BFT 118 discussion

[Spontooneous]

Well, I didn’t have much of a clue about most of this music, I’m sorry to say. But I enjoyed listening to most of it, even if I didn’t like it much. So, here we go…

1 A kind of uneasy tune played by a pianist with a lot of Cedar Walton’s touch. That little five note figure, repeated four times, coming in at the end of every chorus really breaks up the flow. I can’t imagine why they’re doing it. Personally, I find it most irritating.

Already ID'd. Hadn't thought of the similarity to Cedar, but now that you mention it, seems to be there in both the composition and the playing. The feature you dislike about the piece is one that I like very much! Oh well.

2 I haven’t heard Mark Murphy since the early sixties, but this singer sounds as if he’s a more aged edition of him; very deliberate. Except his accent isn’t quite American. The song isn’t saying much, even after two listens.

Already ID'd, and very American. Some might hear a similarity to the singer's contemporary Johnny Mathis. Maybe not a great piece of song craft, but a nice try for a guy who was in his 20s when it was written.

3 A hard bop kind of tune, played by what sounds like a standard hard bop quintet. And a standard hard bop tenor player. But nothing like a standard hard bop trumpeter. I know I’ve never heard this guy before in my life. He has entirely the ‘wrong’ sound for a hard bopper; something like Red Allen. Now the tenor player again. Now the pianist; another who’s following the hard bop norm. I want to hear more of the trumpet player, whoever he’s like, because he’s definitely a person.

The interest here, for me, is the clash between the idiom of the composition and the idiom we associate with the personnel. Nothing standard hard-bop about any of the players. Yes, the trumpeter is definitely somebody, his own man.

4 Pianist with a very pretty sound but using harmonies that are too deliberately not what you’d expect. And a bass player who, really like the pianist, doesn’t seem to be playing anything in particular. Doesn’t sound like anything is actually happening, or give a clue as to why not.

There's a purpose to the head, albeit maybe an arcane purpose. I wish there was a piano solo.

5 Another hard bop band; this one sounding definitely like what Larry Kart calls ‘retro hard bop’ (or words to that effect). One thing that’s clear as far as I can tell is that, unlike the genuine article, there’s no joy in the music in these people. Even people I don’t like at all, like Jackie McLean and Lee Morgan, the joy they take in playing what they do is wholly apparent. Yes lads, you’ve passed the test, you can call yourselves jazz musicians now.

It's the newest piece among the 14. Sorry it didn't connect with you.

6 Nice little tune with a smashing rhythm riff. No idea who’s playing.

Not a tune you expect to receive "jazz" treatment. I'm a little surprised no one has picked up on the tune itself.

7 Oh I recognise this. Yes, ‘Round midnight’ from the album ‘The blues, that’s me’ by one of my all-time favourites on the bassoon. Just sit there and let Illinois encompass you.

Yes, yes, yes.

8 Very competent piano player; could be one of scores. So could the bass player. Sorry, this, and several other cuts, are a bit too much like jazz for my tastes.

I hear ya! Sometimes you just want less jazz, or no jazz, in your jazz. How 'bout the drummer? He's the real reason I keep coming back to this disc, and a lot of other discs.

9 Well, this is enthusiastic all right. I like the alto player, who has more than a touch of the sound of Sonny Criss on occasion.

Felser nailed this one.

10 Not sure I know why a pianist would have a nice sounding band behind him, then play an original ballad for eight minutes without letting any of the band have a go. Nice pianist, but I don’t understand what he’s thinking of.

Hmmm. Maybe it's not an original ballad. Just maybe.

11 Well, the song seems to be ‘I don’t care if I don’t care’. Original title – no good for a BFT, as it’s so darn easy to flick over to AMG and find out that it’s #2 from this album.

http://www.allmusic.com/album/shop-of-wild-dreams-mw0001745195

It’s kind of nice. Good rhythm section, too.

Right-o. I like the way the jazz and non-jazz elements conspire in this one.

12 Nice swinging little thing. Nice tenor player; something of a Hawk sound to his voice. Lovely fruity trombonist. Nice stride pianist. Blazing trumpet player! This is definitely up my street and I’m disappointed I can’t truly say I recognise anyone.

Glad somebody finally noticed that trombone solo!

13 Avant garde circus music? Then a kind of soupy sax, backed up by some interesting noises off. Off he goes, into the wilderness, with less interesting noises. Well, after three and a half minutes, incomprehension drove me to the next track.

Hmmm. This one is either loved or despised.

14 I think this is another retro guy – full of chops but no exuberance.

A relatively recent performance, but not a "retro" player. Still waiting for someone to identify the tune that's being bopped.

Well, some nice things in there Spoon, though not a lot were really my kind of thing. So, many thanks. What I really wonder is, why did you put that lovely bit of Jacquet in the middle of it all? It sticks out like a sore thumb. Anyway, glad I recognised something. And two trumpet players I have to find out about…

MG

[Spontooneous]

Really nice album Spontooneous, I couldn't download earlier than today, but I have been looking and searching this afternoon.

I came to 2 solutions so far.

no 2. Luqman Hamza – When you surrender Stunning voice. I didn’t know about him but fell in love the minute I listened to the song.

Like Hardbopjazz I expected it to be from the album “When a smile overtakes a frown”.

Since you say it is from another recording I’m taking a gamble to the time he still called

himself Larry Cummings since I haven’t been able to find it on any other album and I expect you do not mean a compilation album.

I was confused since I read somewhere he co-wrote the song but while checking that the song wasn’t registered in his name at all. I later found out that he changed his name so his name is registered after all with this song. (I did wonder at first like something had happened similar like with Miles Davis and Bill Evans with the Kind of Blue album since Bill Evans didn’t get credit since he wrote for Miles at the time.)

Anyway this recording was in 1952 and with his band.

So fingers crossed for:

Larry Cummings & his Rhythm Aces – When you surrender

personnel: Eugene "Jeep" Griddine - guitar, Lucky Wesley - bass, Larry Cummings (Luqman Hamza)- piano & percussion & vocals, Eddie Saunders -sax, Rico Kemp -guitar

I found a picture of the single, but couldn’t listen to check whether this is right. Probably not since he himself stated that his voice was lighter at that time and became more strong. I really thought it was the recording of the “When a smile overtakes a frown” since I did listen to that one and it seemed to sound the same.

It was fun to do the research on this, a thrill to find out about the name change, lol. Nice bit of history there. Ah, I just see you say it is from an album, the one I mention is a 78.

no 11. Jessica Lurie Ensemble – I don’t care if I don’t care – album Shop of Wild dreams

Personnel: Jessica Lurie: alto and tenor sax, flute, accordion, baritone ukulele, voice; Eric Deutsch: piano, electric keyboard, Rhodes; Brandon Seabrook: guitar, banjo, tape recorder; Todd Sickafoose: acoustic bass; Allison Miller: drums; Elizabeth Pupo-Walker: percussion; Tina Richerson: baritone sax. On this song just voice, piano, guitar, bass and drums I think, so that would mean: Jessica Lurie, Eric Deutsch, Brandon Seabrook, Todd Sickafoose and Allison Miller.

Ah, I see jeffcrom beat me to this one.

I'm happy that I did find out about the vocal tunes at least.

no 13 Not Breuker? Ok. After HP's comment I figured he was right since it sounds so much like the Willem Breuker Kollectief.

Time to clear up the Luqman thing.

Number one, thanks, Page, for the personnel on the 1952 version. I have the 78 but didn't know the personnel. I knew a couple of those other guys; all those musicians are probably gone now except for Luqman/Larry.

The "When You Surrender" on this BFT was recorded in 1989 for a local organization's fundraising compilation disc that probably hasn't been heard or seen much outside of Kansas City. (Or inside it, for that matter.)

The version on Luqman's "When a Smile Overtakes a Frown" album was made 10 years later, albeit with the same guitarist.

As for 13, really not Breuker, though it's in the stylistic neighborhood. NIS named the composer and leader.

[page]

Ah, ok that explains it not being listed anywhere. I was really disappointed that i couldn't play the sound file I found of that 78. I would love to hear it. Man, what a stunning voice that guy has! I don't consider it back ground music at all btw. They did another 78 song, I'll look up the title since I've forgotten the title all ready.

Edited January 3, 2014 by page

[page]

Ok, I've found the album:
so no. 2 is Larry Cummings Quartet - When you surrender album: The Clear Sounds of Kansas City Jazz (1989, Sprint). Vocals: Larry Cummings/Luqman Hamza. The guitarist is Will Mathews, didn't find the names of the other personnel yet.

[Spontooneous]

Ok, I've found the album:

so no. 2 is Larry Cummings Quartet - When you surrender album: The Clear Sounds of Kansas City Jazz (1989, Sprint). Vocals: Larry Cummings/Luqman Hamza. The guitarist is Will Mathews, didn't find the names of the other personnel yet.

That's the one. Tim Brewer on bass and John Cushon on drums. Wish there was more Luqman on that album, but there isn't.

[The Magnificent Goldberg]

It's great to see what people's research into the background of different BFT tracks is. Thanks for that work Page.

MG

[felser]

Ok, I've found the album:

so no. 2 is Larry Cummings Quartet - When you surrender album: The Clear Sounds of Kansas City Jazz (1989, Sprint). Vocals: Larry Cummings/Luqman Hamza. The guitarist is Will Mathews, didn't find the names of the other personnel yet.

Page, looks like you are acquitting yourself quite admirably on these BFT's!

[page]

Ok, I've found the album:

so no. 2 is Larry Cummings Quartet - When you surrender album: The Clear Sounds of Kansas City Jazz (1989, Sprint). Vocals: Larry Cummings/Luqman Hamza. The guitarist is Will Mathews, didn't find the names of the other personnel yet.

That's the one. Tim Brewer on bass and John Cushon on drums. Wish there was more Luqman on that album, but there isn't.

Ah, I wish you hadn't given those names away, I had hoped to still find them. Anyway, thanks for putting him on your BFT. Yeah, a pity there aren't more songs of his on that album, some interesting jazz musicians present though. I told a friend today about his music and he said he'd make a note on some app in case he comes over here for a concert. I noticed though while looking for tour dates that the last years he only performed in K.C., so that would mean I would have to come and visit, lol.

M.G. and felser, thanks, it was fun to do a bit of research. I like to get to know a bit of background anyway and I was intrigued about his name change. It turns out he became a muslim in the sixties already and changed his name later because of that. I am going to see if I can get either of the two albums he made in 2000 around here somewhere. That will be difficult probably, but I hope I can get at least one.

This is what he says about his name: “God gave me Luqman Hamza”, Luqman would proclaim. “I am responsible for that name.” ( "A man named Luqman is mentioned in the Quran as the wise man, and Hamzah is the name of the Prophet Mohammad’s uncle.")

I think I had a "Lakman" in one of my classes years ago, I was a primary schoolteacher at that time. I think that boy was from Pakistan and a muslim as well. I rather like it that Luqman says that he is responsible to act on his name, or at least that is what I understand he means to say with it.

Edited January 4, 2014 by page

[NIS]

I am a sucker for the piano trio and track 1 is a good one. The style, going in and out of the melody works for me. I want to hear more about this piano player.

Track 3 isn't my usual listening but I could see going out to have a couple of beer and hearing these guys. Maybe after some Kansas City BBQ. The trumpet player has a style.

Track 4 reminds me of the Matsabumi Kikuchi Trio with Paul Motian, except I don't hear his vocalizations. So, here is another one I want to find more about. I love the sparseness of the playing. Beautiful.

[Spontooneous]

Ah, I wish you hadn't given those names away, I had hoped to still find them. Anyway, thanks for putting him on your BFT. Yeah, a pity there aren't more songs of his on that album, some interesting jazz musicians present though. I told a friend today about his music and he said he'd make a note on some app in case he comes over here for a concert. I noticed though while looking for tour dates that the last years he only performed in K.C., so that would mean I would have to come and visit, lol.

M.G. and felser, thanks, it was fun to do a bit of research. I like to get to know a bit of background anyway and I was intrigued about his name change. It turns out he became a muslim in the sixties already and changed his name later because of that. I am going to see if I can get either of the two albums he made in 2000 around here somewhere. That will be difficult probably, but I hope I can get at least one.

This is what he says about his name: “God gave me Luqman Hamza”, Luqman would proclaim. “I am responsible for that name.” ( "A man named Luqman is mentioned in the Quran as the wise man, and Hamzah is the name of the Prophet Mohammad’s uncle.")

I think I had a "Lakman" in one of my classes years ago, I was a primary schoolteacher at that time. I think that boy was from Pakistan and a muslim as well. I rather like it that Luqman says that he is responsible to act on his name, or at least that is what I understand he means to say with it.

Glad Luqman was a hit with somebody. That's why I wanted to share that particular recording.

He's past 80 now and doesn't perform much. Don't recall seeing any listings for shows in the last eight months or so.

Finding a copy of "When A Smile Overtakes A Frown" might be a challenge. Don't think those were distributed outside the Midwest very much. A couple of online places still sell the SACD version of "With This Voice," and there's a regular CD version running around.

[Spontooneous]

I am a sucker for the piano trio and track 1 is a good one. The style, going in and out of the melody works for me. I want to hear more about this piano player.

Track 3 isn't my usual listening but I could see going out to have a couple of beer and hearing these guys. Maybe after some Kansas City BBQ. The trumpet player has a style.

Track 4 reminds me of the Matsabumi Kikuchi Trio with Paul Motian, except I don't hear his vocalizations. So, here is another one I want to find more about. I love the sparseness of the playing. Beautiful.

Track 3 has some deep Kansas City connections, yes, and you can almost smell the Arthur Bryant's barbecue. Then again, this track has Texas and New York connections as well.

Track 4 isn't Kikuchi, but the player would be complimented by your remarks, I think.

[NIS]

Nice stuff all around.

I wasn't going to comment right away but track 13 reached out and grabbed me. You probably know me enough that it isn't a suprise that this is my kind of music. I love the piano playing. While it sounds familiar, I can't really place it. Of coarse, the high jinx and musicianship make me think of some of the Dutch groups. Maybe Michiel Braam. Actually, I hope this is a group I've never heard of because finding out about it will be even more fun. I will be listening to this track alot.

If you want to do a reveal on this one right away, feel free. : 0 )

Ahh, I figured you'd come closer to this one than anybody. Braam it is. (Newish to me, I've had it only a couple of months ago.)

I've been kind of going through my Michiel Braam stuff and I don't think I have this track. I got a new (to me anyway) MB toward the end of November also. It is a 2CD album called "Growing Pains". One of the best pieces of music I own. Again, I don't think your track is on it but there is alot of music to absorb. If I'm wrong, big egg on my face.

[Spontooneous]

I've been kind of going through my Michiel Braam stuff and I don't think I have this track. I got a new (to me anyway) MB toward the end of November also. It is a 2CD album called "Growing Pains". One of the best pieces of music I own. Again, I don't think your track is on it but there is alot of music to absorb. If I'm wrong, big egg on my face.

It's older Braam. I confess, pretty much all Braam is new to me.

[page]

Glad Luqman was a hit with somebody. That's why I wanted to share that particular recording.

He's past 80 now and doesn't perform much. Don't recall seeing any listings for shows in the last eight months or so.

Finding a copy of "When A Smile Overtakes A Frown" might be a challenge. Don't think those were distributed outside the Midwest very much. A couple of online places still sell the SACD version of "With This Voice," and there's a regular CD version running around.

Yeah, I thought so. I can't really order from abroad through the internet, so I realize my changes are slim anyway, but I'll look out for his name. Thanks again.

[Hardbopjazz]

i am stumped on the remaining. I knew the first two and thought finally I was going get the rest. I was wrong.

[Spontooneous]

i am stumped on the remaining. I knew the first two and thought finally I was going get the rest. I was wrong.

Glad you were willing to listen through it all.

No more takers on #3? Some of the players involved are far from obscure.

[Hardbopjazz]

I was hoping someone would have figured out who is #8 and #13. My two favorite tracks from this BFT.

[tkeith]

Late to the dance -- been a bear of a month.

I liked a lot of this, especially on the front half. The back half made less of an impression, but was still by and large enjoyable.

Track 1 - Oh, I know this right away. Wait a second. Not sure about the humming piano player, but that sure sounds like McBee on bass. Sure sounds like Idris on drums, too. Damnit! I have this in one of the iPod rotations, but it’s giving me fits… coming back to it later. May be a tune I recognize by somebody else… this is going to stick in my craw ’til I get it. Ah! YES! That’s it — it’s 400 Years Ago, Tomorrow, which I know from Woody Shaw. It’s written by Walter Davis, Jr., so I assume this is the Steeplechase date with Santi DiBriano and Ralph Peterson. Now that I’m listening again, I’m sure of it — that’s definitely Ralph on drums. This.

Track 2 - This sounds like someone sounding like Mark Murphy to me. Maybe a musician who also sings? I’m not feeling the guitarist, but the piano is solid.

Track 3 - This is perplexing, horrible sound, but the band sounds more modern at first. Recognition for the first tenor, but no name, yet. That certainly sounds like Roy Eldredge on trumpet. And that second tenor is awfully familiar, too. I wonder if this could be some later JATP recording. Bitchin’ and burnin’, whatever it is!

Track 4 - Sparse. Interesting. No idea.

Track 5 - This seems a bit stiff right out of the box. First tenor is not someone who makes an impression on me. Has that modern sound that I find difficult to differentiate. Second tenor, despite an obvious Marsh influence in terms of tone, just bores me. The affected quietness of his approach doesn’t resonate. This one is just tired. Sorry.

Track 6 - Beat It! Mal Waldron from this. Mal Waldron can play ANYTHING and make it great!

Track 7 - Never have warmed up to the bassoon. It’s ‘Round Midnight, but I can’t say who it is playing. I only know a handful of bassoon players (Yusef, Ken McIntyre, Tim Price) and I couldn’t peg any of them.

Track 8 - This cooks. Somewhat Monkish, but more like Phineas or The Amazing Hasaan. Something very familiar about those drums. I’m digging this completely.

Track 9 - I want to like this more than I do. Alto reminds me somewhat of Frank Strozier, but seems a bit too commercially tinged. Could be Craig Handy, but doesn’t seem quite in love with himself enough. Perhaps the Strozier tie-in is the Harold Mabernesque piano. I don’t think it’s him, either, but they are certainly nailing down that sound. Drums are kicking right along, but there is something modern about them. Could be Ralph Peterson again. Bass is not making a huge impression either way. I do like the simplicity of this melody. It’s interesting, but pretty much just loping rhythmically along. It provides a nice vehicle for the groove and the improv.

Track 10 - Very nice. No idea, though it reminds me a lot of Tommy Flanagan.

Track 11 - This one isn’t resonating for me. None of it. The lyrics, especially are leaving me cold.

Track 12 - Outside of the realm of my listening, but enjoyable. The arrangement is a little restrictive — pretty much the whole band following the melody without a lot of counter movement. Tenor solo is nice, tasteful, and swings.

Track 13 - This is a quirky one. I kind of like it, but it also sounds like guys playing outside of their area of the genre, particularly the tenor. I like his playing, but it doesn’t quite fit the feel of the tune (which may be the goal).

Track 14 - Solid music, but didn’t really make an impression. Drummer reminds me of Alan Dawson, but the recording seems too modern.

Thanks for the challenge!

[Spontooneous]

Late to the dance -- been a bear of a month.

I liked a lot of this, especially on the front half. The back half made less of an impression, but was still by and large enjoyable.

Track 1 - Oh, I know this right away. Wait a second. Not sure about the humming piano player, but that sure sounds like McBee on bass. Sure sounds like Idris on drums, too. Damnit! I have this in one of the iPod rotations, but it’s giving me fits… coming back to it later. May be a tune I recognize by somebody else… this is going to stick in my craw ’til I get it. Ah! YES! That’s it — it’s 400 Years Ago, Tomorrow, which I know from Woody Shaw. It’s written by Walter Davis, Jr., so I assume this is the Steeplechase date with Santi DiBriano and Ralph Peterson. Now that I’m listening again, I’m sure of it — that’s definitely Ralph on drums. This.

Track 2 - This sounds like someone sounding like Mark Murphy to me. Maybe a musician who also sings? I’m not feeling the guitarist, but the piano is solid.

"A musician who also sings." Priceless.

Track 3 - This is perplexing, horrible sound, but the band sounds more modern at first. Recognition for the first tenor, but no name, yet. That certainly sounds like Roy Eldredge on trumpet. And that second tenor is awfully familiar, too. I wonder if this could be some later JATP recording. Bitchin’ and burnin’, whatever it is!

FInally somebody makes a dent in Track 3! Yes, that's Roy in the middle! And the tenors are familiar indeed. As is the pianist.

Track 4 - Sparse. Interesting. No idea.

Track 5 - This seems a bit stiff right out of the box. First tenor is not someone who makes an impression on me. Has that modern sound that I find difficult to differentiate. Second tenor, despite an obvious Marsh influence in terms of tone, just bores me. The affected quietness of his approach doesn’t resonate. This one is just tired. Sorry.

You sharp-eared folks never cease to amaze me. Yes, there's a huge Marsh influence on that second tenor.

Track 6 - Beat It! Mal Waldron from this. Mal Waldron can play ANYTHING and make it great!

Yes!

Track 7 - Never have warmed up to the bassoon. It’s ‘Round Midnight, but I can’t say who it is playing. I only know a handful of bassoon players (Yusef, Ken McIntyre, Tim Price) and I couldn’t peg any of them.

Track 8 - This cooks. Somewhat Monkish, but more like Phineas or The Amazing Hasaan. Something very familiar about those drums. I’m digging this completely.

Something VERY familiar about the drums, yes. Glad you like.

Track 9 - I want to like this more than I do. Alto reminds me somewhat of Frank Strozier, but seems a bit too commercially tinged. Could be Craig Handy, but doesn’t seem quite in love with himself enough. Perhaps the Strozier tie-in is the Harold Mabernesque piano. I don’t think it’s him, either, but they are certainly nailing down that sound. Drums are kicking right along, but there is something modern about them. Could be Ralph Peterson again. Bass is not making a huge impression either way. I do like the simplicity of this melody. It’s interesting, but pretty much just loping rhythmically along. It provides a nice vehicle for the groove and the improv.

Not Strozier, but great minds think alike, because I've often wondered whether Strozier was an influence on this player. Not Mabes either. But you may be reading my thoughts, because a Strozier and Mabern performance was ALMOST included in this BFT!

Not Ralph Peterson either.

Track 10 - Very nice. No idea, though it reminds me a lot of Tommy Flanagan.

Ding ding ding! It is Flanagan, but he isn't the leader.

Track 11 - This one isn’t resonating for me. None of it. The lyrics, especially are leaving me cold.

Track 12 - Outside of the realm of my listening, but enjoyable. The arrangement is a little restrictive — pretty much the whole band following the melody without a lot of counter movement. Tenor solo is nice, tasteful, and swings.

Track 13 - This is a quirky one. I kind of like it, but it also sounds like guys playing outside of their area of the genre, particularly the tenor. I like his playing, but it doesn’t quite fit the feel of the tune (which may be the goal).

Track 14 - Solid music, but didn’t really make an impression. Drummer reminds me of Alan Dawson, but the recording seems too modern.

Still waiting for someone to identify the song itself, which I've never heard in a jazz treatment anywhere else.

Thanks for the challenge!

Very impressive again, Thom! Thank you!

[tkeith]

Listening to 3 again... first tenor somewhere between J-Griff and Don Byas... man, a BAD MF whoever he is. Only other guy I can come up with fitting those parameters is Arnett Cobb, but seems too agile. I'm going to throw a guess in on the second guy and say Buddy Tate.

I guess my comments on track two came off more contemptuous towards singers than I intended.

Track 5, based on your response, the newish tone, and the Marsh influence, I'm going to say Mark Turner?

Track 8... having trouble reading between the lines of your response comment. That's not Max? Digging this more than I did even the first time. Bitch of a tune!

14 sounds like a TV theme after your hint.

[Spontooneous]

Listening to 3 again... first tenor somewhere between J-Griff and Don Byas... man, a BAD MF whoever he is. Only other guy I can come up with fitting those parameters is Arnett Cobb, but seems too agile. I'm going to throw a guess in on the second guy and say Buddy Tate.

DING DING DING! Second tenor is indeed Buddy Tate. First one is real close to Arnett, but not him.

I guess my comments on track two came off more contemptuous towards singers than I intended.

Track 5, based on your response, the newish tone, and the Marsh influence, I'm going to say Mark Turner?

Not Turner. Not a widely known player. Just wanted to see what kind of response this one would get.

Track 8... having trouble reading between the lines of your response comment. That's not Max? Digging this more than I did even the first time. Bitch of a tune!

Not Max, but somebody whose name you know. Glad you like this one, since it left some others cold.

14 sounds like a TV theme after your hint.

A show tune, not a TV theme. I may have said too much there.

[JSngry]

Well, ok. my wife has the flu, I don't yet. so I should probably do this right now, just in case, with the usual thanks and disclaimers in place, let's all go down to the record store an buy the new hit by Tammy Flue and The Cold Chill Sweat Band.

TRACK ONE - Sounds like if McCoy had written music for a Peanuts special. How do you not like that? I do! Although that gosh darn voice-noise accompaniment suggests that this might be Keith Jarrett, but I don't think so, it's not girly-enough in pitch to be him. Besides, I don't think I'd like Keith Jarrett doing Peanuts music, and I like this.

TRACK TWO - Wow, the intro sounds like more Peanuts music, but the song itself is one that Jimmy Scott did, so a little backwards engineering leads us here: http://www.allmusic.com/album/when-a-smile-overtakes-a-frown-mw0000066387 I love songs like this, "bebop love songs" is what they more or less are, and not just anybody could sing them right. If this version is done a little faster & more ornamental in accompaniment that the "classic" style, and if the singer's voice is a little less gravity-laden that that same "classic" style. No matter, it's a hip song done very well. I'd have love to have heard Al Hibbler & Rahsaan to have done it on their album, or Jackie Paris at some point (early-ish), or Billy X-Stine, ever. It's that type of song, and add this guy to the list now. I like his phrasing very much, he knows what time it is, Is the whole album this right? I mean, ok, this guy has just a hint of Aaron Neville in some of his colorations, and that's outside of the rigid parameters, but screw it, I dig Aaron NEvill, when the guys not role-playing for hi-profile pop records, he's a monster singer, so that's just one more way for it to be all good. I'm played thorugh it four times while typing this, and each time is better than the one before. Call me crazy, but I dig good singers singing good songs.

TRACK THREE - Wow, this is intersting...I know I hear Roy Eldridge, but other than that...Flip Phillips, early Paul Gonsalves, maybe Budd Jonhson, Jacquet possibly but not likely, those all come to mind as tenor possibilities. And f the pianist is Oscar Peterson on a good taste day. more power to him, but if I'm looking for somebody who would be likely to play with this school of horn players on this type of piece, I might be tempted to say Jimmy Jones, but that' not Jimmy Jones' touch. The thing is, it's a more modern recording than you'd typically associate with this style of horn playing, so my label possibilities are not just Pablo, but also MJR, Chiaroscuro, and some other things I've never delved into with any kind of examination death. I might even go out on a limb a suggest Scott Hamilton is on this? Fun cut, very, and I wonder what the rest of the record is like.

TRACK FOUR - Could just as easily be through-composed as it could be anything. I like it, although occasionally I hear the math. But it flows well, and always stays on-point. Would that more things did.

TRACK FIVE - Is that Moody? Or some retro guy who amalgamates? Cause I hear some Dexter in there too, but mostly Moody. But all of it "referential", none of it "direct" (and should it accidentally be Moody, I have to say, it doesn't sound like an "unleashed" Moody, not at all). Oh, and ok, this guy thinks he's Warne Gonsalves. All thing together, I'd have to say that this is about 20-30, maybe even 40 years behind its time, which is not necessarily bad, I just wonder why.

TRACK SIX - Ok, at first I thought is was some later Horace piece, but no, that's Mal Waldron. Nobody OCDs a piano like Mal Waldron, and I mean that as a compliment. OH GEEZ, that's "Beat It", I have this record, I think it's got the M*A*S*H song on it too, a lot of pop songs, w/Reggie Workman & Ed Blackwell iirc. I bought it thinking it was going to be one thing, but it's pretty much what it looks like, MAl Waldron covering a lot of pop songs, like a Mal Waldron version of a mid 1960s Ramsey Lewis record. They could have overdubbed hand claps and audience noise on this cut and had a hit!

TRACK SEVEN - Oh, that's Illinois Jacquet.

TRACK EIGHT - Sounds like Monk if Monk was up all day and slept all night. Is that Jarrett? I don't know why it would be, it just sounds like it could be. But just in spots.

TRACK NINE - Bobby Watson, "Wheel Within A Wheel". That's such a great tune, but I find that I enjoy it more when there's a another lead line to play against. I've never really warmed to Bobby Watson as a player, but his writing is excellent, and from all accounts he is a true gentleman who handles his business. so nothing but best wishes here, a long life well lived and well-played.

TRACK TEN - Now that's how to get a good sounding record, harmonious air. Play in such a way that the individual notes and their decay don't overlap in conflict with their successors, voice the chords with the same consideration, and then record it in the same way. You end up with sound and space merging to form harmonious air. It seems like such a simple concept, but it's amazing how much sound gets made that appears to attempt to move the air by force, rather than through mergement, ego over partnership, king of the hill instead of lord of the mountaintop village. We live in an age of crude brutality, and even roughness can be done with sweetness, so don't confuse the two. Harmonious air, don't ask for it by name, because people will think your crazy, but insist on it in your own life by implementing best practices at all times. Now, for some reason, this reminds me of a Duke Pearson thing from long ago. But that's beside the point.

TRACK ELEVEN - I get an objective perception of the sense of the intended attitude.

TRACK TWELVE - Buddy Tate? Dickie Wells? Sounds like a Columbia record, but that's not Basie, I don't think, not with that kind of groove. My days of being able to make even a halfway-educated guess are long behind me, at least for now. But the bass sure was recorded well, wasn't it! Or maybe that is Basie, it's just that the oom-pah comping is throwing me, as is the drumming, not really getting Jo Jones AT ALL. But hell, who knows? Not me! After you get past the "period" thing, though, that's some nice playing by everybody, a little on top of the beat in the section work for my tastes, but it never feels rushed, and that's a huge, important difference. Or maybe that's Herschel Evans?

TRACK THIRTEEN - I guess I don't have the frame of reference to understand why anybody would think like this, at least not this developed, like free-jazz Muppet Show Monk-music is a concept I would enjoy to the level of smiling at the thought, not going to all this...work to actually make happen, so all I can do is be objective and say that it sounds like they have a good reason, one that means something to them, and there certainly seems to be no shucking involved, so...go ahead on, whoever you are!

TRACK FOURTEEN - "I'm Just Wild About Harry", is that what this is? No, it is not. Very high-level Bud Powell World playing though, very high level. Barry Harris, perhaps? There's imitating the sound of a world and then there's living in it and speaking of it naturally. This feels like the latter. "Look For The Silver Lining", is that what this is? No?

Very enjoyable collection of almost totally unfamiliar (to me) music, including some real gems (notably the Luqman Hamza!). Much, big thanks!

[Spontooneous]

Well, ok. my wife has the flu, I don't yet. so I should probably do this right now, just in case, with the usual thanks and disclaimers in place, let's all go down to the record store an buy the new hit by Tammy Flue and The Cold Chill Sweat Band.

TRACK ONE - Sounds like if McCoy had written music for a Peanuts special. How do you not like that? I do! Although that gosh darn voice-noise accompaniment suggests that this might be Keith Jarrett, but I don't think so, it's not girly-enough in pitch to be him. Besides, I don't think I'd like Keith Jarrett doing Peanuts music, and I like this.

Ahh, McCoy Tyner and "Peanuts," two of my passions in life come together. This one's been ID'd earlier.

TRACK TWO - Wow, the intro sounds like more Peanuts music, but the song itself is one that Jimmy Scott did, so a little backwards engineering leads us here: http://www.allmusic.com/album/when-a-smile-overtakes-a-frown-mw0000066387 I love songs like this, "bebop love songs" is what they more or less are, and not just anybody could sing them right. If this version is done a little faster & more ornamental in accompaniment that the "classic" style, and if the singer's voice is a little less gravity-laden that that same "classic" style. No matter, it's a hip song done very well. I'd have love to have heard Al Hibbler & Rahsaan to have done it on their album, or Jackie Paris at some point (early-ish), or Billy X-Stine, ever. It's that type of song, and add this guy to the list now. I like his phrasing very much, he knows what time it is, Is the whole album this right? I mean, ok, this guy has just a hint of Aaron Neville in some of his colorations, and that's outside of the rigid parameters, but screw it, I dig Aaron NEvill, when the guys not role-playing for hi-profile pop records, he's a monster singer, so that's just one more way for it to be all good. I'm played thorugh it four times while typing this, and each time is better than the one before. Call me crazy, but I dig good singers singing good songs.

Yes, it's Luqman, but a different recording. I thought I'd pass along a little piece of audio that not many people have. Love the "bebop love song" classification.

TRACK THREE - Wow, this is intersting...I know I hear Roy Eldridge, but other than that...Flip Phillips, early Paul Gonsalves, maybe Budd Jonhson, Jacquet possibly but not likely, those all come to mind as tenor possibilities. And f the pianist is Oscar Peterson on a good taste day. more power to him, but if I'm looking for somebody who would be likely to play with this school of horn players on this type of piece, I might be tempted to say Jimmy Jones, but that' not Jimmy Jones' touch. The thing is, it's a more modern recording than you'd typically associate with this style of horn playing, so my label possibilities are not just Pablo, but also MJR, Chiaroscuro, and some other things I've never delved into with any kind of examination death. I might even go out on a limb a suggest Scott Hamilton is on this? Fun cut, very, and I wonder what the rest of the record is like.

Thom Keith identified Roy and Buddy Tate. You've identified the other tenor and the label.

TRACK FOUR - Could just as easily be through-composed as it could be anything. I like it, although occasionally I hear the math. But it flows well, and always stays on-point. Would that more things did.

I suppose the composition is more interesting than the playing. More will be revealed.

TRACK FIVE - Is that Moody? Or some retro guy who amalgamates? Cause I hear some Dexter in there too, but mostly Moody. But all of it "referential", none of it "direct" (and should it accidentally be Moody, I have to say, it doesn't sound like an "unleashed" Moody, not at all). Oh, and ok, this guy thinks he's Warne Gonsalves. All thing together, I'd have to say that this is about 20-30, maybe even 40 years behind its time, which is not necessarily bad, I just wonder why.

Hmm, nobody really warms to this one. Oh well.

TRACK SIX - Ok, at first I thought is was some later Horace piece, but no, that's Mal Waldron. Nobody OCDs a piano like Mal Waldron, and I mean that as a compliment. OH GEEZ, that's "Beat It", I have this record, I think it's got the M*A*S*H song on it too, a lot of pop songs, w/Reggie Workman & Ed Blackwell iirc. I bought it thinking it was going to be one thing, but it's pretty much what it looks like, MAl Waldron covering a lot of pop songs, like a Mal Waldron version of a mid 1960s Ramsey Lewis record. They could have overdubbed hand claps and audience noise on this cut and had a hit!

Yes, yes, and yes, and why did I never think to use OCD as a verb before?

Must make a hasty departure here and attend a meeting downtown. More when I get back tonight.

Edited January 25, 2014 by Spontooneous

[tkeith]

Listening to 3 again... first tenor somewhere between J-Griff and Don Byas... man, a BAD MF whoever he is. Only other guy I can come up with fitting those parameters is Arnett Cobb, but seems too agile. I'm going to throw a guess in on the second guy and say Buddy Tate.

DING DING DING! Second tenor is indeed Buddy Tate. First one is real close to Arnett, but not him.

Ah! Then it's track two from this.

[Spontooneous]

TRACK SEVEN - Oh, that's Illinois Jacquet.

Yepper. Exactly.

TRACK EIGHT - Sounds like Monk if Monk was up all day and slept all night. Is that Jarrett? I don't know why it would be, it just sounds like it could be. But just in spots.

Not Jarrett, but you're not the first here to make the comparison. And the comparison hadn't occurred to me before this BFT. My weakness for Monkish tunes shows at all times.

TRACK NINE - Bobby Watson, "Wheel Within A Wheel". That's such a great tune, but I find that I enjoy it more when there's a another lead line to play against. I've never really warmed to Bobby Watson as a player, but his writing is excellent, and from all accounts he is a true gentleman who handles his business. so nothing but best wishes here, a long life well lived and well-played.

Correctamundo in more ways than one.

TRACK TEN - Now that's how to get a good sounding record, harmonious air. Play in such a way that the individual notes and their decay don't overlap in conflict with their successors, voice the chords with the same consideration, and then record it in the same way. You end up with sound and space merging to form harmonious air. It seems like such a simple concept, but it's amazing how much sound gets made that appears to attempt to move the air by force, rather than through mergement, ego over partnership, king of the hill instead of lord of the mountaintop village. We live in an age of crude brutality, and even roughness can be done with sweetness, so don't confuse the two. Harmonious air, don't ask for it by name, because people will think your crazy, but insist on it in your own life by implementing best practices at all times. Now, for some reason, this reminds me of a Duke Pearson thing from long ago. But that's beside the point.

Not Duke. But yeah, I needed some air in here. Mr. Keith identified the pianist, who isn't the leader or composer.

TRACK ELEVEN - I get an objective perception of the sense of the intended attitude.

TRACK TWELVE - Buddy Tate? Dickie Wells? Sounds like a Columbia record, but that's not Basie, I don't think, not with that kind of groove. My days of being able to make even a halfway-educated guess are long behind me, at least for now. But the bass sure was recorded well, wasn't it! Or maybe that is Basie, it's just that the oom-pah comping is throwing me, as is the drumming, not really getting Jo Jones AT ALL. But hell, who knows? Not me! After you get past the "period" thing, though, that's some nice playing by everybody, a little on top of the beat in the section work for my tastes, but it never feels rushed, and that's a huge, important difference. Or maybe that's Herschel Evans?

Valid comparison, because it's of Basie's time and place (hint hint, place), but no Basieites involved.

TRACK THIRTEEN - I guess I don't have the frame of reference to understand why anybody would think like this, at least not this developed, like free-jazz Muppet Show Monk-music is a concept I would enjoy to the level of smiling at the thought, not going to all this...work to actually make happen, so all I can do is be objective and say that it sounds like they have a good reason, one that means something to them, and there certainly seems to be no shucking involved, so...go ahead on, whoever you are!

TRACK FOURTEEN - "I'm Just Wild About Harry", is that what this is? No, it is not. Very high-level Bud Powell World playing though, very high level. Barry Harris, perhaps? There's imitating the sound of a world and then there's living in it and speaking of it naturally. This feels like the latter. "Look For The Silver Lining", is that what this is? No?

No Silver Lining, and not Harry. A show tune about a guy, but not a guy one is wild about.

Very enjoyable collection of almost totally unfamiliar (to me) music, including some real gems (notably the Luqman Hamza!). Much, big thanks!

Thanks for the harmonious air on a largely stale day.