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Stereojack
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I peeped Yusef immediately, & Dakota, well, it sure sounded like them, but I'd never heard of such a pairing.
I've owned the LP for many years - always suspected it was Yusef, which was eventually confirmed to me by Dakota herself. Cover art on back of LP also suggests Yusef.
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14) Wonderful version of “Day In, Day Out”. The only alto I associate with such fabulous facility (post-Bird) is Stitt, perhaps Strozier but I don't think it's him.
It's one of the two you named! Between yours and JSngry's guess, it can be narrowed down to the right guy.
Nice responses - glad you liked the set.
#4, 9, & 12 remain unidentified. Still waiting to hear from some of you!
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TRACK SIX - "Go Red Go", the Arnett Cobb jam, but this ain't him. One of these guys kinda sounds like an older Red Holloway,
Red it is! Big Al knew the album, but you picked out Red without knowing the record. I agree, Red keeps getting better!
TRACK THIRTEEN - Yusef! And...Dakota Staton? WTF IS THIS????? I need to know.... God bless Yusef Lateef.A few people called Yusef, but you're the first to identify the great Dakota!
TRACK FOURTEEN - "Day In Day Out". Frank Stroizer? Bunky Freen? Something "Chicago"-ian about it and the recording...Vee-Jay?It's one of the two altos you've named, and kee-rect on the label!
A stellar response, Jim!
I only commented on the ones you were the first to get. -
Track #5: Falling In Love With Love. Budd Johnson? No idea on the bone, but I'd say he's white.
Bingo for the tenor, Thom. Good call. You're wrong about the bone.
Track #7: Clifford Jordan on tenor. Is this maybe the record with Freddie Redd? Not sure on the trumpet, but I dig the hell out of him. Could that be Sickler? He always surprises me. Sounds like Ben Riley's touch on drums. I'm going to pull one out of my butt here; George Duvivier on bass?Yes, yes, yes, yes, and yes!
Track #8: That's Sonny Clark's record, Leapin' and Lopin'. Billy Higgins... Tommy Turrentine... one of the standard BN bassists... I think Butch Warren.I didn't fool very many with this one, but I included it because I love it.
Track #10: I'd swear that's Warne Marsh on tenor.It is. Trust your instincts!
Track #11: Alan Dawson, so this *is* a private collection piece.It is.
Track #13: Sounds like Yusef on tenor. Maybe Nancy Wilson on vocals.You're the first one to identify Yusef. It's not Nancy.
Track #14: Vernell Fournier on drums.That's right.
Track #15: El Gaucho.Yes!
Wow... this kicked my ass, Jack. Thanks for including me. Now to read and see how bad I suck.
Not at all - you did great, Thom!
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10: Uh, Warne Marsh in an atypical context.... ?!? Dated but enjoyable! A really interesting arrangement, especially that horn pileup at the end. A websearch suggests it could be a Clare Fischer big band disc. Pity about the poor sound.
Finally, somebody recognizes Warne! Correct identification of the band as well.
The album was originally issued on Atlantic. A few years later it was reissued on Discovery, and in the notes, Fischer claimed that the sound was vastly improved over the original release. This is taken from a Koch CD, which probably used the original Atlantic master.15: "El Gaucho" in a multipiano version. I never understand the point of these things, sorry--sounds like a mess. I think this format only works with stride piano (where there's a very firm groove to ride) or avantgarde settings *where players can work independently)--with the more idiosyncratic rhythmic sensibilities of postbop players, the result is just a lot of clashing ideas. This is surely the Danko/Lightsey duet album.You got it, Nate. I like this album a lot, but we are all entitled to our opinions.
Thanks for the music SJ!And thanks for the insightful comments!
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I hope I didn't make too much of a fool of myself...
Not at all - enjoyed your comments!
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#1 - Hm, sounds familiar... Hawk w/Roy?
Hawk, yes. Not with Roy although I do love that Opera House album (both versions)!
#5 - Under the influence of Prez.Most certainly, but not always!
#8 - Ah, it's from Sonny Clark's "Leapin' and Lopin'", isn't it? ("Voodoo", isn't it? There's a great cover version on the Zorn Clark Memorial album on Soul Note!I'll admit that it was the Zorn version that sent me back to appreciate the original some years ago.
#9 - it's by one of the greatest of them all, Tadd Dameron - "If You Could See Me Now", right?A number of people have identified the tune, but nobody's come up with the trumpet. I'll admit, this is a tricky one.
#11 - Is this some boot/audience recording? That must have been a smokin' set!Yes (audience), and it was!
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I've always been partial to:
New Concepts of Artistry in Rhythm
Contemporary Concepts
Cuban Fire
Adventures In Jazz
Kenton has always taken a beating from the critics and historians, but I think he's an important figure who made lots of worthwhile music, especially in the 40's & 50's.
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7. Someone thinks they can write like Mingus. My, but that ensemble does go on. Three minutes! Finally a tenor solo. That’s a veritable catalog of Clifford Jordan licks and gestures right there. Out-of-tune alto, but what a deep tone -- maybe it’s a tenor? Trumpet solo doesn’t have as much character as the surroundings. After checking my Jordan LPs, it occurs to me: that’s C# on alto and it’s track 4
NOW I know what I was thinking of: the leadoff track from this album. No wonder I was so confused: same song and leader, different players and album, separated by almost 25 years.
Damn, Jack; that was pretty sneaky!
I wasn't trying to be sneaky. I really like the newer version a lot!
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1. Even before the head is done, you know it’s Hawk. In a standard quintet, with a drummer on the corner where swing meets bop. At first I thought this would be the record Hawk made with Clark Terry, but that definitely ain’t Clark. Sounds more like Idrees Sulieman, but it ain’t “The Hawk Flies High” either. There never was a Hawkins/Byrd collaboration, was there? Thought I had a fairly comprehensive Hawk collection, but you got me good here.
Of course it's Hawk. Trumpet & piano have already been identified.
2. Big sax choir. Like the fluent soprano solo. When the tenor comes in, it dawns on me that this is the opening track here. (Shame that I recognized it from the tenor solo, not the leader’s.) Everybody oughta know about this record. And the two other issued tracks from these sessions shoulda been added to the CD. One more thing: This kind of fluency on soprano was rare at the time.Nice call. Have loved this record for 40 years.
3. Sounds like Johnny Mathis, the vibrato that walks like a man. I know he recorded with charts by Gil, but this must be later, and Gil wouldn’t have written some of the cliches the ensemble is asked to play. Alto solo sounds like Art Pepper on a so-so day or Bud Shank on a good one. A Paich band maybe? Doggone it, I like this cut.You're the second person to wrongly guess Mathis, but Nate got it.
5. Love the languid treatment of the theme. Cohn? Whatever it is, I love it.Cohn is an interesting guess. You aren't the first person to have made that comparison. This is a much older player.
7. Someone thinks they can write like Mingus. My, but that ensemble does go on. Three minutes! Finally a tenor solo. That’s a veritable catalog of Clifford Jordan licks and gestures right there. Out-of-tune alto, but what a deep tone -- maybe it’s a tenor? Trumpet solo doesn’t have as much character as the surroundings. After checking my Jordan LPs, it occurs to me: that’s C# on alto and it’s track 4I was hoping somebody would get this. I like the way theme takes its time to unfold. The solos are somewhat anticlimactic, in my opinion.
8. Instant recognition of a favorite. Track 6 here.Yessuh!
11. Cassette recorder under the table? It was worth the effort to capture this performance. That tenor player’s not afraid to get himself in trouble. Attention must be paid. At first I thought RRK. Later I thought Moody. And then the announcements, and that sure sounds like Moody’s voice.It is Moody's voice, and his tenor as well, surreptitiously recorded by yours truly years ago.
It's been a pleasure. You must have made great mixtapes back in the day. Thank you!Actually I was a jazz radio host for 18 years, so I'd like to think I know a little something about programming music. Glad you enjoyed it!
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7: a variant on "Woodyn' You", probably under the leadership of the tenor, surely Clifford Jordan, not sure about the other players. I like the tune & arrangement, even if it is overlong & repetitious, & CJ's playing; pity it's let down by the other players, whose solos are kinda bumpy.
Are you sure it's CJ? I'm almost positive this is the leadoff track of whatever album it's from, but I'll be darned if I can figure it out!
Question: is that James Spaulding on alto there?
Not the leadoff track - not Spaulding.
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1: Hawkins obviously, maybe Thad Jones too? I see the Penguin guide lists a 1960 date with them both + Eddie Costa, that sounds right.
That's the one! Good call!
2: Soprano-led big band with Dexter Gordon & I think Phil Woods in the band.Right on both counts!
3: nice male voice + vocal take on "It's All Right With Me", the arrangement holds no great surprises, but it's OK. Alto is a 1950s West Coaster, probably Pepper? & yeah, it sounds like a Paich arrangement. A peek at Straight Life indicates it's a singer I've never heard of before, Jesse Belvin.Batting 1000 so far, Nate.
7: a variant on "Woodyn' You", probably under the leadership of the tenor, surely Clifford Jordan, not sure about the other players. I like the tune & arrangement, even if it is overlong & repetitious, & CJ's playing; pity it's let down by the other players, whose solos are kinda bumpy.Yes, it is Clifford Jordan, but he's not the leader.
8: well, this is a familiar enough track--SC's last album as a leader, with a rare non-Monk appearance by Rouse in this period. Rhythm section is familiar from Dexter Gordon & Jackie McLean's Blue Notes of the period.I expected this one to be guessed pretty quickly.
9: Classy reading of this Dameron tune, probably players I should know. The pianist is fascinating & idiosyncratic, with those spare solemn chords.Tune has been identified - players are not so well known.
Thumbs up, Nate!!
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Track 1: tenor sax sounds like Coleman Hawkins.
You got it!
Track 6: GO RED GO!!! And Plas, too!Right!
Track 9: “If You Could See Me Now,”You've named the tune correctly.
Thanks for the comments.
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2) More good swinging fun but no names leap to mind. I think I caught a "click" though so I will say it’s a needle drop track.
I've had the LP a long time, but I have taken care of it! Good ears!
8) This is a song off a BN album … without wanting to check, I think its from that Tippin The Scales Jackie Mac albumYou got the label right! But it's not Jackie.
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OK, gang, here we go. I trust that most have received their discs by now, so let the discussion begin!
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The disc arrived here this morning - did you send a separate copy to Mr. Bassman or shall I make one for him? He would get it on Thursday.
Mr. Bassman was sent his own disc.
Discussion will begin on Wednesday.
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LIke some of you, I always tape it, and run through it the next day. There have been moments in past shows that made me glad I had seen them, although I agree that 90% of it is dreck.
It was nice to see Keely Smith, who was in pretty good voice, I thought, and I heartily agree that Kid Rock needs to be silenced, asap!
The John Fogerty/Jerry Lee/Little Richard segment was interesting. Jerry Lee was just plain terrible, and this is coming from a long time fan. Richard, however, still has the goods. And, they are the same age (72).
Like many, I've been hearing about Winehouse all year, and was curious to find out what all the excitement was about. I didn't think she was all that bad. That accent, though. Jeez!
Alicia Keys gets two numbers, why? The first one, with Sinatra, was forgettable, and demonstrates why rock & R&B singers don't understand how to perform a standard tune. The "emoting" amounts to oversinging, or "over-souling" as somebody called it. However, I kinda liked her later number - somewhat over the top, but entertaining, at least for the few minutes it was on.
I also thought the Beatles segment was OK. Didn't change my life, but it was entertaining.
The truncated "Rhapsody in Blue" was quite lame, and pretty stiff. The Chinese (?) pianist was a ham. All gesture, little nuance.
Although I didn't think much of the Hancock album, I'm glad too see a (sometime) jazz artist get the best album award.
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All of the overseas discs have been sent. The domestic discs will be mailed today. Discussion thread will be opened on Wednesday, Feb. 13.
There's still plenty of time, if any more want to participate. PM me and your disc will go out asap.
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I kinda like the cover. The music is sublime.
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The overseas discs were sent out today. I'll send out the domestic discs Friday. Discussion can begin sometime next week, not sure exactly when yet.
IT'S NOT TOO LATE TO GET IN ON THIS ONE! COME ON, PEOPLE!
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Wow! Just this Sunday my far better half returned from Phoenix. While browsing antique shops, scored me a dozen Jazz LPs,
amongst them were 3 Handy Roulettes: NO COAST JAZZ, "Quote Unquote" and "In The VERNACULAR". all in NM- condition and all for around $6.00!!
My question is, while I have had "NO Coast Jazz" for years, and that twofer of Roulette material. What is the story on the duplications on "IN THE VERNACULAR" and "QUOTE UNQUOTE"? I can see Quote UNQUOTE" was released later, but why the omisions and duplications?
Anybody shed some light?
Thanks.......
Handy made three records for Roulette in 1959-1961. Two of them were issued at the time - "In the Vernacular" (52042) and "No Coast Jazz" (52058). After his first Columbia album ("Live at Monterey") was a hit a few years later, Roulette issued the third album "Jazz" (52121) around 1967. They later repackaged the earlier albums. I believe "Quote Unquote" is a compilation of tracks from the first two, or is a straight reissue of "In the Vernacular", which contains a track entitled "Quote Unquote".
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Great story! Thanks for posting it.
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The BFT is now ready. I'll be sending out the overseas discs in the next day or two, and will send the domestic discs Wednesday or Thursday. We can begin discussion next weekend.
It's not too late to sign up!! I created this set primarily with the idea to provide some good listening, not necessarily to stump people!
Jack,
Keep in mind that we normally try to let the existing BFT play out (in terms of discussion) before opening the new one. I know we're into February and its a short month, but I'd hate to tread on Al's fine discs, and there are several people yet to be heard from on his BFT.
I'll let Big Al decide when it's time to wrap his up. At that time I'll open the new discussion thread.
Tony Scott 11-16-57
in Discography
Posted
Scott produced this marathon session and sold portions of it to Carlton, Seeco, Perfect (CBS). The CD gathers together all of the material which was spread over three LP's and a couple of compilations. I suspect Scott may have retained ownership, because the Fresh Sounds CD seems to be from master tapes, probably obtained from Scott himself.