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Wonder who's playing on this


Michael Weiss

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Definitely West Coasters, albeit with an East Coast vibe. Going just by sound, I would say either Victor Feldman or Mike Wofford on piano, Harold Land or Plas Johnson on tenor (or someone kind of in between those two -- dammit, I KNOW that guy's sound), maybe Buddy Collette on flute. Trombonist is tricky. If it's a valve trombonist (and I think it might be), sounds something like Bob Enevoldson. If it's not a valve trombonist, I'm stumped -- too many possibilities. Doesn't quite sound like Rosolino to me but could be him. Frank might be a good guess because he, Land, and Feldman made a nice record together, as Free For All can testify.

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Definitely West Coasters, albeit with an East Coast vibe. Going just by sound, I would say either Victor Feldman or Mike Wofford on piano, Harold Land or Plas Johnson on tenor (or someone kind of in between those two -- dammit, I KNOW that guy's sound), maybe Buddy Collette on flute. Trombonist is tricky. If it's a valve trombonist (and I think it might be), sounds something like Bob Enevoldson. If it's not a valve trombonist, I'm stumped -- too many possibilities. Doesn't quite sound like Rosolino to me but could be him. Frank might be a good guess because he, Land, and Feldman made a nice record together, as Free For All can testify.

Though I can't identify the musicians, I am positive the tenor player is NOT Harold Land. The tone and phrasing don't sound (to me) a bit like the way Land plays.

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If it is The Crusaders, that was a pretty hip airline and/or ad agency. But then Chuck and I both knew a lovely, very knowledgeable and devoted jazz lover named Richard Rand, sadly deceased, who worked at Leo Burnett on the Dewar's account and was responsible for getting Henry Threadgill in one of those Dewar's Profiles ads. IIRC, Threadgill was asked in an interview what he was paid for doing the ad and said something like, No money but lots of scotch.

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The Crusaders were somwhat "connected", not in the Tommy Tedesco/Bud Shank/Carol Kaye "we know everybody and play every gig" sense, but as I understand it, the group did have a fair amount of SoCal "crossover" appeal by the mid/late 60s and the individual members had begun doing a variety of sessions. That any one of them made a connection that resulted in a scoring gig for what amounts to an "industrial" film wouldn't be too big a surprise.

L.A. can be like that, ya' know.

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