BFT 162 REVEAL

[medjuck]

Sorry about the changes in type face.  I wrote this on "word" and them copied it into the forum.  I don't know why it came out this way. (I hate Word.) Can anyone tell me how to fix it? 

1”.Southside”:  Wardell Gray  The Wardell Gray Story  Proper Box This is from the same session as Twisted : Al Haig, Tommy Potter  and Roy Haynes 11/11/49I thought this might fool people because it doesn’t sound quite like Wardell.   Notes to the set say he sounds “uncannily like Stan Getz”.  I don’t know about that but he does sound like he could have been a fifth brother.

2.  “Throw a Little Salt on the Bluebird’s Tail”: Eddie  South and his International  Orchestra 1933.  From a cd that came with the book "Playing the Changes: Milt Hinton’s Life in Stories and Photographs". Milton Hinton (bass and vocals) Clifford King (clarinet), Eddie South (violin) Antonio Spalding (guitar), Jimmy Bertrand (drums).I thought someone might  recognize Eddie South and remember  Milt played with him.

3. “Bag’s Guitar Blues”:  Milt Jackson and Ray Charles.  From Soul Brothers and Ray Charles Complete Atlantic Box set.  Milt on guitar! ( Are there any other records with him playing guitar?)  Ray on piano and alto sax. Billy Mitchell on tenor. Rhythm section of Skeeter Best, Oscar Pettiford and Connie Kay. Note that it's Ray on alto sax

4.” Swapping Horns”.:  Charlie Parker on tenor, Allan Eager on alto.  From  Allen Eager in the Land of Oo-Bla-Dee.  The Allen Eager sessions on the Mosaic Savoy box got me interested in his work.  That this Uptown release  also contained some live Bird was a terrific bonus. From “possibly during April 1947” with Bud Powell, Specs Goldberg and Max Roach. It was recorded at a jam session in Milton H. Greene’s photography studio.   (There’s also a cut with Eager switching horns with Serge Chaloff.)

5. “Blues in My Case”: Lenny Breau on guitar and Dave Young on bass.  2cd set entitled “Live at Bourbon Street”.  Recorded by our own Ted O’Reilly.   (What was the date Ted? I couldn’t find it on the cd.)

Nelson Symonds (no 9)  made me think of Sonny Greenwich (no 12) whom I’d seen sitting in with Nelson.   The Greenwich cd I chose was with Ed Bickert  so I figured  I should add Lenny Breau and have  all four great 20^th Century  Canadian jazz guitarists.

6. “Dark was the Night”: The Kronos Quartet.  I guess we’re hearing plucked viola and violin strings and not a guitar.  The “moaning” is probably from a cello.   This is from a very nice  2 cd set entitled “Dark was the Night: A Red Hot Compilation.”  It’s part of the series of cds issued to raise money for AIDS related charities.  Kronos is a bit of a ringer as everyone else on it would probably be described as “Indie Rock” (e.g.  Feist, Grizzly Bear, Arcade Fire, and—my favorite—Bon Iver). 

7. “Sweet Sue:” The Kenny Clarke Kvintett (honest). Recorded in Stockholm in 1938. Clarke on Xylophone, Eddie Gobbs, guitar, Edgar Hayes piano, Rudy Powell, clarinet, Henry Goodwin, trumpet and no drums.  Clarke was in Europe with the Edgar Hayes band.  I found this on a 4 cd Proper set called “Klook’s the Man”.

8. “Bird Count”: The Maria Schneider Jazz Orchestra From” Live at the Jazz Standard--Days of Wine and Roses.” 2000.  Soloists are Frank Kimbrough piano, Ingrid Jensen trumpet, Larry Farrell trombone and Scott Robinson Bass Saxophone. 

I really like Maria Schneider and I like this cut but to be honest it’s not typical.  Most of her work is more ethereal—very influenced by her mentor, Gil Evans.  I bought her first record because of her connection to Gil and that led to me getting everything she’s done since. (This one was originally only available as a bonus with two bottles of Riesling. To get it I searched every fancy grocery store near me in Southern California and I don’t even like Riesling.)

I thought people might recognize Scott Robinson (who plays with her a lot) since  there are so few bass sax players.  I once bought a copy of a Robinson record for my late friend Josef Skvorecky because he wrote a story called The Bass Saxophone which I think is the best work of fiction ever written about jazz.

9. “Getting Pesonal”: Nelson Symonds from cd of the same name. Symonds guitar, Jean Beaudet Piano, Normand Guilbault, bass, Wali Muhammad, drums. 1991.  Between fall 1961 and spring 1965 I probably saw Nelson play 50 times.  He played with The Charlie Biddles Trio which had Biddles on bass and Charlie Duncan on drums and they played in various clubs around Montreal nearly every week.  I saw them by themselves and also backing Benny Golson, Jackie Mclean, Art Farmer and Thad Jones amongst others. I’ve been told that Nelson had sat in with Trane and Miles and  that both had offered him jobs which he couldn’t take because he couldn’t get a green card.   Those were probably apocryphal stories but I believe that this did happen with Brother Jack McDuff and George Benson got the job instead.

I didn’t know Nelson had ever made a record but one day I was in a cd store in my small home town and came across a used copy of this.  Thirty years after I first saw him Nelson had lost some of his steam but it’s hard for me to be objective.  (Just found some better examples of his playing  on YouTube where in one comment someone claims they first heard about Nelson from Wes Montgomery.)

https://www.youtube.com/watch?v=N9GUA8fJWgM

10. “Bluefish”: Gil Evans. 1971.  Gil on electric and acoustic piano, Joe Beck guitar, Herb Bushier bass, Billy Harper flute, David McDonald drums and Warren Smith percussion, synthesizer.  The first two minutes reminds me of Maria Schneider.  Written for a documentary film, this was included on a Folkways record called New American Music along with pieces by Milford Graves, Mary Lou Williams, San Rivers and Sunny Murray. 
I got it as a CDR from the Smithsonian. ( I’m a Gil completest—yes I do have the Johnny Mathis record he worked on.)

11. “Abide with Me/Blue Monk” : Richard Stoltzman . 1985.  Stolzman clarinet, Bill Douglas piano, Jeremy Wall synthesizers, Eddie Gomez bass. Stolzman is regarded as a great classical clarinet player.  I have several of his non-classical records and have seen him perform  a Steve Reich piece he commissioned. I used to run into Bill Douglas in Toronto at the John Norris/Bill Smith Jazz and Blues record store.  Bill was a huge fan of Bill Evans so it's fitting he got to play with Eddie Gomez. 

12.”Lily”: Sonny Greenwich and Ed Bickert. 1979. Terry Clarke drums, Don Thomson bass. According to John Norris’s liner notes “Sonny Greenwich is the principal carrier of the melody” so we can hear this as Sonny backed by the same rhythm section that backed Paul Desmond so well.

13. “Hey Troy, Your Moma’s Calling  You”: Trombone Shorty (Troy Andrews).  This is from a terrific cd done to raise money for Katrina victims, called "Sing Me Back Home " (even though that song is not included).  Other cuts are by three different Nevilles, Dr. John,  Wilie Tee etc.   I  thought this had disappeared   but finally found it by looking on Amazon under “New Orleans Social Club.” 

I first heard Trombone Shorty when he showed up with a band at a friend's wedding in N.O. as a replacement for the Rebirth Brass Band who had been booked.  After our initial disappointment we ended up loving the band and dancing the night away.  I’ve seen him in concert twice since though the last time he seemed too James Brown influenced for my taste. 

This is such a happy song  if I’m down it always cheers me up. BTW there are no liner notes for this.  I presume Shorty is on Trombone but he plays trumpet a lot of the time so maybe he overdubbed himself and is playing both instruments. 

 

Edited September 30, 2017 by medjuck

[Big Beat Steve]

1 hour ago, medjuck said:

Sorry about the changes in type face.  I wrote this on "word" and them copied it into the forum.  I don't know why it came out this way. (I hate Word.) Can anyone tell me how to fix it? 

 

 

Why not edit your message and try the "Font" and "Size" option fields on the upper right above the message?

What (oddball?) word processing software would YOU prefer instead of Word?

 

 

[Hot Ptah]

The changes in type face are of no consequence. Thank you for such an informative reveal. 

[sidewinder]

Thanks for the BFT, some very interesting selections. I would never have guessed Maria Schneider Orch. as No. 8 !

[medjuck]

10 hours ago, Big Beat Steve said:

Why not edit your message and try the "Font" and "Size" option fields on the upper right above the message?

What (oddball?) word processing software would YOU prefer instead of Word?

 

 

Just tried that. Didn't seem to work.    Don't know any other word precessing software. 

[Big Beat Steve]

That's strange.

Try the following: Access your message using the "Edit" option, mark the text you would like to edit/change (set the cursor to the beginning of the text segment you would like to mark, press Upshift and keep it pressed and set the cursor to the end of the text you would like to make - which should mark the entire text), open the "Size" field, click on "14". If this does not change the size of your marked part of the post then click on "12" which should make it appear rather small. THEN click on 14 and it should be the same size as the "correctly sized" parts of your post.

This is how I edited the message I quoted from your initial post using exactly the "Size" option so 3 of your 4 sentences appear in the correct font (14) in my quotation. And afterwards I edited my own message to try and access those fields too and it did work again.

Same now:

Here is my message again selecting an extra large size (18) from that "Size" option to repeat my post

That's strange. I edited the message I quoted from your initial post using exactly the "Size" option so two of your three sentences appear in the correct font in my quotation. And afterwards I edited my own message to try and access those fields too and it did work again.

And to try again, here I copy-pasted a paragraph from your post and edited it back to normal size (14) using the "Size" option again. :

11. “Abide with Me/Blue Monk” : Richard Stoltzman . 1985.  Stolzman clarinet, Bill Douglas piano, Jeremy Wall synthesizers, Eddie Gomez bass. Stolzman is regarded as a great classical clarinet player.  I have several of his non-classical records and have seen him perform  a Steve Reich piece he commissioned. I used to run into Bill Douglas in Toronto at the John Norris/Bill Smith Jazz and Blues record store.  Bill was a huge fan of Bill Evans so it's fitting he got to play with Eddie Gomez. 

 

Hope this helps a little.

 

 

 

 

Edited September 30, 2017 by Big Beat Steve

[medjuck]

That's what I did last time but it worked this time. (Actually I marked the whole thing by dragging my cursor over it-- easy to do-- rather than using "shift" the last time.  Maybe that made a difference though I don't know why it would. ) 

[JSngry]

Who was the drummer on the Schneider?

[medjuck]

4 hours ago, JSngry said:

Who was the drummer on the Schneider?

Tim Horner

[JSngry]

Sounded good.

[Hot Ptah]

2.  “Throw a Little Salt on the Bluebird’s Tail”: Eddie  South and his International  Orchestra 1933.  From a cd that came with the book "Playing the Changes: Milt Hinton’s Life in Stories and Photographs". Milton Hinton (bass and vocals) Clifford King (clarinet), Eddie South (violin) Antonio Spalding (guitar), Jimmy Bertrand (drums).I thought someone might  recognize Eddie South and remember  Milt played with him.

I have some Eddie South on CD but  never heard this song. What a great, obscure source for the recording!

 

 

6. “Dark was the Night”: The Kronos Quartet.  I guess we’re hearing plucked viola and violin strings and not a guitar.  The “moaning” is probably from a cello.   This is from a very nice  2 cd set entitled “Dark was the Night: A Red Hot Compilation.”  It’s part of the series of cds issued to raise money for AIDS related charities.  Kronos is a bit of a ringer as everyone else on it would probably be described as “Indie Rock” (e.g.  Feist, Grizzly Bear, Arcade Fire, and—my favorite—Bon Iver). 

Wow, that was the Kronos Quartet? I would never have guessed that. I love this choice for a Blindfold Test--an unusual recording of familiar material, by an artist straying out of its usual place, on a recording most of us don't have. I am really glad I got to hear this.

 

8. “Bird Count”: The Maria Schneider Jazz Orchestra From” Live at the Jazz Standard--Days of Wine and Roses.” 2000.  Soloists are Frank Kimbrough piano, Ingrid Jensen trumpet, Larry Farrell trombone and Scott Robinson Bass Saxophone. 

I really like Maria Schneider and I like this cut but to be honest it’s not typical.  Most of her work is more ethereal—very influenced by her mentor, Gil Evans.  I bought her first record because of her connection to Gil and that led to me getting everything she’s done since. (This one was originally only available as a bonus with two bottles of Riesling. To get it I searched every fancy grocery store near me in Southern California and I don’t even like Riesling.)

I thought people might recognize Scott Robinson (who plays with her a lot) since  there are so few bass sax players.  I once bought a copy of a Robinson record for my late friend Josef Skvorecky because he wrote a story called The Bass Saxophone which I think is the best work of fiction ever written about jazz.

I have several Maria Schneider albums but have never heard her present material like this. Ingrid Jensen on trumpet! I liked the trumpet solo, now it is easy to see why. I am glad that I got to hear this. It gives me a new perspective on Maria Schneider.

 

 

10. “Bluefish”: Gil Evans. 1971.  Gil on electric and acoustic piano, Joe Beck guitar, Herb Bushier bass, Billy Harper flute, David McDonald drums and Warren Smith percussion, synthesizer.  The first two minutes reminds me of Maria Schneider.  Written for a documentary film, this was included on a Folkways record called New American Music along with pieces by Milford Graves, Mary Lou Williams, San Rivers and Sunny Murray. 
I got it as a CDR from the Smithsonian. ( I’m a Gil completest—yes I do have the Johnny Mathis record he worked on.)

I have never heard this Gil Evans recording. It comes from a rather obscure recording. I am glad I got to hear this. You have treated us to major artists recording on out of the way releases. I like that!

11. “Abide with Me/Blue Monk” : Richard Stoltzman . 1985.  Stolzman clarinet, Bill Douglas piano, Jeremy Wall synthesizers, Eddie Gomez bass. Stolzman is regarded as a great classical clarinet player.  I have several of his non-classical records and have seen him perform  a Steve Reich piece he commissioned. I used to run into Bill Douglas in Toronto at the John Norris/Bill Smith Jazz and Blues record store.  Bill was a huge fan of Bill Evans so it's fitting he got to play with Eddie Gomez. 

I would never have guessed Richard Stoltzman, or Eddie Gomez, for this track. Very interesting!

 

13. “Hey Troy, Your Moma’s Calling  You”: Trombone Shorty (Troy Andrews).  This is from a terrific cd done to raise money for Katrina victims, called "Sing Me Back Home " (even though that song is not included).  Other cuts are by three different Nevilles, Dr. John,  Wilie Tee etc.   I  thought this had disappeared   but finally found it by looking on Amazon under “New Orleans Social Club.” 

I first heard Trombone Shorty when he showed up with a band at a friend's wedding in N.O. as a replacement for the Rebirth Brass Band who had been booked.  After our initial disappointment we ended up loving the band and dancing the night away.  I’ve seen him in concert twice since though the last time he seemed too James Brown influenced for my taste. 

This is such a happy song  if I’m down it always cheers me up. BTW there are no liner notes for this.  I presume Shorty is on Trombone but he plays trumpet a lot of the time so maybe he overdubbed himself and is playing both instruments. 

I have heard Trombone Shorty live and on CD and had no idea it was him. I have heard him play trumpet live, but am not sure it is him on trumpet here. Another obscure album. I am glad that I got to hear this!

 

Great job on this BFT, medjuck! It is one of my favorites all time.

[hgweber]

On 30.9.2017 at 6:04 AM, medjuck said:

 

9. “Getting Pesonal”: Nelson Symonds from cd of the same name. Symonds guitar, Jean Beaudet Piano, Normand Guilbault, bass, Wali Muhammad, drums. 1991.  Between fall 1961 and spring 1965 I probably saw Nelson play 50 times.  He played with The Charlie Biddles Trio which had Biddles on bass and Charlie Duncan on drums and they played in various clubs around Montreal nearly every week.  I saw them by themselves and also backing Benny Golson, Jackie Mclean, Art Farmer and Thad Jones amongst others. I’ve been told that Nelson had sat in with Trane and Miles and  that both had offered him jobs which he couldn’t take because he couldn’t get a green card.   Those were probably apocryphal stories but I believe that this did happen with Brother Jack McDuff and George Benson got the job instead.

I didn’t know Nelson had ever made a record but one day I was in a cd store in my small home town and came across a used copy of this.  Thirty years after I first saw him Nelson had lost some of his steam but it’s hard for me to be objective.  (Just found some better examples of his playing  on YouTube where in one comment someone claims they first heard about Nelson from Wes Montgomery.)

https://www.youtube.com/watch?v=N9GUA8fJWgM

 

that's a great recording of milestones. much more aggressive than the other one. did he sound like that in the 60s? greenwich must have taken a few pages out of symond's book as well. do you remember the chord solos? there seems to be little on youtube that shows what he seemingly was capable of. to floor wes montgomery with chord solos is certainly something! 

thank you for that blindfold test.

 

[medjuck]

What I remember is that when he played with the Biddles trio at least once a night in the middle of a solo the rhythm would drop out and just leave Nelson playing alone and he would really take off, often just with chords.  I was surprised he never did it on what seems to be his only record. 

 

I should add that I saw Wes Montgomery around this time and thought he was the most consistent soloist I'd ever heard, but after listening to Nelson so much I hardly noticed his technique. 

Edited October 1, 2017 by medjuck

[JSngry]

Thanks for that Gil cut. I've long known of it, but don't know that I actually own it myself. Gotta make sure about that, thanks for the reminder, I will want the entire album/CD!

[Ted O'Reilly]

On ‎30‎/‎09‎/‎2017 at 0:04 AM, medjuck said:

 

5. “Blues in My Case”: Lenny Breau on guitar and Dave Young on bass.  2cd set entitled “Live at Bourbon Street”.  Recorded by our own Ted O’Reilly.   (What was the date Ted? I couldn’t find it on the cd.)

It's there on the back, under the tune list: "Recorded by Ted O'Reilly at Bourbon Street, Toronto.  June 14, 1983"

  I once bought a copy of a Robinson record for my late friend Josef Skvorecky because he wrote a story called The Bass Saxophone which I think is the best work of fiction ever written about jazz.

I only met him once, even though we were neighbours, living a half-block or so apart.  I was on Wellesley St. E., Dr. Skvorecky was on the no-exit stub of Sackville Street, just above Wellesley.  Even though it was called The Bass Saxophone I always thought he meant a Baritone sax.  I've never found another similarly-titled Skvorecky work, The Tenor Saxophonist's Story...

 

 

[medjuck]

You're right about the credit.  Sorry I didn't see it.

In the "The Bass Saxophone" he does make reference to Adrian Rollini so I presume he meant a bass saxophone.  "The Tenor Saxophonist's Story" is readily available from Amazon in the US but I see it's not listed by Indigo in Canada.