BFT 246

[clifford_thornton]

great cover photo 

b/w

more stuff to buy 😬

[tkeith]

Enjoyed a bunch of this, particularly the first half.  Things got weird after the middle, and some of it was just plain lost on me.  Not a single guess, but certainly a handful of things I'm intrigued by.

Track 01 - Well THIS is fun.  Very strange sound to the recording.  Thin to the point of almost being distant.  I like the sound with the vibes.  Trumpet solo was decent, but piano left me feeling nada.  Fairly straight-ahead and well done.  I'm not in love with the drums, but neither am I put off.  Tune, as I said, is fun.  No idea who this is.

Track 02 - Certainly sounds Blue Note-y.  I don't think it's Horace, but the pianist would be flattered by the comment.  Not sure on the trumpet.  I thought the tenor was familiar, but now I've decided he isn't.  This is a very enjoyable cut.  It's not coming to the desert island with me, but it's thoroughly enjoyable.  

Track 03 - This checks a lot of boxes that should rub me, but I LOVE this.  Has the feel of the better Vandermark stuff, but I don't think it's that.  This just works.  Yes, please.

Track 04 - This one suffers from what the last one avoided.  Incredible ability.  Could almost be Rob Brown, but doesn't seem musical enough.  Acrobatic technique to be sure, but I just don't care.  Has the same thing that Steve Coleman had that always bugged me.  Where's the story, man?  Like the vibes better, and can almost get my ears around the rhythm section, but the whole thing just feels too math-y.

Track 05 - Flawless facility.  Maybe Noah Preminger?  I think it's an address in that neighborhood.  Full respect for it, but I'm not in love with it.  It's their thing and they mean it.  I'm not sure I'm here for it, though.  

Track 06 - A lot of angular stuff in here.  This one works.  I'm not in love with the violin, but it's doing the job.  The bass, though -- all day.  

Track 07 - Another fun one.  Kind of light, but I like it.  The trumpet sound is kind of like Ahmed Abdullah, but the technique is Chuck Mangione.  That's not a compliment.  I like it, but it's maybe a tick below prime time.  the overall feel keeps it in a good place.  It's a very social feel.

Track 08 - Another fun one, but not really grabbing me.  In fact, it was three-and-a-half minutes in before I realized that.  It's okay, but doesn't really stand out.  Respect that it's live.

Track 09 - This one is okay.  Not my bag, but interesting.  Couldn't listen to too much of it, though.

Track 10 - And here's more.  Nope.  Ran Blake, maybe?  Angular, but what 's the point?  OOOoo!  Look at the noises I can make with my shiny thing.  Just, no.

Track 11 - This test has taken a turn for the worse and brought my mood with it.  Why?  Gets better with the full band.  A LOT better.  Not sure it saves it, but it's a vast improvement.  I'm sure there is a story behind it, but I'm not sure we needed it.

Track 12 - I like this, but that's because I like Pharoah, too.  No, really, I like this a lot.  Hey Tim, maybe a reboot of Equal Time as a one-off?

Track 13 - Different.  A bit odd, but I appreciate it.  No idea what it is.  Not sure i the horns add to it, but I enjoy the hell out of it.  Vocals lose me a bit.

Track 14 - Nice bass.  Not in love with the guitar.  Okay, some sort of folk crossover, but it works -- and owes a big debt to that beautiful bass.  Okay, heavy accent on the singer, but can't pin what it is.

Track 15 - Pleasant, but not gripping me.  And the tenor comes in and proves to me that this is self-serving more than it is musical.  Just not my thing.  Very little Elvis in this music.

Despite the last comment, I enjoyed listening.  Thanks for the ear candy.

[mjazzg]

10 hours ago, tkeith said:

Enjoyed a bunch of this, particularly the first half.  Things got weird after the middle, and some of it was just plain lost on me.  Not a single guess, but certainly a handful of things I'm intrigued by.

Track 01 - Well THIS is fun.  Very strange sound to the recording.  Thin to the point of almost being distant.  I like the sound with the vibes.  Trumpet solo was decent, but piano left me feeling nada.  Fairly straight-ahead and well done.  I'm not in love with the drums, but neither am I put off.  Tune, as I said, is fun.  No idea who this is.

Definitely fun, track and artist already ID'd if you need to know before the reveal

Track 02 - Certainly sounds Blue Note-y.  I don't think it's Horace, but the pianist would be flattered by the comment.  Not sure on the trumpet.  I thought the tenor was familiar, but now I've decided he isn't.  This is a very enjoyable cut.  It's not coming to the desert island with me, but it's thoroughly enjoyable.  

Not Horace but a close contemporary. The album cover's shades of blue but not Blue Note

Track 03 - This checks a lot of boxes that should rub me, but I LOVE this.  Has the feel of the better Vandermark stuff, but I don't think it's that.  This just works.  Yes, please.

Glad you enjoyed, not KV

Track 04 - This one suffers from what the last one avoided.  Incredible ability.  Could almost be Rob Brown, but doesn't seem musical enough.  Acrobatic technique to be sure, but I just don't care.  Has the same thing that Steve Coleman had that always bugged me.  Where's the story, man?  Like the vibes better, and can almost get my ears around the rhythm section, but the whole thing just feels too math-y.

I'm a fan of Coleman's music and I hear what you saying about the similarity/influence

Track 05 - Flawless facility.  Maybe Noah Preminger?  I think it's an address in that neighborhood.  Full respect for it, but I'm not in love with it.  It's their thing and they mean it.  I'm not sure I'm here for it, though.  

I don't know Preminger's music but if it's like this I'll be investigating it

Track 06 - A lot of angular stuff in here.  This one works.  I'm not in love with the violin, but it's doing the job.  The bass, though -- all day.  

The bass player is why I bought this album

Track 07 - Another fun one.  Kind of light, but I like it.  The trumpet sound is kind of like Ahmed Abdullah, but the technique is Chuck Mangione.  That's not a compliment.  I like it, but it's maybe a tick below prime time.  the overall feel keeps it in a good place.  It's a very social feel.

Full ID upthread

Track 08 - Another fun one, but not really grabbing me.  In fact, it was three-and-a-half minutes in before I realized that.  It's okay, but doesn't really stand out.  Respect that it's live.

Track 09 - This one is okay.  Not my bag, but interesting.  Couldn't listen to too much of it, though.

Track 10 - And here's more.  Nope.  Ran Blake, maybe?  Angular, but what 's the point?  OOOoo!  Look at the noises I can make with my shiny thing.  Just, no.

Not Blake. The shiny thing player is the big name in this group

Track 11 - This test has taken a turn for the worse and brought my mood with it.  Why?  Gets better with the full band.  A LOT better.  Not sure it saves it, but it's a vast improvement.  I'm sure there is a story behind it, but I'm not sure we needed it.

Track 12 - I like this, but that's because I like Pharoah, too.  No, really, I like this a lot.  Hey Tim, maybe a reboot of Equal Time as a one-off?

Just checked Equal Time on Discogs

Track 13 - Different.  A bit odd, but I appreciate it.  No idea what it is.  Not sure i the horns add to it, but I enjoy the hell out of it.  Vocals lose me a bit.

Included because of its difference

Track 14 - Nice bass.  Not in love with the guitar.  Okay, some sort of folk crossover, but it works -- and owes a big debt to that beautiful bass.  Okay, heavy accent on the singer, but can't pin what it is.

Tune is a folk standard/classic this side of the Atlantic

Track 15 - Pleasant, but not gripping me.  And the tenor comes in and proves to me that this is self-serving more than it is musical.  Just not my thing.  Very little Elvis in this music.

Despite the last comment, I enjoyed listening.  Thanks for the ear candy.

Thanks for the great commentary, makes me want to listen to my selection again with your comments in mind. I'm glad you found things to enjoy (and thanks for your assistance in getting the BFT 'published'). You're not the first to fnd the selection front-loaded in its delights.

Edited September 12 by mjazzg

[mjazzg]

Quick mid-term report with thanks to those who have listened and commented

Track 1.  Tune and artist ID'd by adh1907

Track 6. Tune ID'd by Milestones

Track 7. Full ID by clifford_thornton

Track 8. Artist ID by Jsngry, tune and album ID by clifford_thornton

[webbcity]

Have avoided looking at this thread so as not to taint my responses. Here are my thoughts as I listened. Some really enjoyable cuts here, thanks for putting this together! 😎

 

Track 1 - Starting off in a 70s vibe, which is not a bad thing. Sadly though, this rhythm section isn't doing much for me. Oh hang on...the change in feel at :40 is cool, I do like that. But yeah, the feel of this overall is pretty uptight to me. Not feeling the swing. I think the soloists are very good and like the group sound, but I really have a hard time getting past the rhythm section on this.

Track 2 - Now THIS grooves. Here we have a drummer with feeling and fluidity. I like the way the pianist leads into his solo mimicking the last phrase from the head. Maybe this is the pianist's date? Fabulous solo and feeling. Bass solo and sound-- top notch. Trumpet solo is nice but the altoist takes the cake for me here, a most excellent, well-developed solo. Very curious about this one!

Track 3 - Right off the bat I love this. Nice interlocking lines, great groove. And you had me at bari. Everyone is in the pocket here. Bari solo is rhythmic more than anything else... very good but was hoping for them to cut loose! Bass player here again has great feel and sound. The trumpet solo could be the highlight for me on this one. Love it. Overall a nice tight unit. Really enjoyed this, though I feel like hearing this group live would be even better.

Track 4 - First impression very strong, I like the sound of this band. It wears kind of quickly though. The alto player is clearly a highly skilled musician, but I don't hear a whole lot being said, just a lot of notes. The vibraphonist is a different story altogether--an outstanding, very musical solo. Yep... most curious about who is on vibes here!

Track 5 - Nice tenor sound, again a bit note-y but I'm getting more from this. I do again like the groove and the lines are interesting. This feels like a cousin to track #3. I do like it but could use a bit more in the melody department. Rhythmically it's great. For me this stays on the good side of "mathematical." I hear a few Lovano-esque things in the tenor. Nice bass playing, and I like the looseness of the drummer too.

Track 6 - OK, you got me with that bass groove. Loving it. Nice fat sound and groovin! Hmm, this sounds kind of familiar. I really dig the violin too. Love the extended dissonant patch there, before getting into the weaving lines. Oh yeah, this one's a keeper. Excellent. Damn, the bassist is killing me, so good. This grooves hard with no drums.

Track 7 - A fun, happy tune! Tasty, crisp drumming and I do love that electric piano sound. Yeah, this is cool. Love the trumpet player's sound and there are some nice surprises in the solo. Whoever this is took a page or two from Clark Terry's book. Really great! Oh, I like the guitar lines back there too... those are popping out more to me now. What a great feel on this one. Pianist is killing it too! Wow. The drummer is DAMN good and makes this sound effortless, with of course some superb help from the bassist. OK, this track and the previous one are so far my favorites.

Track 8 - Oh yeah, another winner in the groove department and this alto player is on fire! I like that closed hi-hat thing the drummer's doing. Hello trumpet! Boy, some able playing all the way around here. Piano player is doing some really interesting stuff and that bassist is tight. This is a hell of a group. Might have to add this to my other two "favorites" as mentioned in the previous cut. Feels a bit South African but not quite.

Track 9 - Well, starting with marimba and bells, I'm already intrigued. And when the keys and soprano come in, I'm suddenly getting shades of Zawinul & Shorter. This kept my interest the whole time, I love the vibe and kept waiting to hear what was gonna happen next. That's four in a row now!

Track 10 - I have respect for this, as many of you know I do enjoy my share of avant-garde music, but this one isn't quite for me. A bit too intellectual. I didn't hate it though. Just not something I'd likely listen to again. All accomplished players, clearly, but I'm not sure I hear a conversation happening here.

Track 11 - Keeping an open mind on this one. I can do layers of percussion, yes! Not sure I understand the relevance of the sirens, but that's ok. Ah! Now it's coming together. Nice trumpet line. And tuba, yes! It's also now hitting me that there is definitely a Capetown and/or European flavor to a number of these cuts. And that ain't a bad thing! OK, this is definitely intriguing to me. Another winner!

Track 12 - Judging from this opening wash of sound I already have the feeling I'm in for something good. And there's the call of the tenor. Dig the bowed bass. Beautiful energy. Yep, I am all in on this! I couldn't possibly have too much of this in my life, in fact. Hoo boy! Those upper register notes sure do it for me, and so does the vocal. Definitely looking forward to the reveal on this one as well.

Track 13 - This is an interesting turn, and I do like it. Not sure exactly what to make of it, but that's okay. It inhabits a nice space that I like being in at the moment. Reminding me of something I can't put my finger on. Maybe Shadowfax? Ohhhhhh hell yes to the bari. Wow... now that the horns are in, I REALLY love it. This is pretty damn cool. Fascinating! You got me very curious about this.

Track 14 - A nice follow up to the previous track, staying in kind of a dream-like space. I like the groove and the big bass sound. Singer is great. I feel like I'd have to listen to this one a couple more times to really take it all in. The horn interludes add a lot too. The tune sounds almost like an Irish folk tune? Very interesting. I like it!

Track 15 - And again a similar space on this track but this one isn't reaching me quite as much. The playing leaves me a little cold. Speaking mostly about the tenor player here. Nothing particularly wrong about this, just not really my thing. They obviously do what they do very well.

 

EDIT: Well OK then, I definitely need some Harry Beckett in my life! Love it! 👍

[mjazzg]

9 hours ago, webbcity said:

Have avoided looking at this thread so as not to taint my responses. Here are my thoughts as I listened. Some really enjoyable cuts here, thanks for putting this together! 😎

 

Track 1 - Starting off in a 70s vibe, which is not a bad thing. Sadly though, this rhythm section isn't doing much for me. Oh hang on...the change in feel at :40 is cool, I do like that. But yeah, the feel of this overall is pretty uptight to me. Not feeling the swing. I think the soloists are very good and like the group sound, but I really have a hard time getting past the rhythm section on this.

This has been ID'd.  It's a tune from a decade close to the 60s but by a band a long way from then

Track 2 - Now THIS grooves. Here we have a drummer with feeling and fluidity. I like the way the pianist leads into his solo mimicking the last phrase from the head. Maybe this is the pianist's date? Fabulous solo and feeling. Bass solo and sound-- top notch. Trumpet solo is nice but the altoist takes the cake for me here, a most excellent, well-developed solo. Very curious about this one!

Not the pianist's date but he has a profile easily as high as the leaders, if not higher

Track 3 - Right off the bat I love this. Nice interlocking lines, great groove. And you had me at bari. Everyone is in the pocket here. Bari solo is rhythmic more than anything else... very good but was hoping for them to cut loose! Bass player here again has great feel and sound. The trumpet solo could be the highlight for me on this one. Love it. Overall a nice tight unit. Really enjoyed this, though I feel like hearing this group live would be even better.

Trumpet player's date

Track 4 - First impression very strong, I like the sound of this band. It wears kind of quickly though. The alto player is clearly a highly skilled musician, but I don't hear a whole lot being said, just a lot of notes. The vibraphonist is a different story altogether--an outstanding, very musical solo. Yep... most curious about who is on vibes here!

A group celebrating it's 20th anniversary this year but with a different vibes player playing the dates

Track 5 - Nice tenor sound, again a bit note-y but I'm getting more from this. I do again like the groove and the lines are interesting. This feels like a cousin to track #3. I do like it but could use a bit more in the melody department. Rhythmically it's great. For me this stays on the good side of "mathematical." I hear a few Lovano-esque things in the tenor. Nice bass playing, and I like the looseness of the drummer too.

I'm definitely with you on the rhythm section

Track 6 - OK, you got me with that bass groove. Loving it. Nice fat sound and groovin! Hmm, this sounds kind of familiar. I really dig the violin too. Love the extended dissonant patch there, before getting into the weaving lines. Oh yeah, this one's a keeper. Excellent. Damn, the bassist is killing me, so good. This grooves hard with no drums.

Bassist's date, tune only has been ID'd

Track 7 - A fun, happy tune! Tasty, crisp drumming and I do love that electric piano sound. Yeah, this is cool. Love the trumpet player's sound and there are some nice surprises in the solo. Whoever this is took a page or two from Clark Terry's book. Really great! Oh, I like the guitar lines back there too... those are popping out more to me now. What a great feel on this one. Pianist is killing it too! Wow. The drummer is DAMN good and makes this sound effortless, with of course some superb help from the bassist. OK, this track and the previous one are so far my favorites.

Track 8 - Oh yeah, another winner in the groove department and this alto player is on fire! I like that closed hi-hat thing the drummer's doing. Hello trumpet! Boy, some able playing all the way around here. Piano player is doing some really interesting stuff and that bassist is tight. This is a hell of a group. Might have to add this to my other two "favorites" as mentioned in the previous cut. Feels a bit South African but not quite.

A leader, and band members, who are very highly regarded as pioneers if not with an overly high profile. Full ID available upthread

Track 9 - Well, starting with marimba and bells, I'm already intrigued. And when the keys and soprano come in, I'm suddenly getting shades of Zawinul & Shorter. This kept my interest the whole time, I love the vibe and kept waiting to hear what was gonna happen next. That's four in a row now!

Lovely, isn't it?

Track 10 - I have respect for this, as many of you know I do enjoy my share of avant-garde music, but this one isn't quite for me. A bit too intellectual. I didn't hate it though. Just not something I'd likely listen to again. All accomplished players, clearly, but I'm not sure I hear a conversation happening here.

Included to represent my extensive avant listening

Track 11 - Keeping an open mind on this one. I can do layers of percussion, yes! Not sure I understand the relevance of the sirens, but that's ok. Ah! Now it's coming together. Nice trumpet line. And tuba, yes! It's also now hitting me that there is definitely a Capetown and/or European flavor to a number of these cuts. And that ain't a bad thing! OK, this is definitely intriguing to me. Another winner!

You're definiely warm on the guiding principle behind the choices, well spotted

Track 12 - Judging from this opening wash of sound I already have the feeling I'm in for something good. And there's the call of the tenor. Dig the bowed bass. Beautiful energy. Yep, I am all in on this! I couldn't possibly have too much of this in my life, in fact. Hoo boy! Those upper register notes sure do it for me, and so does the vocal. Definitely looking forward to the reveal on this one as well.

This has got generally positive responses

Track 13 - This is an interesting turn, and I do like it. Not sure exactly what to make of it, but that's okay. It inhabits a nice space that I like being in at the moment. Reminding me of something I can't put my finger on. Maybe Shadowfax? Ohhhhhh hell yes to the bari. Wow... now that the horns are in, I REALLY love it. This is pretty damn cool. Fascinating! You got me very curious about this.

I don't know Shadowfax so will have an investigate, you got me curious too now

Track 14 - A nice follow up to the previous track, staying in kind of a dream-like space. I like the groove and the big bass sound. Singer is great. I feel like I'd have to listen to this one a couple more times to really take it all in. The horn interludes add a lot too. The tune sounds almost like an Irish folk tune? Very interesting. I like it!

It is indeed a traditional Irish folk tune, well spotted

Track 15 - And again a similar space on this track but this one isn't reaching me quite as much. The playing leaves me a little cold. Speaking mostly about the tenor player here. Nothing particularly wrong about this, just not really my thing. They obviously do what they do very well.

 

EDIT: Well OK then, I definitely need some Harry Beckett in my life! Love it! 👍

Thanks for taking the time to listen and then to comment so fully @webbcity. I'm pleased that you had what sounds like a largely enjoyable listen too. Great spot on the Track 14 tune, there are lots of very lovely versions of it, this one being the latest I've heard.

And yes, absolutely, we all need as much Harry Beckett in our lives as possible

Edited September 17 by mjazzg

[aparxa]

Really enjoying the first tracks so far, mjazzg!

The third track is from Byron Wallen, and is called Harmony of the Spheres. I love the energy he has in this record and his association with Kofi works very well.

[mjazzg]

2 minutes ago, aparxa said:

Really enjoying the first tracks so far, mjazzg!

The third track is from Byron Wallen, and is called Harmony of the Spheres. I love the energy he has in this record and his association with Kofi works very well.

Well spotted or heard! That's an ID. I thought both deserved a spot on a BFT

Glad you're enjoying what you've heard so far 

[JSngry]

Sorry to have tarried this month, a lot of unpacking (literally and figuratively) to get done first.

TRACK ONE - 70s? Nice tune.Solos seem a little surface, but it's a pleasant enough surface. I find the vibes to be a little bit obtrusive. Maybe it's their date? Also, the drummer is a bit...trying too hard. Not a bad cut, happy to hear it, just nothing's going to stick except, maybe the composition itself.

TRACK TWO - Another nice tune. Liking the bass playing here. Piano and trumpet are polite. Tenor digs in a bit, getting kind of Griff-y in spots, but it's not Griff. not copying either. Influence and copying are different things. Maybe Tubby Hayes or Ronnie Scott, somebody who had first hand exposure. Like thetune. like the bass, like the tenor. Everybody else played the gig.

TRACK THREE - Ok, third one in a row where the cadence and inflection of the speech sounds "non-American", is that a theme here? I like it, it seems to be it's own thing. It's hard to get an interpretation that winds between improv and chart as seamlessly as this. This is a good group! Looking forward to finding out who it is!

TRACK FOUR - Steve Coleman-ish, which I like. Very focused, which I also like. Vibist is a bit retro, but not enough to bother me. Overall, I'll say that about the entiore cut. I like it as a one-off, for sure.

TRACK FIVE -  See #3 about what I hear of the language here. Not a deal-breaker, just an adjustment. So much goes into speech (and I definitely think of music as speech). It's a very tight-knit trio, definitely communication going on and coming out. I particularly appreciate the tenor not playing that altissimo lack that seems to be required these days. Good cut. And give the drummer some while we're at it.

TRACK SIX - No idea, but I like it. It says its piece with no diversions or distractions. Good less for anybody!

TRACK SEVEN - Maybe as a middle cut on Side Two...Certainly hearing the playing, just not feeling the energy. Are they trying to force me to be happy? Please don't do that. This one needs a non-distracted Sonny Rollins to work for me, and he's not here.

TRACK EIGHT - Yeah, Joe Harriot. That guy for sure had his own thing. Not the version I have, but perhaps even more loose. Loose is good! This one's the star of the show for me!

TRACK NINE - I like how it starts, and then how it goes, but at some point it starts heading into weather Rep-rot territory, which is ok, but that's already been done (and masterfully). But - it thinks bettwer about that. Good for them! All told, very enjoyable!

TRACK TEN - Like this one a lot. Evan Parker? It's focused, concise, and stays within itself. -I swear, in some universe (this one included), you can reverse engineer the intervals of the"theme" into "Evidence:..Was that intentional? Hell if I know, music does not require a hall pass, it just goes where it goes and gets where it gets.

TRACK ELEVEN - Something's missing...visual, perhaps? The rest of the piece, maybe?

TRACK TWELVE - This is like going to church 50 years later and hearing the same sermon that thrilled you as a child, only you're not a child anymore.

TRACK THIRTEEN - I'd like for this to be playing in a restaurant. It would incentivize me to order more food and then some dessert. Oh, but those horns spoil the vibe altogether, focus lost altogether. Check, please!

TRACK FOURTEEN - Not for me, and not just because of the speech of the music. Totally outside of anything I have a relatable experience with. And that's all it is, nothing more. It certainly sounds very well done, I just have zero entry point. Not losing sleep over it, I'll be dead soon enough, likely, so maybe next time?

TRACK FIFTEEN - Same thing here, only not so much. Not as much, I should say. It reminds me of one of Wayne Shorter's dreamscapes, but with Wayne, I could always get a feel for what would/might happen when the dream was over. This is more like they're living in the dream. Is that a good thing? Hell if I know. But I will say that the longer it plays, the more beguiling tit becomes. So maybe the dream is coming to get me?!?!?!?!? Dream or not, though, let it be said that this is some no-bullshit writing, and I always enjoy that, no exception here!

So sorry about the delayed response, time is a bitch! But from my end, this one was worth the wait! Always (almost....) enjoy it when other people bring new (for me) food to the table!

 

 

[mjazzg]

15 hours ago, JSngry said:

Sorry to have tarried this month, a lot of unpacking (literally and figuratively) to get done first.

TRACK ONE - 70s? Nice tune.Solos seem a little surface, but it's a pleasant enough surface. I find the vibes to be a little bit obtrusive. Maybe it's their date? Also, the drummer is a bit...trying too hard. Not a bad cut, happy to hear it, just nothing's going to stick except, maybe the composition itself.

Not the 70s, tune is from an earlier decade, group a much later decade but I suspect the group would be happy with a 70s descriptor. Not the vibes player's date. We have a artist and tune ID upthread

TRACK TWO - Another nice tune. Liking the bass playing here. Piano and trumpet are polite. Tenor digs in a bit, getting kind of Griff-y in spots, but it's not Griff. not copying either. Influence and copying are different things. Maybe Tubby Hayes or Ronnie Scott, somebody who had first hand exposure. Like thetune. like the bass, like the tenor. Everybody else played the gig.

Contemporaries of Tubbs and Ronnie, will have played with them

TRACK THREE - Ok, third one in a row where the cadence and inflection of the speech sounds "non-American", is that a theme here? I like it, it seems to be it's own thing. It's hard to get an interpretation that winds between improv and chart as seamlessly as this. This is a good group! Looking forward to finding out who it is!

You've hit on an interpretation of the theme, it's less about who's not included more about who is. The tune and artist have been ID'd

TRACK FOUR - Steve Coleman-ish, which I like. Very focused, which I also like. Vibist is a bit retro, but not enough to bother me. Overall, I'll say that about the entiore cut. I like it as a one-off, for sure.

You're the second listener to hear the Coleman influence and as I said to the first, I like Coleman and I like this group too. Well established group celebrating their 20th anniversary at the moment

TRACK FIVE -  See #3 about what I hear of the language here. Not a deal-breaker, just an adjustment. So much goes into speech (and I definitely think of music as speech). It's a very tight-knit trio, definitely communication going on and coming out. I particularly appreciate the tenor not playing that altissimo lack that seems to be required these days. Good cut. And give the drummer some while we're at it.

Unusually for me these days I saw this group live before purchasing recordings.  Live I was very taken by what the tenor player didn't play and by everything the drummer played and didn't.

TRACK SIX - No idea, but I like it. It says its piece with no diversions or distractions. Good less for anybody!

We have a tune ID only on this one

TRACK SEVEN - Maybe as a middle cut on Side Two...Certainly hearing the playing, just not feeling the energy. Are they trying to force me to be happy? Please don't do that. This one needs a non-distracted Sonny Rollins to work for me, and he's not here.

Full ID available if you'd like to know who's bringing the happiness, see album title

TRACK EIGHT - Yeah, Joe Harriot. That guy for sure had his own thing. Not the version I have, but perhaps even more loose. Loose is good! This one's the star of the show for me!

Yes, could only be Joe.  This is from a relatively recently discovered session not from the album as you know. Full ID already

TRACK NINE - I like how it starts, and then how it goes, but at some point it starts heading into weather Rep-rot territory, which is ok, but that's already been done (and masterfully). But - it thinks bettwer about that. Good for them! All told, very enjoyable!

TRACK TEN - Like this one a lot. Evan Parker? It's focused, concise, and stays within itself. -I swear, in some universe (this one included), you can reverse engineer the intervals of the"theme" into "Evidence:..Was that intentional? Hell if I know, music does not require a hall pass, it just goes where it goes and gets where it gets.

Bingo! Evan Parker it is

TRACK ELEVEN - Something's missing...visual, perhaps? The rest of the piece, maybe?

This made me laugh...

TRACK TWELVE - This is like going to church 50 years later and hearing the same sermon that thrilled you as a child, only you're not a child anymore.

I know, exactly that feeling but in this instance I do enjoy being back there

TRACK THIRTEEN - I'd like for this to be playing in a restaurant. It would incentivize me to order more food and then some dessert. Oh, but those horns spoil the vibe altogether, focus lost altogether. Check, please!

TRACK FOURTEEN - Not for me, and not just because of the speech of the music. Totally outside of anything I have a relatable experience with. And that's all it is, nothing more. It certainly sounds very well done, I just have zero entry point. Not losing sleep over it, I'll be dead soon enough, likely, so maybe next time?

TRACK FIFTEEN - Same thing here, only not so much. Not as much, I should say. It reminds me of one of Wayne Shorter's dreamscapes, but with Wayne, I could always get a feel for what would/might happen when the dream was over. This is more like they're living in the dream. Is that a good thing? Hell if I know. But I will say that the longer it plays, the more beguiling tit becomes. So maybe the dream is coming to get me?!?!?!?!? Dream or not, though, let it be said that this is some no-bullshit writing, and I always enjoy that, no exception here!

The writing is a significant part of my enjoyment of this album too

So sorry about the delayed response, time is a bitch! But from my end, this one was worth the wait! Always (almost....) enjoy it when other people bring new (for me) food to the table!

 

 

No apology required, thanks so much for taking the time in a busy month to give this selection a spin and then to leave such enjoyable commentary.  Thanks also for spotting Evan, he had to be included in any BFT I did, he's scared off most listeners, but not all, up to this point.

And you hit upon the theme, tangentially.

 

Edited September 24 by mjazzg

[webbcity]

So #10 is Evan Parker, interesting! I looked it up, and the pianist here was what bothered me most about the track, but I've heard another recording of his that I really liked. Will have to re-listen and see if I missed something. 

[mjazzg]

4 hours ago, webbcity said:

So #10 is Evan Parker, interesting! I looked it up, and the pianist here was what bothered me most about the track, but I've heard another recording of his that I really liked. Will have to re-listen and see if I missed something. 

The pianist is relatively well known to this forum

[T.D.]

I've been really busy this month and spending less time on the internet.

Hope to have a good listen to the BFT this weekend, as the theme (which I somewhat expected) is of considerable interest to me.

Wild guess on the pianist in 10: Alexander v. Schlippenbach? Not familiar with his playing, but I hear some 12-tone classical influence so he comes to mind. Don't have time/patience to sleuth right now.

[mjazzg]

3 hours ago, T.D. said:

I've been really busy this month and spending less time on the internet.

Hope to have a good listen to the BFT this weekend, as the theme (which I somewhat expected) is of considerable interest to me.

Wild guess on the pianist in 10: Alexander v. Schlippenbach? Not familiar with his playing, but I hear some 12-tone classical influence so he comes to mind. Don't have time/patience to sleuth right now.

It's not von Schlippenbach and I absolutely understand why it could have been. I suspect the actual pianist would enjoy the comparison.

[webbcity]

Yep, Schlippenbach was my first thought too once I saw JSngry's Evan Parker ID. 

[corto maltese]

The pianist is Alexander Hawkins. It's a track from Evan Parker's fine "All Knavery And Collusion" album. Other members of the quartet are John Edwards and the great Paul Lytton.

[mjazzg]

39 minutes ago, corto maltese said:

The pianist is Alexander Hawkins. It's a track from Evan Parker's fine "All Knavery And Collusion" album. Other members of the quartet are John Edwards and the great Paul Lytton.

Full ID, thanks for helping us out!

It was only after I submitted the BFT did I realise it might have been injudicious to have included Alex in it given his occasional presence here. Thankfully comments on his playing have ranged from inquisitive to positive.

[corto maltese]

I can offer two more ID's.

If "London is calling", the finger-poppin' track 2 had to be the early Don Rendell/Ian Carr Quintet. "Sailin'" is from "Shades Of Blue", the first of their Lansdowne albums. It's an attractive tune, but for me, the title track is the album's obvious highlight.

Track 6 is a duo recording from bassist John Pope and violinist John Garner. The track listing of their "Water Music" album (all avant-jazz covers) was certainly intriguing, but when sampling the music I was a bit underwhelmed. This Don Cherry cover is a case in point: it's just a bit too clean and polite, especially the violin. Actually, for me, some parts of track 12 exude the spirit of Don Cherry (ca. early seventies) more clearly than the "Mopti" track. Apart from the obvious Pharoah influence, that is.

[mjazzg]

39 minutes ago, corto maltese said:

I can offer two more ID's.

If "London is calling", the finger-poppin' track 2 had to be the early Don Rendell/Ian Carr Quintet. "Sailin'" is from "Shades Of Blue", the first of their Lansdowne albums. It's an attractive tune, but for me, the title track is the album's obvious highlight.

Track 6 is a duo recording from bassist John Pope and violinist John Garner. The track listing of their "Water Music" album (all avant-jazz covers) was certainly intriguing, but when sampling the music I was a bit underwhelmed. This Don Cherry cover is a case in point: it's just a bit too clean and polite, especially the violin. Actually, for me, some parts of track 12 exude the spirit of Don Cherry (ca. early seventies) more clearly than the "Mopti" track. Apart from the obvious Pharoah influence, that is.

Track 2 is "Sailin'" by Rendell/Carr and it does appear on Shades Of Blue but this isn't that version. So very nearly a full ID.

Track 6. Spot on, full ID. I wasn't expecting too many people to know this one. Bandcamp tells me it's only in 61 other people's collections!

And I like that observation about track 12.

Edited September 27 by mjazzg

[corto maltese]

26 minutes ago, mjazzg said:

Track 2 is "Sailin'" by Rendell/Carr and it does appear on Shades Of Blue but this isn't that version. So very nearly a full ID.

 

Ah, okay, then it's the version from the "Blue Beginnings" LP. I recognised this as the Blue Note tune from "Shades Of Blue" and didn't notice this was a live version.

[mjazzg]

4 minutes ago, corto maltese said:

Ah, okay, then it's the version from the "Blue Beginnings" LP. I recognised this as the Blue Note tune from "Shades Of Blue" and didn't notice this was a live version.

I knew you'd know it once I'd said it wasn't from 'Shades Of Blue'.

Edited September 27 by mjazzg

[corto maltese]

About track 12: try filtering out the saxophonist and this could well be an excerpt from "Orient", with Cherry on the piano (and humming) and Han Bennink.

[mjazzg]

1 minute ago, corto maltese said:

About track 12: try filtering out the saxophonist and this could well be an excerpt from "Orient", with Cherry on the piano (and humming) and Han Bennink.

I suspect the leader of the session would be very pleased with such a comparison. I'm going to have to listen to it again with that in mind.

[T.D.]

Thanks, I listened to the whole BFT and enjoyed it.

None of the tunes were clinkers IMO, but I couldn't really identify anything.

#1 was familiar from a recording by the composer.

#2 was great, I should have had a clue but came up empty. 

#3-5 were totally unfamiliar but I liked them.

Should have had a clue about #6 since I was listening to some Ornette with Cherry this weekend, but oh well.

#7 did sound like Harry Beckett but I'm not deeply into the style of that tune.

Should have had a clue about #8 but sound quality made it hard to focus.

#9 sounds like something Masahiko Togashi might have been involved with, but if so I doubt I have the recording.

Posted earlier on #10, could never have ID'd. 

Agree with the South African influence on #11 and the Pharoah influence on #12, but that's as far as I could go.

#13 is schizophrenic and totally threw me. Once the bari and big band came in, I had vague ideas of Japanese bandleaders like Shuko Mizuno or Toshiyuki Miyama, but then the vocals started and those notions went out the window.

I enjoyed the music and singing of #14 despite not digging the lyrics.

#15 sounds vaguely like it might have been composed/arranged by Kenny Wheeler, but if so I don't believe I've heard it before.

Thanks again for the effort. Looking forward to full reveals. I did peek at the reveals so far.

[mjazzg]

10 hours ago, T.D. said:

Thanks, I listened to the whole BFT and enjoyed it.

None of the tunes were clinkers IMO, but I couldn't really identify anything.

#1 was familiar from a recording by the composer.

#2 was great, I should have had a clue but came up empty. 

#3-5 were totally unfamiliar but I liked them.

All are contemporary groups, the recordings from the last couple of years

Should have had a clue about #6 since I was listening to some Ornette with Cherry this weekend, but oh well.

#7 did sound like Harry Beckett but I'm not deeply into the style of that tune.

Should have had a clue about #8 but sound quality made it hard to focus.

Yes, it's not the greatest of recordings, in here for its historical significance and to represent all the players involved

#9 sounds like something Masahiko Togashi might have been involved with, but if so I doubt I have the recording.

That's a really interesting observation as I'm a huge Togashi fan.  This isn't him but I can definitely hear a resonance now you mention it.  The tune was chosen because of the percussionist involved, who isn't Japanese

Posted earlier on #10, could never have ID'd. 

Agree with the South African influence on #11 and the Pharoah influence on #12, but that's as far as I could go.

#13 is schizophrenic and totally threw me. Once the bari and big band came in, I had vague ideas of Japanese bandleaders like Shuko Mizuno or Toshiyuki Miyama, but then the vocals started and those notions went out the window.

Interesting again with the Japanese comparisons, again artists I listen to. Also, the leader plays a non-western instrument as his main instrument

I enjoyed the music and singing of #14 despite not digging the lyrics.

The lyrics are traditional, the arrangement obviously not. A very goood live band

#15 sounds vaguely like it might have been composed/arranged by Kenny Wheeler, but if so I don't believe I've heard it before.

Not Kenny but when the album was released that influence was explicitly referenced by the composer/arranger

Thanks again for the effort. Looking forward to full reveals. I did peek at the reveals so far.

I'm glad you got to listen @T.D., thanks for your comments and I'm glad it was clinker-free!