Blindfold Test #12

[Daniel A]

OK folks, most of the tracks were identified, but here comes the personnel in detail. There are some minor data missing, such as the names of a few producers. I'm not writing this from home, so I'm relying on what can be found on the Web (and in my memory). I'll complete the details in a few days.

There was a theme - not a very original one - namely pianists. All tracks were recorded under the leadership of, composed by, arranged by or otherwise featuring a pianist, except one track (noted below).

1. MANTECA (Gillespie) – Clare Fischer (3:36)

Clare Fischer (org, arr); Conte Candoli, Bobby Bryant, Don Smith, A D Brisbois (tp); Gil Falco, Bob Edmondson (tbn); Ernie Tack (btbn); Ralph Pena (b ); Nicholas “Cuco” Martinez (timb); Adolfo ”Chino” Valdes, Carlos Vidal (cong); Rudy Calzado (cencero, guiro)

Producer: Richard Bock

Engineer: Richard Bock

Recorded in 1966

Issued on Pacific Jazz PJ-10096 'Manteca'

Not reissued on CD

The writer of the liner notes, John William Hardy, rambles somewhat about the trumpet solos on Manteca, and he obviously cannot be trusted regarding the order of the soloists, since there are two different muted trumpet soloists: “...the bursting trumpet work on ‘Manteca’, beginning with Candoli in muted flight, followed by Bryant, rich and open, again Candoli, this time open and really singing, and then the fantastic Brisbois boiling to the top of his horn in a truly

harrowing display of upper registry...”. Who is Brisbois? It sure sounds like a pseudonym. In fact the confused Hardy suddenly speaks about Buddy Briswold as being in the trumpet section – are they one and the same?

Anyway, Clare Fischer is a pianist I like very much, allthough perhaps more as, well, a pianist rather than an organist. I find nothing wrong with his playing here, thouhg, which is totally in line with the somewhat kitsch surroundings. I also think he's a very fine arranger. Perhaps there are other examples from his Pacific Jazz albums which highlights his sense of harmonics better, but I thought this was a good track to kick off the disc with.

2. HAVE YOU MET MISS JONES (Rodgers-Hart) – Hank Jones (3:16)

Hank Jones (p)

Producer: Ozzie Cadena

Engineer: Rudy Van Gelder

Recorded on August 8, 1956

Issued on Savoy MG-12084 'Have You Met Hank Jones?'

Not reissued on CD

Hank Jones has in my opinion the finest touch off all jazz pianists. He manages to sound measured and at the same time totally honest in his playing. I can't think of any other word that describes it better than "tasteful", and not in some bland sense, but so wonderfully attratcive. He's held highly in regard by many other pianists (for instance, he was Duke Pearson's favorite), and there is always a lot more depth in his playing than the unattentive listener would suspect.This is probably my favorite piano solo album, and it's absolutely outrageous that it hasn't been reissued on CD. Will it ever be?

3. JACQUI (Richie Powell) – Clifford Brown (5:09)

Clifford Brown (tp); Harold Land (ts); Richie Powell (p); George Morrow (b ); Max Roach (dr)

Producer: ?

Engineer: ?

Recorded on February 25, 1955

Issued on EmArcy MG-36037 'Study in Brown'

On CD: Yes

In print: Yes

From a classic session I was sure many of you would recognize. I included this track mainly because of Powell's composition; he's not credited with too many, and allthough somewhat in a Horace Silverish vein (as some noted) I think it shows some originality as well. BTW, I think Harold Land does not get as much credit these days as he should, I couldn't think of a better voice as a complement to Brownie.

4. POINCIANA (Bernier-Simon) – Martial Solal (4:33)

Martial Solal (p); Teddy Kotick (b ); Paul Motian (dr)

Producer: George Avakian

Engineer:

Recorded in July, 1963

Issued on RCA LSP-2777 'At Newport '63'

On CD: Yes

In print: Yes

Martial Solal really sounds like noone else, and he's had a marvellous output from the early 50s up to now which should be better known - as it is much of it has not been reissued for decades. His touch is somewhat old-fashioned in spots, at the same time as his harmonic sense always has been very much contemporary. There's a mid 50s Solal recording of 'Poinciana' on Vogue (do you have it, brownie?) where the theme already is pretty much reharmonized, but some 8 years later he really makes something completely new of it. The AMG's coverage of Solal is fatally incomplete, and I think many of his recordings are virtually unheard of in the US. If anyone new to Solal appreciated this, there is a wealth of fantastic sessions yet to discover!

5. TONES FOR JOAN’S BONES (Chick Corea) – Blue Mitchell (6:38)

Blue Mitchell (tp); Julian Priester (tb); Jerry Dodgion (f, as); Junior Cook (ts); Pepper Adams (bari); Chick Corea (p); Gene Taylor (b ); Mickey Roker (d); Duke Pearson (arr)

Producer: Alfred Lion

Engineer: Rudy Van Gelder

Recorded on November 17, 1966

Issued on Blue Note BST 84257 'Boss Horn'

On CD: Yes/No (Only as part of Mosaic set or as a Spanish Blue Note release)release)

In print: No

OK, I thought I should sneak in Duke Pearson somewhere on this compilation, if not as a pianist at least as an arranger. I've always thought this is one of Chick Corea's best compositions, and this particular recording also has one of (again in my opinion) his earliest really significant solos. A matter of weeks later this composition would be the title cut on Corea's first own album, but I've always found his solo much more interesting on the Mitchell recording. Some commented on Blue's tone, which surprised me, because I've always felt there were signs of decline already at this stage. Corea's playing here perhaps still shows some influence from Tyner, Hancock and others, but he was developing very fast then, as a comparsion with sessions from just a year or two further on will show.

6. THIS COULD BE THE START OF SOMETHING BIG (Allen) - Oscar Peterson (4:46)

Oscar Peterson (p); Ray Brown (b ); Ed Thigpen (dr)

Producer:

Engineer:

Recorded on September 26, 1962

Issued on Verve V 8516 'Affinity'

On CD: Yes

In print: Yes

I was rather amused that those not familiar with this Peterson album hesitated to name it as such an album, roughly because it was just a bit too good to be Peterson! I deliberately chose a track with no traces of his sometime "one mood". To call Peterson "underrated" perhaps doesn't seem right, but the word "neglected" has at least some validity.

7. UPSTAIRS (Bacharach-David) – The Jazz Crusaders (3:14)

Wayne Henderson (tbn); Wilton Felder (ts); Joe Sample (p); Buster Williams (b ); Nesbert ’Stix’ Hooper (dr)

Producer: Richard Bock

Engineer: Thorne Nogar

Recorded in 1968

Issued on World Pacific Jazz ST-20136 'Powerhouse'

On CD: Well, only as one of the infamous Applause reissues of Liberty material

In print: No

I agree that this cut is much too short - the Jazz Crusaders was changing direction at this time - but the short glimpse of Felder shows that he was a very convincing player in this style. I selected this track because it's from one of their lesser known albums, and because of the composition, which is from the Bacharach-David musical 'Promises, Promises'; the title tune from that show was also covered on 'Powerhouse'. I don't have access to any discography other than the

AMG, but I'm not aware of any cover of 'Upstairs' other than this one (which is much better than the original version, I can assure you). The Jazz Crusaders deserve to be reissued in some form, and I know they have been considered for a possible Mosaic Select.

Incidentally, the album 'Powerhouse' also featured the first recording of Buster Williams's tune 'Firewater' (also sometimes called 'Dual Force'), which Herbie Hancock arranged for a larger group a year later on his last Blue Note album, 'The Prisoner'.

8. MAIDEN VOYAGE (Herbie Hancock) – Denny Zeitlin (7:36)

Denny Zeitlin (p); Joe Halpin (b ); Oliver Johnson (dr)

Producer: Johnny Hammond

Engineer:

Recorded in March, 1967

Issued on Columbia CS 9548 'Zeitgeist'

Not reissued on CD

This was the first recording of 'Maiden Voyage' which did not feature Hancock himself. Zeitlin can sometimes be a bit dry, but I'm obviously not as easily bored as some others, as I'm enjoying this version. Which is clearly not a groundbreaking masterpiece, but still...

9. ODIN’S EYE (Carl-Axel Dominique) – Jan Allan (4:21)

Jan Allan (tp); Lennart Åberg (ss); Bobo Stenson (p); Palle Danielsson (b ); Jon Christensen (dr)

Producer: Håkan Elmquist

Engineer: Rune Persson

Recorded in September, 1969

Issued on MCA MAP 1782 'Jan Allan -70'

On CD: Yes

In Print: Yes

Jan Allan is one of Sweden's finest trumpet players; he played with Lars Gullin in the 50s and still remains very active today. The bigger part of 'Jan Allan -70' is taken up by a couple of works for augmented big band and trumpet soloist by pianist Nils Lindberg, but the album was rounded out with three small-group tracks, two of which were composed by another pianist, Carl-Axel Dominique. From your comments, it's apparent that soprano sax players for some reason appear to risk being fired more often than other instrumentalists. I admit that Åberg's playing here does not comfort me too much, but I wonder if the aversion to soprano players has to do with their intonation, rather than what they actually play (se further my notes for track #11).

The liner notes (in Swedish and English) can be found here:

www.mic.stim.se/avd/mic/prod/phono.nsf/0/1c98a3e2135a3b2e412567f30035a983?OpenDocument

BTW, it was not Elvin on drums.

10. MORNING STAR (Rodgers Grant) – Hubert Laws (7:56)

Hubert Laws (fl, afl, picc); Alan Rubin, Marvin Stamm (tp, flh); Garnett Brown (tbn); James Buffington (fr hn); Phil Bodner (fl, picc, cl); Romeo Penque (fl, afl, picc, eng hn); Jack Knitzer (bassoon); John Tropea (g); Bob James (el p); Ron Carter (b ); Billy Cobham (dr); Dave Friedman (vib, perc); Ralph McDonald (perc); Don Sebesky (arr, cond)

Producer: Creed Taylor

Engineer: Rudy Van Gelder

Recorded in 1972

Issued on CTI 6022 'Morning Star'

Not reissued on CD

This was in my opinion Huber Laws' finest moment. He plays fine on a couple of CTI's (often for other leaders) and espescially on his last Atlantic album, 'Laws' Cause'. However, I think he never played a better solo than here. I've never thought the electronics (or is it just an octave pedal?) distracted from the playing. In fact, I just think it gets better from it! Both Bob James and Hubert himself would soon be far from anything remotely jazzy, not to speak of Cobham, who was perhaps never a great jazz drummer. The tune itself, which could stand to be covered more often, was written by pianist Rodgers Grant who had collaborated with Laws in the 60s. Unfortunately I have no idea what became of him after that.

11. BRITE PIECE (Dave Liebman) – Elvin Jones (4:46)

Joe Farrell, David Liebman, Steve Grossman (ss); Jan Hammer (p); Gene Perla (b ); Elvin Jones (d); Don Alias (perc)

Producer: George Butler

Engineer: Rudy Van Gelder

Recorded on December 16, 1971

Issued on Blue Note BST 84414 'Merry-Go-Round'

On CD: Yes, in the Elvin Jones Mosaic set

In print: Yes

I'm surprised noone who knew this album commented on the pianist. In a matter of years from this recording he would be helplessly lost in a world of dismal synths and sequencers, and he nowadays seems to be best remebered for his score to 'Miami Vice'. Initially I planned to include another track from this Jones album - a composition by Jan Hammer himself - but I thought this track was alltogether more interesting. Contrary to many of you I have nothing to object to Liebman's playing. Again, I wonder how much people are disturbed by the soprano sound and characteristic intonation rather than the actual notes. I think Liebman plays well here, and even when the soprano wanders slightly off tune, I think it fits just great!

Hammer would rarely appear on acoustical piano after this, and when he did it was most often augmented by some synthesizers of one kind or another. I'm not sure about how much jazz chops he has left, but from I can understand he was happy with the career choice he made.

12. I COVER THE WATERFRONT (Green-Heyman) – Peter Asplund (9:37)

Peter Asplund, Hans Dyvik, Anders Gustafsson, Patrik Skoog, Fredrik Oscarsson (tp); Mikael Råberg, Dicken Hedrenius, Karin Hammar (tbn); Mattias Cederberg (btbn); Johan Hörlén (as, fl); Magnus Blom (as); Per "Texas" Johansson (ts); Karl-Martin Almqvist, Magnus Lindgren (ts, fl); Alberto Pinton (bari); Jacob Karlzon (p); Hans Andersson (b ); Johan Löfcrantz (dr)

Producers: Peter Asplund, Lars-Göran Ulander

Engineer: Maurice Mogard

Recorded in September, 2000

Issued on Sittel SITCD 9268 'Satch as Such'

In print: Yes

The singer turns out to be - not Björk, but Rigmor Gustafsson. I can definitely hear where the Björk suggestions are coming from, and I've heard others comment on the similarity to Björk in the intro of this track (or perhaps only the first phrases), but she's in fact considered a pure jazz singer here in Sweden, and I agree. The track comes from a Louis Armstrong tribute album led by Swedish trumpeter Peter Asplund. The concept of the album was the (admittedly not too original) idea of putting tunes associated with Armstrong in a more contemporary framework. The different tunes feature Asplund or different members of the orchestra, which mostly consists of competent Swedish players in their 30s. The reason I included this cut was the arrangement which I think is lovely (made by Asplund and saxophonist Magnus Blom) and because pianist Karlzon gets some room to stretch out; I think he's one of Sweden's better pianists today. It's hard for me to really tell, but I suspect that there's something very European to his playing, no?

The rhythm section, together with a few other musicians and Gustafsson made up a band (not sure if they're active) under Asplund's leadership, called 'Melos', where Gustafsson's wordless singing played a prominent role. Just a few days ago Asplund released a quartet album - his first new album in four years - with that same rhythm section, but I've not been able to check it out yet.

A useful link for those who wants to know more about Rigmor Gustafsson:

www.rigmorgustafsson.com

Peter Asplund has a website too, but it seems to be mainly in Swedish:

www.peterasplund.com

13. ANCESTORS (Renee Rosnes) – Renee Rosnes (9:42)

Nicholas Payton (tp); Chris Potter (ts); Renee Rosnes (p); Peter Washington (b ); Al Foster (dr); Don Alias (perc)

Producer: Bob Belden

Engineer: David Baker

Recorded in October, 1995

Issued on Blue Note 34634

In print: No

Renee Rosnes appears to still be with Blue Note, despite her titles consequently being deleted not long after they are released. I consider Payton to be the best soloist here, but I think Rosnes is capable as well, not least in that she has a good sense of form in her soloing.

14. HERE’S THAT RAINY DAY (Burke-van Heusen) – Bud Shank (3:13)

Bud Shank, John Lowe, Bill Perkins, Jack Nimitz, Bob Hardaway, Bob Cooper (sax), Bob Florence (p, arr); Dennis Budimir (g); Ray Brown (B); Larry Bunker (dr)

Producer: Richard Bock

Engineer: Bruce Botnick

Recorded in December, 1966

Issued on Pacific Jazz ST-20110 'Bud Shank Meets the Sax Section'

Not reissued on CD

This LP gives the impression of a rather slick "commercial" effort that was typical of its time (except for the downright criminal appearances of a few of the members of the sax section on the LP cover photo; I'll post a scan when I get home!). However, the arrangements by Bob Florence are more than just easy listening. I know there are conflicting opinions regarding Bob Florence's merits, but I've appreciated what I've heard so far. Speaking of Bud Shank, apparently he's not inclined - or allowed - to stretch out very much here...

15. DARK EYES – Bill Evans & Stan Getz (1:18)

Stan Getz (ts); Bill Evans (p); Richard Davis (b ); Elvin Jones (d)

Producer:

Engineer:

Recorded on May 5, 1964

Issued on Verve 314 527 953 2 'The Complete Bill Evans on Verve'

In print: Yes

I was scanning the massive Verve box for something that would not immediatly sound as Evans, and found this instead. More of joke than anything else, but on the other hand noone could tell it was Bill Evans... This is from the sessions released long after they were recorded as 'Stan Getz and Bill Evans'.

Edited June 18, 2004 by Daniel A

[mikeweil]

Who is Brisbois? It sure sounds like a pseudonym. In fact the confused Hardy suddenly speaks about Buddy Briswold as being in the trumpet section ? are they one and the same?

I know one Bud Brisbois from a number of West Coast big band sessions - the Briswold is probably a typo.

A search in Bruyninckx shows a Bud Brisbois playing in the orchestras of Onzy Mathews, Billy May, Shorty Rogers, Pete Rugolo, Chuck Sagle, Lalo Schifrin, Henry Mancini, and Ray Brown, as well as numerous studio dates - your typical prolific West Coast session player.

Edited June 16, 2004 by mikeweil

[mikeweil]

BTW, I think Harold Land does not get as much credit these days as he should, I couldn't think of a better voice as a complement to Brownie.

I see a parallel to Hank Mobley in the Miles Davis Quintet: Coltrane will always be considered greater etc. Harold Land will unfortunately take second place after Sonny Rollins as long as there are jazz fans. But although Rollins may be the more important saxist, and he and Brownie were breathing as one man, as he reported, Land was just as perfect a foil. I like him better with Brownie than Rollins.

[couw]

couw got close to more than he would have expected.

Still love that crappy organ on Manteca. I mean, it IS crappy, totally in line and artistically correct and whatnot, but still: crappy. Love it.

Hank Jones it is then. did get that from all the replies to the guess thread, but still am pleased that I myself heard "something" to make this guess the right guess. His album with Bobby Jaspar was just mentioned again elsewhere on this board; that one I have loved from the very first minute I heard it.

I will live a hundred and never recognise Poinciana. Missed this one on several occasions when casually listening to my own stuff.

The Blue Mitchel is a nice one. I don't have or know that album, sounds like a candidate for a pretty re-release with the right (not too blue) cover art. The front line struck me as rather original somehow. With the trumpet as utter feature and the others as support. Not the usual BN treatment and yet it sounded as such.

Oscar Peterson was a lucky guess, I really do not know his playing that well. I never took to the hassle of collecting his music, like it in doses and the right mood; maybe I should invest more effort, maybe I might as well go ahead like I am doing and check his stuff as it comes my way, which will be in small doses so that's just right.

another thanks to Daniel. I spend quite some time with this one and it were good times. My world hasn't changed, but there are some fond memories that will stick (I think).

[king ubu]

BTW, I think Harold Land does not get as much credit these days as he should, I couldn't think of a better voice as a complement to Brownie.

I see a parallel to Hank Mobley in the Miles Davis Quintet: Coltrane will always be considered greater etc. Harold Land will unfortunately take second place after Sonny Rollins as long as there are jazz fans. But although Rollins may be the more important saxist, and he and Brownie were breathing as one man, as he reported, Land was just as perfect a foil. I like him better with Brownie than Rollins.

Same here! Much better!

ubu

[Noj]

5. TONES FOR JOAN’S BONES (Chick Corea) – Blue Mitchell (6:38)

Blue Mitchell (tp); Julian Priester (tb); Jerry Dodgion (f, as); Junior Cook (ts); Pepper Adams (bari); Chick Corea (p); Gene Taylor (b ); Mickey Roker (d); Duke Pearson (arr)

Producer: Alfred Lion

Engineer: Rudy Van Gelder

Recorded on November 17, 1966

Issued on Blue Note BST 84257 'Boss Horn'

On CD: Yes/No (Only as part of Mosaic set or as a Spanish Blue Note release)release)

In print: No

OK, I thought I should sneak in Duke Pearson somewhere on this compilation, if not as a pianist at least as an arranger. I've always thought this is one of Chick Corea's best compositions, and this particular recording also has one of (again in my opinion) his earliest really significant solos. A matter of weeks later this composition would be the title cut on Corea's first own album, but I've always found his solo much more interesting on the Mitchell recording. Some commented on Blue's tone, which surprised me, because I've always felt there were signs of decline already at this stage. Corea's playing here perhaps still shows some influence from Tyner, Hancock and others, but he was developing very fast then, as a comparsion with sessions from just a year or two further on will show.

Disc 4 of the Mosaic, the disc I've listened to the least. Damn.

[White Lightning]

BTW, I think Harold Land does not get as much credit these days as he should, I couldn't think of a better voice as a complement to Brownie.

I see a parallel to Hank Mobley in the Miles Davis Quintet: Coltrane will always be considered greater etc. Harold Land will unfortunately take second place after Sonny Rollins as long as there are jazz fans. But although Rollins may be the more important saxist, and he and Brownie were breathing as one man, as he reported, Land was just as perfect a foil. I like him better with Brownie than Rollins.

Same here! Much better!

ubu

Couldn't agree more!

[tjobbe]

3. JACQUI (Richie Powell) – Clifford Brown (5:09)

Clifford Brown (tp); Harold Land (ts); Richie Powell (p); George Morrow (b ); Max Roach (dr)

... this track reminds me of the fact that you should not buy new CD's before not all previous buys have been unpacked and listen to before... did that last night -_- .

That Solal Poinciana: any indication on which available in print CD this is one ? (EDIT: I found this this one here at JPC.de)

Thx a lot Daniel !

Cheers from another victim of Mikes BT-Rules, Tjobbe

P.S. what about track #12... it still runs im CarCDP

Edited June 17, 2004 by tjobbe

[brownie]

That Solal Poinciana: any indication on which available in print CD this is one ? (EDIT: I found this this one here at JPC.de)

Yes, that's the current French RCA CD reissue of the Solal at Newport album.

As mentioned earlier, the album was recorded in a studio with added fake applauds which was in fashion at the time.

[catesta]

6. THIS COULD BE THE START OF SOMETHING BIG (Allen) - Oscar Peterson (4:46)

Oscar Peterson (p); Ray Brown (b ); Ed Thigpen (dr)

Producer:

Engineer:

Recorded on September 26, 1962

Issued on Verve V 8516 'Affinity'

On CD: Yes

In print: Yes

I was rather amused that those not familiar with this Peterson album hesitated to name it as such an album, roughly because it was just a bit too good to be Peterson! I deliberately chose a track with no traces of his sometime "one mood". To call Peterson "underrated" perhaps doesn't seem right, but the word "neglected" has at least some validity.

Dang!

I heard this track lastnight playing on XM radio while driving home.

I thought to myself, "hey that's Phineas Newborn", pushed the button and saw OP's name. No chance to revise my guess.

[Saxophone__Vagina]

Still love that crappy organ on Manteca. I mean, it IS crappy, totally in line and artistically correct and whatnot, but still: crappy. Love it.

That's weird, i really liked the sound of that organ, sounded very cool to me.

[couw]

Still love that crappy organ on Manteca. I mean, it IS crappy, totally in line and artistically correct and whatnot, but still: crappy. Love it.

That's weird, i really liked the sound of that organ, sounded very cool to me.

crappy as in cheesy

[Daniel A]

Comments added...

[John B]

wow...I had no clue on any of these. (other than identifying an easy tune or two) I think this is one of the first times I have been so completely stumped.

[tjobbe]

Hi Daniel,

on #12... honestly I was to afraid to mention this CD, as I found this simply via Google "Title track & sweden" but haven't had any clue where to get some sound samples from to compare it.... but I already stored a link to a supplier of that disc

Thanks for this track !!!

Cheers, Tjobbe

[mikeweil]

10. MORNING STAR (Rodgers Grand) ? Hubert Laws (7:56)

Hubert Laws (fl, afl, picc); Alan Rubin, Marvin Stamm (tp, flh); Garnett Brown (tbn); James Buffington (fr hn); Phil Bodner (fl, picc, cl); Romeo Penque (fl, afl, picc, eng hn); Jack Knitzer (bassoon); John Tropea (g); Bob James (el p); Ron Carter (b ); Billy Cobham (dr); Dave Friedman (vib, perc); Ralph McDonald (perc); Don Sebesky (arr, cond)

Producer: Creed Taylor

Engineer: Rudy Van Gelder

Recorded in 1972

Issued on CTI 6022 'Morning Star'

Not reissued on CD

This was in my opinion Huber Laws' finest moment. He plays fine on a couple of CTI's (often for other leaders) and espescially on his last Atlantic album, 'Laws' Cause'. However, I think he never played a better solo than here. I've never thought the electronics (or is it just an octave pedal?) distracted from the playing. In fact, I just think it gets better from it! Both Bob James and Hubert himself would soon be far from anything remotely jazzy, not to speak of Cobham, who was perhaps never a great jazz drummer. The tune itself, which could stand to be covered more often, was written by pianist Rodgers Grand (I believe that's his name) who had collaborated with Laws in the 60s. Unfortunately I have no idea what became of him after that.

.

His name was Rodgers Grant, he joined Mongo Santamaria's band in late 1962 and stayed until the end of 1969. Laws joined that band in 1963 and left around the same time. Grant composed and arranged quite a number of tunes for the Santamaria band, Morning Star being the one that was recorded most often by others. His tunes are nice to play and improvise upon, I cannot understand why they are not used more often. Laws did - he too was one of those who understood best what Mongo's special mixture of Cuban rhythm with jazz and R & B was all about.

What has become of Rodgers Grant? Very good question!

That electronic device seems to be a simple octavider, picking up the sound from a mic and adding the same note one octave above or below.

Laws is a thoroughly trained musician with many facets - he played lots of mean Texas tenor in Mongo's band - yes, he is from Texas, belonged to the Jazz Crusaders but got a grant to study at Julliard in New York shortly after their move to California. R & B, soul, Latin, jazz - he has it all down. His pieces for Mongo's band fit that style so well it is almost frightening. He has a new self-produced album out in Cuban style, but I couldn't get it so far.

[Daniel A]

Rodgers Grant

Corrected spelling of his name in my initial post... Thanks, Mike!

[brownie]

Well, the truth is finally revealed!

And track 15 turns out to be from that Bill Evans box I have rusting in a corner. Could not remember that fun minute. It was a very nice touch to close the BFT with this!

And now that I know what track 12 (I Cover the Waterfront) is, I will be looking for a copy of that Peter Asplund album. None of the names of the musicians are familiar. I have yet to see the Satchmo connection, the Armstrong version is one of the first Satchmo I ever heard.

Thanks again, Daniel. Really enjoyed the disc!

[couw]

interesting that the big band cuts that had me on my toes for this and the previous BFT both are from albums dedicated to Armstrong. Not that it means anything, but it's one of those ditty little pieces of information that may come in handy in a good story one day.

Edited June 18, 2004 by couw

[mikeweil]

11. BRITE PIECE (Dave Liebman) - Elvin Jones (4:46)

Joe Farrell, David Liebman, Steve Grossman (ss); Jan Hammer (p); Gene Perla (b ); Elvin Jones (d); Don Alias (perc)

Producer: George Butler

Engineer: Rudy Van Gelder

Recorded on December 16, 1971

Issued on Blue Note BST 84414 'Merry-Go-Round'

On CD: Yes, in the Elvin Jones Mosaic set

In print: Yes

I'm surprised noone who knew this album commented on the pianist. In a matter of years from this recording he would be helplessly lost in a world of dismal synths and sequencers, and he nowadays seems to be best remebered for his score to 'Miami Vice'. Initially I planned to include another track from this Jones album - a composition by Jan Hammer himself - but I thought this track was alltogether more interesting. Contrary to many of you I have nothing to object to Liebman's playing. Again, I wonder how much people are disturbed by the soprano sound and characteristic intonation rather than the actual notes. I think Liebman plays well here, and even when the soprano wanders slightly off tune, I think it fits just great!

Hammer would rarely appear on acoustical piano after this, and when he did it was most often augmented by some synthesizers of one kind or another. I'm not sure about how much jazz chops he has left, but from I can understand he was happy with the career choice he made.

None of the jazz musicians turning to some heavily rock/pop/soul/fusion type of music has lost his jazz chops, not George Benson, nor Herbie Hancock or Jan Hammer. I think jazz fans hardly took notice when he played with Elvin back then, these records were not held in high regard, as the seemingly spectacular things in jazz were happening elsewhere. Hammer played very well, especially on a rare trio album "Elvin Jones Is On The Mountain" released on bassist Gene Perla's PM Records label. I hope he will do a CD of it soon (AMG link).

I also dig Hammer's albums with percussionist David Earle Johnson, there were three of them, Johnson playing all kinds of Latin percussion and singing, Hammer handling keyboards and drums, playing grooves as meaty as can be - he fused the best of the great drummers he played with into his own style, Elvin Jones, Tony Williams, Billy Cobham, and Don Alias - he was also associated with Perla and Alias in their great Latin fusion band Stone Alliance and played with them on Jeremy Steig and Steve Grossman records. This is all stuff I'd never part with.

The last jazz affair Hammer did was the John Abercrombie Timeless reunion CD on ECM.

As to my reaction on Dave Liebman's soprano playing, I am surprised at my own reaction. Maybe that track caught on the wrong ear. I'll get me the Elvin Mosaic anyway, and have enjoyed Liebman's playing on numerous occasions - I remember I once approached him after a gig and complimented him on a particularly impressive soprano solo!

p.s.

I just noticed David Earle Johnson did an album in 1983 with Abercrombie, Hammer and Perla, The Midweek Blues - must be a very rare bird as AMG doesn't even have label and number!

Edited June 18, 2004 by mikeweil

[Eloe Omoe]

Hammer played very well, especially on a rare trio album "Elvin Jones Is On The Mountain" released on bassist Gene Perla's PM Records label. I hope he will do a CD of it soon.

One Way Records reissued it on CD, about ten years ago. I have it, but I think it has been OP for quite some time. Hammer plays also on Steve Grossman's "Some Shapes to Come", a P.M. from 1974, alongside Gene Perla and Don Alias. One Way reissued it too.

Luca

[Nate Dorward]

Hm, definitely my worst showing on a BFT ever, including my first non-i.d. of a track I know well, the Jan Allan. (Not my favourite track from the disc, admittedly--it's the big-band pieces on there I like most, & probably I'd have gone with one of the Lindberg pieces if I were selecting a track off that disc.) Considering that I dislike Chris Potter's mannerisms & disliked the saxophonist's mannerisms on #13 I'm surprised I didn't make the connection.

Oh well, let's see if I do any better on EKE BBB's test before I get a turn at the wheel.

[mikeweil]

Hammer played very well, especially on a rare trio album "Elvin Jones Is On The Mountain" released on bassist Gene Perla's PM Records label. I hope he will do a CD of it soon.

One Way Records reissued it on CD, about ten years ago. I have it, but I think it has been OP for quite some time. Hammer plays also on Steve Grossman's "Some Shapes to Come", a P.M. from 1974, alongside Gene Perla and Don Alias. One Way reissued it too.

Luca

Oh yes I remember skipping the buy for lack of money, and because the Elvin Lp sounds good. The Grossman records had a weird sound ... but they are funky as hell!

[RDK]

D'oh! I missed most (all?) of these, of course, and even failed to recognize a few albums that I own - mostly tracks "buried" in Mosaic sets. I may have that Claire Fischer on LP, but haven't listened to it in ages. A couple of very pleasant surprises (the Solal and O.P. among them) and one wonderfuly unexpected twist (the Bill Evans breakdown).

Again, many thanks Daniel!

[Daniel A]

14. HERE’S THAT RAINY DAY (Burke-van Heusen) – Bud Shank

...(except for the downright criminal appearances of a few of the members of the sax section on the LP cover photo; I'll post a scan when I get home!)

...

Edited June 23, 2004 by Daniel A