BFT #28 DISC ONE - ANSWERS

[MartyJazz]

Some comments before I get into the personnel, titles and thoughts surrounding the choice of these tracks. One “rule” I set was not to use any pop standards as I think familiarity with a tune can go far towards identifying the remaining details (by googling, etc.) surrounding a particular version of that piece. Also, I wanted no track to run longer than eight minutes. This wasn’t done simply to program more tracks than are typical for these BFTs, although 18 tracks for Disc One (is that a record for a BFT?) and a total of 31 cuts for both discs is on the high side. I just think that when it comes to blindfold tests the listener should not have to “hang in” for an unduly long time on any track that is not that enjoyable. I also think enough should be “stated” in a relatively quick way to elicit like, dislike, recognition, etc., from the listener without having to get into lengthy tracks. (I’m obviously assuming that everyone is giving each track a thorough listen and ignoring the reality that one could conveniently use a remote to skip to the next track). “Keep it moving” is my motto. Lastly, I avoided any duplication of any front line soloist (i.e., sax or brass) not only within a disc but also across both discs.

With that out of the way, the overall factor that separates the two discs is period of the recording. Disc One could have been subtitled “Some Things Older” as these tracks were recorded in roughly a 30 year period extending from late 1937 to early 1968. In view of the significant diversity of the tracks, it’s kind of amazing that more time has passed since ’68 than is encompassed by the entire period of the recordings on this disc. Disc Two could have been subtitled “Some Things Newer” as the tracks contained on that disc were all recorded within the last two decades. Big Al was the first to explicitly pick up on this, so while he didn’t have much luck id’g many of the tracks, he did discern the big picture. The comments of others, e.g., Stereojack, JSngry, brownie, etc., indicated an implicit grasp of the overall recording date differences between the discs. As might be expected, the majority of those who listened and contributed their thoughts to BFT Disc One prefer this disc, are more able to fully identify the majority of the pieces contained, and are more passionate about what they like here than in Disc Two. All this of course proves nothing because the choice of tracks was obviously subjective, i.e. what I like to listen to.

One final word before all the discographical data and comments. I tried to make a disc that just might be played occasionally by a few of you after this BFT is over with. Judging by some of the enthusiastic thumbs up I received, I trust I may have succeeded. Certainly, I’m still listening to it in the car and at the gym, but then again I’m not all that impartial.

Blindfold Test #28, Disc 1:

1) “Jubilesta” (Juan Tizol - Ellington) from Duke Ellington: THE DUKE’S MEN – SMALL GROUPS, Vol. 1 (Columbia) – Cootie Williams & his Rug Cutters: Williams (tp); Juan Tizol (tb); Otto Hardwick (as); Barney Bigard (cl); Harry Carney (bs); Ellington (p); Fred Guy (g); Billy Taylor (b); Sonny Greer (d). Rec’d October ’37.

The Ellington small group sides from the ‘30s and ‘40s are just terrific and this cut is a solid, swinging way to start off this BFT. I chose this piece not only because it highlights Cootie’s growl trumpet which I love (I was almost tempted to use Lionel Hampton’s “Ring Dem Bells” for another great example of this facet of Cootie) but also because the melody itself evokes for me an eastern European Jewish influence. Being of that ancestry myself, I look past the title at the obvious “jubilee” reference and see “Jew”, “Esther”, and I wonder at Duke’s subtlety concerning the title of this piece (even though I know that Juan Tizol is credited as co-composer). This conjecture may be far off the mark, but here’s the place to say what I think, right? Anyway, couw was reminded of “Bei Mir Bist du Schon” so I’m not totally off base. Kudos to Harold Z and brownie for getting this one totally correct. And no, Dan, my father wasn’t that hip to introduce me to Duke back when I was a young ‘un; I’m grateful to him for pointing me to jazz but it was the popular (i.e., white) swing music of his youth that was, and remains, his bag. In fact by lucky coincidence, I turned my dad onto this cut just this past night while driving him back from a restaurant wherein we had celebrated my daughter’s 14th birthday.

2) “Barengo” (B Harris) from Barry Harris: BULL’S EYE! (Prestige) – Kenny Dorham (tp); Charles McPherson (ts); Pepper Adams (bs); Harris (p); Paul Chambers (b); Billy Higgins (d). Rec’d June ’68.

Not too often one can hear a real soulful jazz tango but here’s an optimal example as I note that many of you really dig this piece and are either planning to buy the CD or realize that you had it all along. It also features perhaps the only appearance on record of Charles McPherson on tenor. I knew that KD and Pepper would be ID’d pretty quickly by a few of you but McPherson on tenor? No way, unless you’re familiar with the album as some of you are (couw, brownie, JSngry, catesta). Stereojack was able to more or less pinpoint the album from memory but guessed Junior Cook based, I think on a Barry Harris date around the same time in the late '60s (LUMINESCENCE! – also wonderful) which does indeed have Cook and also features Pepper’s baritone.

3) “Dangerous” (Hawes) from Hampton Hawes: BLUES FOR BUD (Black Lion) – Hawes (p); Jimmy Woode (b); Art Taylor (d). Rec’d March ’68.

Most piano trio lovers, myself included, go to the Contemporary sides (earlier as well as later) for their dose of Hawes but I have a special fondness for this late ‘60s European date. When I first heard this cut, I thought of mid ‘60s Chick in terms of the facility and the music itself. I don’t hear anything “tentative” here, Rosco. tooter id’d this one right off the bat and several others did so as well.

4) “Blues for Ike” (Reinhardt) from Django Reinhardt: PECHE A LA MOUCHE (Verve) – Reinhardt (g); Maurice Vander (p); Pierre Michelot (b); Jean-Louis Viale (d). Rec’d March ’53.

“Djangoesque”, “Django-influenced”, “Django-inspired”, why not Django himself? It’s obvious why it’s difficult to say “Django, period”. The rhythm section is far too “modern” and removed from that of the Hot Club of France to be associated with Django which makes it especially sad that he died in the year this recording was made. Django would most likely have made many more great recordings in a more modern vein had he lived. Anyway, it’s a wonderful recording and, perhaps surprisingly, there’s more of Michelot and Vander some 36 years later on Disc Two. BTW, Stereojack, paul secor and brownie were able to correctly identify Django. Stereojack also mentioned that Django cut a few late period tracks with Martial Solal, music I’d like to know more about.

5) “Spiritus Parkus” (Cecil Payne) from Dizzy Reece: ASIA MINOR (Prestige New Jazz) – Reece (tp); Joe Farrell (ts); Payne (bs); Hank Jones (p); Ron Carter (b); Charlie Persip (d). Rec’d March ’62.

This track cooks and there are wonderful solos by all involved including a really good swinging entry by Hank with great backing by Persip when his turn comes. tooter, Rosco and brownie, who coincidentally recently played this favored Reece cd shortly before receiving my BFTs, got this one pretty quick. A few others realized that this disc has been sitting on their shelves all along and apparently is deserving of more playing time. Big Al seems all set to overspend at Barnes & Noble ($16.99 plus tax for crying out loud!) once he learned the title of the CD this track comes from.

6) “The Moose” (Ralph Burns) from Charlie Barnet & his Orchestra: DROP ME OFF IN HARLEM (Decca) features Dodo Marmarosa (p); Turk Van Lake (g). Rec’d October ’43.

This is one track I did not discover by myself. Instead, Gunther Schuller pointed me to it in his marvelous book, THE SWING ERA, wherein he devotes 2 + pages (pp 718-720 for those of you who own the paperback) to what he believes is practically a revolutionary big band track given the period it was recorded. (BTW, not being a musician or musicologist, I am not able to read or understand this book in its totality but it’s a great resource from which to pick up on musicians and tracks as well as to just jump around in). So when I spotted this Barnet compilation in a 2nd hand bin a couple of years ago, I copped it partially due to curiosity about “The Moose” which features a fleet 17 year old Dodo and an arrangement by 19 year old Burns! Quite a few of you heard Basie in Dodo’s playing but Stereojack alone – a man who has obviously done his homework over the years - recognized it relatively quickly.

7) “Aloof Spoof” (Dameron) from compilation: THE LOST SESSIONS (Blue Note) – Tadd Dameron Octet: Donald Byrd (tp); Curtis Fuller (tb); Julius Watkins (fr-h); Sam Rivers (ts); Dameron (p); Paul Chambers (b); Philly Joe Jones (d). Rec’d December ’61.

That Dameron sound was pretty recognizable to quite a few of you, some of whom believed that it had to be a Riverside date given its early ‘60s feel I guess. This track is from a “lost session” that contains three other tracks from this session date, JSngry id’g this one immediately once Rivers soloed. Listening to Sam in this period makes me wonder why Alfred Lion waited until ’64 to give Rivers his first Blue Note leader date. Sam is marvelous on this and, considering he was already 38 years young (and still going strong in his 80s), obviously a very mature player. Byrd has that singing Brownie quality on this track which I associate with his best playing. Not sure if this cd compilation can still be found.

8) “G.T. Stomp” (Hirsch-Marks) from Earl Hines: PIANO MAN – HIS PIANO AND HIS ORCHESTRA (RCA Bluebird) features Hines (p), Edward Simms, Walter Fuller (tp); Alvin Burroughs (d). Rec’d July ’39.

(no album cover available)

This is a real swinger and one that literally makes me move about whenever I hear it. What a terrific stride piano player Hines was! And the arrangement is a knockout, that ending providing a real kick in the butt. Great! Anyway, Big Al, now you know the details, this cut having been somewhat of a mystery although randyhersom did make a stab at Hines as the piano player.

9) “Death and Taxes” (Dickerson) from Walt Dickerson: THIS IS WALT DICKERSON (Prestige New Jazz) – Dickerson (vb); Austin Crowe (p); Bob Lewis (b); Andrew Cyrille (d). Rec’d March ’61.

A few of you honed in on this one, although someone mentioned “Dwight” Dickerson – is that a nickname of his? The audible vocal sounds led some to believe it was Dave Pike as well as Lem Winchester, who I think are even less known than WD. Can’t really say why I chose this cut, combination of title, Dickerson’s quiet intensity and a welcome pleasant sounding change of pace to the preceding cuts, I think. BTW, the posts of .:.impossible and mikeweil show them to be apt students of the sound and style of Walt Dickerson.

10) “Figure 8” (Niehaus) from Lennie Niehaus: ZOUNDS! (Contemporary) – Stu Williamson (tp); Bob Enevoldsen (v-tb); Niehaus (as); Jack Montrose (ts); Bob Gordon (bs); Lou Levy (p); Monty Budwig (b); Shelly Manne (d). Rec’d August ’54.

Jim R correctly id’d this as a Niehaus octet cut but quite a few more were concentrating on the baritone in this west coast lineup, guessing Mulligan or Jack Nimitz. I wouldn’t be able to discern the difference between Nimitz and Bob Gordon, but the latter it is. Anyway, I love the octet sides Niehaus made for Contemporary in the mid ‘50s, two of which are still available as OJCs and highly recommended. The arrangements are all very good and the tight ensemble sound and interplay, typical of the better west coast stuff, is present throughout.

11) “Avars” (Rocky Boyd) from Blue Mitchell: BLUE’S MOODS (Riverside) – Mitchell (tp); Wynton Kelly (p); Sam Jones (b); Roy Brooks (d). Rec’d August ’60.

Quite a few (tooter, Stereojack, couw, paul secor, etc.) spotted Blue Mitchell immediately. While he plays wonderfully here, I picked this track primarily because of how fabulous the rhythm section sounds. I know Kelly-PC-Cobb epitomize the best of the ‘60s rhythm sections but I detect no drop off with Sam Jones (especially) and Roy Brooks on bass and drums instead.

To be continued

[Jim R]

4) “Blues for Ike” (Reinhardt) from Django Reinhardt: PECHE A LA MOUCHE (Verve) – Reinhardt (g); Maurice Vander (p); Pierre Michelot (b); Jean-Louis Viale (d).  Rec’d March ’53.

...Stereojack, paul secor and brownie were able to correctly identify Django.

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I concluded it was late Django too, although I could have been more definitive about it.

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BLUE'S MOODS!! Only one of my favorite trumpet albums of all time. Oh well, at least I was warm.

I gotta grab that Barry Harris disc (one of the few of his that I don't have), and the Reece as well.

Many thanks for a great test, Marty.

[mikeweil]

I wish there was more of those late Django sessions - tehy have such a special aura ....

Gonna get me the Reece and Harris OJCs some day, that's for sure.

Great compilation!

[Stereojack]

1) “Jubilesta” (Juan Tizol - Ellington) from Duke Ellington: THE DUKE’S MEN – SMALL GROUPS, Vol. 1 (Columbia) – Cootie Williams & his Rug Cutters: Williams (tp); Juan Tizol (tb); Otto Hardwick (as); Barney Bigard (cl); Harry Carney (bs); Ellington (p); Fred Guy (g); Billy Taylor (b); Sonny Greer (d).  Rec’d October ’37.

The Ellington small group sides from the ‘30s and ‘40s are just terrific and this cut is a solid, swinging way to start off this BFT.  I chose this piece not only because it highlights Cootie’s growl trumpet which I love (I was almost tempted to use Lionel Hampton’s “Ring Dem Bells” for another great example of this facet of Cootie) but also because the melody itself evokes for me an eastern European Jewish influence.  Being of that ancestry myself, I look past the title at the obvious “jubilee” reference and see “Jew”, “Esther”, and I wonder at Duke’s subtlety concerning the title of this piece (even though I know that Juan Tizol is credited as co-composer).  This conjecture may be far off the mark, but here’s the place to say what I think, right?  Anyway, couw was reminded of “Bei Mir Bist du Schon” so I’m not totally off base.  Kudos to Harold Z and brownie for getting this one totally correct.  And no, Dan, my father wasn’t that hip to introduce me to Duke back when I was a young ‘un; I’m grateful to him for pointing me to jazz but it was the popular (i.e., white) swing music of his youth that was, and remains, his bag.  In fact by lucky coincidence, I turned my dad onto this cut just this past night while driving him back from a restaurant wherein we had celebrated my daughter’s 14th birthday.

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Aha! A small group recording, of course! I detected the Ellington sound, but expected the full band to come in at some point. When they didn't, I questioned whether it was Duke at all! Btw, I believe Duke's big band also recorded this piece.

[brownie]

Track 3 - 'Blues for Bud' by Hampton Hawes. Will go looking for that album. Hawes recorded so many sessions when he came to Europe that I passed this one as just another one. But after heating this on the BFT, I know now it's just as good as the other albums he made in those times. Great selection!

[Bright Moments]

such great stuff marty, thanks again!

[JSngry]

Track 3 - 'Blues for Bud' by Hampton Hawes. Will go looking for that album.

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An old vinyl hound like yourself might already have it as Spanish Steps?

[tooter]

"although someone mentioned “Dwight” Dickerson – is that a nickname of his?" My mistake - pianist brother of Walt.

Will certainly play this BFT again and again. Some I thought I'd got right but not so, particularly mistook Bob Gordon for Jack Nimitz.

Thoroughly enjoyable listen, and the guessing was fun too. Thanks a lot, Martin.

[MartyJazz]

"although someone mentioned “Dwight” Dickerson – is that a nickname of his?" My mistake - pianist brother of Walt.

Will certainly play this BFT again and again. Some I thought I'd got right but not so, particularly mistook Bob Gordon for Jack Nimitz.

Thoroughly enjoyable listen, and the guessing was fun too. Thanks a lot, Martin.

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Let that be a lesson to you. You should never mistake Gordon for Nimitz again

[couw]

I'll spin this disk again to digest the answers and while checking back on my guesses. thanks much for a great ride.

[brownie]

Track 3 - 'Blues for Bud' by Hampton Hawes. Will go looking for that album.

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An old vinyl hound like yourself might already have it as Spanish Steps?

←

Nada on Spanish Steps

Saw the vinyl quite often when it was available and there were all those other great Hampton Hawes albums around!

Made the wrong choice then and did not take the steps. I'll correct that now:

[Big Al]

2) “Barengo” (B Harris) from Barry Harris: BULL’S EYE! (Prestige) – Kenny Dorham (tp); Charles McPherson (ts); Pepper Adams (bs); Harris (p); Paul Chambers (b); Billy Higgins (d). Rec’d June ’68.

An absolutely beautiful track! I can see why you’d want to include it in your collection. But I coulda SWORE that wasn’t Pepper on bari!

5) “Spiritus Parkus” (Cecil Payne) from Dizzy Reece: ASIA MINOR (Prestige New Jazz) – Reece (tp); Joe Farrell (ts); Payne (bs); Hank Jones (p); Ron Carter (b); Charlie Persip (d). Rec’d March ’62.

[snip]

Big Al seems all set to overspend at Barnes & Noble ($16.99 plus tax for crying out loud!) once he learned the title of the CD this track comes from.

Well, thankfully, I wasn’t too trigger happy. Now that the answers are available, a bulk purchase will save a little money, anyway!

6) “The Moose” (Ralph Burns) from Charlie Barnet & his Orchestra: DROP ME OFF IN HARLEM (Decca) features Dodo Marmarosa (p); Turk Van Lake (g). Rec’d October ’43.

So that wasn’t Freddie Green? Wow! Sure sounded like him!

7) “Aloof Spoof” (Dameron) from compilation: THE LOST SESSIONS (Blue Note) – Tadd Dameron Octet: Donald Byrd (tp); Curtis Fuller (tb); Julius Watkins (fr-h); Sam Rivers (ts); Dameron (p); Paul Chambers (b); Philly Joe Jones (d). Rec’d December ’61.

That Dameron sound was pretty recognizable to quite a few of you, some of whom believed that it had to be a Riverside date given its early ‘60s feel I guess. This track is from a “lost session” that contains three other tracks from this session date, JSngry id’g this one immediately once Rivers soloed. Listening to Sam in this period makes me wonder why Alfred Lion waited until ’64 to give Rivers his first Blue Note leader date. Sam is marvelous on this and, considering he was already 38 years young (and still going strong in his 80s), obviously a very mature player. Byrd has that singing Brownie quality on this track which I associate with his best playing. Not sure if this cd compilation can still be found.

Well, count me as one of the Riverside-guessers; heck, I still can’t believe that’s Sam Rivers, but the more I listen to it, the more I believe it! So, two more questions about this disc:

1) Is the rest of the session as nice as this tune (for that matter, is the rest of this disc worth acquiring?)

2) Do the notes in the disc indicate why this session was rejected? I mean, this song could’ve easily fit on Tadd’s Magic Touch for Riverside.

8) “G.T. Stomp” (Hirsch-Marks) from Earl Hines: PIANO MAN – HIS PIANO AND HIS ORCHESTRA (RCA Bluebird) features Hines (p), Edward Simms, Walter Fuller (tp); Alvin Burroughs (d). Rec’d July ’39.

(no album cover available)

And, unfortunately, neither is the disc! Drat!

9) “Death and Taxes” (Dickerson) from Walt Dickerson: THIS IS WALT DICKERSON (Prestige New Jazz) – Dickerson (vb); Austin Crowe (p); Bob Lewis (b); Andrew Cyrille (d). Rec’d March ’61.

[snip]

The audible vocal sounds led some to believe it was Dave Pike as well as Lem Winchester,

I’ve been listening to this BFT nonstop, and maybe I don’t have the volume turned too loud, but I’m not hearing these sounds!

10) “Figure 8” (Niehaus) from Lennie Niehaus: ZOUNDS! (Contemporary) – Stu Williamson (tp); Bob Enevoldsen (v-tb); Niehaus (as); Jack Montrose (ts); Bob Gordon (bs); Lou Levy (p); Monty Budwig (b); Shelly Manne (d). Rec’d August ’54.

Zounds indeed!!! Add this to the bulk purchase list (along with its companion, discussed a bit in the discussion thread!)

11) “Avars” (Rocky Boyd) from Blue Mitchell: BLUE’S MOODS (Riverside) – Mitchell (tp); Wynton Kelly (p); Sam Jones (b); Roy Brooks (d). Rec’d August ’60.

Can’t believe I missed this! Blue’s a favorite, Sam Jones is my all-time favorite bassist (how’d I miss THAT one?), and it has that Riverside sound. Oh the shame of it. Add THIS one to the bulk purchase, baby!

[RDK]

I'm almost embarrassed to say that I actually own seven of the above albums - though a few of them are as emusic downloads which I really haven't listened to yet - yet had trouble identifying anything with any certainty.

[Stereojack]

7) “Aloof Spoof” (Dameron) from compilation: THE LOST SESSIONS (Blue Note) – Tadd Dameron Octet: Donald Byrd (tp); Curtis Fuller (tb); Julius Watkins (fr-h); Sam Rivers (ts); Dameron (p); Paul Chambers (b); Philly Joe Jones (d). Rec’d December ’61.

Well, count me as one of the Riverside-guessers; heck, I still can’t believe that’s Sam Rivers, but the more I listen to it, the more I believe it! So, two more questions about this disc:

1) Is the rest of the session as nice as this tune (for that matter, is the rest of this disc worth acquiring?)

2) Do the notes in the disc indicate why this session was rejected? I mean, this song could’ve easily fit on Tadd’s Magic Touch for Riverside.

I'll answer that one. The session was never completed. Only four tunes were cut (about 20 minutes) so it would never have been feasible as an LP. The "Lost Sessions" CD includes these four excellent tunes, plus a few other orphans from unfinished sessions by Charlie Rouse, Duke Pearson, Sonny Stitt & Dexter Gordon, Ike Quebec, Fred Jackson, & Herbie Hancock. Well worth picking up.

Edited August 24, 2005 by Stereojack

[Big Al]

Cool! Thanks!

[Guest]

how did i not get track 1!? that is like one of the first albums i bought. and it was django on track 4, my college library had that album but i always passed up on checking it out for some stupid reason. have to go back and steal it i guess.

Edited September 1, 2005 by Claude Bartee

[mikeweil]

7) “Aloof Spoof” (Dameron) from compilation: THE LOST SESSIONS (Blue Note) – Tadd Dameron Octet: Donald Byrd (tp); Curtis Fuller (tb); Julius Watkins (fr-h); Sam Rivers (ts); Dameron (p); Paul Chambers (b); Philly Joe Jones (d). Rec’d December ’61.

Well, count me as one of the Riverside-guessers; heck, I still can’t believe that’s Sam Rivers, but the more I listen to it, the more I believe it! So, two more questions about this disc:

1) Is the rest of the session as nice as this tune (for that matter, is the rest of this disc worth acquiring?)

2) Do the notes in the disc indicate why this session was rejected? I mean, this song could’ve easily fit on Tadd’s Magic Touch for Riverside.

I'll answer that one. The session was never completed. Only four tunes were cut (about 20 minutes) so it would never have been feasible as an LP. The "Lost Sessions" CD includes these four excellent tunes, plus a few other orphans from unfinished sessions by Charlie Rouse, Duke Pearson, Sonny Stitt & Dexter Gordon, Ike Quebec, Fred Jackson, & Herbie Hancock. Well worth picking up.

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So far, so good, but that still does not explain why they did not throw in some more rehearsal and recording sessions and complete the album .....

[JSngry]

Lack of prepared material, perhaps?

[Rosco]

A little late in posting this as I’ve had too many distractions lately but I wanted to add some further thoughts to what was a thoroughly enjoyable set of music.

1: Should’ve taken a stab at an Ellington small group but didn’t. Cootie’s great on this.

2: Love this tune more each time I listen; am definitely adding this album to my wants list. Seems just about everyone ID’d Pepper; I should really have got Dorham, he’s pretty distinctive. Thanks for hipping me to this piece.

3: Looking back on my previous comments I was a little lukewarm on this; I have to say that this track that has really grown on me. I mentioned I found a ‘tentativeness’ to it; what I hear now is a careful building up of melodic cells and ideas, that culminate in a beautifully melodic yet advanced climax. It’s certainly not something I would have associated with Hawes (I really only know the earlier Contemporary albums) and indeed all three players sound much more ‘modern’ than I’m used to hearing them. After giving this a few listens it’s proved to be something of an ear-opener.

4: Interesting how many of us said ‘Django inspired’ but not just ‘Django’. I knew Reinhardt had recorded in a more modern idiom towards the end of his life but I’d always heard that the results were somewhat mixed. Not judging by this track which is very fine to these ears. Will be picking me up some late period Django on this basis of this track.

5: This was a gimme for me. Love this album.

6: Dang! I have this track on a compilation of Barnet, but it didn’t ring any bells. Marmarosa is great on this track (all the more when you consider he was just 17!). Apparently ‘The Moose’ was another of Dodo’s nicknames. I didn’t hear Basie so much in the piano as in that Greenesque rhythm guitar.

7: Another very interesting track. Listening back now the trumpet is obviously Byrd but it didn’t jump out at me before. I did speculate that the tenor may be Sam Rivers (or John Gilmore) and it’s interesting how advanced he sounds back in 1961. Oddly the only player I nailed here was Philly Joe.

8: Don’t have me enough Earl Hines.

9: Yay! Guessed Dickerson, although I only own one of his albums (‘For my Queen’)

10: I was one of those who guessed Mulligan for this. Don’t know much of this stuff, but I like the breeziness of this (like much West Coast jazz of the 50s). It still sounds like a derivation of ‘You Can Depend On Me’ in places.

11: I said I should’ve known who the trumpet and piano were and I really should have. Shame on me for not spotting either of those men as I like them both a lot. This is one of the Mitchell albums I don’t have. Will have to put that right. Damn straight ‘bout the rhythm section! Tight and loose at the same time and very swingin’. The kind of rhythm that just gets in you and moves your body.

[mikeweil]

Lack of prepared material, perhaps?

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Now that could be the right direction - Tadd's Riverside was mainly reworkings of known tunes. Bill Hardman unearthed a tune or two every now and then from a trunk at the Dameron house, though .... but Alfred Lion insisting on an album of entirely new tunes, that would fit into the picture!

[JSngry]

Well, wasn't that session done after Tadd had developed his "personal problems"?

[mikeweil]

I'm not familiar enough with Tadd's bio to say .....

[JSngry]

I'm going solely by what I think I remember reazding in Ira Gitler's Jazz Masters Of The 40s.