BFT 39 - Disc 1

[Dan Gould]

Oh heck, I couldn't wait any longer to get the ball rolling, considering how many discs went out earlier than usual and how many got yousendit service. So have at Disc 1. Hope y'all enjoyed some of those "WTF" tracks at the start.

[Jim R]

Disc 1:

1. I know the tune, but I've never heard this version. Sounds like a late-60's or perhaps early 70's recording. I never really was very fond of this type of rhythm/groove. No real clue as to who this is.

2. Sounds like we're staying in that same time frame. This has a little bit more interest for me, a bit more musical flair and interest in terms of the arrangement. Still don't dig the beat, though. I won't try to guess who this is either.

3. Whoa- now we've suddenly gone back in time a bit (at least style-wise). Are those "bones" I'm hearing? Steel guitar... hmm... interesting. Kind of catchy, but not really my cup o' tea.

4. Sounds like a track off the same record. Man, I'm drawing a blank right now as to who this could be. I like this track a little better than the previous one... I don't think I own any western swing to speak of, but I do enjoy it from time to time, and it occurs to me that this may not be all that old in terms of a recording date.

5. I've been playing this song for the last couple of years, after hearing an Eddie Higgins recording of it (on Venus, I think). This is a slightly slower tempo than it's typically played, I'd say (only slightly perhaps, the more I think about it), but it's a nice tune at any tempo. The voices on this are an interesting touch, although they're only going to add to my confusion as to who this is (thanks for continuing to stump the shit out of me, Dan). Nice- my favorite track so far...

6. Is that "Bluesology"? Anyway, I haven't heard this tune for awhile... gotta listen more often, I guess. I'm pathetic when it comes to identifying vibes players (piano players in general too, unfortunately). I think only sitting down and examining various players one after another (repeatedly) will ever get me over the hump. But I can enjoy the music even if I have to admit that I have stone ears, right? This is cool... and I'm not sure I own it (but that's a wild guess). Nice track!

7. Sounds like a modern-era New Orleans sound. Nice rhythm section- they really lay down a solid base for the horns. Pretty wild solos. Enjoyable, but I've got little experience with this style, so...

8. Never heard this before... very lively stuff. Somewhat similar to the previous track. Again, this is fairly enjoyable to me, but not really a style I would choose to listen to very often.

9. Another very down home sounding track, which doesn't ring any specific bells. I wonder if this could be a certain piano player Dan has a penchant for? That would be my guess. Very nice, btw.

10. This is well-played, but it's lacking something for me. I'm not crazy about this standard to begin with... the changes don't really get me, but this interpretation strikes me as a little bit on the trite side (probably just my mood at the moment, but there you go). I'd also guess (without a whole lot of a foundation for it) that this is a relatively young tenor player (meaning... still alive ). I'm just not hearing a lot of maturity in the phrasing on this, I guess.

11. A lot of recognizable tunes on this disc, and this is no exception, but this one I couldn't name (without a lot of searching and listening). I'd have to say again that although this is well played, it's not something I would seek. But then I'm more of a small group guy.

12. Ahh, this is a welcome change of pace. Great tune. Once again, I'm not certain... "passion flower"?... it's either by Duke or Billy S. (or both), and I like this performance. It breathes... I like the use of space in the sax solo. Nice touch and coloration by the pianist. Can't identify the players as of right now.

13. Nice arrangement of Angel Eyes. Love the tension in the accompaniment. Great, sweet soulful tone from the alto. Still, I'm not sure who this is. Anyway, this is one of the best versions of this tune I can recall hearing (not really a favorite tune of mine, but this is hitting me). For me, this player displays the kind of "maturity" in phrasing that I was referring to above. I'm not necessarily saying that this is a great, veteran player, either- but I get that impression moreso on this than (for example) track 10.

14. Fly Me To The Moon, obviously taken slower than usual (nice touch), and obviously from an LP. I like the tenor work (nothing earthshattering, but solid), and I like the pianist's comping style.

15. Blue and Sentimental, of course, great sound on this (both the tenor's tone and the audio quality). Call me crazy, but I suspect that this tenor player had gray hair when he recorded this. (don't know why I'm stuck on this "maturity" thing... oh well). Hmm... this has some of the lushness of a Ben, but some of the bite of a Hawk. Oh well, I.... (I was typing as I was listening, and now I see that the tenor is identified !?!). Thanks for the gimme, Dan. At least now I'm not feeling quite as clueless.

16. At times, it sounds like the Duke playing the Count, but I don't think it's Duke. Nice piano playing, though- I hear little hints of Oscar and Errol too...

17. Almost LIke Being In Love. Great sound- the phrasing reminds me of Getz, but not the tone, of course. This is very cool. I feel like an idiot right now, because I can't summon a clue... Wow, that was WAY too short. I want that to go on for another 7 minutes, at least. There was something a bit odd about the recording quality of that, to my ears. In particular, the the way the tenor sounds... the touch of echo there (?). I like it, but it's not really helping me to identify this right now.

18. !!! Whew! Thanks for that, Dan. Right up my alley, and I actually haven't played this album for some time... too long. This pianist has got to be one of the most underrated of all time, and that guitar player ain't half bad either. I think more people could have put a brazilian twist on this composer's material (really works for me).

On to disc 2...

[Dan Gould]

15. Blue and Sentimental, of course, great sound on this (both the tenor's tone and the audio quality). Call me crazy, but I suspect that this tenor player had gray hair when he recorded this. (don't know why I'm stuck on this "maturity" thing... oh well). Hmm... this has some of the lushness of a Ben, but some of the bite of a Hawk. Oh well, I.... (I was typing as I was listening, and now I see that the tenor is identified !?!). Thanks for the gimme, Dan. At least now I'm not feeling quite as clueless.

So I get the first "WTF???"

Just proves I never listened all the way through on everything. ARRGGHHH!

And I even did some editing on another track to make sure that names weren't given away.

Anywhoo, Jim, you missed what I thought were gimmes and got the one that was a true gimme.

[Jim R]

Yeah... but I ain't givin' up yet (although I probably should )

[Big Al]

The usual cluelessness:

Track 1: Sounds like “The Beat Goes On.” LOVE that bass line! The very definition of groooooooooovy!

Track 2: This sounds like it’s some late 60’s Prestige side. Ammons on alto? Or maybe Sonny Criss? Just as groovy as track 1, that’s fer sure! Can I get an “Amen” around here?

Track 3: Red Rhodes? This reminds me of the Big Three Trio. Man, I never should’ve traded THAT one away!

Track 4: For some strange reason, I keep waiting for Nat Cole to start singing “Straighten Up and Fly Right.” More pedal steel! I love pedal steel! Buddy Eammons perhaps?

Track 5: Is this from Lambert, Hendricks, & Ross sing Ellington?

Track 6: Definitely Milt Jackson, maybe MJQ. Completely swingin’!

Track 7: Couple o’ trombones preachin’. Another groovy cut! Kai & JJ, maybe?

Track 8: Vibes & ‘bone. Sounds like Al Grey & Bobby Hutcherson on some Argo disc I wish I had. Sounds like the same kinda groove established on Snap your Fingers.

Track 9: Piano sounds like Gene Harris, so I guess this is the 3 Sounds. They gotta be on this collection somewhere, so I’m throwing my chips this way.

Track 10: “In a Mellow Tone” to be sure. Now to narrow it down out of the 2,000 or so tenor saxists who ever recorded this tune. Oh heck, I’ll just guess Dexter Gordon. It just has that long tall tone that I often associate with Dex. Maybe a Savoy date? Sounds like Max Roach at the drums. Don’t recognize the piano player. Maybe early Horace Silver? Which means that maybe this is Hank Mobley instead of Dex. I dunno.

Track 11: Now that sounds like Freddie Hubbard. Pretty recent, if the fidelity is any indication. Sounds like the chord sequence for “Moanin’” as well. No clue on the tenor player or the piano player.

Track 12: No clue whatsoever. Not much interest, either. Sorry.

Track 13: Man, this one drags even slower than the last one, sorry to say. I guess I’m just having trouble adjusting after an abundance of swingers!

Track 14: “Fly Me to the Moon,” Alice. Although this could qualify more as floating. Is this Ben Webster? Ah, I like the way they swing it into double-time after that little vamp.

Track 15: “Blue and Sentimental.” Even sounds like Ike Quebec, even though it’s not the original Blue Note version. Still nice, though. Like the horn backgrounds.

Track 16: Alright, this is the Three Sounds as well. Hey, I’m not taking any chances! Did they ever do “One O’Clock Jump?”

Track 17: “Almost Like Falling in Love.” Early Stan Getz maybe?

Track 18: Vince Guaraldi with Bola Sete? Or VG with Eddie Duran? If this is from Latin Side of VG and I’m not recognizing it, I may kick myself.

Y’know, you’d think after 39 of these, I’d be doing a little better with the guesses.

[Dan Gould]

For having just downloaded and listened, a couple of pretty good guesses there, Al.

[Jim R]

10. This is well-played, but it's lacking something for me. I'm not crazy about this standard to begin with... the changes don't really get me, but this interpretation strikes me as a little bit on the trite side (probably just my mood at the moment, but there you go). I'd also guess (without a whole lot of a foundation for it) that this is a relatively young tenor player (meaning... still alive ). I'm just not hearing a lot of maturity in the phrasing on this, I guess.

I was just listening to this again, and I have no idea where that last comment came from. Just to set the record straight. The phrasing still intrigues me in an odd way, but it's definitely not "immature". Now if I could only come up with a name or two...

[Big Al]

For having just downloaded and listened, a couple of pretty good guesses there, Al.

Eh, it was a slow day.....

[tooter]

I listened to 1, 2 and 3 with a sinking feeling. Is this going to be wall-to-wall funk, I asked myself. I regard funk as like salt in food; a little might be essential but too much and after the first mouthful or two it begins to pall, and badly. I know some can enjoy it and I suppose good jazz can win through whatever the format, but it's not for me.

Anyway, I haven't got a clue about any up to there and likewise 4. Hawaian guitar? Not too bad.

5 is "What a Difference a Day Made" and things were looking up for me. Again I don't know who is the tenor man, or anyone else but liked it more than the foregoing.

6 is "Bluesology" by Milt Jackson so perhaps this is the MJQ. Now this is more like it.

7 - "The Preacher", based on the chords of "Show Me the Way to Go Home" and written by Silver. Jay and Kai?

8 back to funk - no idea

Will post more later.

[Dan Gould]

I can't figure out why you think of #3 and #8 as "funk".

[tooter]

Disc 1, part 2 from me. Not much, can only name some of the tunes. 10 "In a Mellow Tone" and 12 "Blood Count". 13 "Angel Eyes" and 14 "Fly Me to the Moon" (Not Rahsaan, is it?). 15 "Blue and Sentimental" and 17 "Almost Like Being in Love". I'm really looking forward to finding out about this one - my favorite track in the whole BFT. Now I can read the answers supplied so far by everyone.

This comment posted on Disc 2 discussion by mistake yesterday.

[Stereojack]

BFT #39

1. The tune is “Chain of Fools”, the Aretha Franklin hit. We used to call this sort of thing “hip muzak”.

2. Vaguely familiar Motown-ish tune, more along the idea of #1, the alto player digging in a little more – no idea who it is. Possibly one of those Motown instrumental bands, like Choker Campbell?

3. “Just Because” the 1930’s country hit. A little too corny for me, again bordering on Muzak.

4. A little more substance here, some nice picking. My first thought is Speedy West & Jimmy Bryant, but I don’t know if they ever recorded together in stereo. Speedy’s usually a little wilder than this guy.

5. Pure shlock from a tenor player who probably can play. Georgie Auld mades some sides like this, might this be him?

6. This is almost certainly a line originated by Milt Jackson, probably with the MJQ. I think the vibist is Johnny Lytle. Things go along nicely until the vibist starts the locked-hands thing, which is a little trite for me. A bad splice between the vibes & piano solos!

7. Horace Silver’s “The Preacher”, a popular “soul-jazz” tune back in the day. We’ve got at least two bones here. The soloist has got more chops than taste, but I wonder if the solo might just be a just little tongue in cheek. On his second outing he plays something a little more interesting.

8. Still in the soul-jazz bag. Some decent soloists here, can’t name anybody. A routine performance overall.

9. I dunno, this just struck me as cliché-ridden from the start. NMCOT, I’m afraid.

10. “In a Mellotone” – an oft-played tune, to say the least, although it may have not been when this was recorded, which I would guess to have been probably the late 50’s. I like the tenor, but can’t place him. Charlie Ventura, maybe?

11. A nice groove here, possibly the Capp-Pierce band? Nice solos from everybody.

12. Billy Strayhorn’s “Blood Count”, a feature for a tenor player I can’t name.

13. Hank Crawford – “Angel Eyes”. Lovely & soulful.

14. “Fly Me To the Moon” – this must be a rarity, Dan, ‘cause your copy is pretty scratchy! This is very nice – haven’t a clue who’s playing it.

15. “Blue & Sentimental” – I figured at first that this must have been a later edition of Basie performing one of the band’s early hits. I would have guessed Jimmy Forrest or possibly Eric Dixon for the tenor player, but you left the announcement in, and the announcer doesn’t sound like Basie! Might this have been some kind of all star band assembled for a jazz festival? Billy Mitchell sounds good here.

16. Going for a Basie groove here, and what better tune than “One O’Clock Jump”? Pleasant, but bordering on cocktail jazz, to my ears.

17. “Almost Like Being In Love”. The reverb on the tenor is distracting – this has to be an early stereo recording. I’m sure I know the tenor, but naming him? I don’t think so. Way too short! (The tune, not the player)

18. Mr Lucky goes bossa nova! Have always liked the tune.

Nice to hear some meat & potatoes jazz on a BFT!

[king ubu]

As usual, I haven't read anything before, have played the disc once at work, thus no CD collection at hand to do any comparisons...

#1 Sounds like Booker T. & the MGs a bit? Nice how piano and organ get along! I think I should know that tune, but I rarely play the few Stax/Booker T./Otis Redding etc. discs I have. (I need more, and more time to play them...)

Formulaic stuff, but I like it.

#2 Alto has heard some Cannonball?

#3 Fun start! Retro stuff? Piano lacks the finesse of say, Teddy Wilson, but he and Fats (Sheik of Araby) are who this reminds me of...

#4 Hawai guitars playing four brothers with a capetown jive groove? No clue once again, but this sounds pretty old, maybe Les Paul involved? Late forties or early fifties?

#5 I can imagine a cheesy soundie to go with this... tenor isn't that bad at all... some Hawk disciple? Byas?

#6 Now this one I know... but hell, what is it again? Very catchy tune that I like quite some! Early Milt Jackson? Is this on the quartet album with Horace Silver? Seems not, no timing matches, says AMG... hm, still, enjoy this one a lot!

#7 Another tune I know but can't pin down. Ray Anderson? Great trombone playing! Camp meeting tune... nice, but no idea!

#8 Similar stuff, nice tenor here, but nothing earth-shaking... Griffin? One or two of the last phrases of the tenor solo reminded me of him.

#9 More soul meeting music... nice one, but a bit too easy for me. Gene Harris? Or would that be too easy to find out?

#10 Alright, finally a tune I can pin down, "In a Mellotone" (what's the original title, Mellow Tone, Mellotone?). Nice, but again nothing that really grabs me...

#11 Nice enough... hard-boppish big band. Clueless who this could be, but the solos are good. Sounds a bit muted to me. Tenor builds up nicely, not showing off at all, nice linear improvisation.

#12 Sounds like a Billy Strayhorn tune at the beginning... wow! Ah, that's the tune I also included on my BFT and everybody jumped at me stating only Rabbit is supposed to play this one? Mike will tell me if I think of the right tune, I won't make a fool and mention the title... it's that bloody one...

Beautiful performance! Made me think of Joe Hen's Strayhorn album, but it's not from that one. Haunting!

#13 Good sequencing here! "Angel Eyes" - lovely tune! Very nice arrangement with the barisax, brushes etc.

#14 Very nice one! Again pretty clueless, but the sax does sound somewhat familiar...

#15 "Blue and Senti..." oh wait, Mike, am I making a fool again? Lovely! A good run here, from #12 onwards!

Huh, what's that guy's name? Very nice one, for sure!

#16-18 A few short tunes to end things... The first one is Basie-ish, but not Bill himself, I assume... Second another standard I know and Mike will mention its name

Third is a nice, a soft and easy closer.

An enjoyable disc you put together, Dan. Nothing here that really jumped in my face and grabbed me, but some very good things, mainly #12-14, as you will have noticed from my comments, with #12 being my favourite.

[Dan Gould]

Good sequencing here!

Glad you liked it Flurin. I spent a lot of time on sequencing, some of which will stand out better when answers are revealed.

[JSngry]

Much thanks to Dan for this colection. It's been a while since I've listened to this type music, so my ID chops ain't gonna be as keen as they once were. But I enjoyed most all the selections. It made me feel good to realize that I still dig the older styles of jazz after more than a few months checking out other forms of music almost exclusively. Tells me that one can "add on" without having to "replace", and like I said - that feels good.

The usual disclaimers are in place. I only had a few cursory listens last night, during a somewhat frantic work experience. So reactions are pretty fresh.

TRACK ONE - Sounds like a Ramsey Lewis groove, or something copping that bag, most likely the latter. I like the drummer best, he sounds nice, light, and airy, and gives the beat room to dance. Pianist/organist kinda sounds Oscar Peterson inspired, which does me no favors. But he plays the melody quite nicely, which for this type stuff is really what sells the music. Overall, casual but enjoyable, doing what it sets out to do.

TRACK TWO - For some totally illogical reason, I keep thinking Charles McPherson! Might be Lou Donalson, but I can't imagine Lou playing so boppy over this type group. Oh hell, wait a sec - this is Sonny Stitt! Told you my ID chops would be rusty... Well hey - it's Still earning a living. No praise, but no fault either. They don't make'em like Sonny Stitt anymore, and this type thing is every bit as much a part of the story as anything.

TRACK THREE - Did Tony Bennett ever cover this song? Hey - it's pros making music. Once again, part of the story. Skills is skills, and that'll get no dis from me.

TRACK FOUR - Nice! The wire choir sounds like true country swing players. Those guys got a way of swinging that's "jazz" w/o having too much African-American influence. Still not sure what to make of that in sociological terms, but in musical terms, it's definitely a unique & personal bag, so I'll save the sociology for after the gig, thank you. These guys can play.

TRACK FIVE - So far, the theme seems to be "Making A Living". This is Hawk, but I'd not heard this one before. Coleman Hawkins was a bad motherfucker, always. Period.

TRACK SIX - MJQ? If it's not, it oughta be. Assuming that it is, let me go on record as saying that John Lewis was one of the most intellegent compers of his time. Check him out here for a prime example. And Bags, hell, Bags is....huh? Chords in the solo? Hmmm... Oh well, I stand by my comments about John Lewis, no matter who this is. Teddy Charles on vibes? Confusing! Not really Bags' tone, except there is that Mobley session where he played a rented kit and sounds a lot like this tonally. Oh well...

TRACK SEVEN - Kinda ounds like some Ray Anderson in that first bonist. Kinda. Reminiscent of Bluesiana II that way, but no. That ain't Dr. John, and there's two bones. No clue. Pleasant, but the "Second Line Bebop" thing is something I'm going to have to work my way back into. Been there, done that, and need a break. But that's just me, really. Certainly nothing wrong here.

TRACK EIGHT - Frisky! Everybody's got a good, organic feel for this groove, they don't seem to be posing. And that feels good to me. Seems like I might've heard this one before, but...That bassist's a BITCH! Definitely more here than might meet the ear upon a casual liste. You think you've heard it all before, but listen closer, and there's plenty nuance. That tenor player's gotta be a road dog. Great stuff!

TRACK NINE - GHF-F, no doubt! That was one tight trio, the whole greater than the sum of the parts. Not nearly as easy as one might think, that. Plenty o'props for that!

TRACK TEN - Sounds like the love child of a menage-a-trois between Sonny Stitt, Sonny Rollins, & Paul Quinichette, and I mean that flatteringly. Some really nice phrasing by the tenorist. Pianist has his/her own bag, but the tenor's the show here for me. Go ahead on with that!

TRACK ELEVEN - Not much point to this one for me, I'm afraid. Son of "What Know" five or ninety times removed. Again, that's just me. Sometimes love and distance don't work against each other, sometimes they do. But now, wait - this sounds like some Gary Bartz, and suddenly the distance is removed. I've also heard some relatively recent Vincent Herring that gets that Bartz, thing, but I'm leaning towards the original here. Whoever it is, they don't just hear it, they feel it. Problem solved. Still...

TRACK TWELVE - John Stubblefield? That was one soulful cat. Can't think of anybody else right offhand who could pull this off. George Adams could, but that's it. It's a much more "overt" approach to this tune than one usually hears, and that's a potentially dangerous tact. But it works, and splendidly. Soul is soul, and soul can not be denied. John Stubblefield had soul. Hell, Monday Michiru used him to do a freakin' vocal recitation, and that was soulful as all gitout. Yeah, John Stubblefield.

TRACK THIRTEEN - Hank Crawford. More soul. Much love here. 'nuff said. Except - when you can play a melody this damn good, "improvising" seems kinda unnecessary. That the improvisation is a beautiful extension of the melodic reading is a treat, but really, if all he had done was played the melody in and out and let somebody else play some solos in between, it wouldn't matter one bit.

TRACK FOURTEEN - Yeah, this used to be a ballad, didn't it. I think i prefer it that way, all things considered nowadays. The pitch says Harold Land, but nothing else does. Mature, highly skilled playing, both technically and interpretively. Works for me!

TRACK FIFTEEN - Let me go out on a limb - Billy Mitchell? Really nice phrasing, and the comment above about playing a melody this good holds here as well.

TRACK SIXTEEN - Is it break time? No problem with this one, basically a piano adaptation of the New Testament chart and little else, but hell, it works.

TRACK SEVENTEEN - Rusty Bryant. Hell yeah. A BIG hell yeah. This is another one of those things where theree's a helluva lot more substance that a casual listen might suggest. The only Lonehill disc I've ever bought, and I try not to remember what label it's on when I'm digging the shit out of it. Rusty Bryant, y'all, RUSTY BRYANT!!!

TRACK EIGHTEEN - Men at work again. Work is honorable, work is good. Work keeps you alive. Never knock a cat for doing honest work. It's funny - work might often drain the soul, but a lack of work can kill it. So let's not do a dis on work.

I been up all night (working, see above...) and gotta go take a nap. I'll get on Disc Two when I wake up.

Nice set, Dan. Very tasteful.

[Dan Gould]

Nice set, Dan. Very tasteful.

I'm nothing if not "tasteful".

Seriously, interesting comments, and I'm glad that there remain some real interesting "reveals" coming up when I get my turn. So long as some of the secrets stay unrevealed ...

[Durium]

Dear Dan,

First of all thanks for the great compilation. I learned that several people have posted their thoughts about it. I'll share my thoughts about two tracks.

1. Very groovy and I thought it could be Jimmy McGriff atr the hammond.

6. I also believed Milt Jackson was at the vibes, but isn't there another one too?

I'll post some thoughts about disc 2 later.

Keep swinging

Durium

[The Magnificent Goldberg]

BFT 39 Disc 1 Final version

I’ve just finished my second listen to this disc, this time on the walkman in the garden, rather than on the hifi indoors. It’s amazing how much more easily one can concentrate on a walkman! This is a very interesting disc – thanks Dan!

1 OK, this title and artist came up as soon as I put the disc into the hifi, so I know it’s Aretha’s “Chain of fools” (I’d have known that anyway) by a pianist I wouldn’t have expected doing a very good impression of Ram C Lewis – actually, somewhat better than Lewis. I wondered if the pianist double tracked the organ.

2 This is an R&B tune I can’t identify – some Motown hit and the arrangement even includes imitation Motown chains. I suspect the alto player of being Sonny Stitt. He made a few albums for Cadet in the ‘70s of which I have none (though I wish I had, particularly if this comes from one of them).

3 Well, here’s a C&W tune with a definite Hank Williams flavour played by a pianist, accompanied by a big band, which includes a steel guitar. This is the sort of thing Ray Bryant might have done in the early sixties, but I don’t think he’d have had the steel guitar in there.

4 And here’s another C&W style thing. Steel and ordinary guitars, with a piano solo, and organ in the backing. I think this might be a swing band number played by some funny kind of C&W band. It swings nicely.

5 And here’s another strange cut. Five really rather odd things on the trot. “What a difference a day makes” by a tenor sax soloist with a really NAFF vocal chorus. Oh, and a NAFF organ in the band. The thing is, I think I should know this guy. Two names spring to mind: Boots Randolph and Eddie Chamblee, but the vocal group keeps putting me off.

So now we seem to be back into the plain old simple world of jazz.

6 Here’s a well-known bop tune that I can’t place. I think it’s Hamp. (I should buy some Hamp one day – haven’t got any.)

7 “The preacher” by trombones & rhythm. This appears to be by Kai, Wayne and Carl. The rhythm section is great behind the soloists! I very much like the two soloists on this track.

8 I used to have this recording of “Love lifted me”, by Ron Jefferson, but sold it in 1970. So I haven’t heard it for a very long time. I’m pretty sure that’s what it is, though.

9 Gospel song played very churchily by piano & rhythm. I should know this pianist; feel very annoyed that I can’t place him. So perhaps it’s Gene Harris, who I don’t have a lot of.

I like the idea of putting these three gospelly numbers together.

10 “In a mellow tone” played by tenor & rhythm. Two nice solos from the sax, split by a piano solo. The pianist comes out with a very Phineas Newborn trick halfway through, but I doubt that it’s him. I get a Stitt feeling about the way the saxman’s ideas flow but there’s some stuff in there that I don’t think Sonny would do

11 Big band with very high pitched trumpet in there – Maynard Ferguson I guess. I seem to remember that MF made an album in the mid sixties for Mainstream with a Stan Turrentine style shuffle in there. I’ve never gone much for MF, so I don’t know.

12 Tenor player on an original ballad. While this is very good, it sounds very deliberate to me. And it goes on way too long for what he’s got to say. Maybe the title of the tune would convey something to the audience but I really can’t see the point of doing ballads like this.

13 NOW, THIS is the way to play a MFing ballad! “Angel eyes” played absolutely convincingly by one of my most favourite musicians – a track from his first album. True soul! A true story! Thank you Dan!

14 “Fly me to the moon” – and another real way to play a ballad. I was confused initially about whether this was Sonny Stitt or James Moody. In the end, I’m going for Moody. I think this is from one of those albums he made for Argo and which Verve, the buggers, aren’t reissuing. (Actually, a Moody Argo set would be a good thing for Mosaic to issue.)

15 “Blue and sentimental” by the Basie band. The announcement at he end gives away that the tenor soloist is the very underrated Billy Mitchell. This must have been recorded shortly before he and Al Grey left to form their own band, so that makes it early ‘60s.

16 “One o’clock jump” but who’s playing it. It really sounds quite a lot like Basie but I don’t think it is. I think it’s someone doing some kind of tribute.

17 “Almost like being in love” Another one I’ve got. I bet this one fools a lot of people! Actually, I’m really surprised anyone but me bought this. But I wish they’d issued his early fifties stuff for the same square label.

18 “Mr Lucky”. Aha! There’s an album called “Brazilian Mancini” that I’ve wanted to buy for decades, but never got around to, by Jack Wilson. I would very much like this to be from that album. However, I note that disc 2 starts and finishes with the same guy and I suspect that, since the instrumentation of both recordings is identical, this is actually the man we started off with. (Course, it could be Mancini himself. Oh, I don’t know, it’s too hard for me.)

This is a pretty fun, entertaining disc, Dan. I don’t like it all, but it’s good to listen to. Thanks once more.

OK, time to post this, then I can read what everyone else has said over lunch.

MG

[Dan Gould]

5 And here’s another strange cut. Five really rather odd things on the trot.

Like I said, WTF numbers come first!

[The Magnificent Goldberg]

TRACK SEVENTEEN - Rusty Bryant. Hell yeah. A BIG hell yeah. Rusty Bryant, y'all, RUSTY BRYANT!!!

I might have known you wouldn't be fooled by this one, Jim.

MG

[brownie]

I knew that Dan's compilations would bring a lot of music I would not be too familiar with to myattention. Can't say I was disappointed. Found a lot of interesting music in vol. 2.

Volume 1 was a different matter.

Right from track 1 (Aretha's chain!) to 4 a number of tunes that are found on some of the public-oriented jazz radios. Was that Lou D on 2? None of them I really cared much for.

Track 5 on the contrary. Minor session from a great man!. This tune tune nr. 5

Then that Bag's blues but it just does not sound like the MJQ I have heard so often!

The vibraphone does not sound right either!

More jazz radio followed that did not make it for me until track 12 (very impressive interpretation of Strayhorn's beautiful tune).

I had more luck recognising several of the various songs (Mellotone, Angel Eyes, Blue and Sentimental, Almost Like Being In Love up to the final one although I could not identify that bossa version) than its players except the track 15 which the announcer gave away! but that was an unfamilar version. And very nice it was!

Onward to the much more satisfying disc 2

[mikeweil]

I'm comfortably sitting here in the house of friends in Northern Germany (near my wife's birthplace) who kindly offered theirs while they are in Denmark. Very nice hifi with Quadral Amun speakers, and a DSL connection ....

No AMGing, no looking up, as I am far from my collection, and no peeking at others's guesses.

Disc 1:

# 1: "Chain of Fools" - no idea who this is, but I like it. Must be done around 1970, typical groove and all. Bass is almost as good as Jerry Jemmott ....

# 2: Jackie McLean going Jr. Walker? Hehe ....

# 3: Oh yeah! Some old swing methods applied here, but the electric bass places this into the 1960's. Fun stuff. When the slide guitar comes in, I can't help bu think of Buddy Emmons - I only know his recently reissued Mercury LP.

# 4: More slide guitar fun - sounding even more like Buddy Emmons. But all pickers are good here, the jumpy rhythm is a little old-fashioned, but played by the heart - I like this very much, even more than the previous track. Imagine that with a bunch of tenor saxes!

# 5: Is that one of Ben Webster's doo-wop sides for Mercury? Or Gene Ammons? Well, I'd not buy this, but it's a nice listen in that context - the tenor is down to business, for sure.

# 6: "Bluesology", but by a doorbellist with a style modelled after pre-Bags players. I keep thinking about his identity but can't seem to come up with any fitting name ....

More to come!

[mikeweil]

# 7: A nice funky groove turning into Horace Silver's "The Preacher" with a two-trombone frontline. Nice, they really gig in - I'm not too good at guessing trombonists, however .... Fat bass sound, no pickup, the way I like it.

# 8: This vinyl is off center! Drummer using a tambourine like that reminds me that I'm looking for a 14" tambourine to use in place of a snare ..... Vibes and all, nice band, lots of churchy overtones. No idea who this is. That tenor sounds terribly familiar, though .....

# 9: Now if that aren't The Three Sounds .....

# 10: I hate those familiar sounding tenors! I'm not listening to that kind of stuff often enough any more to recognize them easily ..... and one of those tunes recorded a thousand times, "I a Mellow Tone" ...... Curious who this is, but doesn't inspire me very much.

# 11: Very nice big band - again I HAFC, but all the soloists dig in properly in this no-nonsense treatment. Again a nice big fat bass sound to dive it along. Is this a Californian band?

# 12: Billy Strayhorn's "Blood Count" - a sincere, heartfelt rendition, but none beats the one on Duke's "... and his mother called him Bill" LP. Familiarity again here, but not enough for guessing.

# 13: Hank Crawford doing "Angel Eyes" - should be from one of his early Atlantic LPs. I might have this, but am not at home so can't check. Yeah - only fault about these albums is that rarely another horn gets a chance to solo. But the groove and soulfulness are great. Just bass and drums for most of the time, and they sound so great! These Atlantic engineers made perfect sound! Dave Sanborn owes a ton to this! Nice arrangement, too - Crawford's probably.

# 14: The number of scratches and ticks indicates this piece of vinyl was taken to the moon and back more than once ..... I have to admit I don't like the slightly flat, sleepy intonation of that tenor.

# 15: "Blue and Sentimental" - probably a bunch of swing veterans. Someone like Buddy Tate blowing the tenor?

# 16: Pianist with a rather hard touch, and a rendition of "Jumpin' a the Woodside" that somewhat leaves me cold .....

# 17: Well ..... another very familiar sounding tenor ..... this time I kick my butt I don't get him. Short and very nice! He swings and all.

# 18: "Mr. Lucky" - the pianist sounds an awful lot like Vince Guaraldi, but the version I have in my head sounds somewhat different, and a little faster. Still, I go for Vince.

Very nice sequencing, and a very enjoyable trip! If only the weather were better here in Lower Saxony!

Thanks, Dan, excellent job!

[Big Al]

# 18: "Mr. Lucky" - the pianist sounds an awful lot like Vince Guaraldi, but the version I have in my head sounds somewhat different, and a little faster. Still, I go for Vince.

That's what I was thinking as well, but the version I know is the one from The Latin Side of..., and it ain't this one. Dan's messing with us again!

[The Magnificent Goldberg]

# 18: "Mr. Lucky" - the pianist sounds an awful lot like Vince Guaraldi, but the version I have in my head sounds somewhat different, and a little faster. Still, I go for Vince.

That's what I was thinking as well, but the version I know is the one from The Latin Side of..., and it ain't this one. Dan's messing with us again!

If it's not Hank, then it's got to be one of the two I mentioned.

(I think)

(I think I think

Therefore I think I exist)

MG