Joe Posted February 3 Report Posted February 3 This one is now available for your listening pleasure. No theme or conceit; just 12 tracks culled from my recent listening which I felt like sharing with a an audience of more than one (me). https://thomkeith.net/blindfold-tests/2025-blindfold-tests/ Thanks in advance for the discussion! Quote
JSngry Posted February 4 Report Posted February 4 Listening in hopes of the Reverse Rapture of Miriam Adelson. TRACK ONE - My initial gut reaction was that this was some rewritten/expanded version of :Half Mast Rapture", but it didn't take long t disabuse that notion. Second reaction was/is that this is quite well written. That bassoon is on it! Same for the cellist. The flautist is a little missing in the upper register, which tells me that it's not a classical player. And who, there are a few noticeable (on my phone, anyway)splices between composed and jazz section. the soloists are all good but not immediately identifiable. Elvin? I like this a lot, actually, especially the composed sections. TRACK TWO - That Leo P guy? "Nica's Dream". Very barking tone/attack. Sound is impressive, ideas, not so much. Almost sounds like a smooth jazz approach to hard bop. Once or twice is enough for this one, for me. TRACK THREE - Ok, this one I have - "Cool Struttin'" by Bennie Green, Jimmy Forrest, and Sonny Clark on Green's Time record. Green & Forrest made a good front line (and also did at least one more together) This is a good record. TRACK FOUR - Sounds like an Eddie Harris solo record, but not one that I have. I like the textures and the notion. The actual music, not as much., which is why I don't think it's Eddie Harris. When Eddie played simply, he always had a palpable power in reserve. This? Eh...But I do like the textures. TRACK FIVE - No idea. A bit too much for me. It's like driving through a car wash in a convertible with the top down, but the dryer is out of order. You know, why did THAT happen? TRACK SIX - I have this one too - Benny Carter's OTHER impulse! album. I love the AM-ready reverb! The entire album is lacking the BADASS punch of the first one, but it's good, and this one is such a charmer! TRACK SEVEN - Nice arrangement! Bud Shank? Art Pepper? Trixie Sorbet? I don't know? Kudos for not following the crowd. TRACK EIGHT - Sounds like a late-60s/early-mid 70s Gil Evans. But if it was, I would have it and I don't. Ok, opening up into some guitar textures that came later than that. I like it, it's got a good zone, but a little Billy Harper or Hannibal (or a lot) (Or both) would do no harm one bit. Not one bit. Although this trumpeter is not unaware of Johnny Coles, thank you for that. TRACK NINE - Oh my! Sounds like a still-forming player, but that's ok, they're going the right way(s). Sounds like they all are. What a sound, vocal like a mo! Form is reminiscent of a Joe Harriot piece, maybe? But this is not Joe Harriot. I like this one a pretty lot much! TRACK TEN - "Sophisticated Lady". Ran Blake? But I think maybe not? But I also think why not? I like it. TRACK ELEVEN - Not Mingus. T-ing him up. Not Chet Baker. He gone. Tenor vibrato, say hi to Miriam. Where is Jackie Paris when you need him? TRACK TWELVE - This one rings true to me. A ot, actually. Not "great", but TRUE. Nice set. Stop by any time! Quote
Joe Posted February 4 Author Report Posted February 4 44 minutes ago, JSngry said: Listening in hopes of the Reverse Rapture of Miriam Adelson. TRACK ONE - My initial gut reaction was that this was some rewritten/expanded version of :Half Mast Rapture", but it didn't take long t disabuse that notion. Second reaction was/is that this is quite well written. That bassoon is on it! Same for the cellist. The flautist is a little missing in the upper register, which tells me that it's not a classical player. And who, there are a few noticeable (on my phone, anyway)splices between composed and jazz section. the soloists are all good but not immediately identifiable. Elvin? I like this a lot, actually, especially the composed sections. TRACK TWO - That Leo P guy? "Nica's Dream". Very barking tone/attack. Sound is impressive, ideas, not so much. Almost sounds like a smooth jazz approach to hard bop. Once or twice is enough for this one, for me. TRACK THREE - Ok, this one I have - "Cool Struttin'" by Bennie Green, Jimmy Forrest, and Sonny Clark on Green's Time record. Green & Forrest made a good front line (and also did at least one more together) This is a good record. TRACK FOUR - Sounds like an Eddie Harris solo record, but not one that I have. I like the textures and the notion. The actual music, not as much., which is why I don't think it's Eddie Harris. When Eddie played simply, he always had a palpable power in reserve. This? Eh...But I do like the textures. TRACK FIVE - No idea. A bit too much for me. It's like driving through a car wash in a convertible with the top down, but the dryer is out of order. You know, why did THAT happen? TRACK SIX - I have this one too - Benny Carter's OTHER impulse! album. I love the AM-ready reverb! The entire album is lacking the BADASS punch of the first one, but it's good, and this one is such a charmer! TRACK SEVEN - Nice arrangement! Bud Shank? Art Pepper? Trixie Sorbet? I don't know? Kudos for not following the crowd. TRACK EIGHT - Sounds like a late-60s/early-mid 70s Gil Evans. But if it was, I would have it and I don't. Ok, opening up into some guitar textures that came later than that. I like it, it's got a good zone, but a little Billy Harper or Hannibal (or a lot) (Or both) would do no harm one bit. Not one bit. Although this trumpeter is not unaware of Johnny Coles, thank you for that. TRACK NINE - Oh my! Sounds like a still-forming player, but that's ok, they're going the right way(s). Sounds like they all are. What a sound, vocal like a mo! Form is reminiscent of a Joe Harriot piece, maybe? But this is not Joe Harriot. I like this one a pretty lot much! TRACK TEN - "Sophisticated Lady". Ran Blake? But I think maybe not? But I also think why not? I like it. TRACK ELEVEN - Not Mingus. T-ing him up. Not Chet Baker. He gone. Tenor vibrato, say hi to Miriam. Where is Jackie Paris when you need him? TRACK TWELVE - This one rings true to me. A ot, actually. Not "great", but TRUE. Nice set. Stop by any time! Thanks! Bingpot on 3 and 6. Track 1 was recently brought to my attention by a friend. It's kind of specific to one city's jazz scene (not Dallas or Fort Worth, though). A scene with some jazz history, in fact, that's often overlooked. (And, yes, that's Elvin.) Track 2 is another new name to me. Hoping other listeners can tell me more about them! Track 7 is an arranger you know. (Even if you don't know these players.) Track 8 is the bassist's date. I've featured this trumpet player in a previous BFT. Track 10 sure feels like it should be Ran Blake... but it's not! Europe is in the mix, but the pianist is not European by birth. Track 12 features an obscure leader and ringers elsewhere. Will be curious to see if anyone IDs them. Quote
Joe Posted February 4 Author Report Posted February 4 2 hours ago, JSngry said: Cecil McBee on #12? Quote
clifford_thornton Posted February 11 Report Posted February 11 Track 1 — no idea, but I love it. Did a little discographical sleuthing and couldn’t line up Elvin with this ensemble. Stumped. I assume this music is from Detroit? Track 2 — “Recorda Me” but I cannot identify the group or the bari player, who seems to be coming out of Ronnie Cuber (not him, though, I don’t think) Track 3 — already identified (I peeked) but it is nice to hear this group for sure. Track 4 — never heard this before. Not really my cuppa, personally. Track 5 — again, no idea, but a bari and bass sax duo is pretty unique. I both liked it all right and wished for more inventiveness or openness… something. Track 6 — already identified but a record I’ve never spent any time with. Should rectify that. Track 7 — excellent. Sounds left coast-y to me, but I can’t quite nail it down. Track 8 — feels like it was done in the last 20 years; guitarist reminds me a bit of David Torn or Bill Frisell, but seems unlikely to be either. I do like this. Trumpeter is good but I cannot identify them. Track 9 — definitely has bite, both the alto and the piano are tugging at things. The bassist has a beautiful tone. Feels relatively recent as well, and I’d like to hear more. Track 10 — wow. Lovely. Definitely not Ran — less spacious, less capricious — but another one I’d like to hear more from. Track 11 — I agree with Jim, but I do like this piece. I hear what they're going for, and while that thing occurred some time before this date came around, it’s honest. Track 12 — Cables, McBee, Hart? Quote
Joe Posted February 11 Author Report Posted February 11 38 minutes ago, clifford_thornton said: Track 1 — no idea, but I love it. Did a little discographical sleuthing and couldn’t line up Elvin with this ensemble. Stumped. I assume this music is from Detroit? Track 2 — “Recorda Me” but I cannot identify the group or the bari player, who seems to be coming out of Ronnie Cuber (not him, though, I don’t think) Track 3 — already identified (I peeked) but it is nice to hear this group for sure. Track 4 — never heard this before. Not really my cuppa, personally. Track 5 — again, no idea, but a bari and bass sax duo is pretty unique. I both liked it all right and wished for more inventiveness or openness… something. Track 6 — already identified but a record I’ve never spent any time with. Should rectify that. Track 7 — excellent. Sounds left coast-y to me, but I can’t quite nail it down. Track 8 — feels like it was done in the last 20 years; guitarist reminds me a bit of David Torn or Bill Frisell, but seems unlikely to be either. I do like this. Trumpeter is good but I cannot identify them. Track 9 — definitely has bite, both the alto and the piano are tugging at things. The bassist has a beautiful tone. Feels relatively recent as well, and I’d like to hear more. Track 10 — wow. Lovely. Definitely not Ran — less spacious, less capricious — but another one I’d like to hear more from. Track 11 — I agree with Jim, but I do like this piece. I hear what they're going for, and while that thing occurred some time before this date came around, it’s honest. Track 12 — Cables, McBee, Hart? Thank you! Track 1 is due south (roughly) from Detroit. Almost The South. Track 5 is not necessarily a "jazz player" - that is, they are associated with another (much more niche) genre. Track 6 I love for just that little bit of uneasiness in possesses. Shade of Gary McFarland (who does not appear here). Yes, Track 7 is Atlantic (not the label) rather than Pacific. But the arranger is considered by many to be a quintessential West Coast musician. Track 9 is recent, but more of a "blowing date" from a musician whose reputation rests on some work that is more composed and, dare I say, "intertextual." Track 10: I knew this player quite well, I thought, before hearing this record. "Wow" was my reaction too! Track 12: Not Cables, but I can hear echoes of him here now that you mention it. The drummer is arguably a bigger name than Hart. The pianist is almost a no-name. Quote
Joe Posted February 12 Author Report Posted February 12 1 hour ago, clifford_thornton said: Is 9 Steve Lehman? No, but a nice guess! Definitely a contemporary musician. Quote
clifford_thornton Posted February 12 Report Posted February 12 Cool — I’ll stop guessing. I haven’t heard much Lehman to be honest, but your comment about intertextuality made me think of him. Quote
Joe Posted February 12 Author Report Posted February 12 The saxophonist on track 9 is also known for some rather conceptual work. Quote
B. Clugston Posted February 12 Report Posted February 12 Really enjoyable blindfold test! Track 1 is really fascinating. I agree with Jim in that it starts off Mingus-like and goes somewhere else. No idea who this is—alto player sounds like a Dolpy/Mariano hybrid, while some of the others sound like they hung out with David Baker in Indianapolis. Track 5. Mats Gustafsson duetting with a bass saxist? Track 10. That was nice. I feel like I know this pianist, but they aren't giving many clues. Track 12 sounds like Jack DeJohnette on drums along with McBee, so I’m guessing Donald Smith on piano? Quote
clifford_thornton Posted February 12 Report Posted February 12 good guess on 12! I realize I own “Luv” but haven’t dug it out in many, many years… 😬 Quote
Joe Posted February 12 Author Report Posted February 12 3 hours ago, B. Clugston said: Really enjoyable blindfold test! Track 1 is really fascinating. I agree with Jim in that it starts off Mingus-like and goes somewhere else. No idea who this is—alto player sounds like a Dolpy/Mariano hybrid, while some of the others sound like they hung out with David Baker in Indianapolis. Track 5. Mats Gustafsson duetting with a bass saxist? Track 10. That was nice. I feel like I know this pianist, but they aren't giving many clues. Track 12 sounds like Jack DeJohnette on drums along with McBee, so I’m guessing Donald Smith on piano? 12 has been revealed! Quote
Joe Posted February 15 Author Report Posted February 15 7 hours ago, danasgoodstuff said: track 7 - Yesterdaze Indeed! I'm a bit surprised no one has unmasked the trumpet player or pianist. Also, there's a well-known drummer here, only they're not playing drums. (Yet their work hjer does resemble the ensemble work they're most known more.) Quote
tkeith Posted Wednesday at 05:30 PM Report Posted Wednesday at 05:30 PM Despite my cantankerous responses, I appreciate that this BFT forced me right outside my element [Donny]. track 01 - Interesting, though slightly out of my element. A bit more in the "classical" vein than my preference. Well done, though, as it goes on, it loses me a bit. I'm reminded of the saxophone mouthpiece guru who, in the past year, posted to the socials asking if sax players preferred Jazz or Classical. The overwhelming response was Jazz. He then chided all of us for our answers, suggesting we had no idea what we were talking about. So, why ask? About the 3 minute mark things kick in and go in a very nice direction. That is some powerful trumpet, and not bashful. Yeah, I've completely flipped my perspective on this. The intro goes down a strange path that takes me out of my element, but this fires nicely. Yes, please. Alto player does quite get to that same place. I like Doplhy, too. This doesn't *quite* hold together. That trumpet solo was worth the price of admission, but I'm not sure this will hold up on repeated listening. track 02 - A true bari player, if my ears are being honest with me (as opposed to a doubler). It's not Cuber, but this player likes RC a bunch (not a bad thing). Never played this much on bari until about a year ago, and then wondered why not. It's a nice fit (not all songs are). My ears tell me that this person has listened to a lot of the rock/funk side of this instrument. I'm guessing a younger player. track 03 - Tune is Cool Struttin' and that sure sounds like Sonny Clark, but this is not the version I'm familiar with. Recognize the bone but can't put a name. Not Curtis. Tenor is familiar, but again, no name coming. track 04 - This would land better if that last tune wasn't such a bitch. With all the effects and loungie percussion, however, I feel like I've wandered into the David Friesen café. If this came on the radio or in a pop culture setting, I'd be onboard. This reeks of one of those one-guy-plays-it-all projects, though, and for that reason, I'm out. Wants to be later Eddie Harris, but it just isn't. track 05 - More effects. This is where you tap into my inner curmudgeon. Nope. track 06 - Pretty, polite. Almost has an Ibrahim vibe to it. It's a strong composition, but I'm not in love with the arrangement. Progression almost has an Only Trust Your Heart vibe. Wait, that almost sounds like Benny Carter on alto, but I don't recognize this at all. That would explain what I'm hearing in the composition, though. Something is off here (third listen). Not Benny, but royalties are owed. track 07 - This is the almost BFT. I'm getting a strong Konitz vibe from the alto, but it's not him. Fan? Contemporary? Leaning towards the latter. This is its own thing and it works well. A bit more controlled than my preference, but this is for real. Very curious. Taking Jerome in a little different direction. track 08 - I like all of what is going on here. I'm not a big fan of that Monder-ish guitar sound, but there is a uniqueness here that I appreciate. This isn't the rule book formula, and deserves kudos for that if nothing else. I keep wanting this to go a certain place. It doesn't, but it a way that I actually respect. This is not a monkey performing for me, the listener; there's a purpose here and they are not being deterred by what I might want. This might be my favorite track outside of track 3. About the three minute mark, guitarist pushes it in a decidedly Tom Waits direction that I don't entire love. I think the key is, they don't care. track 09 - There is a familiarity here, but it's an adjacent one. The tune remarkably familiar. Strong alto sound, but I'm not sold. The tune doesn't gel. Doesn't really sound like these guys are much listening to one another. Seems like it's trying to be too many things at once, and not really achieving any of those things. Not nearly as hip as it seems to think it is. And by 5:30, we're into full-on practice room masturbation -- I'm out. track 10 - Took awhile for me to identify Sophisticated Lady in there, but are we doing a medley, or is this really that tune? Seems more Monk than Ellington, but it's neither. It's not quite hitting. Each time it gets close, it gets bangy (like Ran Blake). Okay, we're back at Sophisticated Lady. Live I might feel differently, but this one misses for me. track 11 - Not in love with the vocals, but this is sincere. Don't recognize the tune. The sound on this recording leaves much to be desired. Somes like the vocals, saxophone, were recorded down a hallway. Saxophonist is older -- there's a shakiness at times that reveals physical age. Perhaps vocalist is also the horn player? That would explain the oddness I'm hearing in the singing, but they are both recorded in the same way that doesn't entirely work. Really sounds like this may have been recorded in different studios and mixed after the fact. track 12 - This has a lot of promise off the bat. Has a Mapleshade sound to it, particularly those drums. Busy piano, but that bass allows for a lot to happen. Even though the bass travels, ultimately it holds down the vibe, and the drums are right there, too. Piano could do pretty much anything -- not really commanding my attention. Drums and bass are killing it, though (in a good way). Got almost a Pharoah vibe to it. In fact, that may be Cecil, but it sounds like a more modern recording. Give me that bass and drums any and ALL the time. Much as the piano isn't making a full impression on me, I'd LOVE to play with this guy. It would force me out of habits. I need this. Apologies for taking the better part of three weeks to get to this. #12 will make me spend money (and likely #3), but it was worth it. Okay, my ears didn't lie to me on track 3, though I should have gotten Forrest. So track 6 IS Benny? I feel better if that's the case, but also feel worse at not having this. And track 12! I'll be damned! I didn't have Jack, but that makes perfect sense. I shall have to acquire this. Also, Jim's post is the perfect explanation for why I don't read prior to listening. #PresentingTheAnswerKey Quote
Joe Posted Wednesday at 10:37 PM Author Report Posted Wednesday at 10:37 PM 5 hours ago, tkeith said: Despite my cantankerous responses, I appreciate that this BFT forced me right outside my element [Donny]. track 01 - Interesting, though slightly out of my element. A bit more in the "classical" vein than my preference. Well done, though, as it goes on, it loses me a bit. I'm reminded of the saxophone mouthpiece guru who, in the past year, posted to the socials asking if sax players preferred Jazz or Classical. The overwhelming response was Jazz. He then chided all of us for our answers, suggesting we had no idea what we were talking about. So, why ask? About the 3 minute mark things kick in and go in a very nice direction. That is some powerful trumpet, and not bashful. Yeah, I've completely flipped my perspective on this. The intro goes down a strange path that takes me out of my element, but this fires nicely. Yes, please. Alto player does quite get to that same place. I like Doplhy, too. This doesn't *quite* hold together. That trumpet solo was worth the price of admission, but I'm not sure this will hold up on repeated listening. track 02 - A true bari player, if my ears are being honest with me (as opposed to a doubler). It's not Cuber, but this player likes RC a bunch (not a bad thing). Never played this much on bari until about a year ago, and then wondered why not. It's a nice fit (not all songs are). My ears tell me that this person has listened to a lot of the rock/funk side of this instrument. I'm guessing a younger player. track 03 - Tune is Cool Struttin' and that sure sounds like Sonny Clark, but this is not the version I'm familiar with. Recognize the bone but can't put a name. Not Curtis. Tenor is familiar, but again, no name coming. track 04 - This would land better if that last tune wasn't such a bitch. With all the effects and loungie percussion, however, I feel like I've wandered into the David Friesen café. If this came on the radio or in a pop culture setting, I'd be onboard. This reeks of one of those one-guy-plays-it-all projects, though, and for that reason, I'm out. Wants to be later Eddie Harris, but it just isn't. track 05 - More effects. This is where you tap into my inner curmudgeon. Nope. track 06 - Pretty, polite. Almost has an Ibrahim vibe to it. It's a strong composition, but I'm not in love with the arrangement. Progression almost has an Only Trust Your Heart vibe. Wait, that almost sounds like Benny Carter on alto, but I don't recognize this at all. That would explain what I'm hearing in the composition, though. Something is off here (third listen). Not Benny, but royalties are owed. track 07 - This is the almost BFT. I'm getting a strong Konitz vibe from the alto, but it's not him. Fan? Contemporary? Leaning towards the latter. This is its own thing and it works well. A bit more controlled than my preference, but this is for real. Very curious. Taking Jerome in a little different direction. track 08 - I like all of what is going on here. I'm not a big fan of that Monder-ish guitar sound, but there is a uniqueness here that I appreciate. This isn't the rule book formula, and deserves kudos for that if nothing else. I keep wanting this to go a certain place. It doesn't, but it a way that I actually respect. This is not a monkey performing for me, the listener; there's a purpose here and they are not being deterred by what I might want. This might be my favorite track outside of track 3. About the three minute mark, guitarist pushes it in a decidedly Tom Waits direction that I don't entire love. I think the key is, they don't care. track 09 - There is a familiarity here, but it's an adjacent one. The tune remarkably familiar. Strong alto sound, but I'm not sold. The tune doesn't gel. Doesn't really sound like these guys are much listening to one another. Seems like it's trying to be too many things at once, and not really achieving any of those things. Not nearly as hip as it seems to think it is. And by 5:30, we're into full-on practice room masturbation -- I'm out. track 10 - Took awhile for me to identify Sophisticated Lady in there, but are we doing a medley, or is this really that tune? Seems more Monk than Ellington, but it's neither. It's not quite hitting. Each time it gets close, it gets bangy (like Ran Blake). Okay, we're back at Sophisticated Lady. Live I might feel differently, but this one misses for me. track 11 - Not in love with the vocals, but this is sincere. Don't recognize the tune. The sound on this recording leaves much to be desired. Somes like the vocals, saxophone, were recorded down a hallway. Saxophonist is older -- there's a shakiness at times that reveals physical age. Perhaps vocalist is also the horn player? That would explain the oddness I'm hearing in the singing, but they are both recorded in the same way that doesn't entirely work. Really sounds like this may have been recorded in different studios and mixed after the fact. track 12 - This has a lot of promise off the bat. Has a Mapleshade sound to it, particularly those drums. Busy piano, but that bass allows for a lot to happen. Even though the bass travels, ultimately it holds down the vibe, and the drums are right there, too. Piano could do pretty much anything -- not really commanding my attention. Drums and bass are killing it, though (in a good way). Got almost a Pharoah vibe to it. In fact, that may be Cecil, but it sounds like a more modern recording. Give me that bass and drums any and ALL the time. Much as the piano isn't making a full impression on me, I'd LOVE to play with this guy. It would force me out of habits. I need this. Apologies for taking the better part of three weeks to get to this. #12 will make me spend money (and likely #3), but it was worth it. Okay, my ears didn't lie to me on track 3, though I should have gotten Forrest. So track 6 IS Benny? I feel better if that's the case, but also feel worse at not having this. And track 12! I'll be damned! I didn't have Jack, but that makes perfect sense. I shall have to acquire this. Also, Jim's post is the perfect explanation for why I don't read prior to listening. #PresentingTheAnswerKey Thanks for this extensive commentary! The trumpet player on track #1 is definitely something of an overlooked figure. But every time they show up on record, attention must be paid. Track 2: Younger player as far as I am aware. Definitely a new recording. Track 7: Konitz contemporary for sure. This player was often compared to Konitz. But there's some Paul Desmond in the mix too, yes? You are onto something with track 11 (vocialist also being a horn player; horn player being of a certain age). The tune itself is a clue. Written by one trumpet player; sung more famously by another. The leader on this date has some association with the latter. Quote
B. Clugston Posted Wednesday at 11:30 PM Report Posted Wednesday at 11:30 PM Is Track 7 Hal McKusick? Quote
Joe Posted Thursday at 01:42 AM Author Report Posted Thursday at 01:42 AM 2 hours ago, B. Clugston said: Is Track 7 Hal McKusick? Quote
Dub Modal Posted Thursday at 04:38 PM Report Posted Thursday at 04:38 PM 1- I like the bassoon and third stream-ish concept. Reminds me of Johnny Richards so maybe the composer was influenced by him? Or maybe not. Either way, enjoyed it. 2- sax tone is familiar. Billy Harper? 3- reminds me of a Horace Silver composition, but it's not him as I don't recall a trombone in his recordings that I'm aware of. Curtis Fuller? 4- flirting with a Sade-esque style but less polished. Is that a varitone? Eddie Harris? 5- bari sax(es?) with reverb. Interesting. Reminds me of the WSQ a bit. Blueitt? 6- breezy and smooth in stark contrast to the prior song. Hmmm...no guesses right now 7- Desmond-ish opening. There's no way this is Desmond though. Interesting song. 8- brooding and moody track. ECMesque. Another one I'm stumped on. 9- another interesting song with a lot of changing elements. Kind of a theme among this bft and the compositions included. I like the variance. Back later for the rest Quote
clifford_thornton Posted Thursday at 05:21 PM Report Posted Thursday at 05:21 PM 15 hours ago, Joe said: aha!!! Quote
Joe Posted Thursday at 10:04 PM Author Report Posted Thursday at 10:04 PM 5 hours ago, Dub Modal said: 1- I like the bassoon and third stream-ish concept. Reminds me of Johnny Richards so maybe the composer was influenced by him? Or maybe not. Either way, enjoyed it. 2- sax tone is familiar. Billy Harper? 3- reminds me of a Horace Silver composition, but it's not him as I don't recall a trombone in his recordings that I'm aware of. Curtis Fuller? 4- flirting with a Sade-esque style but less polished. Is that a varitone? Eddie Harris? 5- bari sax(es?) with reverb. Interesting. Reminds me of the WSQ a bit. Blueitt? 6- breezy and smooth in stark contrast to the prior song. Hmmm...no guesses right now 7- Desmond-ish opening. There's no way this is Desmond though. Interesting song. 8- brooding and moody track. ECMesque. Another one I'm stumped on. 9- another interesting song with a lot of changing elements. Kind of a theme among this bft and the compositions included. I like the variance. Back later for the rest Thanks! 1: Johnny Richards is an interesting touchpoint. I honestly don't know if there's any connection there and will investigate. 3: Not Silver, not Fuller. Already ID'ed by other listeners, but, yes, I chose this one as much for the composition as the playing. 5: WSQ is also an interesting touchpoint. But this track comes from a kind of parallel universe. Quote
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