BFT244 (July, 2024)

[tkeith]

Since Dub Modal posted the reveal, I'm going to jump on GMT (well, if so, I'm 1 hour late, actually) and start this thread up. 

https://thomkeith.net/blindfold-tests/current-tests/

This is a mix of tunes I made note of throughout the year as well as some things I've picked up relatively recently.  There's a mix of "classic" and new, with some stuff that isn't really in my normal wheelhouse.  I expect this will be Felser-approved, Gould-rejected, and a mixed bag for Jim.  Without further ado, your Maître d' will show you to your table.

[Dan Gould]

And I always go in with a deep well of open-mindedness. It sucks to be pigeonholed.

[Dan Gould]

TRACK 1:

Peppy!  Enjoying the tenor sax a lot.  Strange guitar sound is harshing my mellow though. Get rid of the guitar and this is a 3.5 star tune easily. Combined rating 2.5.

TRACK 2:

Mark Turner? 3 stars, no demerits.

Track 3:

Extra Peppy!  Liking solos a lot more than ensemble. This was closest to a Gould Reject (tm) but I refused to give in to negativity and listened with open heart and mind.  3 stars.

TRACK 4:

OH HELL NO. Fake Coltrane. Yeah, no.

I don't have all that much time tonight but didn't want to end on a downer (I'm a people person with big ears, doncha know. And I mean that literally) so:

TRACK 5:

Not a reject. 2.5 stars.

Tomorrow night is a quiet night in MLB so I will try to listen to the rest then.  There's gots to be something aggravating coming up.

 

[tkeith]

10 hours ago, Dan Gould said:

And I always go in with a deep well of open-mindedness. It sucks to be pigeonholed.

Fair enough.  Attempts to be witty late at night often expose my true level of comedic talent.

 

10 hours ago, Dan Gould said:

TRACK 1:

Peppy!  Enjoying the tenor sax a lot.  Strange guitar sound is harshing my mellow though. Get rid of the guitar and this is a 3.5 star tune easily. Combined rating 2.5.

****
NOTE: Apparently the forum is doing that thing where I can't divide up the posts when I respond... again.  Sometimes it works (as above), sometimes it doesn't (as here).  My responses will be in bold green.

The tenor is a sound people will either love or not.  It's not a tone/style I typically gravitate towards, but it's here.  I agree on the guitar -- if the tenor was not as strong as this, the cut would not be here because of the guitar.

 

TRACK 2:

Mark Turner? 3 stars, no demerits.

Not Turner.   Now THERE is a guy I am NOT a fan of.  (I have to remember the stars thing -- I like that touch.) 

 

Track 3:

Extra Peppy!  Liking solos a lot more than ensemble. This was closest to a Gould Reject (tm) but I refused to give in to negativity and listened with open heart and mind.  3 stars.

I'll be interested to see where everybody falls on this one.
 

TRACK 4:

OH HELL NO. Fake Coltrane. Yeah, no.

I don't have all that much time tonight but didn't want to end on a downer (I'm a people person with big ears, doncha know. And I mean that literally) so:

😂Oh, I knew this one would land in exactly this spot.  But, because I'm me, there's a surprise in here somewhere.

 

TRACK 5:

Not a reject. 2.5 stars.

Tomorrow night is a quiet night in MLB so I will try to listen to the rest then.  There's gots to be something aggravating coming up.

Well, not-a-reject is heartening on this one.    And I promise you, based on that final sentence, you will NOT be disappointed.  I know which track I think will do it, but I don't want to insert any bias.

 

Edited Monday at 11:50 AM by tkeith

[Dan Gould]

I thought Turner was not a favorite but I went for it.

And much of the above was my own attempt at humor. (As in, I have big ears only in the literal sense.)

[Dub Modal]

1. Lovano & Frisell? The mix on Frisell (or whoever the guitarist is interesting and I love the intro where he's following the sax, making it sound like reverb. Great stuff. Is there a 2nd guitar? There's comping during the guitar solo. Hmmm...

2. Messengers-ish intro but that's not Blakey and it sounds more recent. Is that Shorter though? Maybe one of his groups with Blade on drums?

3. Afro-beat style at least on rhythm, then yeah, those horns are definitely Lagos inspired. But the jazz vibes don't seem to come from the Motherland. So a UK group? Great tune. 

4. Great playing although I'm not in love with the composition here. Seems a recent recording, but no guesses at the moment. 

5. Ok, this is an older recording. Definitely grooving and the bassist is killing it. Big time swinging. Excellent song. No guesses. Pianist is damn good too. 

6. Love the pianist here. There's a story in that opening solo. Is this a Jaws and Terry record? If not, it's in that zone. 

7. Need more Elvin influence on that drummer, esp for the intro. I like the gist of this but something seems missing. I'm blaming the drummer, my apologies to the player here. 

To be continued...

[tkeith]

2 hours ago, Dan Gould said:

I thought Turner was not a favorite but I went for it.

And much of the above was my own attempt at humor. (As in, I have big ears only in the literal sense.)

Aw, Jeez.  Wait, is this NOT your profile pic?

1 hour ago, Dub Modal said:

1. Lovano & Frisell? The mix on Frisell (or whoever the guitarist is interesting and I love the intro where he's following the sax, making it sound like reverb. Great stuff. Is there a 2nd guitar? There's comping during the guitar solo. Hmmm...

Neither Lovano nor Frisell.  I would say tenor is a slightly later contemporary of Joe.  The guitarist is probably not on Frisell's level (IMO).  

 

2. Messengers-ish intro but that's not Blakey and it sounds more recent. Is that Shorter though? Maybe one of his groups with Blade on drums?

Negative, sir.  I'll be surprised if someone doesn't get the tune.  Composer is later-Blakey-adjacent (mayhaps a Messenger at one point, but I'm not up on that vintage of the JM).  Not Wayne, but certainly influenced by him.  Not Blade.

 

3. Afro-beat style at least on rhythm, then yeah, those horns are definitely Lagos inspired. But the jazz vibes don't seem to come from the Motherland. So a UK group? Great tune. 

Not bad.  Not from UK, but you're definitely on the right track.

 

4. Great playing although I'm not in love with the composition here. Seems a recent recording, but no guesses at the moment. 

You're setting yourself up for the tkeith award.  Recording is recent-ish (within the past 20 years).  I chose the composition because it was an original by the tenor player.  The non-originals were closer to Main St., and I was trying to avoid that.

 

5. Ok, this is an older recording. Definitely grooving and the bassist is killing it. Big time swinging. Excellent song. No guesses. Pianist is damn good too. 

Spot-on on all accounts.

 

6. Love the pianist here. There's a story in that opening solo. Is this a Jaws and Terry record? If not, it's in that zone. 

Not Jaws, but you're correct on the zone.  LOT of story here.

 

7. Need more Elvin influence on that drummer, esp for the intro. I like the gist of this but something seems missing. I'm blaming the drummer, my apologies to the player here. 

Your ears are right on it.  I agree a touch more Elvin would be right.  Pianist miffs me a bit.  Most here know this band.

To be continued...

 

I so love it when my replies that have nothing to do with each other get merged. 😡

[Dub Modal]

Now for the rest...

8. A bit frenetic at the start, drummer is all over that ride too. Bass and sax sound simpatico - and I'm wondering if this is someone obvious on saxophone but I don't have any guesses. Maybe it's the recording mix, but the sax sounds subdued, even when you'd think they should be going wild. I like the tune overall though. Lo and behold there's a piano player! Pianist is a bit on their own island it seems in relation to the other instruments, and maybe the tune all together. Man, at about 5:15 the vibe I'm getting is that the band wasn't following the pianist the way the pianist wanted, so pianist starts berating them lol, "Come with me dammit!" is what I'm hearing. Song is interesting with that apparent conflict inside the playing. 

9. I like the modern dirge-ish beginning. But it seems to get stuck - waiting for some payoff but it's a bit stuck. Sax has some Pharaoh influence but I don't think it's him. I like the underlying strings (I'm guessing violin) over the bass line. And every single cymbal is mic'd on that kit. This seems like something I should enjoy more but it's not hitting for me this morning. 

10. The band is grooving, the singer is wailing, and I have no clue as to who this is. The singer loves to sing, I'll give him that. 

11. Hmmm...sax has a great sound. Slow, meandering blues song. I was going to guess Charles Lloyd at the intro but I don't think this is him. Especially as the song goes on, there's a burliness beyond Lloyd's sound that I'm hearing. Post-3:00 minute mark there's some blues cliches being played which seems to be the bridge to the trumpet solo. I really have no guesses here. Seems pretty recent-ish IMO. Guitar is kind of in Frisell's lane but the sound is not his. And a trombone makes an appearance. They're just coming out of the woodwork...the ensemble playing at the end of the song is my favorite part here. 

Some really interesting tunes! Definitely eclectic which I enjoyed. Thanks for putting this together 🍻

[tkeith]

5 minutes ago, Dub Modal said:

Now for the rest...

8. A bit frenetic at the start, drummer is all over that ride too. Bass and sax sound simpatico - and I'm wondering if this is someone obvious on saxophone but I don't have any guesses. Maybe it's the recording mix, but the sax sounds subdued, even when you'd think they should be going wild. I like the tune overall though. Lo and behold there's a piano player! Pianist is a bit on their own island it seems in relation to the other instruments, and maybe the tune all together. Man, at about 5:15 the vibe I'm getting is that the band wasn't following the pianist the way the pianist wanted, so pianist starts berating them lol, "Come with me dammit!" is what I'm hearing. Song is interesting with that apparent conflict inside the playing. 

Again, your ears are on top of it.  I think subdued might collide with this tenor fairly often, but is certainly capable of going wild.  This recording is an interesting piece of the story of the musician, IMO.  Pianist does seem to find his way into what sounds like conflict with the rhythm section at time.  May have something to do with his origins. 
 

9. I like the modern dirge-ish beginning. But it seems to get stuck - waiting for some payoff but it's a bit stuck. Sax has some Pharaoh influence but I don't think it's him. I like the underlying strings (I'm guessing violin) over the bass line. And every single cymbal is mic'd on that kit. This seems like something I should enjoy more but it's not hitting for me this morning. 

I hear the Pharoah influence a bit in this guy, but what I mostly hear is a unique voice, which is a good thing.  I don't want to say too much too early, though.

10. The band is grooving, the singer is wailing, and I have no clue as to who this is. The singer loves to sing, I'll give him that. 

A perfect description of this guy.  I'd say this, though:  The singer loves to make music, his instrument is his voice, and he embraces that concept completely.  Again, a heavy backstory.

11. Hmmm...sax has a great sound. Slow, meandering blues song. I was going to guess Charles Lloyd at the intro but I don't think this is him. Especially as the song goes on, there's a burliness beyond Lloyd's sound that I'm hearing. Post-3:00 minute mark there's some blues cliches being played which seems to be the bridge to the trumpet solo. I really have no guesses here. Seems pretty recent-ish IMO. Guitar is kind of in Frisell's lane but the sound is not his. And a trombone makes an appearance. They're just coming out of the woodwork...the ensemble playing at the end of the song is my favorite part here. 

Your ears are on fire, this morning!  LOVE this sax player's tenor sound (though he's playing bari here).  Lots of backstory (which may be the backstory of the theme, unintentionally) here, as well.  Not sure where the player would fall on the comparison to Lloyd.  Probably have a witty remark, as is his specialty.

Some really interesting tunes! Definitely eclectic which I enjoyed. Thanks for putting this together 🍻

Glad you found something to make your ears smile.

 

[felser]

1 – Good composition, nice sax, hate the guitar tone and reverb, which sounds like a cheap 90’s computer game and is borderline unlistenable for me.  Similar issues have turned me off to such esteemed musicians as John Scofield and latter-day John McLaughlin, so it must be my issue, but it’s real to me.

2 – Good enough all around but leaves me indifferent.  Nothing stands out positive or negative to me.  I have sooo much of this sort of thing already.

3 – I like this, though not all that curious about it.  But it goes down well.

4 – OK, now we’re in my  WWFL wheelhouse.  Good cut, very curious for the reveal.  Sax player has listened closely to Joe Henderson but is clearly not him.  The pianist sure sounds like McCoy Tyner or his ghost.  I LOVE the piano solo. 

5 – And we remain in my wheelhouse!  Great cut.  This would not be out of place on a 60’s Blue Note album, though the bass playing would indicate a later vintage.  Trumpet from the Freddie Hubbard/Woody Shaw school of awesomeness, though I don’t think it’s either of them.

6 – Out of my wheelhouse, but this is good. 

7 – Great cut, I could (and often do) listen to stuff like this all day.  Strong performances all around.  I assume big names on this.  Do I hear Stanley Turrentine in there?  Ron Carter?   I would hope I have this on the shelves somewhere.

8 – I like it, who is this?  Bass player and drummer are STRONG, as is sax player.  Initial impression was I need this, but not as interesting once the piano came in.  Still want to know what it is.

9 – I also really like this, the dual basses are mesmerizing and the sax is strong.  Reminiscent of prime Archie Shepp, though I suspect it is later vintage.  It does go on a little long.

10 – I am having a complicated relationship with this cut.  I’m all-in on the message of the lyrics as I generally am on all gospel-based music. I’m generally all out on the musical content of gospel-based music, though not sure on this one, will need to listen again, it does grab my ear.  I can’t decide if the singer is grossly over the top or spot on perfect for this cut.  Can’t say if I “like” it or not, but I am definitely drawn in to give it another listen and look forward to the reveal.  Intriguing, challenging cut, and one I imagine will not prove to be popular on this BFT.

11 – I respect this, can’t say I particularly like it.  The trombone section especially rambles.

 

Thanks Thom, quite an inspiring BFT.  It’s good to be stretched in some different directions, as we are with this one.  Looking forward to any number of reveals (4,5,7,8,9,10), and 4,5,7 need to be on my shelves, and 8,9, 10 need at least further exploration. 

 

[T.D.]

Really enjoying #4, maybe a Nimbus West type of thing. Nate Morgan always comes to mind in the "Tyner-influenced pianists" sector, but it doesn't sound that much like him, and if so I don't believe I own the recording.

 

Also #5, very much in my wheelhouse. Good chance I even own it but nothing comes to mind right now. Could even (longshot) be KD in a venturesome mode.

 

Lots to like here, but I'm at work and can't spare much time now. Hope to over the next few days...will have to avoid peeking at the thread as I enjoy the guessing part.

Edited Monday at 07:55 PM by T.D.

[JSngry]

Is it July already?

TRACK ONE - This is like one of those Bird blues heads that bounces around and lands by not landing. I don't recognize it as being a Bird tune, though. And when solos come, it's irrelevant, that head. They go into plain blues stylings. I like the tenor well enough. Nothing really distinctive, but very competent, they'd done the work. I like the guitar better, a lot of coherence in those lines. And then they do the organ trick of holding one note while comping under it. That's a nice touch. Overall, I don't think I'd buy this record, but in this context, I enjoyed it well enough!

TRACK TWO - Uh, no. Too imitative. It's not a Wayne Blakey tune, and waltzes are the last refuge of scoundrels! What I hear is people connecting other peoples' dots. Tenor player has the veneer of a personal tone (Warne meets Eddie Daniels?!?!?), but the ideas betray the lack of real original thought. Trumpet is in that post-Tom Harrell zone and does it well. I'd like to hear what he has to say on his own. Overall, a minor irritant, this one is. But maybe I'm just not in the mood for it. I know I'm not, in fact. But that's just me.

TRACK THREE - Ok, this I like from jump, it's got the bounce. And then the Rhodes! Is this Tony Allen? No matter, what I like is how the soloists saty in theOne pocket instead of just spewing random jazz licks everywhere. Trombone player is DOWN!!!! Yeah, this works.

TRACK FOUR - This sounds like a Tony Williams group soundalike project. Not that there's anything wrong with that...or right either. Tenor player has that "pleading" thing going on that I think comes from Brecker, and...I don't like it. No sir, I don't like it. I'll leave it at that.

TRACK FIVE - Now there ya' go. LOVE bass recorded like this. Trumpet is probably either Donald Byrd or Blue Mitchell, one of the Hard Bop "cool" players (as opposed to the "hot players like Lee & Freddie). Rhythm section is SO in the pocket. This has to be real time, not retro, it's too natural a flow for it to not be anything else.

TRACK SIX - That opening format...it could be anybody. Anybody good that is. Definitely a Rudy Record, that reverb is tied so tight to the instruments, so wonderful. Ok, there Clark Terry and a tenor player, getting right in there with it. And - that is Buddy Tate. Talk about telling a story, there one is. You can only tell a story if you have a story to tell. Hello, Buddy Tate!

TRACK SEVEN - Not sure who this might be. It's an organic group vibe, that's for sure. Sounds like it's existing in the outflow of the 60s Hard Bop into a bit more expansive palate. Sounds quite real to me. Ok, tenor is in that zone of all language no licks, love it when that happens! Same here with the trumpet. Sounds like some kind of lost Strata-East side by people whose names we may or may not recognize. Very welcome vibes out of this one!

A lot of blues changes of one kind or another up to this point. Is this intentional?

TRACK EIGHT - That's Dewey. Love Dewey. Loving this drummer too, bits and pieces of Max/Roy/Blackwell/Motian, all of the good and none of the copying. Geez, I love Dewey. So free, so grounded, so vocal. Sounds like home. WHO IS THIS DRUMMER?!?!?!?!?! Bass player is doing what is called for, and doing it well. Well, there's a piano and it's not Keith, so....ok. There's a thing happening there, not sure if it's Dewey's thing, but they stand their ground, make their case, and....ok, respect given. WHO IS THAT DRUMMER?!?!?!?!?!?!?!?  That's a good 'un!

TRACK NINE - Concept is a little dated by now, but most things are. The two horns are very empathetic and THAT quality is never dated. My hunch is that it's younger players for whom personally this might still be new ground. I hear them speaking and they sound sincere and focused. That is also a quality that is never dated. I hope there's another side that they come out of this into. I wnat to hear it if and when it happens.

TRACK TEN - That's a Duke thing, from The First Sacred Concert. There were three of them, all of them most worthy, my favorite remains the Second, but as the opener of the First, cards are laid on the table straight out the gate. Vocalist on the original was Brock Peters, and this is not that, but the original was a lot more intricate of a composition. This sounds more like a Joe Lee Wilson jam, but I don't think that's who it is. There's a choir/"choir" that is being used judiciously, and the bass player is driving that bus ALL the way home. I like it well enough, it is definitely doing for them what they want it to, but...maybe some original lyrics would have been nice, becuase I am unable to take it completely on its own terms, knowing the Ellington, and this type of passion does not need that type of distraction. Then again, maybe I should not allow for that type of distraction myself?

TRACK ELEVEN - Oh my! This seems like a more modern day Gerry Mulligan type thing, it's sincere and it feels good, and that should maybe be enough, but otoh, this is about as good as these people are going to get it, and that's ok, but...there are more things to get and I don't think that these people are going to get there (not that they want to). But I have a lot of Gerry Mulligan records and enjoy them just fine (I wouldn't have a lot if I didn't!). But in comparison with some of the other stuff on here...but I sound like an asshole about this and I don't want to, so let me just say that this one is just fine, I do like it! Trombone player especially! And buy some Gerry Mulligan records, they're quite often quite good!

So, "mixed bag"? Maybe, but mostly 👍 to one degree or another. #s 2 & $ are the only ones that are at all irksome.

Thanks!

 

[randyhersom]

1. The amusing thought that occurred to me was "The Complete Black and Blue recordings of John Abercrombie".  The fluid, somewhat progressive guitar lines fit very well in a more retro environment.  No such recordings exist to my knowledge, of course.
2. Feels like Art Farmer and Clifford Jordan.
3. If that's not a cello or piccolo bass, it certainly is a very high bass figure at the beginning.  Good electric piano and bone. OK, maybe an oud?  Rabih Abou-Khalil?  I think the band is too big to be Rabih.
4. Wayne Shorter?
5. Milesian feel.  
6. I like the hard-edged tone, not quite Booker Ervin but close.  Maybe Lockjaw, but I know a lot mote two tenor dates with him than tenor trumpet front lines.
7. Lushly arranged, suggesting a larger band.  It reminds me of Herbie's The Prisoner album, but I think it would sound more familiar if it was.  Obviously I need to play The Prisoner ASAP!
8. Monk meets Ornette, but on tenor.  Live date.  Frank Lowe?
9. Don Cherry with Pharoah on Blue Note.  Possibly Old and New Dreams, but I'll stick with Pharoah.
10. Dwight Trible
11. James Carter on Bari?  Is that a vocal chorus 3 minutes in?

 

Edited Monday at 09:41 PM by randyhersom

[felser]

2 hours ago, randyhersom said:

Obviously I need to play The Prisoner ASAP!

We all do!  What an amazing album.

[Dan Gould]

Back, with my ears just waiting for that first sign of a Gould Reject.

TRACK 6:

Well this ain't it - it's fantasic. Arnett Cobb without any honks?  Whatever it is I have to get it. 5 stars .... 5 million stars.

Track 7:

Nope. Most curious about the tenor. 4 stars.

Track 8:

Yeah that's the one. And by one I mean zero stars.

Track 9:

And again.

Track 10:

Cannot handle the singer. Nope not at all.

Track 11:

I can't figure out what this is going for ... the Bari wears out his welcome but then we move into mellow trumpet and 'bone.  For coming after the past three, 2 1/2 stars. Wish it had been cohesive and stayed in the mellow mood the other horns maintained.

 

********************************************

Well #6 is the shit and I mean in that in the good sense. If I don't have it I will have to correct that ASAP.

Thanks, Thom.

 

[tkeith]

8 hours ago, felser said:

1 – Good composition, nice sax, hate the guitar tone and reverb, which sounds like a cheap 90’s computer game and is borderline unlistenable for me.  Similar issues have turned me off to such esteemed musicians as John Scofield and latter-day John McLaughlin, so it must be my issue, but it’s real to me.

You're not alone with this issue -- I included it here for the tenor.  I held my nose on the guitar.
 

2 – Good enough all around but leaves me indifferent.  Nothing stands out positive or negative to me.  I have sooo much of this sort of thing already.

Fair.  I don't have much of it, but again, this was new to me in the past year, and there is a story.

3 – I like this, though not all that curious about it.  But it goes down well.

The price was right and I'm a fan of the 'bone player.
 

4 – OK, now we’re in my  WWFL wheelhouse.  Good cut, very curious for the reveal.  Sax player has listened closely to Joe Henderson but is clearly not him.  The pianist sure sounds like McCoy Tyner or his ghost.  I LOVE the piano solo. 

Well, you're going to appreciate the reveal, then.

5 – And we remain in my wheelhouse!  Great cut.  This would not be out of place on a 60’s Blue Note album, though the bass playing would indicate a later vintage.  Trumpet from the Freddie Hubbard/Woody Shaw school of awesomeness, though I don’t think it’s either of them.

Correct on all counts.  Vintage, influences, and neither of the guys you mentioned.

6 – Out of my wheelhouse, but this is good. 

Has the same X-factor as previous cut to me.

7 – Great cut, I could (and often do) listen to stuff like this all day.  Strong performances all around.  I assume big names on this.  Do I hear Stanley Turrentine in there?  Ron Carter?   I would hope I have this on the shelves somewhere.

Neither of those people, but I'd be surprised if you don't have a lot of this group on the shelves.

8 – I like it, who is this?  Bass player and drummer are STRONG, as is sax player.  Initial impression was I need this, but not as interesting once the piano came in.  Still want to know what it is.

Looks like the reveal is going to surprise some people.  Pianist is less known, has appeared in prior BFTs, and plays a pivotal role in this stuff being available.

9 – I also really like this, the dual basses are mesmerizing and the sax is strong.  Reminiscent of prime Archie Shepp, though I suspect it is later vintage.  It does go on a little long.

I suspect this guy and his ilk would be just outside your wheelhouse, but I think you'd be a fan when presented.  There is much I want to say about this disc, but it's too early.

10 – I am having a complicated relationship with this cut.  I’m all-in on the message of the lyrics as I generally am on all gospel-based music. I’m generally all out on the musical content of gospel-based music, though not sure on this one, will need to listen again, it does grab my ear.  I can’t decide if the singer is grossly over the top or spot on perfect for this cut.  Can’t say if I “like” it or not, but I am definitely drawn in to give it another listen and look forward to the reveal.  Intriguing, challenging cut, and one I imagine will not prove to be popular on this BFT.

We had similar reactions, from different avenues -- the message is not on my side of the street, but I loved the musicality.  One thing is certain -- HE believes this message and that matters.

11 – I respect this, can’t say I particularly like it.  The trombone section especially rambles.

I suspect you know at least the leader here.

Thanks Thom, quite an inspiring BFT.  It’s good to be stretched in some different directions, as we are with this one.  Looking forward to any number of reveals (4,5,7,8,9,10), and 4,5,7 need to be on my shelves, and 8,9, 10 need at least further exploration. 

Worth the effort, then!

 

 

6 hours ago, T.D. said:

Really enjoying #4, maybe a Nimbus West type of thing. Nate Morgan always comes to mind in the "Tyner-influenced pianists" sector, but it doesn't sound that much like him, and if so I don't believe I own the recording.

As a Nate Morgan *fan*, I can say for sure, these guys should be honored you made the comparison.

Also #5, very much in my wheelhouse. Good chance I even own it but nothing comes to mind right now. Could even (longshot) be KD in a venturesome mode.

You're definitely on the correct cul de saq.  Not KD, but you're radar is definitely beeping faster.

Lots to like here, but I'm at work and can't spare much time now. Hope to over the next few days...will have to avoid peeking at the thread as I enjoy the guessing part.

 

4 hours ago, JSngry said:

Is it July already?

TRACK ONE - This is like one of those Bird blues heads that bounces around and lands by not landing. I don't recognize it as being a Bird tune, though. And when solos come, it's irrelevant, that head. They go into plain blues stylings. I like the tenor well enough. Nothing really distinctive, but very competent, they'd done the work. I like the guitar better, a lot of coherence in those lines. And then they do the organ trick of holding one note while comping under it. That's a nice touch. Overall, I don't think I'd buy this record, but in this context, I enjoyed it well enough!

That may be the perfect review. 

TRACK TWO - Uh, no. Too imitative. It's not a Wayne Blakey tune, and waltzes are the last refuge of scoundrels! What I hear is people connecting other peoples' dots. Tenor player has the veneer of a personal tone (Warne meets Eddie Daniels?!?!?), but the ideas betray the lack of real original thought. Trumpet is in that post-Tom Harrell zone and does it well. I'd like to hear what he has to say on his own. Overall, a minor irritant, this one is. But maybe I'm just not in the mood for it. I know I'm not, in fact. But that's just me.

This would not be in my main stack, but was a recent edition to the lineup and has a story.

TRACK THREE - Ok, this I like from jump, it's got the bounce. And then the Rhodes! Is this Tony Allen? No matter, what I like is how the soloists saty in theOne pocket instead of just spewing random jazz licks everywhere. Trombone player is DOWN!!!! Yeah, this works.

Not Tony Allen.  Fair amount of backstory for this cut, but yes, the 'bone is most definitely down.

TRACK FOUR - This sounds like a Tony Williams group soundalike project. Not that there's anything wrong with that...or right either. Tenor player has that "pleading" thing going on that I think comes from Brecker, and...I don't like it. No sir, I don't like it. I'll leave it at that.

Fair analysis.  There will be some interest in the reveal.

TRACK FIVE - Now there ya' go. LOVE bass recorded like this. Trumpet is probably either Donald Byrd or Blue Mitchell, one of the Hard Bop "cool" players (as opposed to the "hot players like Lee & Freddie). Rhythm section is SO in the pocket. This has to be real time, not retro, it's too natural a flow for it to not be anything else.

Blue Mitchell is correct!

TRACK SIX - That opening format...it could be anybody. Anybody good that is. Definitely a Rudy Record, that reverb is tied so tight to the instruments, so wonderful. Ok, there Clark Terry and a tenor player, getting right in there with it. And - that is Buddy Tate. Talk about telling a story, there one is. You can only tell a story if you have a story to tell. Hello, Buddy Tate!

Not surprisingly, you are spot-on on both guys.  The world will NEVER have enough Buddy Tate.

TRACK SEVEN - Not sure who this might be. It's an organic group vibe, that's for sure. Sounds like it's existing in the outflow of the 60s Hard Bop into a bit more expansive palate. Sounds quite real to me. Ok, tenor is in that zone of all language no licks, love it when that happens! Same here with the trumpet. Sounds like some kind of lost Strata-East side by people whose names we may or may not recognize. Very welcome vibes out of this one!
Perfect analysis.  It's not Strata-east, but that's an excellent comp.  You for-sure know this band.

A lot of blues changes of one kind or another up to this point. Is this intentional?

Nope.  Mostly my ear picked things in the moment, though, so this result is not a surprise.

TRACK EIGHT - That's Dewey. Love Dewey. Loving this drummer too, bits and pieces of Max/Roy/Blackwell/Motian, all of the good and none of the copying. Geez, I love Dewey. So free, so grounded, so vocal. Sounds like home. WHO IS THIS DRUMMER?!?!?!?!?! Bass player is doing what is called for, and doing it well. Well, there's a piano and it's not Keith, so....ok. There's a thing happening there, not sure if it's Dewey's thing, but they stand their ground, make their case, and....ok, respect given. WHO IS THAT DRUMMER?!?!?!?!?!?!?!?  That's a good 'un!

Correct, again!  Dewey, and I think the drummer would love the comp, Motion/Blackwell in particular.  Great story behind this one.

TRACK NINE - Concept is a little dated by now, but most things are. The two horns are very empathetic and THAT quality is never dated. My hunch is that it's younger players for whom personally this might still be new ground. I hear them speaking and they sound sincere and focused. That is also a quality that is never dated. I hope there's another side that they come out of this into. I wnat to hear it if and when it happens.

It's a very interesting album and one I recommend highly.  Guy has been around a bit, but is relatively new to me, but definitely leveled-up in the past 5 years or so.

TRACK TEN - That's a Duke thing, from The First Sacred Concert. There were three of them, all of them most worthy, my favorite remains the Second, but as the opener of the First, cards are laid on the table straight out the gate. Vocalist on the original was Brock Peters, and this is not that, but the original was a lot more intricate of a composition. This sounds more like a Joe Lee Wilson jam, but I don't think that's who it is. There's a choir/"choir" that is being used judiciously, and the bass player is driving that bus ALL the way home. I like it well enough, it is definitely doing for them what they want it to, but...maybe some original lyrics would have been nice, becuase I am unable to take it completely on its own terms, knowing the Ellington, and this type of passion does not need that type of distraction. Then again, maybe I should not allow for that type of distraction myself?

Was not aware of this being a cover, but it makes complete sense.  Big fan of this guy and his backstory is interesting if only for the associations.

TRACK ELEVEN - Oh my! This seems like a more modern day Gerry Mulligan type thing, it's sincere and it feels good, and that should maybe be enough, but otoh, this is about as good as these people are going to get it, and that's ok, but...there are more things to get and I don't think that these people are going to get there (not that they want to). But I have a lot of Gerry Mulligan records and enjoy them just fine (I wouldn't have a lot if I didn't!). But in comparison with some of the other stuff on here...but I sound like an asshole about this and I don't want to, so let me just say that this one is just fine, I do like it! Trombone player especially! And buy some Gerry Mulligan records, they're quite often quite good!

This will make the reveal interesting.  I suspect you're familiar with this saxophonist.  Again, the backstory is epic.

So, "mixed bag"? Maybe, but mostly 👍 to one degree or another. #s 2 & $ are the only ones that are at all irksome.

I don't want to say "I agree," but if I didn't have the backstory on all this stuff, I probably would (and throw #1 in there, as well).

Thanks!

 

 

[tkeith]

4 hours ago, randyhersom said:

1. The amusing thought that occurred to me was "The Complete Black and Blue recordings of John Abercrombie".  The fluid, somewhat progressive guitar lines fit very well in a more retro environment.  No such recordings exist to my knowledge, of course.

Ironically, Abercrombie appears on other songs on this album.

2. Feels like Art Farmer and Clifford Jordan.

These musicians should be most flattered.

3. If that's not a cello or piccolo bass, it certainly is a very high bass figure at the beginning.  Good electric piano and bone. OK, maybe an oud?  Rabih Abou-Khalil?  I think the band is too big to be Rabih.

Nay, but you're headed in the right direction, if I'm not mistaken.

4. Wayne Shorter?
No, but again, they should be flattered

5. Milesian feel.  

Not Miles.  Trumpet ID'd by JSngry.

6. I like the hard-edged tone, not quite Booker Ervin but close.  Maybe Lockjaw, but I know a lot mote two tenor dates with him than tenor trumpet front lines.

Not Booker.  ID'd by JSngry, as well.

7. Lushly arranged, suggesting a larger band.  It reminds me of Herbie's The Prisoner album, but I think it would sound more familiar if it was.  Obviously I need to play The Prisoner ASAP!

Not Herbie, but a high compliment that a BFT reminds you to play something more (makes this fun!).

8. Monk meets Ornette, but on tenor.  Live date.  Frank Lowe?
Not Frank.  Stop me if you've heard this before, but ID'd by JSngry.

9. Don Cherry with Pharoah on Blue Note.  Possibly Old and New Dreams, but I'll stick with Pharoah.

Neither.  Much newer, and I'd say definitely inspired by both.

10. Dwight Trible
Yes, sir! 

11. James Carter on Bari?  Is that a vocal chorus 3 minutes in?

Not JC.  I don't believe there are any vocals here.

 

 

1 hour ago, Dan Gould said:

Back, with my ears just waiting for that first sign of a Gould Reject.

TRACK 6:

Well this ain't it - it's fantasic. Arnett Cobb without any honks?  Whatever it is I have to get it. 5 stars .... 5 million stars.

Quite right!  ID'd by JSngry.

Track 7:

Nope. Most curious about the tenor. 4 stars.

Pretty much at the intersection of Main St. and Felser Ave., so I'm kind of surprised the tenor piqued your curiosity.

Track 8:

Yeah that's the one. And by one I mean zero stars.

*laughing uncontrollably*  Okay, Jim, Dan is NOT a Dewey fan!

Track 9:

And again.

I would expect so, we've gone past Felser Ave, and you're smack in the middle of my neighborhood -- out where the buses don't run.

Track 10:

Cannot handle the singer. Nope not at all.

This is the one I *KNEW* would get you.    The singer is what did it for me. 

Track 11:

I can't figure out what this is going for ... the Bari wears out his welcome but then we move into mellow trumpet and 'bone.  For coming after the past three, 2 1/2 stars. Wish it had been cohesive and stayed in the mellow mood the other horns maintained.

Aw, man!  This bari NEVER wears out his welcome for me, and I like his tenor playing MORE!

********************************************

Well #6 is the shit and I mean in that in the good sense. If I don't have it I will have to correct that ASAP.

Thanks, Thom.

Thanks for playing our home version of the game!  

 

 

[JSngry]

Here's the Ellington original that Tribble covered (plus some of what comes after).

I think you can hear the difference in arrangement concept. 👁️‍🗨️

[tkeith]

9 hours ago, JSngry said:

Here's the Ellington original that Tribble covered (plus some of what comes after).

I think you can hear the difference in arrangement concept. 👁️‍🗨️

God I love his piano playing! 

[Dan Gould]

I am sure I am wrong but Junior Cook with Blue Mitchell on #5?

[tkeith]

13 minutes ago, Dan Gould said:

I am sure I am wrong but Junior Cook with Blue Mitchell on #5?

Uh... where you hearing that tenor?  Just trumpet on track 5.

 

[Dan Gould]

32 minutes ago, tkeith said:

Uh... where you hearing that tenor?  Just trumpet on track 5.

 

Well I went back to it and clicked on the terrific #6 instead. That's how you get a tenor with Blue. And I still can't hear Buddy Tate, I guessed Arnett and then Cook. D'OH.

Is it A2 from this? Going by track times.

[tkeith]

1 minute ago, Dan Gould said:

Well I went back to it and clicked on the terrific #6 instead. That's how you get a tenor with Blue. And I still can't hear Buddy Tate, I guessed Arnett and then Cook. D'OH.

Is it A2 from this? Going by track times.

AH!  I wondered.  And, yes!  A2 from that! 

[T.D.]

5 minutes ago, tkeith said:

AH!  I wondered.  And, yes!  A2 from that! 

Damn. As I suspected, I do own it, and it's from my favorite album by the leader. But drew a blank on the ID. 🤣😶

[felser]

19 minutes ago, T.D. said:

Damn. As I suspected, I do own it, and it's from my favorite album by the leader. But drew a blank on the ID. 🤣😶

I also own it!

BTW, Thom, I'm (seriously) totally mesmerized by all the deep back stories you refer to on these cuts.  So looking forward to the reveal, only 29 days to go!