BFT 249 - Give The Bass Player Some

[felser]

BFT 249 is up and ready for your comments!  As always, impressions and opinions are even better than ID's!   11 cuts, 9 from my mid 1960's to mid-1970's sweet spot.  #1 and #10 are the "message" cuts.  I had two minutes left on the 80 minute disc, so I added  #8, as a self-indulgence.  It is an obscure cover version of an old British Invasion beat group B-side.  But I find it utterly moving.  You will find some spectacular bass playing throughout much of this BFT.  @Dan Gould will not be amused by the BFT, but he'll let you know that himself in his own inimitable way, which I anxiously await!  Looking forward to your participation!  Big thanks as always to Thom for loading and hosting it!

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

[Dan Gould]

I got a hell of a sense of humor!

 

- Sgt Hulka

 

Edited 14 hours ago by Dan Gould

[JSngry]

Flamin' Groovies covering The Beatles.

[Dan Gould]

TRACK 1:

What's not to like? Hypnotic bass, effective vocal and piano.  Didn't really catch a message but ... ****.

TRACK 2:

Went nowhere, did nothing. I was enchanted.  But then came the sax solo.  3 stars for the bassist, minus 3 stars for the sax, but awarded an extra three stars for covering so much of the total run time. That has true value on a Felser BFT. 

TRACK 3:

Started out fine ... I'm returning some pants. Then it takes a most unappealing turn.

3 stars for the bassist, minus two for the guitarist (I assume that is what I heard) and ... Where TF is that vocal coming out of? As I said,  most unappealing turn.  But that length ...  I think I can get it to 1 star total.

TRACK 4:

Four stars, no debits. How did a non-Felser tune go on a Felser BFT?

TRACK 5:

Performance/composition ... no stars.

Length, 2 stars.

TRACK 6: 

Four star bassist. 

TRACK 7:

3 1//2 stars. I think it might have been 4 if the baritonist was a tenor instead.

TRACK 8:

The less said the better.

TRACK 9:

Hmmm .. no notes. Must have been a full-on Felser. 

TRACK 10:

Yeah, no, nuh huh.

TRACK 11: 

I have a tune on my BFT that is half as long, and I hope, twice as popular.

 

Thanks John!

[felser]

2 hours ago, JSngry said:

Flamin' Groovies covering The Beatles.

Indeed.

1 hour ago, Dan Gould said:

TRACK 1:

What's not to like? Hypnotic bass, effective vocal and piano.  Didn't really catch a message but ... ****.

Wow, **** from you on one of my cuts! 🙂

TRACK 2:

Went nowhere, did nothing. I was enchanted.  But then came the sax solo.  3 stars for the bassist, minus 3 stars for the sax, but awarded an extra three stars for covering so much of the total run time. That has true value on a Felser BFT. 

I'll take it!

TRACK 3:

Started out fine ... I'm returning some pants. Then it takes a most unappealing turn.

3 stars for the bassist, minus two for the guitarist (I assume that is what I heard) and ... Where TF is that vocal coming out of? As I said,  most unappealing turn.  But that length ...  I think I can get it to 1 star total.

Creative accounting.

TRACK 4:

Four stars, no debits. How did a non-Felser tune go on a Felser BFT?

Oh, it's a Felser tune, but two **** items for you on my first four tunes?  I'm on a roll!

TRACK 5:

Performance/composition ... no stars.

Length, 2 stars.

TRACK 6: 

Four star bassist. 

Yes he is.

TRACK 7:

3 1//2 stars. I think it might have been 4 if the baritonist was a tenor instead.

Interesting.  This is the tune I thought you would like best, specifically because of the baritone.

TRACK 8:

The less said the better.

TRACK 9:

Hmmm .. no notes. Must have been a full-on Felser. 

TRACK 10:

Yeah, no, nuh huh.

TRACK 11: 

I have a tune on my BFT that is half as long, and I hope, twice as popular.

 

Thanks John!

Four cuts at 3-1/2 stars or better from you!  A most unexpected smashing success!  Thanks Dan!

 

Edited 9 hours ago by felser

[Dan Gould]

Feeling baritonists less and less lately. Not sure why.

[JSngry]

On time and under budget!!!!

TRACK  ONE - That almost sounds like a non-jazz bass player copping a "groovy" feel. Oh, ok, that's Roberta Flack. So that would be Ron Carter, and this would be a "commercial" track. Effective for its time, quite, but times have changed and a little more....OOMF (for lack of a better world) would be called for. This is old folks protest, just sit around mellow and bemoan the status quo. Well, yeah, I can do that already.

TRACK TWO - Chick Fingers there...introductions are a bitch, nobody really writes intros now, its either bass vamps or rubato quasi-church rolling around. Of course its sincere, but its also retro and not really pushing me to do anything at how well, they've replicated the Trane Quartet. Ok, it's fun, but I could put on a few other records that would do this same thing.Sax solo is nothing but Trane, but less urgent. Damn this is a long cut for nothing unique to really happen.

TRACK THREE - Is this a church song? Oh, it's one of those nave-gazing rock instrumentals by people who at least can play some. I didn't like this type thing when I was young, like it even less now. But at lease the people can play. I guess I should be impressed by that? Maybe, but they go on so damn long...Oh, good, vocals....Oh GOD NO!!!!! What century are we living in now? Are these people dead yet, or at least retired, they won't make any more records, right? Damn self-indulgent delusional rock shit....

TRACK FOUR - Ok, REALITY AT LAST!!!!! That's McCoy, unmistakable. Thad, unmistakable. Elvin, unmistakable. Gilmore, unmistakable. Frank Stozier (iirc the record right), Yes, this record is old, the music is no longer "contemporary, BUT - and this is what's important for me - it's being made by master musicians who speak in thier own voice. I mean, If John Gilmore cold-called me on the phone and spoke with his horn, I would know who it was without having to ask. In this musical world, that's the ultimate - to be able to play with substance and in your own unmistakable personal voice. This is it.

TRACK FIVE - Interesting, but ultimately irrelevant. For me, anyway. Some rock band trying to show jazz chops by noodling and copping. It would be cool if they added some twists or turns, but....no,

TRACK SIX - Into, again, is there something else that can be done? There ya' go, finally! Sounds like Cedar & Billy, always a good thing. Gotta like this one, once it gets going! RIP to them both, true spirits.

TRACK SEVEN - Sounds like a fired up Mulligan? He could do that when he wanted to. Time is a little rush-y but not fatally so. Trumpet....good(enough ) ideas, but a little rounded off around the intensity edge...neither good nor bad. The time still seems a little rushy, like as far on top of the beat as you can get without actually rushing. I'll put that on the drummer, and I think it's the bassist that keeping it reigned in. Not a bad cut, and if that's Mulligan, it's good to hear him in a less retro setting. But was there some tension on the gig? Something is putting some spurs into the time...

TRACK EIGHT - I do occasionally indulge in an imaginary Teenage Dance Party in my recliner. This would fit in good there, although I will prefer the original. I miss the harmonica. I don't think that American players or producers/engineers ever got a grip on that UK harmonica sound.

TRACK NINE - Intro? Retro, but I do get a taste of some nascent personality, so carry on with that, please! Oh, a second alto, one with a deeper tone and weightier vibe, Student/teacher thing going one? Not a bad record, and that tune sounds familiar. Just get some intors back into the music.

TRACK TEN - Is that Johnny Rivers? That's a stupid song for a grown adult to sing, like, poor boy, how old are you now? But otoh, that's likely the Wrecking Crew and probably the period where he was working with Lou Aedler(?) making those etherial L.A. pop sounds that were all in the air at the time. Annoying lyrics aside, the production is where it's at here, and the production is good.

TRACK ELEVEN - Nope. None of that here. Voices don't have enough personality, lyrics are borderline crybaby, production doesn't put forth any kind of a clear statement of intent. Maybe you had to be there, but I am here now, and that shit don't play here. How are things in your town?

Ok, the good stuff was great. The other stuff, different strokes, etc. Thanks for providing content!!!!

[felser]

4 hours ago, JSngry said:

On time and under budget!!!!

TRACK  ONE - That almost sounds like a non-jazz bass player copping a "groovy" feel. Oh, ok, that's Roberta Flack. So that would be Ron Carter, and this would be a "commercial" track. Effective for its time, quite, but times have changed and a little more....OOMF (for lack of a better world) would be called for. This is old folks protest, just sit around mellow and bemoan the status quo. Well, yeah, I can do that already.

I like it.  I'll not take the bait on old folks protest.

TRACK TWO - Chick Fingers there...introductions are a bitch, nobody really writes intros now, its either bass vamps or rubato quasi-church rolling around. Of course its sincere, but its also retro and not really pushing me to do anything at how well, they've replicated the Trane Quartet. Ok, it's fun, but I could put on a few other records that would do this same thing.Sax solo is nothing but Trane, but less urgent. Damn this is a long cut for nothing unique to really happen.

As you're likely intimating, the sax solo comes by those characteristics honestly.  I love the piano solo on this, and that is what justifies the track length for me.

TRACK THREE - Is this a church song? Oh, it's one of those nave-gazing rock instrumentals by people who at least can play some. I didn't like this type thing when I was young, like it even less now. But at lease the people can play. I guess I should be impressed by that? Maybe, but they go on so damn long...Oh, good, vocals....Oh GOD NO!!!!! What century are we living in now? Are these people dead yet, or at least retired, they won't make any more records, right? Damn self-indulgent delusional rock shit....

Our mileage varies on this area of rock.  I love the track, and love the other track on this album side even more.

TRACK FOUR - Ok, REALITY AT LAST!!!!! That's McCoy, unmistakable. Thad, unmistakable. Elvin, unmistakable. Gilmore, unmistakable. Frank Stozier (iirc the record right), Yes, this record is old, the music is no longer "contemporary, BUT - and this is what's important for me - it's being made by master musicians who speak in thier own voice. I mean, If John Gilmore cold-called me on the phone and spoke with his horn, I would know who it was without having to ask. In this musical world, that's the ultimate - to be able to play with substance and in your own unmistakable personal voice. This is it.

Yes, if you focus, it's contemporary but no longer contemporary.  I've always loved this track.  All musician ID's correct, of course.

TRACK FIVE - Interesting, but ultimately irrelevant. For me, anyway. Some rock band trying to show jazz chops by noodling and copping. It would be cool if they added some twists or turns, but....no,

Well, the drummer did play with Art Pepper, Cannonball, Rahsaan, and others. 

TRACK SIX - Into, again, is there something else that can be done? There ya' go, finally! Sounds like Cedar & Billy, always a good thing. Gotta like this one, once it gets going! RIP to them both, true spirits.

Correct on Cedar & Billy.  There's two variables in a three variable equation, should be easy enough to calculate from there.

TRACK SEVEN - Sounds like a fired up Mulligan? He could do that when he wanted to. Time is a little rush-y but not fatally so. Trumpet....good(enough ) ideas, but a little rounded off around the intensity edge...neither good nor bad. The time still seems a little rushy, like as far on top of the beat as you can get without actually rushing. I'll put that on the drummer, and I think it's the bassist that keeping it reigned in. Not a bad cut, and if that's Mulligan, it's good to hear him in a less retro setting. But was there some tension on the gig? Something is putting some spurs into the time...

Yes, Mulligan.   And without knowing the full story, I am sure there was plenty of tension on the gig.

TRACK EIGHT - I do occasionally indulge in an imaginary Teenage Dance Party in my recliner. This would fit in good there, although I will prefer the original. I miss the harmonica. I don't think that American players or producers/engineers ever got a grip on that UK harmonica sound.

I also prefer the original (my all-time favorite Beatles record), but was/am shocked on how close this comes emotionally. And I agree with you about the UK harmonica sound.

TRACK NINE - Intro? Retro, but I do get a taste of some nascent personality, so carry on with that, please! Oh, a second alto, one with a deeper tone and weightier vibe, Student/teacher thing going one? Not a bad record, and that tune sounds familiar. Just get some intors back into the music.

Yes, student/teacher thing, well done.  And yes, the tune should sound hauntingly familiar.

TRACK TEN - Is that Johnny Rivers? That's a stupid song for a grown adult to sing, like, poor boy, how old are you now? But otoh, that's likely the Wrecking Crew and probably the period where he was working with Lou Aedler(?) making those etherial L.A. pop sounds that were all in the air at the time. Annoying lyrics aside, the production is where it's at here, and the production is good.

Yes, Johnny Rivers from 1968, co-produced by Rivers and Lou Adler.  An album of its time, lyrically, musically, and production style.  I loved it then and love it now. Yes, the production is spectacular, and is the big draw to me, though I find the lyrics charming rather than stupid. But to each his own.

TRACK ELEVEN - Nope. None of that here. Voices don't have enough personality, lyrics are borderline crybaby, production doesn't put forth any kind of a clear statement of intent. Maybe you had to be there, but I am here now, and that shit don't play here. How are things in your town?

It's a minute and 32 seconds, designed to bounce off an 11 minute song which precedes it on the album (a prog rock classic, but that would not be up your alley, of course.  Which is fine.).  I like how it plays off my previous cut and how it ends my program.   It is interesting that you don't find personality in the voices, though, given the reputation of the group's singer. 

Ok, the good stuff was great. The other stuff, different strokes, etc. Thanks for providing content!!!!

Thanks as always for your participation and fascinating insights!  I'm thankful that you're willing to dive in and wrestle with the cuts.  I know when I put these cuts down that many people won't like some of them.   But for every cut that draws negative comments, there ends up being others who find the cut enjoyable and enlightening.  And that's my goal, along with sharing my own favorites.

 

[T.D.]

Having fun so far.

Somewhat up and down on #s 1-3, will say more later.

#4 is a big winner, Jim (I peeked at the thread) has pretty much wrapped up commentary.

#5 I recognize. It's a band I know John is fond of. I thought the instrumental line sounded a lot like Jethro Tull (I don't listen to much rock any more 😕 ), but the vocals gave it away. Spoiler-free Youtube link here.

[felser]

Just now, T.D. said:

Having fun so far.

Somewhat up and down on #s 1-3, will say more later.

#4 is a big winner, Jim (I peeked at the thread) has pretty much wrapped up commentary.

#5 I recognize. It's a band I know John is fond of. I thought the instrumental line sounded a lot like Jethro Tull (I don't listen to much rock any more 😕 ), but the vocals gave it away. Spoiler-free Youtube link here.

Correct on #5!

[Big Al]

I just kinda skimmed over this to see if I knew any tracks. Will go back for a more thorough listen later.

BUT....

Track 11 has to be THE coolest, hippest, most perverse way to end a BFT and I freakin' LOVE IT!!! The closing track from this album, considered by many to be their finest hour. I'm one of those weirdos who thinks EVERY one of their albums is their finest hour, so what do I know?

[rostasi]

1) Roberta Flack (First Take)
I recognize this from my mother always playing this album.
Always liked the bassline.

2) Chick Corea (The Vigil?)
This is that thing on Concord that has Roy Haynes' grandson.
I tired of Corea many moons ago - especially when every new band of his was his "best band ever."

3) Wishbone Ash (first album)
There's some resurgence of interest these days in that Wishbone sound.
You can find it in some like Psychic Markers or Greta van Fleet.
A bit surprised to hear it (again) here. Reminds me of the old days of Triad Radio.

4) McCoy Tyner (Today and Tomorrow)
Say no more...

5) Spirit
First cut from that album that has that riff that became the Zep "Stairway..." tune.
First album? I had a half-brother who played this album a lot.
I do like "Nature's Way," but I don't think it's from this album.

6) Walton, Higgins, Sam Jones... I'm thinkin' that it's that Japanese album from the mid-70s under Sam Jones' name. That "spiritual" vibe and that in-yo-face bass... "Seven ... " something...

7) Chet, Gerry, ummm... Harvey Mason? and Carter. That's about all I know.

8: Flamin' Groovies - OK, didn't expect that.

9) Ah! something new(ish). This is Lakecia Benjamin sounding Gary Bartz-like (or maybe he's on this track?) from that Coltrane homage from a few years ago. I've played this on the show quite a while back.

10) Oh, OK. That's Johnny Rivers doing another hit from the guy who wrote him that Summer Rain tune. Love that sound. I'll have to revisit this after beaucoup years. late 60s?

11) I never could understand the overly gigantic interest in Genesis (or Yes, for that matter). In the days when this really mattered to prog guys, I always heard it as completely rigid attitudes taking itself waaaaay too serious. There were always more fun progressive bands that would challenge you, but not by turning a backyard barbeque into a five-course Michelin dinner (or maybe, thinking they were doing that?). They may have sold England by the Pound, but they're weighing every ounce of humor out of the room.

Edited 24 minutes ago by rostasi

[felser]

@rostasi , you ran the table on the BFT, wow, impressive!  Individual comments tomorrow as it's almost midnight here.