BFT 250 Discussion - Welcome back my friends to the show that never ends

[Dan Gould]

A thousand apologies for the earworm and I promise, that's the closest I'll ever get to any late 60s - early 70s vocal of any sort, Prog or otherwise.

No aspersions intended.

 

What we do have is 15 total songs and almost exactly 80 minutes.  Track 15 is really more of a coda than a track to be identified. You should get used to it because it will probably be used on my BFTs from now until the end.

There is no theme but there is a programming approach that I am quite sure has never been done before. Once it becomes apparent, perhaps it will spark additional conversation. And conversation is the hope here, including general comment on tunes and performances. 

I did try to choose recognizable tunes and in some cases, performances that I think will be ID'd fairly easily, so I fully expect to stump a lot of people.

 

https://thomkeith.net/blindfold-tests/2025-blindfold-tests/

Have at it, and ...

 

 

 

[felser]

Come inside, the show's about to start
Guaranteed to blow your head apart
Rest assured you'll get your money's worth
Greatest show in Heaven, Hell or Earth
You've got to hear the show, it's a dynamo

[mjazzg]

Those lyrics, especially "it's a dynamo" just go to reassert for me that ELP were as laughably bad as I thought they were when I was 14. 

Meanwhile, onto the BFT

[felser]

1 hour ago, mjazzg said:

Those lyrics, especially "it's a dynamo" just go to reassert for me that ELP were as laughably bad as I thought they were when I was 14. 

Meanwhile, onto the BFT

Yeah, but they were "heavy, man!".   I did like some of the first album and all of Tarkus quite a  bit, but rapidly diminishing returns afterwards

[JSngry]

2 hours ago, mjazzg said:

Meanwhile, onto the BFT

Gave it a speed listen and the first thing that's obvious is that there's an A-Side and a B-Side with different versions of the same songs, in the same order.

Also, I suspect that Percy France is on here more than once?

[Dan Gould]

24 minutes ago, JSngry said:

Gave it a speed listen and the first thing that's obvious is that there's an A-Side and a B-Side with different versions of the same songs, in the same order.

Also, I suspect that Percy France is on here more than once?

Different versions of same songs but not tracked exactly the same.  Wish I had thought of it though as an A and B side is a good idea! I didn't spend hardly any time on the tracking once I determined the tunes and performances, which was in flux right up to the end.

As to the latter question, I had to make up for excluding him last year.

 

[felser]

1 – Great start!   I like the version, really enjoying the walking bass.  The solos are good, though don’t knock me out, but the song is so good.

2 –Bizarre arrangement, I’ll pass, even though the musicians can obviously play.  Sorry, unable to finish listening to this one, it’s making me crazy.  “Please, sir, make it stop!”

3 – Quite the antidote to #2, almost comatose.

4 – Old School.  JATP?

5 -  Much more up my alley!

6 – This too!  Oscar Peterson?

7 – Errol Garner?  Don’t see that he ever recorded “Django”.

8 -  Excellent.

9 – Surely the Jazz Messengers, likely on Blakey is clear on drums.  The gem of the BFT.  I’m not placing the album, though I certainly own it.   This will come to me, though someone else will ID it first. 

10 – Live recording, I like the atmosphere!   Gene Harris/Three Sounds?

11 – Spunky and pleasant.

12 – Another good one, you’re on a roll!  Coleman Hawkins?

13 – Another, very different “Django”, cool!  Cut 3 from this

14 –  Good stuff.

15 – brilliant ending.

Dan, this is my favorite of your BFT’s after the slow start. I’ve participated in, thanks

Edited January 1 by felser

[Dan Gould]

5 minutes ago, felser said:

1 – Great start!   I like the version, really enjoying the walking bass.  The solos are good, though don’t knock me out, but the song is so good.

This was the specific "Felser" track, I thought this was the one most likely to get the thumbs up from you.

2 –Bizarre arrangement, I’ll pass, even though the musicians can obviously play.  Sorry, unable to finish listening to this one, it’s making me crazy.  “Please, sir, make it stop!”

Bizarre in the sense of ....? Basically its a bop standard that turns into an extended "The Chase" type exchanges. I can imagine though that it could have been more exciting in person.

3 – Quite the antidote to #3, almost comatose.

I don't think you meant number 3, presumably #2 though.  This is one of the ones I thought may be a "gimme" for some.

4 – Old School.  JATP?

Not JATP but definitely Old School.

5 -  Much more up my alley!

6 – This too!  Oscar Peterson?

Not OP. 

7 – Errol Garner?  Don’t see that he ever recorded “Django”.

Not Garner. 

8 -  Excellent.

9 – Surely the Jazz Messengers, likely on Blakey is clear on drums.  The gem of the BFT.  I’m not placing the album, though I certainly own it.   This will come to me, though someone else will ID it first. 

Not Blakey, not the Messengers, and I will be surprised, but not shocked, if you own it. But that just means you actually have reason to purchase something off of one of my BFTs.  Will wonders never cease?

10 – Live recording, I like the atmosphere!   Gene Harris/Three Sounds?

Not Gene, though he does appear on this BFT.

11 – Spunky and pleasant.

12 – Another good one, you’re on a roll!  Coleman Hawkins?

Nope not Hawk, and you will be surprised at the answer.

13 – Another, very different “Django”, cool!  Cut 3 from this

Ding. Ding. This was definitely the one I expected some IDs on.

14 –  Good stuff.

15 – brilliant ending.

Dan, this is my favorite of your BFT’s after the slow start. I’ve participated in, thanks

Guess you skipped the stars because so many **** in a row would have just been too boring.

Any thoughts on the paired performances? I can't believe I nearly lined up them in exactly the same order and then didn't.

Thanks for your participation and its funny that when I don't choose based on WWFL, you like them the most.  I really thought the tracks were weighted too far toward swing to appeal as much as they did.

 

[felser]

53 minutes ago, Dan Gould said:

Any thoughts on the paired performances? I can't believe I nearly lined up them in exactly the same order and then didn't.

I'll need to go back and listen in that regard.

Thanks for your participation and its funny that when I don't choose based on WWFL, you like them the most.  I really thought the tracks were weighted too far toward swing to appeal as much as they did.

May be because the compositions are so strong on this one.

And you're correct, I meant #3 is antidote to #2.  I'm going to assume that #12 is Percy France 🙂

 

 

Edited January 1 by felser

[Quasimado]

#1 and #9 are both Daahoud - interesting thing (to me) is that the opening arrangements of both are based closely on Jack Montrose's arrangements originally made for Clifford Brown's Pacific Jazz "Jazz Immortal". Both bands have about the same instrumentation, but the soloists are obviously different - the rhythm section groove on #9 is very fine and the trumpet sounds familiar. Strange ...

[Dan Gould]

4 hours ago, Quasimado said:

#1 and #9 are both Daahoud - interesting thing (to me) is that the opening arrangements of both are based closely on Jack Montrose's arrangements originally made for Clifford Brown's Pacific Jazz "Jazz Immortal". Both bands have about the same instrumentation, but the soloists are obviously different - the rhythm section groove on #9 is very fine and the trumpet sounds familiar. Strange ...

Thanks for your comments ... but the first performance is by a Nonet? 

[Dan Gould]

January 10 and one response.

Man this thread is gonna be LIT AF for the rest of the month, I just know it.

[danasgoodstuff]

It's all nice musics, but I don't have much to say about any of it.  Sorry.

[sidewinder]

Just had a quick scan through, some nice tracks. Track 13 is Art Farmer/Benny Golson Jazztet playing 'Django' from the album they did with John Lewis.

[Joe]

1. I know the tune - “Daahoud” - if not the band. The sound of the bass makes me think this is an 80s recording. The trumpeter is eating the beat for sure. Could this be later period Shorty Rogers? Something about the long runs of notes call his playing to mind. Nice interoplation! Could this be Nick Brignola on baritone? Alto has an nice elastic tone… sometimes I think it’s a tenor (and maybe it is). Tricky arrangmement, with, I think, some transcribed solos folded in. 
2. Two tenors. First player has got some of that Hawk / Byas thing going on, shaking or wringing out the tail end of notes. Not sure what the pano player is up to… not your typical comping. Could this be Earl Hines? I don’t want to call the playing florid or decorative, but whoever it is is not afraid to hang a few ornaments. Second tenor player sounds like more of a modernist than the first. Nice interplay around the 3-minute mark. And then the R&B player comes out! Griffin-esque, but it’s not Johnny Grffin as far as I can tell. Pianist solos: definitely sounds like a swing era player. Milt Buckner? I mean, I hear block chords. Some of these harmonic choices seem pretty odd to me (not in bad way), but I could be distracted by the verite recording quality. Would not be surpirsed to learn that this is the drummer’s date, though!
3. Nice cool down. Tune’s shape suggests “One For My Baby (and One More For The Road)” but its not that. Or any standard that I recognize. Pianist has listened to Ellington, it seems to me. Oh, there’s an acoustic guitar? Gene Bertonicini maybe? Sound is more folk than classical though. Like the strings are just a little dead. No idea, but these are not easy phrases to pull off on an acoustic. Watch it be a player mostly known for playing electric. Perfect pacing on this piano solo. And what a great touch. Not quite as crystalline as Hank Jones, but in that ballpark. Tommy Flanagan? And, if Flanagan, could that be Kenny Burrell? If so, I don’t know this record.
4. Such a distinctive tone. I should know who this is. I like that its kind of … sour? Barnyard-y at times. At first I thought Roy Eldridge, but now I’m wondering if its Sweets Edison. Charlies Shavers is a plyer that splits the difference. But then there are those hogh notes. Makes me think this is a Norman Granz joint. Willie Smith on alto maybe? I don’t think so. This one’s going to bother me! Not sure about this drummer. But the soloists don’t seem to mind the slightly overactive (from my POV, anyway) kick drum. Flip Phillips on tenor? Not a Lestorian, but not fully in the Hawk camp either, whoever it is. 
5. “Lester Leaps In” even though he’s not actually Lester doing the leaping here. This is more arranged than I expected. I like that the tenor player ibrings gruffness to this. Not grwly, not overly breathy, but he’s got a personal tone. The pianist sounds like they’re haing a llittle trouble keeping up with the bassist. And the bassist… well, this may be my favorite solo yet. Some of the gestures, and the sense of humor, makes me think Red Mitchell. But he’s louder than I thnk of Mitchell typically being. Nice coda.
6. This tempo feels a little risky. Very soulful piano. Probably a player not typically thought of as a “burner,” but the flame is high here. I keep thinking of Les McCann, but watch it be Eroll Garner or  player more in that vein! (No, this player has a different relationship to the blues, I think.)
7. “Django,” but this is not John Lewis. I like how they speed up the descending phrase just a hair. Oh, this was not the solo I was expecting. More gutbucket moments than I thought there might be. But this player can just as easily “go lyrical.” They have a snese of space the pianist on track 6 doesn’t (or didn;t exercise there), but similiarites abound. Could this be Les McCann? Its both “churchy” and “showy,” which are modes I associate with him. Whoever it is, they are doing some fun things with the tempo.
8. “Billie’s Bounce.” Sounds like a veteran alto player rather than a younger player of that era (80s - 90s) expressing themselves in this language. Nice piano solo that honors the tune but seizes a few opportunities to push some boundaries. Alto player… that tone tells me this is a veteran player for sure. Frank Morgan? The solo is Bord-like, of course, but it’s not just Bird Redux. Remnds me of Art Pepper here and there (post-Trane Pepper). Works for me whoever it is! There’s joy here.
9. Ah, the Latin tinge applied to track 1! “Daahoud” again. Tenor player almost sounds like Joe Henderson here and there…. is it Henderson? Am I talking myself out if being Joe Henderson? The trumpet player’s tone is very familair, with that burn around the edges. But I could not tell you who it is. And it is just a tinge of Latin; the arrangement doesn’t really retain it.
10. No idea. But the bassist is just a little too heavy for me. Red Garland on piano? I hear what I think of as some Red-isms, anyway. That almost sounds like the Five Spot piano, though.
11. I get the conceit now… “Track 4” take 2. Sprightly! Not too cute, though, and it could be. “Broadway,” and this sounds like an RVG recordings. Putting 2 and 2 together, I’m going to say this is Gene Harris and the 3 Sounds. A good representation of what made them such a tight unit.
12. “Lester Leaps In” again. very different tenor player than on the previous rendition. Excelent solo. Another case of “I should know who it is but coouldn’t tell you.” Shades og Jug, though. NHOP on bass? An earthmover whoever it is.
13. I know this! I just listened to this record for the first time in forever. The Jazztet playing “Django.” Interesting arragnement, but not my favorite from this LP. State of the art for its time, though. And I think Cedar Wlaton has the best showing here.
14. No idea. Nice groove, and the tempo suits these players better than the uptempo heard earlier, I think. It simmers, percolates, never boils over.
15. Al Grey sending us away? Dig it. Timing is everything.

Thanks! Eager to see the reveal.

[Dan Gould]

12 hours ago, Joe said:

1. I know the tune - “Daahoud” - if not the band. The sound of the bass makes me think this is an 80s recording. The trumpeter is eating the beat for sure. Could this be later period Shorty Rogers? Something about the long runs of notes call his playing to mind. Nice interoplation! Could this be Nick Brignola on baritone? Alto has an nice elastic tone… sometimes I think it’s a tenor (and maybe it is). Tricky arrangmement, with, I think, some transcribed solos folded in. 

This is an 80s recording ... not Shorty Rogers or Brignola.

2.  Two tenors. First player has got some of that Hawk / Byas thing going on, shaking or wringing out the tail end of notes. Not sure what the pano player is up to… not your typical comping. Could this be Earl Hines? I don’t want to call the playing florid or decorative, but whoever it is is not afraid to hang a few ornaments. Second tenor player sounds like more of a modernist than the first. Nice interplay around the 3-minute mark. And then the R&B player comes out! Griffin-esque, but it’s not Johnny Grffin as far as I can tell. Pianist solos: definitely sounds like a swing era player. Milt Buckner? I mean, I hear block chords. Some of these harmonic choices seem pretty odd to me (not in bad way), but I could be distracted by the verite recording quality. Would not be surpirsed to learn that this is the drummer’s date, though!

Not Griffin, Hines or Buckner.  First tenor is the older of the two though.

3.  Nice cool down. Tune’s shape suggests “One For My Baby (and One More For The Road)” but its not that. Or any standard that I recognize. Pianist has listened to Ellington, it seems to me. Oh, there’s an acoustic guitar? Gene Bertonicini maybe? Sound is more folk than classical though. Like the strings are just a little dead. No idea, but these are not easy phrases to pull off on an acoustic. Watch it be a player mostly known for playing electric. Perfect pacing on this piano solo. And what a great touch. Not quite as crystalline as Hank Jones, but in that ballpark. Tommy Flanagan? And, if Flanagan, could that be Kenny Burrell? If so, I don’t know this record.

Tommy Flanagan and Kenny Burrell are correct! I thought this composition was pretty well known, a little surprised you didn't name it.

4. Such a distinctive tone. I should know who this is. I like that its kind of … sour? Barnyard-y at times. At first I thought Roy Eldridge, but now I’m wondering if its Sweets Edison. Charlies Shavers is a plyer that splits the difference. But then there are those hogh notes. Makes me think this is a Norman Granz joint. Willie Smith on alto maybe? I don’t think so. This one’s going to bother me! Not sure about this drummer. But the soloists don’t seem to mind the slightly overactive (from my POV, anyway) kick drum. Flip Phillips on tenor? Not a Lestorian, but not fully in the Hawk camp either, whoever it is. 

None of the names mentioned are present but it is folks from that era.

5.  “Lester Leaps In” even though he’s not actually Lester doing the leaping here. This is more arranged than I expected. I like that the tenor player ibrings gruffness to this. Not grwly, not overly breathy, but he’s got a personal tone. The pianist sounds like they’re haing a llittle trouble keeping up with the bassist. And the bassist… well, this may be my favorite solo yet. Some of the gestures, and the sense of humor, makes me think Red Mitchell. But he’s louder than I thnk of Mitchell typically being. Nice coda.

Red Mitchell is correct. I will probably have a hint later in the month on this one.

6.  This tempo feels a little risky. Very soulful piano. Probably a player not typically thought of as a “burner,” but the flame is high here. I keep thinking of Les McCann, but watch it be Eroll Garner or  player more in that vein! (No, this player has a different relationship to the blues, I think.)

Neither McCann nor Garner.

7.  “Django,” but this is not John Lewis. I like how they speed up the descending phrase just a hair. Oh, this was not the solo I was expecting. More gutbucket moments than I thought there might be. But this player can just as easily “go lyrical.” They have a snese of space the pianist on track 6 doesn’t (or didn;t exercise there), but similiarites abound. Could this be Les McCann? Its both “churchy” and “showy,” which are modes I associate with him. Whoever it is, they are doing some fun things with the tempo.

Yes this is Les McCann.

8.  “Billie’s Bounce.” Sounds like a veteran alto player rather than a younger player of that era (80s - 90s) expressing themselves in this language. Nice piano solo that honors the tune but seizes a few opportunities to push some boundaries. Alto player… that tone tells me this is a veteran player for sure. Frank Morgan? The solo is Bord-like, of course, but it’s not just Bird Redux. Remnds me of Art Pepper here and there (post-Trane Pepper). Works for me whoever it is! There’s joy here.

Frank Morgan is correct.

9.  Ah, the Latin tinge applied to track 1! “Daahoud” again. Tenor player almost sounds like Joe Henderson here and there…. is it Henderson? Am I talking myself out if being Joe Henderson? The trumpet player’s tone is very familair, with that burn around the edges. But I could not tell you who it is. And it is just a tinge of Latin; the arrangement doesn’t really retain it.

Not Henderson.

10.  No idea. But the bassist is just a little too heavy for me. Red Garland on piano? I hear what I think of as some Red-isms, anyway. That almost sounds like the Five Spot piano, though.

Not Garland.

11. I get the conceit now… “Track 4” take 2. Sprightly! Not too cute, though, and it could be. “Broadway,” and this sounds like an RVG recordings. Putting 2 and 2 together, I’m going to say this is Gene Harris and the 3 Sounds. A good representation of what made them such a tight unit.

Yes, Gene, Andy Simpkins, Bill Dowdy.

12. “Lester Leaps In” again. very different tenor player than on the previous rendition. Excelent solo. Another case of “I should know who it is but coouldn’t tell you.” Shades og Jug, though. NHOP on bass? An earthmover whoever it is.

Not NHOP.

13.  I know this! I just listened to this record for the first time in forever. The Jazztet playing “Django.” Interesting arragnement, but not my favorite from this LP. State of the art for its time, though. And I think Cedar Wlaton has the best showing here.

Correct.

14.  No idea. Nice groove, and the tempo suits these players better than the uptempo heard earlier, I think. It simmers, percolates, never boils over.

 

15.  Al Grey sending us away? Dig it. Timing is everything.

No not Al Grey. 

Thanks! Eager to see the reveal.

Thank you for your thoughtful and perceptive reactions.  Hopefully this will kickstart this BFT out of its doldrums.

 

[JSngry]

Running behind this month, and pretty much all of December, but let's ring in the new year, right, if late.

TRACK ONE - "Daahoud" of course, with an arrangement that is more than a little reminiscent of Maynard's big bands of the late 50s thru the mid-60s. and that's a compliment. Solos, however...trumpet is very lick-y, not a lot of ideas, just running patters across the changes with no obvious motive, Ronnie Cuber on bari. That's better! But not sure if it's Cuber or not. Leaning that way, though. But I think Cuber digs in a bit more than that.  Tenor is ok, the most idea-oriented so far. Might be George Coleman? On the whole, it's a bit old-fashioned, but sincerely so.

TRACK TWO - "Billie's Bounce". Buddy Tate? & Percy France? Oscar Pettiford on air bass? Skunk Dufford on bizzaro-miked piano. What this lacks in recording quality is more than made up for in spunk! Everybody's playing!!!! No half-assing here!!!

TRACK THREE - Burrell for sure? Everything is as it should be, Right where it should be.

TRACK FOUR -  "Broadway". Earle Warren? The Countsmen? Old, but spunky, for sure! Do we have us some Jo Jones here? That would explain the overall spunkiness for sure! And might that be Buddy Tate? Here's where it gets locked in to a serious dance groove. Love it when that happens.

TRACK FIVE - "Lester Leaps In". Not too derivative to detract from the warmth. No idea who it is, but there they go!

TRACK SIX -  "The Late Late Show". Why are they in such a hurry, are they out past curfew? I don't get it.

TRACK SEVEN - "Django". That tune is almost always good, and this is no exception. No particularly "deep", but they set a good temp and don't fuck it up. If it was that easy, everybody would do it.

TRACK EIGHT - "Billie's Bounce". Frank Morgan. There it is, bebop as well-made comfort food. Yum!

TRACK NINE - "Daahoud". Is this on Concord? Because it sounds like the playing is actually better than the recording is putting out. That damn Flavor Remover again. But the peoples be paying anyway.

TRACK TEN - "He's Got The Whole Bass In The Mike"

TRACK ELEVEN - "Broadway". Three Sounds. Five Stars.

TRACK TWELVE - "Lester Leaps In". Percy France? Even today, if a tenor player does not have some Lester in there somewhere, they are never gonna gett to heaven. This one is wonderful.

TRACK THIRTEEN - "Django". Jazztet. Maybe a bit fussy, but it was their band and they had the composer's approval. So hey.

TRACK FOURTEEN - "9:20 Special". I guess I should be impressed? I guess I could be?

TRACK FIFTEEN - I believe this is Percy France? A message of universal goodwill, no doubt!

An enjoyable listen, thanks!

 

[Dan Gould]

1 hour ago, JSngry said:

Running behind this month, and pretty much all of December, but let's ring in the new year, right, if late.

TRACK ONE - "Daahoud" of course, with an arrangement that is more than a little reminiscent of Maynard's big bands of the late 50s thru the mid-60s. and that's a compliment. Solos, however...trumpet is very lick-y, not a lot of ideas, just running patters across the changes with no obvious motive, Ronnie Cuber on bari. That's better! But not sure if it's Cuber or not. Leaning that way, though. But I think Cuber digs in a bit more than that.  Tenor is ok, the most idea-oriented so far. Might be George Coleman? On the whole, it's a bit old-fashioned, but sincerely so.

Not Cuber or Coleman.

TRACK TWO - "Billie's Bounce". Buddy Tate? & Percy France? Oscar Pettiford on air bass? Skunk Dufford on bizzaro-miked piano. What this lacks in recording quality is more than made up for in spunk! Everybody's playing!!!! No half-assing here!!!

Percy France yes, Tate no. Not Pettiford.

TRACK THREE - Burrell for sure? Everything is as it should be, Right where it should be.

Yes, Burrell.  Joe worked his way to Tommy Flanagan and then to KB.

TRACK FOUR -  "Broadway". Earle Warren? The Countsmen? Old, but spunky, for sure! Do we have us some Jo Jones here? That would explain the overall spunkiness for sure! And might that be Buddy Tate? Here's where it gets locked in to a serious dance groove. Love it when that happens.

Yes, the Countsmen with Buddy Tate and Earl Warren, no Jo Jones, and who is the trumpeter?

TRACK FIVE - "Lester Leaps In". Not too derivative to detract from the warmth. No idea who it is, but there they go!

TRACK SIX -  "The Late Late Show". Why are they in such a hurry, are they out past curfew? I don't get it.

Not sure why you miss the title when you got 9:20 Special on the second go-round. The pianist is a bit surprising as one doesn't often associate this tempo or approach with this player.

TRACK SEVEN - "Django". That tune is almost always good, and this is no exception. No particularly "deep", but they set a good temp and don't fuck it up. If it was that easy, everybody would do it.

TRACK EIGHT - "Billie's Bounce". Frank Morgan. There it is, bebop as well-made comfort food. Yum!

Morgan yes.

TRACK NINE - "Daahoud". Is this on Concord? Because it sounds like the playing is actually better than the recording is putting out. That damn Flavor Remover again. But the peoples be paying anyway.

Not on Concord, not on a label known (to my mind) for any flavor removal.

Nevertheless, both recordings of Daahoud are on "West Coast" labels and were recorded in the 80s. There's your first hint.

TRACK TEN - "He's Got The Whole Bass In The Mike"

Too bad this tune is unappreciated to date. I have a killer hint coming up for this one.

TRACK ELEVEN - "Broadway". Three Sounds. Five Stars.

That would be correct on all statements.

TRACK TWELVE - "Lester Leaps In". Percy France? Even today, if a tenor player does not have some Lester in there somewhere, they are never gonna gett to heaven. This one is wonderful.

Yes, Percy France and this is where Felser does a spit take cuz he's long established himself as "not a fan".

TRACK THIRTEEN - "Django". Jazztet. Maybe a bit fussy, but it was their band and they had the composer's approval. So hey.

TRACK FOURTEEN - "9:20 Special". I guess I should be impressed? I guess I could be?

I don't know what this means.

TRACK FIFTEEN - I believe this is Percy France? A message of universal goodwill, no doubt!

Not Percy.

An enjoyable listen, thanks!

Thanks for coming back to this before the month ran out.

 

[JSngry]

3 hours ago, Dan Gould said:

Yes, the Countsmen with Buddy Tate and Earl Warren, no Jo Jones, and who is the trumpeter?

.....

Not sure why you miss the title when you got 9:20 Special on the second go-round.

...

Yes, Percy France and this is where Felser does a spit take cuz he's long established himself as "not a fan".

Ed Lewis?

No idea!

Too much Wishbone Ash?

[felser]

3 hours ago, JSngry said:

Too much Wishbone Ash?

No doubt.  That stuff melts your brain

 

 

[JSngry]

 

[Dan Gould]

Ten days to go and I am ...

@Big Al @tkeith @randyhersom@webbcity

 

[Dan Gould]

Almost forgot @mikeweil

[webbcity]

I will definitely be participating, fear not! Hope to get to it this week. 😎