'd say this: If you want a high-quality download available, keep doing what you're doing. If you're comfortable with adjusting the bit-rate, it saves me a hot minute on my end. If you've glazed over by this point in the response, just keep doing what you're doing.

Pardon the interruption, but I need to make a housekeeping post. (And John, I *will* get to this test in the next week.) I've run into an issue backing up my site data and had to reach out to the support team of the host site. The result was a warning about the amount of data. I'm not fighting them on it, so I've got to make some changes to the encoding of the files. I've edited the "how to" thread to reflect this and will not waste time/space here with that explanation. I *DO* ask that *EVERYONE* who is going to present a test PLEASE review the How To (click the words "How To" -- it's an active link to the thread) as it really does make a huge difference in managing the data. Sorry for the interruption and thanks for understanding.

Guess that means I gotta get off my butt and get to Felser's test. It was on my to-do list a week-and-a-half ago... wonder what else on that one got neglected. 😕

It did not. I wiped the files with tag stripper, and was showing nothing on my computer. Sometimes, an image gets through, though. I had nada. I DID recognize Star-Crossed Lovers, but it seemed obvious enough to not bother mentioning. Probably a reflection of my mood the past few weeks.

Well, you might be sorry you reminded me, man. Track 1 - Wha!? Sorry man, not feeling this one at all. I mean, it's not insulting, I just... meh. Doesn't feel as funky as it thinks it is. Track 2 - I'm lost. Hey Jude just started, but why? Man, I respect the hell out of your ears, but we're 0-for-2 here. I feel like I'm listening to The Shaggs. I made it through, but no, thank you. Track 3 - Sounds like Getz to me. Maybe that awful record Herb Alpert produced? Had it at the college radio station -- I was not a fan. Definitely sounds like that (not a strong outing here from Stan). It's musical, but not my bag. Track 4 - I REALLY don't want to like this, but at the 2 minute mark, the horns came in and won me over. I won't say I LIKE it, but it's pretty good. I like the execution if not the style, how's that? Track 5 - No. I don't care for the voice, nor the execution. I'd take Hal the drum machine and drop it off the top of the nearest building. Hard pass. Three minutes in and a very real chance I'm not going to make it out of this song. Piano solo interested me enough to stay, but pity it's buried in horrid effects and that attrocious drum machine. Vocals are back, I'm done. Track 6 - The sound of this recording rubs (those drums are very compressed). But this feels like it's REAL. Didn't have that from the last one, at all. Okay, that's Gilmore, so this explains much. I know I have this, but clearly have not played it enough. Gilmore is like Waldron for me, I'd listen to either set his glass on a piano, because it would be musical. You were in the running for one of my least favorite BFTs, Jim (which shocks me!), but this fixes a whole lot. I can think of some world leaders who should have been exposed to this earier in life. (Yeah, I said it.) Track 7 - Oof. The geek who created that keyboard sound, if there is any justice, [self-deleted]. Not a great Sonny Rollins outing. So, that must be Clifton. I mean, the worst Sonny is still worth it to hear him, but this clearly somewhat later, when the time slipped a bit. I think this is after I saw him (mid-90s). I wish I'd gotten to see the late 70's (Don't Ask) band. Keys, sadly, sound exactly like a Snoopy compilation I have that has a track by Kenny G, and it's EXACTLY this horrid synth sound. Ugh. Track 8 - Not sure why, but something about the creepy 60's-ness of this has me kind of liking it. I'd never put it on, but it's got me at the moment. Track 9 - James gets me. Latter half of the test was a lot more to my liking. Felser, pressure is on for December! 248 area code. I always try to link the photo to the number of the test in some way. A little game to amuse myself. Definitely worth knowing, for me. It DL'd fine on my end. Did you get an error? If so, I'd like to know that (in general and for all). If there are glitches on the site, I like to fix them, but I only learn of them when a user encounters them. If anything is broken, if you and send me a screen shot of any error message and the browser you're using (including version, if possible). This concludes this tech support moment.

Granted.

Track 01 - Yes, please. Definitely has a Ra feel to it. Cornet? Seems beefier than a trumpet, so much that when I first heard it I was thinking Clark Terry, which is clearly NOT the case. Now it sounds distinctly trumpety. Ooo! Sax... a clue. I don't know it, but I don't care, I want it. Track 02 - Getting a Cecil/Joe Bonner vibe. First thougth was Bobbi Humphrey on flute, but that's wrong. Tenor owes a bit of love to Pharoah, but doesn't quite have his energy. Like the Coltrane-y thing, but not sure I'd do a whole night of that. Not Joe. Almost sounds like Tootie Heath on drums, feel-wise, but the kit sound is different. Safe to say this is not this guy's typical style? Vamp is full Bonner, but the solo was defintiely not. I think you're fooling me here. Is this a genre-bending cut? Two for two, large father. Track 03 - That strange, Mel Lewis sounding cymbal. The tone is beefy like Ari Brown, but I'm not sure it's him (could be early Ari). Not Ari. More practice, but I'm digging it, for the most part. Definitely been some time put in. That raises the question, who's the Elvin clone? Seems like a sound I should know, but don't. It's certainly unique. I love me some drums, but this cat is almost wearing me out. Loses some steam towards the end of the tenor solo. Nice bass solo. Parts where I want to say Ronnie Boykins, and parts that sound like our own Zac Francis (time-wise). I'm curious as hell. Three for three, and I've gotten nothing. Something weird about the rhythm of the bass. Really sounds like NOT a "jazz" player. Is this another genre-bender? (I may keep typing that on each tune just to see how closely people are reading. ). Alright, which Chicagoan is this that I need to know more about? Track 04 - Oh, that vamp is familiar from the get go. Beefy bass. Drums are weird. Almost that clunky Han Bennink feel, but seems a bit more locked in. Maybe Smiley Winters. That sure sounds like Woody. Rhodes suggests 70s, so that opens up many possibilities. Behind the trumpet, really sounds like Max, but more like someone playing like Max. You're gonna hate me... is that Stanley Clarke? I withdraw the question -- that IS Stanley Clarke. Not Chick. Tenor is digging in. At first, I was unsure. Reminds me a bit of Carlos Garnett, but with more fire. Not Max. Not precise enough. Precision be damned, this guy is hitting it. What happened to Stanley, there? Was worried we were going down Trane/Elvin path. Glad it didn't. Four for four, MF! And now the press roll sounds like Blakey. Don't know the flute, other than it's once again NOT Bobbi Humphrey. I'll take Woody, Stanley, and a cup of disappointment from there. Track 05 - THAT is some low end. Somebody loves Dolphy (not a bad thing). This has a heavy Chicago feel to me. Maybe Muhal. I may have it, but don't immediately recognize it. At first, I wasn't sold on the feel, but by the halfway point, I'm in. Gotta be him, doesn't it? Bass is monstrous. I'm fishing, but assuming i'm right on Muhal, could that be Fred? That would explain the BIGness. Yeah, I'll take this one, too. Track 06 - Gee, thought this was Equal Time playing The Rain, at first. Oh... wait. Clearly that's Eddie. Narrows it considerably. It's not us, and it's not the late 60s blue note. Tenor is in tune, so it's not the other record Eddie gave me. Process of elimination, it's got to be A Minute With Miles (the one I'm least familiar with), but not that track. Oh, man... no mistaking Eddie. Such a bad MF. I WANT this to be me -- he gives such an energy to feed off of. Just remembered who the pianist is on this -- talk about an Illusion of Grandeur! Love the exploratory nature of the tenor. Reaching without getting in the way. Very Mal Waldron-y ending. ❤️ Track 07 - Pizzicato cello? Not digging it. I mean, I appreciate the unique feel, but I'm not really connecting with it. Drums, in particular, seems very disconnected. Maybe George Lewis on 'bone? Unique alto, but not a voice I'm familiar with. Works here, but seems different from the rest of it (like the home address is closer to main street). Odd instrumentation to say the least. Halfway in and still struggling to find the groove, though. Not without merit, but it's missing that spot in the gut that makes me full on happy. Track 08 - Sure sounds like Dave Holland. That angular style that in the wrong setting rubs me, but it works here. Wait, that's not him. About the 2 minute mark there's a tell in the low-end -- that's Fred Hopkins. Just shy of 3:00, there's that plucky thing -- that's Fred, no doubt. Not sold on the guitarist. I don't think a Chicago guy on drums. Not a heavy enough feel to be Reggie Nicholson, but that's as close as I got. Track 09 - Horace? Man, this is killin'. Doesn't quite have Horace's bite on the comping, but it certainly COULD be his tune. Tight arrangement -- like the way they wove in the improv. Delightful. More of that, please. Track 10 - Blue in Green. Terrible sound. Couldn't distinguish whether lead instrument was alto, clarinet or flute for about a minute. Kudos for doing it differently, but I'm not sure I'm on board. Not feeling any connection to the tune. Based on that and the fact that I REALLY don't care for the alto sound, is this Braxton? Feels like a lot of noodling without much direction. And for that reason, I'm out. 90 seconds to go and not sure I'm going to make it. Gotta be Braxton -- very few people cause this visceral reaction. At least he's consistent. Toward the end, bass finally stops noodling and it's almost tolerable (if you could turn down the alto). Nope. Track 11 - Ah, there ya go. I know this, I swear I do. We've definitely listened to this and gushed over it, but damned if I can put my finger on it. AGGRESSIVE sax. Leaning towards Carlos Garnett. Man, THAT is a bitch of a trumpet solo. LIterally singing along (yeah, you don't want to hear that). I definitely know this, but not able to put names to it, which is probably a huge clue. Got that McCoy left hand down. Line about 4:15 is a bucket list line. Billy Harper played that last time I saw him with The Cookers and I've been oozing for it since. Damnit. I know that head, too. I'm glad it's the end of the month, because I KNOW this and should be able to spit it right out. Damn it! Track 12 - Almost a Zappa feel here (though, I dare say a higher degree of inspiration). Has that business in the drums, though. Maybe Pheroan AkLaff? Don't care for the hyper-compression of the recording, but they got the feel right. Track 13 - Tomorrow Never Knows. Not sure if I'm onboard, yet, but it IS better than the Phil Collins version. Reminds me of an O.C. Smith record I had as a kid, but the voice doesn't seem quite raspy enough to be him. Definitely a better fit for the first half of the test, but what was in my alley was IN my alley. Apologies for taking four full weeks to get to it.

Done, sir. Also, just a note -- haven't forgotten about the archive project, but life has put it on the back burner. Once the weather up here turns, officially, I will get cranking on it (trying to handle the outdoor duties before it's gets ridiculously cold).

March, May and August now claimed.

That's it, Dan -- you went too far when you hit Felser below the belt. I'm going with the 12-tone masters for my next BFT. 🤣

2025 is book-ended.

Done, sir.