randyhersom

The What's New with Clifford Brown is magnificent.

While I think liking Steve Wilson better than Sonny Fortune is a stretch, he does appear elsewhere on this BFT and Bryan Carrott is also on the same album. Non-brass horns on oth ertracks in this BFT 1. Jane Bunnett 2. James Carter 3. eddie henderson w donald Harrison 4. Barney McAll w Gary Bartz and Peter APfelbaum 5. James Newton 6. Jazz Crusaders w Wilton Felder 7. Anthony Branker with Steve Wilson, Ralph Bowen 8. Vandermark 5 w Dave Rempis 9. Rollins 11. Tapscott w Steve Smith Aubrey Hart (pic) Adele Sebastian (fl) Jesse Sharps (sop) Gary Bias, Michael Session (as) Fuasi Abdul-Khaliq, Charles Chandler (ts)

I don't think you would refer to Bunnett as "this guy" and I don't think Newton doubles on anything not a flute, so Gary Bartz? I haven't spotted any vibes on Bartz's leader dates on Wikipedia.

Moe Koffman?

From: https://www.metrotimes.com/detroit/james-carters-loyalty-oath/Content?oid=2148415 For those unfamiliar with Carter's history, he grew up in Detroit the youngest offspring of a talented musical clan. He studied with a number of the Detroit elders, but first and foremost was middle-school saxophonist-educator Donald Washington, who ran a boot camp of a jazz band called Bird-Trane-Sco-Now! (as in Charlie Parker, John Coltrane, the Art Ensemble of Chicago's Roscoe Mitchell and the kids like Carter who were happening now). James Carter: It goes back to my musical father, Donald Washington. He always said longevity is the key. The longer a group stays together, the more it becomes of one mind as the relationship and musicianship progresses. Case in point, the classic Coltrane quartet albums Live at the Village Vanguard and One Down One Up. Those recording are great as the result of the band playing together for a while. Those recordings weren't some all-star hookup. And 10 continues to elude us.

Want to share the personnel with the sleuthing crew?

on 2 I had already started to notice the extreme lower register and wondered about Braxton. The hint would seem to lead in that direction.

Rolling Stone magazine reviews of Oregon - Distant Light and Keith Jarrett - Solo Concerts Bremen - Lausanne led me into this music and I still treasure their music. I'm looking forward to hearing this.

The theme feels like "whatever happened to spiritual jazz". That's mostly at the beginning and end, with lush grooves that don't mind being a tiny bit commercial, but well within the mainstream. 1. The nod to R&B had me thinking Norman Connors, but hearing the sax brings my thoughts to something later, maybe Kamasi Washington. 2. I've always found funk and bass clarinet to be a natural match. First thought is Bennie Maupin. Strong flutes popping up throughout this BFT. 3. Thinking of the Jack Wilson Blue note date Easterly Winds, which was a bit more conventional than most of his output. 4. The organ makes an appearance with only the slightest change of groove. Electric piano too. Stanley Turrentine? 5. More Bass clarinet, live date. Maria Schneider? 6. Jazz Crusaders? 7. Polished, they make the group sound lareger than it is with the downtempo unison and rolling cymbals. Who has the patience to make music in this style? Paul Bley didn't do many quintet albumns, but that's the name that comes to mind. 8. Trombone feature. Steve Turre? 9. Melody suggests a familiar tune, maybe with a Brazilian tinge. No clue, I'll try Joshua Redman. 10. Vibes and flute. Late Milt Jackson date? 11. It makes me think of Joe Lee Wilson, but I think I'd know it if it were Joe Lee. Not Leon Thomas, but in the neighborhood of both. But it could be a Shepp date with Joe Lee. Grachan Moncur's composition was New Africa, not Little Africa. Hannibal did some stuff with voices too.

And Herbie Nichols recorded it too, for his Bethlehem album Love, Gloom, Cash, :Love.

Denzil Best composition.

Forty Five Degree Angle appears on Black Christ of the Andes also, and it's the most strikingly different I've ever heard the same musician play the same composition. Wow. On Black Christ of the Andes its slow, stately and dignified, even as the drums do their part to energize things. The live version with Gales and Riley is a sprightly bebop romp with dramatic moments. It tooke me a full minute of back and forth comparing to convince myself it was the same composition. Great find Dub Modal!

Track 1 of this? https://jdisc.columbia.edu/session/mary-lou-williams-june-20-1965

Mary Lou? Mary Lou!

I have it on LP in the garage, but LPs are not currently part of my lifestyle. Found it on YouTube. It's good of its type, mixing more fusion oriented jazz with pop moves.

From Wikipedia Ben Riley discography, eliminating horn led dates With Kenny Barron Innocence (Wolf, 1978) Golden Lotus (Muse, 1980 [1982]) Imo Live (Whynot, 1982) Green Chimneys (Criss Cross Jazz, 1983) The Only One (Reservoir, 1990) Lemuria-Seascape (Candid, 1991) Live at Bradley's (EmArcy, 1996 [2001]) Live at Bradley's II (Sunnyside, 1996 [2002]) Minor Blues (Venus, 2009) With Ray Bryant Live at Basin Street East (Sue, 1964) Cold Turkey (Sue, 1964) With Red Garland Stepping Out (Galaxy, 1978) So Long Blues (Galaxy, 1979 [1981]) Strike Up the Band (Galaxy, 1979 [1981]) With Andrew Hill Lift Every Voice (Blue Note, 1969) Shades (Soul Note, 1986) With Hank Jones Bop Redux (Muse, 1977) With Sam Jones Down Home (Riverside, 1962) With Junior Mance Junior Mance Trio at the Village Vanguard (Jazzland, 1961) With Jay McShann Some Blues (Chiaroscuro, 1993) With Horace Tapscott Dissent or Descent (Nimbus West, 1984 [1998]) With Roseanna Vitro Listen Here (Texas Rose, 1984) With Larry Willis A Tribute to Someone (AudioQuest, 1994) I happen to know that Shazam and Soundcloud can't identify this track, so the actual recording may have eluded this discog. Tough nut to crack! I haven't been able to find a stream of the Ray Bryant live album to compare. Al the tracks on the two volumes of Kenny Barron Live at Bradley's are too long.

Side one of his debut album Clarity made me into a Michael Gregory Jackson fan, and the next two, Karmonic Suite and Gifts were also highly enjoyable. From there I've kept tabs on his shift into folkis, R&Bish pop music, while hoping he would return to his early jazzier style. A recent batch of Bandcamp releases effectively doubles the number of primarily jazz albums released. Bandcamp is letting me play entire tracks of these albums instead of short samples, and I've been feasting on them. The obvious standout was Frequency Equilibrium Koan because it also featured Julius Hemphill and Abdul Wadud, also longtime favorites of mine. The trio album Spirit Signal Strata was also very strong, as were Liberty and Whenyoufindityouwillknow. There's also a single track, ten minute tribute to Charles Mingus with guitar bass and drums. Looking forward to the next artist Bandcamp Friday.

And naming 10 pianists I haven't ruled out just for the heck of it: Kenny Barron, Barry Harris, Hank Jones, George Wallington, Tommy Flanagan, John Hicks, Red Garland, Walter Norris, Mary Lou Williams, Hugh Lawson.

Known drummers oh identified tracks so far 2. Willie Jones 4. Don Moye 5. Sam Woodyard 6. JC Moses 7. Don Moye 8. Edward Vesala 11. Ben Riley 12. Shadow Wilson 13. Billy Drummond 14. Jon Christiensen 15. Luqman Ali

By the way, who jams in grey?

Labelmate Ramsey Lewis?

Wikipedia Says of Ahmad Jamal: His Pittsburgh roots have remained an important part of his identity ("Pittsburgh meant everything to me and it still does," he said in 2001)[4] and it was there that he was immersed in the influence of jazz artists such as Earl Hines, Billy Strayhorn, Mary Lou Williams, and Erroll Garner. Jamal also studied with pianist James Miller and began playing piano professionally at the age of fourteen,[5] at which point he was recognized as a "coming great" by the pianist Art Tatum. Of those names I think Garner and Strayhorn fit the dramatic elements within #9 best. Not aware of Strayhorn doing a live album with a trio. Of course the connection could be sidemen and not influence.

Ahmad Jamal on 9?

Hampton Hawes on 9?

#8 is Star Flight from Edward Vesala - Satu.