BFT #81 Discussion

[seeline]

Disc 2, tk. 6 - is that Joseph Tawadros on oud, by any chance? (if so, I'll have to eat my words re. trendy New Yorkers...)

[Tom in RI]

I'll be posting the reveal soon, most likely on Sunday. No, Seeline, that's not our oud player.

Thanks for that link, Seeline, enjoyed the video. Another guy to watch out for.

[tkeith]

BFT 81

Tom, thanks for the extended test. I hope my commentary will not be too off-putting, as I just listen and write. You've introduced me to a large section of the music I am not familiar with and I appreciate the effort involved in creating the test. That said, we have decidedly divergent tastes -- which is fine, but is something to keep in mind while reading my commentary.

This has been an interesting test. I've enjoyed the musicianship, though frankly, much of it strikes me as musicians I do not gravitate towards. There is not a thing technically wrong with it (quite the contrary) and the musicianship throughout is superb. Nonetheless, to my ear, there seems to be an element of fire absent. I know many don't like to judge that sort of thing, but that's at the heart of most of my listening; it's this fact that usually leads me to heated discussions with those in the Brecker camp. The common thread of the argument is that he does so much with so much ease that it sounds like he's not working hard. I don't hear it that way. I know these musicians are working hard, but it doesn't always hit that spot within me. Still, I have to say I enjoyed the program overall. In the end, because this seems to be largely a group of musicians that I don't tend towards, I'm not going to do very well with the names.

Disc 1

Track 1 - This is very pleasant sounding, though I am put off by the obvious multi-tracking. It reminds me a lot of a Donny McCaslin's composing, but the tenor seems to have a more intense vibrato than DM. It's definitely a younger player because of that vibrato. I don't want to say it's overdone, but it's a stylistic choice I do not agree with. Or better put, it's somehow different when Johnny Griffin does it. The overall ensemble sound is too clean for my ears (this is a commentary on the recording process, NOT the musicianship, which is outstanding). I get the distinct impression that none of this music is from the same take, which sadly seems to be the modern approach to recording. Mtume describes this as overcoming the technical limitations of acoustic music. Mtume is full of shit.

Track 2 - Nice recording sound. The piano is very clean. Also nice soprano sound. I'm not enamored of the composition, but it definitely shows some very respectful nods to tradition. This is very nice music, but to my ear lacks the blues. I have no guesses who this is.

Track 3 - Kudos for different harmonic voicings. I'm not digging it, but I'll give them the marks for the attempt. Unfortunately, once the piano solo starts, it seems like we're back to the practice room. I'm quite certain this piano solo is not from the same take as the bass or drums -- it's very apparent from the drumming. It's technically proficient and perfect, but there's nothing to *grab* me. I was thinking earlier that this has the sound of one of Ralph Peterson's projects. Ralph is one of the bridges between the old and new ways of doing things -- I've seen him live when he swung like hell, but I've heard his studio stuff that just doesn't hit the same mark. This could be him. No idea who the alto player is. There is a local contingent studying the music of Lennie Tristano (and good for them); this reminds me of their exploits, but more polished.

Track 4 - Obviously Lonnie's Lament. Not crazy about the clarinet, but I love the string arrangement. Unique take on the tune, for sure. I actually like the clarinet much more during the improv. No idea who this is.

Track 5 - Typically I'm a sucker for Latin stuff, but something about this is just stiff. The percussion works, but the horns don't quite mix during the Latin sections. The swing section works well. That suggests these guys are more traditional than Latin. Not sure who the flugelhorn player is. Thomas Marriot was an early guess. I was reading Ellery Eskellin's blog yesterday and he was discussing an exercise he was doing to make his improvisations more melodic. He talked about how the modern musicians seem incredibly capable of stringing together impossible lines from their heroes of yesterday, but they seem to lack the innate sense of melody that existed in that music. The saxophonists here personify that phenomenon. I'm green with envy of the technique, but I'm not hearing a story.

Track 6 - Bias alert: Acoustic guitar in Jazz rarely excites me. Accordion (or melodica, if that's what it is) is also rarely an appeal (the aforementioned Ellery Eskellin is an exception). This just doesn't resonate for me on any level until the trumpet solo begins. No idea who these folks are.

Track 7 - A lot of time went into this composition and arrangement, but to my ear, it's neither Jazz nor interesting. This reminds me of a collegiate big band's performance. There is nothing wrong with any of the musicianship, it just fails to hold my interest.

Track 8 - Recognized it as a pop-tune instantly, but I needed to hear the chorus to get The Long And Winding Road. I enjoy hearing people do this with a tune (for instance, Curtis Clark's take on With A Little Help From My Friends). The drums are unnecessarily stiff here. Could this be one of Avashi Cohen's projects? Don't recognize the horn players, but the bari speaks to me more than the alto. Alto seems to be stuck in a stream of learned patterns -- again, the melodic creativity is missing, though the musicianship is outstanding. Bari player doesn't have quite the polish of the alto player, but I'm getting more of a story. I like this probably tops since the first cut, but I'm desperately feeling the need to swing, shortly.

Track 9 - Not quite what I had in mind, but thank you. The breakdown throws off the mojo -- it's too planned. Again, superior musicianship, but I'm not hearing the blues. What's the Prez line? "Sing me a *song*, baby."

Track 10 - I'm just not feeling any part of this.

Track 11 - I'm sorry, I just don't get it.

Disc 2

Track 1 - Cedar Walton's Ojos De Rojo. It wasn't until this came on that I realized the similarity of the intro to Horace Silver's Room 608. I love this song. Saxophonist has some sick technique, and this is my favorite cut, yet; but I still feel like he's playing changes more than playing music. No idea who this is. To my ear, even on the head he's not playing the song, but the notes. I can't explain it in writing, I lack the training. A few months back I saw a local group playing an evening of Joe Henderson's music. It was pretty clear that the tenor player was deep in the midst of a "study" of Joe Henderson. Unfortunately, to my ear, it sounded as though he'd never just sat down with a drink and *listened* to any of that music. The heads were played exactly as written, but there was no element of soul. That's sort of where I'm left after hearing this. The saxophonists in this BFT all have what Derek Kwong once described to me as "that recordable sound".

Track 2 - Uh-oh... synth. Thought me tea water was ready for a second. This reminds me of what the Brecker Brothers would have sounded like if they had played straight-ahead Jazz, and really, that's exactly what the modern Jazz seems to be, as opposed to being itself.

Track 3 - I like the ensemble sound of this group. The tenor is over-affected in the way described myriad times above, but as an ensemble, this one works. The improv sections aren't quite as strong as the ensemble sections, but the overall ensemble sound remains strong. The bass and the guitar stand out in particular.

Track 4 - The blending of the bass and the left-hand of the piano works very well, even when the line gets unnecessarily busy. Likewise, the harmony of the horns is precise, reminding me a lot of the early Marsalis Brothers' recordings. Unfortunately, the very thing that works so well on the head about the bass and piano becomes a distraction during the improv. Again, I'll bet cash money this tenor solo was not recorded at the same time as the rest of the music. Not only is it disconnected, it sounds specifically like no one is inspired.

Track 5 - Three-point-seven (doesn't quite hit the mark of Four). Putting the scat in scat. Sorry, this one offends.

Track 6 - By the time this gets going, I'm too frustrated.

Track 7 - This is as abstract as the previous tune, but works better for me. There is a blending of the horns that somehow manages to emulate some of the 80s Horace Silver bands, but at the same time has an element of total abstraction. The over-control of the altissimo of the tenor aside, I'm liking this one a lot. No idea who it is. The bass misses for me, but I think it's just a stylistic clash more than anything else. This reminds me of something Joey Baron might do.

Track 8 - Again, a lot of composition, but I'm not hearing the music. Each month, I get a stack of CDs not as good as what is in this BFT from record companies, none of which ever seems to make my playlists. It leads me to wonder where the hell the recorded future of this music is going. This is too George Winston and not enough Randy Weston.

Track 9 - Liking this groove a lot, in spite of the piano. No idea who this is, but it works quite well. Another very accomplished technician, but the simplicity of the groove compliments it nicely. I'm guessing this player is older than most of those in this BFT. I almost wonder if it could be Eric Alexander, but doesn't quite have his finesse.

Track 10 - Dude, you're killing me with the accordion. This one works, though, in spite of the accordion! Actually, I quite enjoyed the playing of the accordion, it's just the sound of the instrument that I find off-putting. Overall I like this quite a bit. No idea who.

Track 11 - Giant Steps, and IMHO, the way it should be played -- as a ballad. No idea who, but I give him (or her) full credit.

[Tom in RI]

Hey, Thom, thanks for making time to get responses in. I hope to post the reveal Saturday or Sunday.

[Hot Ptah]

I'm jumping in here very late - lovely sets, Tom!

Haven't yet read anyone's replies (except for the one about the title of "Manoir de mes rêves"), but... I think I'm hearing some Enrico Rava and/or Paolo Fresu on disc one (maybe some playing by Richard Galliano as well?).

Disc 1, tk 5 is Jerry Gonzalez and the Fort Apache Band, "Moliendo Cafe" (from the album of the same title). He's a favorite of mine - and somehow my iPod's "shuffle" setting coughed this one up a few days ago, or I wouldn't have known it for certain. I love the band (Larry Willis, piano; Andy Gonzalez, bass; Steve Berrios, drums and percussion; Carter Jefferson, ts; I think Jerry also played both congas and trumpet on this recording).

My guess on Disc 2, tk. 5, is that the clarinetist is Paquito D'Rivera, but beyond that, am not sure of anything... the vocalist is very intriguing, and I feel like I should know who he is.

Edited to add: is that possibly Rudy Calzado? (vcl) (Kind of a wild guess, as i'm not aware of him doing jazz singing before, just Cuban and salsa...)

It can't be Rudy. Don't know what I was thinking earlier!

Disc 2, tk 9 - is that a Horace Silver tune? D'oh! The tune is "Mount Harissa" from Ellington's Far East Suite, but I have no idea who's playing here. Really nice version; I like the way the percussion is handled.

Disc 2, tk 11: "Giant Steps" on nylon-string guitar! Gene Bertoncini, maybe? Very, very nice!

I'll be back later, when I've had a bit more time to listen!

Disc 2, Track 9. I never did identify this familiar song, but I also thought it could be a Horace Silver tune! That was my best guess. You wouldn't think that Ellington compositions could be confused with those of Horace Silver.

Edited December 25, 2010 by Hot Ptah

[seeline]

HP - no kidding!

[Big Al]

In the words of the great Sweets, "Yes it's me and I'm late again!"

I've listened to part 1 three times now. Track 1 is an absolute killer and I will likely pick that one up! Loved track 6, especially it's rubato beginning and the accordian accompaniment! Definitely one for the Best of BFT! The bulk of part 1, particularly tracks 7 thru 10, were good in a run-together way that, although I really couldn't tell one track from another, actually made it sound like a single cohesive ALBUM from one artist. It flowed very nicely, and there are a lotta times one can't ask for much more than that! Track 11 "Smoke on the Water" was a real hoot, though! Gotta dig that crazy-ass-fretless work there!

Part 2 seemed to be more of the same, which is not a bad thing by any stretch; rather more of a commentary on how busy I am. I can say, without hesitation, that it made working that much easier this afternoon!

Good job, Tom! Now, on to the answers!