BFT 233 Link & Discussion

[Ken Dryden]

Putting together a BFT is a great way to rediscover things I haven't played in awhile, including some long out of print albums, imports and the occasional obscurity.

Here is the link:

https://thomkeith.net/index.php/blindfold-tests/

[BillF]

I'm not finding any BFT after 232.

[Ken Dryden]

Maybe Thom hasn't posted it, this was the link he gave me.

 

[Dan Gould]

Spilling the beans ... until Thom moves it to the top of the list, a new BFT or pending BFT can be found in the waffles folder at the very bottom of the player.

 

HMMMM Waffles.

[BillF]

That's getting me tracks 1-3, but not the others.

[Dan Gould]

3 minutes ago, BillF said:

That's getting me tracks 1-3, but not the others.

Thom pulled it out of the folder and it is at the top. I just got number 4 to play by reloading the screen and playing from the file at the top of the list.

 

[BillF]

Track 5: "Midgets".  I knew it as a Basie orchestra feature for Joe Newman and Frank Wess, but here it's a quintet and I guess it's not the same hornmen either.

Track 6: Did I hear Clark Terry there?

Track 7: "Alone Together"

[Dan Gould]

A tad more mellow BFT than usual? Felt that way to me ... anyway terrible at guesses so will refrain almost entirely.

Tenor on 2 had a lot of appeal, and 5-6-7-8 were all winners here. 

Off the wall guess but if I were to hold it back and be wrong I'd be upset, so:

Sweets Edison on number 5.

[Ken Dryden]

Track 5 is "Midgets." Harry "Sweets" Edison is not present.

Track 6 does feature Clark Terry, his unmistakable sound is hard to duplicate.

Track 7 is "Alone Together."

 

[felser]

Give the vibes players some!  #3 (Bags-ish) and especially #8 (Gary Burton-ish) were the highlights for me.

[JSngry]

Short game tonight and a good ending, so let's do this thing now!

TRACK ONE - Mingusian, but not Mingus. He never really got that much rehearsal time. And then it goes somewhere else anyway. Well played, but lacking the type of spark teased by the intro.Very cleanly played, though! Written like Duke, played like Kenton.

TRACK TWO - HAWK! But from what, I can't peg right away. Sounds like a RVG joint, and pre when the latter-day self-destruction began, so...late 50s? Hawk gets nothing but the highest love here, always, no questions asked.

TRACK THREE - If that's not Bags, the vibist should be shot for plagiarism. And that's not Bags.

TRACK FOUR  - I could have liked it. Did like it at first. But then it lost its charm for me. Not enough movement to be engaging and not enough resolouteness to be scary. Just...that one thing. Like a film cue. It might have worked better if I could see the film?

TRACK FIVE - The perennial Joe Newman classic "Midgets"! My guess will be a Last Testament Basie jam ? , a Pablo record, Eric Dixon on flute? Oops, that not Basie, definitely not! A bit generic before it's over. But nice in a generic kind of way. Everybody's on the same page.

TRACK SIX - Needs some Bob Fosse choreography! It's got a good pocket, and yes you CAN dance to it. You SHOULD dance to it! Maybe just a teense gimmicky with the standalone tuba and boombaps, but hardly fatally so, even a dance band's gotta eat!

TRACK SEVEN - Two tenors, playing, appropriately, "Alone Together", and following all the rules. Christ, you're ALONG TOGETHER, screw the rules! That first tenor sounds a bit like James Carter. Ok, that's James Carter. James Carter sounds better when he's less concerned with following the rules. Nothing wrong, but nothing right. That's what rules are for, and that's why you break them, just to see what happens. Something is better than nothing! ARRGH - that piano player is following all the rules for breaking the rules. THOSE GD YOUNG LIONS!!!!

TRACK EIGHT - More Bob Fosse music, this time for a drug scene? Very Burton-ish, and this time no shooting suggested because....I think it IS Burton, one of those immediate pre-Quartet RCA records, a couple of those were pretty good, and this sounds like one of them. But if it's NOT Burton....get the blindfold!!!!

TRACK NINE - Liked it until the tenor came in. Don't dig the tone. A lot of that going around, has been for decades now. Otherwise...how about another round, or y'all still fine?

TRACK TEN - That's a Duke song, name escapes me (there are so many!). Piano is fine, but again, the tenor tone bugs me. The intonation is not consistent. "Out of tune" is ok, but it needs to be consistent within itself. Otherwise, fine piano playing and of course, tune.

TRACK ELEVEN - "Blood Count". Another tenor tone that bugs me. at least at first. It gets good for me pretty soon, good! The attack suggests more of a "street" player and that's what works for me. Practiced, but still with some street underneath. Actually, I am liking this tone more as it goes on, not least because of the player's time, and also because they are not making to sound the high notes sounds like they're not high notes. Some guys are so even no matter what the register...I mean, thast's extremely admirable, but not always the best feel for every type of music. Ok, now it's getting into some meat. I like this. John Tchchai? He's got some GREAT tenor chops, not just alto.

TRACK TWELVE - "Peace". That's pretty!

TRACK THIRTEEN - JEEZUSKHRIST SHUT THE FUCK UP PHIL!!!!! I mean, really! What went wrong with this guy, I mean, I know America is a dark and evil place (but not just that), but c'mon. you already knew that when you came back, DEFINITELY after you got back. As did Griff, but you don't hear him doing all that silly shit non-stop like that. I think that Phil expected better and let it depress him into aggression, and Griff just always knew what the deal was and built his own parallel universe. It's not as much what he does as it is how he does it, just...no thank you, not like that. Anyway, I bought this record hoping that Griff's esthetic might have the upper hand, but OOPS! No such luck. Fun head, though!

Nice set, and thanks for being here on Day One of the month!

[Ken Dryden]

Track 2 is Coleman Hawkins.

Track 3 is definitely not Bags.

Track 5 is "Midgets."

Track 7 is James Carter playing "Alone Together."

Track 8 is not Gary Burton.

Track 10 is a Duke Ellington song.

Track 11 is "Blood Count" and John Tchicai is the tenor saxophonist.

Track 12 is "Peace."

Track 13 features Phil Woods and Johnny Griffin.

 

[Dan Gould]

7 hours ago, JSngry said:

 

TRACK SEVEN - Two tenors, playing, appropriately, "Alone Together", and following all the rules. Christ, you're ALONG TOGETHER, screw the rules! That first tenor sounds a bit like James Carter. Ok, that's James Carter. James Carter sounds better when he's less concerned with following the rules. Nothing wrong, but nothing right. That's what rules are for, and that's why you break them, just to see what happens. Something is better than nothing! ARRGH - that piano player is following all the rules for breaking the rules. THOSE GD YOUNG LIONS!!!!

 

TRACK THIRTEEN - JEEZUSKHRIST SHUT THE FUCK UP PHIL!!!!! I mean, really! What went wrong with this guy, I mean, I know America is a dark and evil place (but not just that), but c'mon. you already knew that when you came back, DEFINITELY after you got back. As did Griff, but you don't hear him doing all that silly shit non-stop like that. I think that Phil expected better and let it depress him into aggression, and Griff just always knew what the deal was and built his own parallel universe. It's not as much what he does as it is how he does it, just...no thank you, not like that. Anyway, I bought this record hoping that Griff's esthetic might have the upper hand, but OOPS! No such luck. Fun head, though!

 

Finally some clues that allow me to do some sleuthing.

Track 7 is from this, track 6.

I thought seriously about using this CD for my last BFT until it fell out of eligibility when I settled on the theme.  Jim's "Young Lions" comment sealed the deal for what I knew it had to be.

Of course anyone can come up with #13 given the ID of Woods and Griff.  Last track of this.

 

Wondering if I also have number 3 since I've been known to enjoy the plagiarists as much as the originators, if they are pleasing to my ears.

[Dub Modal]

Track 3 vibes player sounds a bit sloppy actually. Like they know what they're trying to play but having some trouble getting there. Red Norvo? Bass sounds like some Pablo recording shit. Good player but damn...

Track 8 vibist (?) in contrast runs clean, definitely executing what they want to do and you can hear the melody coming through. Not exactly "better" than track 3's player but definitely different. Not ready for a guess here just yet. 

[Ken Dryden]

11 minutes ago, Dan Gould said:

Finally some clues that allow me to do some sleuthing.

Track 7 is from this, track 6.

I thought seriously about using this CD for my last BFT until it fell out of eligibility when I settled on the theme.  Jim's "Young Lions" comment sealed the deal for what I knew it had to be.

Of course anyone can come up with #13 given the ID of Woods and Griff.  Last track of this.

 

Wondering if I also have number 3 since I've been known to enjoy the plagiarists as much as the originators, if they are pleasing to my ears.

Right on both counts.

 

Just now, Dub Modal said:

Track 3 vibes player sounds a bit sloppy actually. Like they know what they're trying to play but having some trouble getting there. Red Norvo? Bass sounds like some Pablo recording shit. Good player but damn...

Track 8 vibist (?) in contrast runs clean, definitely executing what they want to do and you can hear the melody coming through. Not exactly "better" than track 3's player but definitely different. Not ready for a guess here just yet. 

Track 3 is not Red Norvo nor is it a Pablo recording…

 

[tkeith]

Trying not to read the thread, here.  Are we good with the online player and download?  I hadn't published the edits (what I get for working tired).

Also, please ignore Dan's advice about the spoiler alert -- that's just where I stash things for the presenter to check in advance of the test.  Dan, you have detention.

[Dan Gould]

17 minutes ago, tkeith said:

Trying not to read the thread, here.  Are we good with the online player and download?  I hadn't published the edits (what I get for working tired).

Also, please ignore Dan's advice about the spoiler alert -- that's just where I stash things for the presenter to check in advance of the test.  Dan, you have detention.

So wait a sec, my info was wrong but I get detention?  My Daddy is going to talk to the principal. 

[randyhersom]

1. Nicely arranged, with lower register clarinet intro.  Much soprano sax featured later on.  Latin (or brazilian?) percussion in addition to drums flavors the beat but does not dominate stylistically.  Has the Gil and Miles feel, but definitely not that.  Sounds too modern and mellow to be Jimmy Giuffre featured with Woody Herman.  Clare Fisher?
2. Reminds me of a tenor-piano duo album I used to play a lot, Heavy Love by Al Cohn and Jimmy Rowles
3. Percolates a bit too much to guess MJQ.  I still will go with Milt Jackson.
4. Sounds like synthesizer to me, with or without horns.  Leaning toward with.  Bass and cymbals coming in.  Not certain that the artist would be commonly identified as a jazz artist, but the musical sound world is both intriguing and overlaps substantially with jazz.  Reaching to express something, not reaching for a demographic.  Yusef Lateef did some new-age crossover, and I have no better guess at the moment.  I do have a nagging feeling that it's the keyboardists date.
5. Bop!  Maybe Thad Jones and Bobby Jaspar?
6. West coast feel.  Shorty Rogers?
7. Two Tenors.  Johnny Griffin and Eddie Lockjaw Davis?  The tune starts out like You'd Be So Nice to Come Home to, but quickly goes in a different direction.
8. Guitar with our vibes and rhythm this time.  Drums prominently featured.  Live.  Bobby Hutcherson?
9. Tenor has a little of that Von Freeman cry in the tone, but not as much as Von.  Could this be that pre-echoplex John Klemmer album on Argo?
10. More piano and tenor in duet.  Tenor is too brawny to be Getz - Barron.  I can't think of any duets by Rollins or Dexter or Johnny Griffin (It's absoluely not Bud Powell and Johnny).  I don't think it's Harper and Weston.  I'll go with Dexter Gordon.
11. Dewey (with Jarrett) was the first thought, and I never completely shook it.  But it doesn't seem to fit.  Charles Lloyd?
12. Keith Jarrett (maybe Facing You) and Paul Bley came to mind.  I was going to go with Bley, then heard some humming, so it's Jarrett.  Wait it's live and doesn't sound like any live solo Jarrett I know.  Back to Bley.
13. Uptempo burner.  Leaning toward tenor, but he sure does play in the alto range a lot.  No the next guy is actually a tenor, and the difference is obvious, so first soloist was playing alto.  The Cookers?
 

[Ken Dryden]

7 hours ago, randyhersom said:

1. Nicely arranged, with lower register clarinet intro.  Much soprano sax featured later on.  Latin (or brazilian?) percussion in addition to drums flavors the beat but does not dominate stylistically.  Has the Gil and Miles feel, but definitely not that.  Sounds too modern and mellow to be Jimmy Giuffre featured with Woody Herman.  Clare Fischer?

It is not Clare Fischer.

2. Reminds me of a tenor-piano duo album I used to play a lot, Heavy Love by Al Cohn and Jimmy Rowles

3. Percolates a bit too much to guess MJQ.  I still will go with Milt Jackson.

It is not Milt Jackson.

4. Sounds like synthesizer to me, with or without horns.  Leaning toward with.  Bass and cymbals coming in.  Not certain that the artist would be commonly identified as a jazz artist, but the musical sound world is both intriguing and overlaps substantially with jazz.  Reaching to express something, not reaching for a demographic.  Yusef Lateef did some new-age crossover, and I have no better guess at the moment.  I do have a nagging feeling that it's the keyboardists date.

5. Bop!  Maybe Thad Jones and Bobby Jaspar?

Thad Jones and Bobby Jaspar are not present.

6. West coast feel.  Shorty Rogers?

Not Shorty Rogers.

7. Two Tenors.  Johnny Griffin and Eddie Lockjaw Davis?  The tune starts out like You'd Be So Nice to Come Home to, but quickly goes in a different direction.

Johnny Griffin and Eddie Lockjaw Davis are not on this recording.

8. Guitar with our vibes and rhythm this time.  Drums prominently featured.  Live.  Bobby Hutcherson?

It is not Bobby Hutcherson.

9. Tenor has a little of that Von Freeman cry in the tone, but not as much as Von.  Could this be that pre-echoplex John Klemmer album on Argo?

It is not John Klemmer.

10. More piano and tenor in duet.  Tenor is too brawny to be Getz - Barron.  I can't think of any duets by Rollins or Dexter or Johnny Griffin (It's absoluely not Bud Powell and Johnny).  I don't think it's Harper and Weston.  I'll go with Dexter Gordon.

It is not Dexter Gordon.

11. Dewey (with Jarrett) was the first thought, and I never completely shook it.  But it doesn't seem to fit.  Charles Lloyd?

It is not Charles Lloyd. JSngry identified John Tchicai.

12. Keith Jarrett (maybe Facing You) and Paul Bley came to mind.  I was going to go with Bley, then heard some humming, so it's Jarrett.  Wait it's live and doesn't sound like any live solo Jarrett I know.  Back to Bley.

It is not Paul Bley.

13. Uptempo burner.  Leaning toward tenor, but he sure does play in the alto range a lot.  No the next guy is actually a tenor, and the difference is obvious, so first soloist was playing alto.  The Cookers?

It is not the Cookers, while the alto saxophonist and tenor saxophonist were identified earlier by JSngry.

 

 

[mikeweil]

Okay, after being distracted by two months of work in our apartment renovating the kitchen caused by poor organaization on the housekeeper's side, and me seizing the opportunity to verhaul the litchen (with all kinds of unexpected problems) I am trying to find thze time and mood to listen to BFT music ...... 

Track 1 - very nice, but sounds too casual to me. This may gain a lot in emotional intensity by being played much slower. At this tempo it is average, to me at least.

Track 2 - that's a tenor player I could listen to a whole evening, he's making me curious what he can and will do in other tempos and moods. Pianist is nice but badly recorded. I probaly know that saxist ....

Track 3 - Manha de Carnaval - why in all the world do they play this beautiful meoldy so fast and then use it as an anonymous bebop impro vehilcle? Pianist doesn't fascinate me, vibist is a very competent player with lots of chops at his disposal, would like to hear more of him. very good drummer who  doesn't play average licks. 

Track 4 - I like that, reminds me of sound experiments of the early 1970's, but why is it so short? An introduction to something? More, please! What comes next? This has a lot of atmospheric qualities. 

Track 5 - Neo-boppers having fun. Muted trumpet and flute - but I have no idea who they are. 

More tomorrow.

[tkeith]

Had to get this one in as things keep getting in the way and I want to be able to read the thread and make sure everybody has access.

Track 01 -  Off the bat had an Ellingtonian quality, then the unemployment stick came in there was a touch of Harold Vick, but that's not right, either.  There's a lot of precision here, and that's just not what I think of when I think of Vick.  Could be one of Toshiko's bands, but doesn't have the edge her stuff seems to have.  I'm resigned that I don't know who this is, but I like it.  That piano is certainly paying homage to later Duke.  Hmm... some of the polish comes off the soprano in the improv section (and that's probably a good thing).  Not Vick, but maybe Vick-adjacent?  Almost sounds like Ricky Ford playing soprano.  Arrangement sounds like a studio date more than a working band.  Mayhaps a cover of a later Ellington tune?

Track 02 - Could certainly be Ike Quebec, though I don't readily recognize it.  Find myself enjoying this sort of thing and lamenting its absence from modern recordings all at the same time.  Sing me a song.  After the piano, that certainly has the phrasing of Hawk.  If that's the case, there's zero chance I don't have this, and I'm ashamed I can't place it.  Hmmm... not enough breath + vibrato at the end to be Hawk.

Track 03 - A Day In The Life of a Standard.  Busy drums, rubbery-sounding bass.  Sound of bass pushes me towards Stafford James (not his style) or George Mraz.  Not one of the view vibists I'm comfortable IDing.  Maybe a Chico Hamilton date?

Track 04 - Lots of effects and production, but I like it.  Reminds me of Nat Adderley's Soul Zodiac a bit.  Not sure what it is, but I want to hear more.

Track 05 - I know the tune, but couldn't give you a title to save my life.  Something Philly Joe about those drums -- burnin'!  Dizzy?  Jerome Richardson?  Not Jerome.  A doubler, though.  Very nice.

Track 06 - To be honest, I zoned through most of this while reading a geocache log.  Didn't put me off at all, but didn't make an impression, either.

Track 07 - Derivative as hell.  I think they mean it, but it's not theirs.  Affected phrasing -- it's a modern player playing the style.  Loses steam in the double-time because it reeks of the practice room instead of the music.  Could be Eric Alexander, but doesn't sound enough like George Coleman.  Big voiced second tenor is more convincing -- wondering if this is one of those pair-the-young-lion-with-the-old-guy cuts.  Really enjoying second guy.  A bit of Hadley Caliman in there, a bit of Frank Foster, but a clear and unique message.  I should get this guy.  Given the lack of a definitie identity on the first guy, I'll guess Josh Redman.  Pianist is giving me nothing... maybe a touch of gas.  Newer recording because the drums lack subtlety.  It's not the drummer, it's the recording.  That bigger tenor is giving me a Plas Johnson vibe here on the outchorus.  

Track 08 - Is this the same album as Track 03?  Similar feel.  Sounds like Pat Martino to me, and the drums cook like hell.  Not sure how I feel about the bass, but it's doing its job.  This is not a vibist in the stable of those I recognize.  Really enjoying the guitar solo.  Overall tune loses me a bit at the end.  Live, though, that earns it some respect.  

Track 09 - I like the looseness of this (and really feel like this is close to another tune but can't say which one).  A little too much in the way of effects on the guitar.  Almost sounds like one of those later Coltrane cuts done as a traditional jazz tune.  A hungry tenor coming out of the post-Coltrane bag.  Lovano-adjacent, but to be frank, this has what I WANT to hear in Lovano's stuff, but excepting the earlist stuff, seems missing to my ear. That could sure be Dave Holland, has that kind of approach and facility.  Yeah, I like this.  Seems to have too much edge to be Potter, Lovano, who-have-you.  That 80s guitar sound that I've never warmed up to.  The longer this goes, the more I'm appreciating what the tenor brings to the table.  Without the tenor, the intensity fades.  Sounds like a Gato tune, but damned if I can name it.  Definitely hear a Dewey Redman influence in that tenor.

Track 10 - Slight familiarity of melody, but that's it.  I got nothin'.  Very pleasant.

Track 11 - Bloodcount.  I haven't heard this tune the same since I heard Getz do it.  Not a huge Getz fan, but he absolutely ended this song for me.  I can't give you the player, but he doesn't have a strong upper-register.  Could be later Dewey, but really doesn't seem to have the power he has (hence 'later').  The more I'm focusing on trying to make Dewey fit, the less I feel that's right.  It's there, but doesn't seem nearly strong enough.  I can't tell if I'm okay with this one or it misses.  It has at least earned a second listen.

Track 12 - This is infuriating. I'm literally singing along with this and can't place the name of the tune.  #maddening  AH!!!!  Horace!  My mind said this has the sound of those Tapscott Sessions recordings on Nimbus West, and then I realized the tune is Horace Silver's Peace.  It's not Tapscott.  More polite.  I hear some vocalizing, but it's not that vocalizing pianist who shall not be named.  Kind of stiff, almost stride-like time.  European pianist if I'm hearing this correctly.  Very busy and classically influenced.  Not a bad thing, but it's in the same category as the one above -- I'll give it a second listen, but can't decide if I like it.  I think so, but... ain't easy bein' me.

Track 13 - Not a fan of the recording. Hyper-compressed drums sound fussy.  I want this to be Sonny Criss from the mid-70s, but it's not that.  I'm not warming to the alto.  Dude can play, but I'm not feeling touched by it. Hits me the exact way Phil Woods post-1968 does.  Damned near flawless, but can't make me care.  Marsh disciple, but not Marsh.  Had a recording of Warne with one of these guys, but can't recall his name (and no longer have the recording, but we won't get into that).  Thoughtful tenor player perhaps punching a bit above his weight class.  Or, could be a guy who's just a tad past prime pushing himself.  The story is there, though.  Piano is in the correct pocket.  I assume that's a guy from an era that I know.  Alto has all the lines, I just don't believe them.  Tenor is there.  Based on the sound of the drums, I'm gonna guess Alan Dawson.  Bass is lost in the mix.  I like this for the tenor/piano and overall feel.  Alto seems to be the leader, but just doesn't reach me.  

No full IDs for me, but made for a nice morning soundtrack.  Definitely a few I need to know more about.

On 8/2/2023 at 12:33 AM, JSngry said:

TRACK THREE - If that's not Bags, the vibist should be shot for plagiarism. And that's not Bags.

You never disappoint, Jim. 

On 8/2/2023 at 12:05 PM, Dan Gould said:

So wait a sec, my info was wrong but I get detention?  My Daddy is going to talk to the principal. 

Why I quit the biz. 

 

Oof!  I was thinking James Carter and talked myself out of him because he didn't lose his cool.  Second listen, it's obvious, but not at his best. 

Shame on me for missing J-Griff.  The fact that I couldn't nail Woods tells you everything wrong with his playing from that era, and I stand by that.

[Ken Dryden]

11 hours ago, tkeith said:

Had to get this one in as things keep getting in the way and I want to be able to read the thread and make sure everybody has access.

Track 01 -  Off the bat had an Ellingtonian quality, then the unemployment stick came in there was a touch of Harold Vick, but that's not right, either.  There's a lot of precision here, and that's just not what I think of when I think of Vick.  Could be one of Toshiko's bands, but doesn't have the edge her stuff seems to have.  I'm resigned that I don't know who this is, but I like it.  That piano is certainly paying homage to later Duke.  Hmm... some of the polish comes off the soprano in the improv section (and that's probably a good thing).  Not Vick, but maybe Vick-adjacent?  Almost sounds like Ricky Ford playing soprano.  Arrangement sounds like a studio date more than a working band.  Mayhaps a cover of a later Ellington tune?

It is an Ellington tune, but not a later one. 

11 hours ago, tkeith said:

Track 02 - Could certainly be Ike Quebec, though I don't readily recognize it.  Find myself enjoying this sort of thing and lamenting its absence from modern recordings all at the same time.  Sing me a song.  After the piano, that certainly has the phrasing of Hawk.  If that's the case, there's zero chance I don't have this, and I'm ashamed I can't place it.  Hmmm... not enough breath + vibrato at the end to be Hawk.

Track 03 - A Day In The Life of a Standard.  Busy drums, rubbery-sounding bass.  Sound of bass pushes me towards Stafford James (not his style) or George Mraz.  Not one of the view vibists I'm comfortable IDing.  Maybe a Chico Hamilton date?

Track 04 - Lots of effects and production, but I like it.  Reminds me of Nat Adderley's Soul Zodiac a bit.  Not sure what it is, but I want to hear more.

Track 05 - I know the tune, but couldn't give you a title to save my life.  Something Philly Joe about those drums -- burnin'!  Dizzy?  Jerome Richardson?  Not Jerome.  A doubler, though.  Very nice.

Track 06 - To be honest, I zoned through most of this while reading a geocache log.  Didn't put me off at all, but didn't make an impression, either.

Track 07 - Derivative as hell.  I think they mean it, but it's not theirs.  Affected phrasing -- it's a modern player playing the style.  Loses steam in the double-time because it reeks of the practice room instead of the music.  Could be Eric Alexander, but doesn't sound enough like George Coleman.  Big voiced second tenor is more convincing -- wondering if this is one of those pair-the-young-lion-with-the-old-guy cuts.  Really enjoying second guy.  A bit of Hadley Caliman in there, a bit of Frank Foster, but a clear and unique message.  I should get this guy.  Given the lack of a definitie identity on the first guy, I'll guess Josh Redman.  Pianist is giving me nothing... maybe a touch of gas.  Newer recording because the drums lack subtlety.  It's not the drummer, it's the recording.  That bigger tenor is giving me a Plas Johnson vibe here on the outchorus.  

Track 08 - Is this the same album as Track 03?  Similar feel.  Sounds like Pat Martino to me, and the drums cook like hell.  Not sure how I feel about the bass, but it's doing its job.  This is not a vibist in the stable of those I recognize.  Really enjoying the guitar solo.  Overall tune loses me a bit at the end.  Live, though, that earns it some respect.  

Track 09 - I like the looseness of this (and really feel like this is close to another tune but can't say which one).  A little too much in the way of effects on the guitar.  Almost sounds like one of those later Coltrane cuts done as a traditional jazz tune.  A hungry tenor coming out of the post-Coltrane bag.  Lovano-adjacent, but to be frank, this has what I WANT to hear in Lovano's stuff, but excepting the earlist stuff, seems missing to my ear. That could sure be Dave Holland, has that kind of approach and facility.  Yeah, I like this.  Seems to have too much edge to be Potter, Lovano, who-have-you.  That 80s guitar sound that I've never warmed up to.  The longer this goes, the more I'm appreciating what the tenor brings to the table.  Without the tenor, the intensity fades.  Sounds like a Gato tune, but damned if I can name it.  Definitely hear a Dewey Redman influence in that tenor.

Track 10 - Slight familiarity of melody, but that's it.  I got nothin'.  Very pleasant.

Track 11 - Bloodcount.  I haven't heard this tune the same since I heard Getz do it.  Not a huge Getz fan, but he absolutely ended this song for me.  I can't give you the player, but he doesn't have a strong upper-register.  Could be later Dewey, but really doesn't seem to have the power he has (hence 'later').  The more I'm focusing on trying to make Dewey fit, the less I feel that's right.  It's there, but doesn't seem nearly strong enough.  I can't tell if I'm okay with this one or it misses.  It has at least earned a second listen.

Track 12 - This is infuriating. I'm literally singing along with this and can't place the name of the tune.  #maddening  AH!!!!  Horace!  My mind said this has the sound of those Tapscott Sessions recordings on Nimbus West, and then I realized the tune is Horace Silver's Peace.  It's not Tapscott.  More polite.  I hear some vocalizing, but it's not that vocalizing pianist who shall not be named.  Kind of stiff, almost stride-like time.  European pianist if I'm hearing this correctly.  Very busy and classically influenced.  Not a bad thing, but it's in the same category as the one above -- I'll give it a second listen, but can't decide if I like it.  I think so, but... ain't easy bein' me.

Track 13 - Not a fan of the recording. Hyper-compressed drums sound fussy.  I want this to be Sonny Criss from the mid-70s, but it's not that.  I'm not warming to the alto.  Dude can play, but I'm not feeling touched by it. Hits me the exact way Phil Woods post-1968 does.  Damned near flawless, but can't make me care.  Marsh disciple, but not Marsh.  Had a recording of Warne with one of these guys, but can't recall his name (and no longer have the recording, but we won't get into that).  Thoughtful tenor player perhaps punching a bit above his weight class.  Or, could be a guy who's just a tad past prime pushing himself.  The story is there, though.  Piano is in the correct pocket.  I assume that's a guy from an era that I know.  Alto has all the lines, I just don't believe them.  Tenor is there.  Based on the sound of the drums, I'm gonna guess Alan Dawson.  Bass is lost in the mix.  I like this for the tenor/piano and overall feel.  Alto seems to be the leader, but just doesn't reach me.  

No full IDs for me, but made for a nice morning soundtrack.  Definitely a few I need to know more about.

You never disappoint, Jim. 

Why I quit the biz. 

 

Oof!  I was thinking James Carter and talked myself out of him because he didn't lose his cool.  Second listen, it's obvious, but not at his best. 

Shame on me for missing J-Griff.  The fact that I couldn't nail Woods tells you everything wrong with his playing from that era, and I stand by that.

The main artist in track 2 was previously identified.

Track 3 doesn't feature Stafford James, George Mraz or Chico Hamilton.

Track 5 doesn't include Philly Joe Jones, Dizzy Gillespie or Jerome Richardson.

Track 8 isn't Pat Martino.

Track 9 doesn't feature Dave Holland and it isn't a Gato Barbieri tune, it isn't a jazz composition.

Track 12 is Horace Silver's "Peace," played by a European pianist.

 

 

 

[webbcity]

Finally got to check this one out, and as always, I'm posting my notes made while listening before going back to read the thread and see just how far off I was on some of these guesses. 

 

Track 1 - Right away I love the clarinet, the percussion and the way this begins with so much space... it draws me right in. As the arrangement gets going it sounds a bit like a modern version of Ellington. Oh yes! Very Ellingtonian. Some beautiful horn arranging and a very solid rhythm section. If I have any complaint it's that it's too polite, I could use a little more grit. Overall a nice selection though, clearly a very tight group.

Track 2 - Very sensitive playing, beautiful start on this. Early on I'm getting a touch of Sonny Rollins from the tenor player, though I highly doubt it's him. No, this is someone of an older vintage. I suppose it could be someone who is one degree from Rollins... say Coleman Hawkins? Beautiful track all the way around. Can't ID the other players, but very nice support from all.

Track 3 - Black Orpheus, right? My memory is getting worse and worse but I think I'm remembering that correctly. Definitely a 70s production, listen to the electrified upright! Not that I'm complaining, I don't object to that, just noting it. I suppose the obvious call is Milt Jackson but I'm not convinced it's him. The drummer sure sounds familiar but I don't have a clear answer there either. Overall I like the energy of the track. Feel-wise it's a little uptight to me. The drummer sounds way on top of things in a way that I'm not sure I'm down with. A fun listen though.

Track 4 - Now we're in some quite different territory, and I do like it. I like the space we're in... nice use of sounds. Not a lot to go on here, but I'd be interested to hear what the rest of this recording sounds like.

Track 5 - Not sure I completely love the head, but once the tune gets going it is cookin! Great trumpet solo right out of the gate, but my ear is equally drawn to the rhythm section which is just LAYING IT DOWN. Damn! Whoever is on bass and drums here, I salute you. The flute solo is slightly less engaging to me, but that's ok because we're still cooking. In fact, ok, we're heating up again. I take back my earlier assessment of the flautist. Once again, the rhythm section is just killing it. Absolutely driving, yet it sounds effortless at the same time. Really digging the piano solo too. I don't think I know this bass player. Good solo. Drum solo is super tasty. No guesses on any of this, but me likey.

Track 6 - Very torn on this one, the tune and arrangement is a bit corny to me, but then again that sure sounds like Clark Terry on trumpet and I do dig it! But whose band? Maybe Basie? Not sure on this one.

Track 7 - Alone Together! And I suppose that's meant to apply to the two horns here? Very competent band, but a couple minutes into the tenor solo and I don't really feel moved. I like the 2nd tenorist a bit more, a little more fire there, but overall this isn't getting off the ground for me. Too much head and not enough heart. But what do I know?

Track 8 - Now this is interesting. I really like the vibes/guitar sound right off the bat on those lines. Kind of magical and other-worldly. Getting deeper into the tune, I enjoy it but need to give it another listen or two I think. The solos are not grabbing me as much as the overall sound and feel, which I do like... but something's missing. Not sure. I don't dislike it, in fact I like the sound of the group a lot, but I needed more of a story or an arc to the tune I guess.

Track 9 - The guitarist sounds very Scofield-inspired to me. Probably what I like most about this from the get-go is the drummer... great loose feeling in the drums. Other than that this one just may not be for me. Not really my taste. All the musicians are technically very good but it doesn't speak to me.

Track 10 - Early on, this track gives me what the last one did not: feeling. This is very nice. A bit of funny intonation here and there from the tenor player, but that doesn't get in the way of my enjoyment of this. Don't know the tune, but I like it. Overall this was a keeper for me.

Track 11 - Ah, Blood Count! What a great tune. So far this is a good reading for me. I kinda wish the recording was a little better... I feel like the tenor player's sound is not well served by this. But I do like the tenor player very much. I definitely want to hear more from this group, they're hanging out in a neighborhood I like. In fact I will probably feel silly for not getting who this is, but in any case, it's fantastic.

Track 12 - This is of course Horace Silver's "Peace" and this pianist is doing some very interesting things with it. Not sure this is someone I know, but it's an individual approach and I appreciate what they're doing. 

Track 13 - On this track I appreciate the fun factor, and they're all great players having a good time, but it's not something that personally resonates with me. The drummer sure does sound familiar though. Sounds like it could be Phil Woods on alto, who is not one of my favorites. Will be interested to find out who it is anyway!

 

Some very nice stuff here, will look forward to the reveals! Thanks so much for putting it together for us, Ken!

[Ken Dryden]

On 8/21/2023 at 2:30 PM, webbcity said:

Finally got to check this one out, and as always, I'm posting my notes made while listening before going back to read the thread and see just how far off I was on some of these guesses. 

 

Track 1 - Right away I love the clarinet, the percussion and the way this begins with so much space... it draws me right in. As the arrangement gets going it sounds a bit like a modern version of Ellington. Oh yes! Very Ellingtonian. Some beautiful horn arranging and a very solid rhythm section. If I have any complaint it's that it's too polite, I could use a little more grit. Overall a nice selection though, clearly a very tight group.

Track 2 - Very sensitive playing, beautiful start on this. Early on I'm getting a touch of Sonny Rollins from the tenor player, though I highly doubt it's him. No, this is someone of an older vintage. I suppose it could be someone who is one degree from Rollins... say Coleman Hawkins? Beautiful track all the way around. Can't ID the other players, but very nice support from all.

Track 3 - Black Orpheus, right? My memory is getting worse and worse but I think I'm remembering that correctly. Definitely a 70s production, listen to the electrified upright! Not that I'm complaining, I don't object to that, just noting it. I suppose the obvious call is Milt Jackson but I'm not convinced it's him. The drummer sure sounds familiar but I don't have a clear answer there either. Overall I like the energy of the track. Feel-wise it's a little uptight to me. The drummer sounds way on top of things in a way that I'm not sure I'm down with. A fun listen though.

Track 4 - Now we're in some quite different territory, and I do like it. I like the space we're in... nice use of sounds. Not a lot to go on here, but I'd be interested to hear what the rest of this recording sounds like.

Track 5 - Not sure I completely love the head, but once the tune gets going it is cookin! Great trumpet solo right out of the gate, but my ear is equally drawn to the rhythm section which is just LAYING IT DOWN. Damn! Whoever is on bass and drums here, I salute you. The flute solo is slightly less engaging to me, but that's ok because we're still cooking. In fact, ok, we're heating up again. I take back my earlier assessment of the flautist. Once again, the rhythm section is just killing it. Absolutely driving, yet it sounds effortless at the same time. Really digging the piano solo too. I don't think I know this bass player. Good solo. Drum solo is super tasty. No guesses on any of this, but me likey.

Track 6 - Very torn on this one, the tune and arrangement is a bit corny to me, but then again that sure sounds like Clark Terry on trumpet and I do dig it! But whose band? Maybe Basie? Not sure on this one.

Track 7 - Alone Together! And I suppose that's meant to apply to the two horns here? Very competent band, but a couple minutes into the tenor solo and I don't really feel moved. I like the 2nd tenorist a bit more, a little more fire there, but overall this isn't getting off the ground for me. Too much head and not enough heart. But what do I know?

Track 8 - Now this is interesting. I really like the vibes/guitar sound right off the bat on those lines. Kind of magical and other-worldly. Getting deeper into the tune, I enjoy it but need to give it another listen or two I think. The solos are not grabbing me as much as the overall sound and feel, which I do like... but something's missing. Not sure. I don't dislike it, in fact I like the sound of the group a lot, but I needed more of a story or an arc to the tune I guess.

Track 9 - The guitarist sounds very Scofield-inspired to me. Probably what I like most about this from the get-go is the drummer... great loose feeling in the drums. Other than that this one just may not be for me. Not really my taste. All the musicians are technically very good but it doesn't speak to me.

Track 10 - Early on, this track gives me what the last one did not: feeling. This is very nice. A bit of funny intonation here and there from the tenor player, but that doesn't get in the way of my enjoyment of this. Don't know the tune, but I like it. Overall this was a keeper for me.

Track 11 - Ah, Blood Count! What a great tune. So far this is a good reading for me. I kinda wish the recording was a little better... I feel like the tenor player's sound is not well served by this. But I do like the tenor player very much. I definitely want to hear more from this group, they're hanging out in a neighborhood I like. In fact I will probably feel silly for not getting who this is, but in any case, it's fantastic.

Track 12 - This is of course Horace Silver's "Peace" and this pianist is doing some very interesting things with it. Not sure this is someone I know, but it's an individual approach and I appreciate what they're doing. 

Track 13 - On this track I appreciate the fun factor, and they're all great players having a good time, but it's not something that personally resonates with me. The drummer sure does sound familiar though. Sounds like it could be Phil Woods on alto, who is not one of my favorites. Will be interested to find out who it is anyway!

 

Some very nice stuff here, will look forward to the reveals! Thanks so much for putting it together for us, Ken!

Track 2 has been previously identified as Coleman Hawkins.

Track 3 has been previously identified as "Manha de Carnaval,"

Track 4 is likely to be a challenge, unless you own the CD. It is an excerpt of a larger work.

Track 6 has been previously identified to feature Clark Terry, though it is obviously not his date as a leader.

The source of Track 7 was previously identified.

Track 11 was previously identified as a "Blood Count."

Track 12 was previously identified as "Peace," performed by an as yet unidentified European pianist.

Track 13 was previously identified in full.