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BFT #108

Discussion in 'General Jazz Discussions' started by Luis Antonio Palmeira, Feb 22, 2015.

  1. No, not that muted trumpet. It is another muted trumpet. They are two different players.

    One more clue / curiosity. This alto sax player is the the same alto sax player who takes a prominent role on track #1.
     
  2. I could swear you would take this one, Dr. Bob. If I am not wrong, you have the album :rolleyes:
     
  3. Final notes ... for now

    This is a sextet - trumpet, trombone, soprano sax, tenor sax, bass and drums.

    You're right this time, Dr.Bob. It's indeed an english horn :!:
    Does anybody identify the quote in the final coda? It 's from a classical composer ... to be more exact , Debussy
     
  4. J. Robert Bragonier

    J. Robert Bragonier Maitre d' Forums Staff Member

    I heard it and then forgot to mention it, Luis Antonio! And, I can identify it without even listening again to the track: It is Debussy's "Girl with the Flaxen Hair."
     
  5. relyles

    relyles Active Member

    Location:
    West Hartford, CT
    Thanks for letting me jump in late in the game. I had chance to listen to all the tracks once through. I hope to find time for further listening, but instead of waiting until I can craft more articulate and thoughtful responses after more attentive listening, I want to post my initial comments. Some of these are very brief and intended as place holders for me. I will supplement these responses as I am able to listen further.

    1. While casually listening the alto saxophone solo made me focus my attention. Initially it reminded me of Bobby Watson. The composition itself also has the feel of a Watson tune – which I always enjoy. After listening to the full solo, I do not think it is Watson – it does not have that cascading effect that his playing has. But it is an impressive solo nonetheless. I enjoyed this track very much.

    2. Piano trio.

    3. I liked the ensemble statements in the beginning and throughout. The soprano solo impressed.

    4. The beginning feels like Mingus. The alto is very familiar. Sounds very similar to the alto in the first track. Very interesting arrangement – the middle sections sound almost like different tunes than the solo sections. Live recording of a large ensemble. It could be one of those Mingus tribute ensembles. I can’t confidently identify anything here, but I enjoyed this track a lot.

    5. I think this is Rahsaan Roland Kirk. I wondered in the beginning when I could not identify the reed instrument (was thinking a stritch), but during the piano solo there is the unison horn playing which basically seals it for me. I love Kirk – and not because of what some consider his gimmickry. He was a fantastic musician and his music was filled with an undeniable life force. Anyway, this is a good tune here – the highlight probably the piano solo. Overall it has a very laid back bluesy feeling which I enjoyed.

    6. Yes! Excellent! It does not swing in the traditional sense, but I am hearing what these three musicians are saying! I could try to name a bunch of piano trios that may be possible, but what would be the point? I don’t know who it is, but I like it.

    7. This does swing in the traditional sense. Tenor sounds like James Carter – or maybe more appropriate the tenor sounds like someone that may have influenced James Carter? Alto is not as expressive, but impresses in a more fluid manner. Actually the second horn may also be a tenor. I also thought about Bennie Wallace and his Coleman Hawkins project. Oh who cares? Another very good track.

    8. The saxophonist’s tone suggests someone out of the Lester Young lineage such as Stan Getz, or even at moments Warne Marsh. Nice playing whoever it is. The rhythm section provides appropriate support and the bassist event got a brief moment so say a little something.

    9. Interesting instrumentation. The violin solo stood out.

    10. Stolen Moments. I have never heard this composition played with a larger ensemble. Solos from trombone, muted trumpet, bass. The arrangement holds me interest. This track is not a highlight of the compilation, but it is solid.

    11. I am bad remembering titles – I can barely remember my three children’s names – but I do know this tune. Nice solo piano performance.

    12. Another solo piano performance of a familiar tune. This pianist displays a bit more technique. Lost my focus for a minute. Could be one of those Maybeck hall recordings. Will need to listen again.

    13. I guess Luis was listening to a lot of solo piano at the time. I love solo piano as well. I am going to have to come back and listen to these three selections again. This track is the most appealing of the three to me. It sounds like a mature piano player.
     
  6. J. Robert Bragonier

    J. Robert Bragonier Maitre d' Forums Staff Member

    OK, Luis Antonio: You've sent me back to my archives, and I believe I DO have this one (and am embarrassed that I didn't think of it... :oops: ) If I hadn't been lazy, I would have scrambled to my data base and found it on my own, I think...

    I believe this version is from the album J.J.! (CD: Mosaic Singles MCD-1004) recorded 12/8/1964 and released in 2006. It features Jerry Dodgion (as, fl, afl), Oliver Nelson (as, ts), Ray Beckenstein (bars, bcl, fl), Thad Jones, Ernie Royal (t, flglhn), J.J. Johnson, Jimmy Cleveland (tb), Tony Studd (btb), and a rhythm section of Hank Jones (p), Bob Cranshaw (b) and Grady Tate (d). Right?
     
  7. Eight weeks since this BFT started up (and since Ken sent his impressions). Four out of six participants sent commentaries. Giving that near two months delay, and since there's "no expectations that anyone would be required to submit a full commentaryâ€Â￾, as Dr. Bob said, it seems proper to let the tracks to be disclosed, little by little, with some furher informations about some of them. Of course, with no prejudice of further commentaries from anyone (mainly David and Bill, but also Ronald’s or anybody else “supplementary responsesâ€Â￾).

    1) Bobby Watson (cond, as), Jon Faddis (t), Ryan Kisor (t), Melton Mustafa (t), Terell Stafford (t), Robin Eubanks (tb), Frank Lacy (tb), Doug Purviance (tb), Steve Turre (tb), Craig Bailey (as), Bobby Porcelli (as), Rich Rothenberg (ts), Bill Saxton (ts), Jim Hartog (bs), Stephen Scott (p), Essiet Essiet (b), Victor Lewis (d), Victor See-Yuen (perc) Old Time Ways (Bobby Watson) 1992, Bobby Watson: Tailor Made
    Yes, it is Bobby Watson, Ronald! The album informations aren’t specific about being him on alto sax solo, but I assume it is. First, because the sound fits. Second, beause it seems logical for him as a leader to take the alto solo spot. Third, because I keep inside the CD box a review by our departed friend José Domingos Raffaelli, who considered it “one of the most exciting recording sessions of recent timesâ€Â￾ and remarked “only a little flaw: Watson could give more space to his musiciansâ€Â￾. This was the first Watson’s large ensemble recording. It reunited the musicians of his (then) group Horizon (Stafford, Scott, Essiet and Lewis), fellows of him in the 29th Street Saxophone Quartet (Rothenberg, Hartog) and a bunch of first class players (take a look on that trombone section!). I love very much this album. One need to listen in order to notice the diversity and wealthiness of the music. There’s even a genuine samba with a portuguese title (“Tudo Bemâ€Â￾)! Since my inception at the BFTs, I always wished to include a track from it. Every time was “next time I’ll do itâ€Â￾. Discussing about BFTs discontinuity, one of my thoughts was “what about that Bobby Watson big band album?â€Â￾. That’s why I put it as track #1 this time.

    2) Mary Lou Williams (p), Milton Suggs (b), Tony Waters (perc) Gloria (Mary Lou Williams) 1974, Mary Lou Williams: Zoning
    I had the chance of using Mary Lou Williams's recordings twice on past BFTs. First, on BFT #52, from the “Zodiac Suiteâ€Â￾ 1945 live recording. Second, a polytonal solo piano track with hints at “free jazzâ€Â￾ entitled “Fungus of Mungusâ€Â￾, from her 1963 album “Black Christ of the Andesâ€Â￾ (BFT #69). What impress me in this 1974 track is the “progressivenessâ€Â￾ (to use Ken’s words) of her playing and composition, in a special way the dynamic shifts and harmonic ingeniousity. “Gloriaâ€Â￾ refers not to any woman’s name, but to the title of one of the Catholic Mass sections (Kyrie, Gloria and so on). It is originally part of “Mary Lou’s Massâ€Â￾ (which by the way I never heard), where it had lyrics. This album brings two different arrangements of it, and this adventuresome one uses congas instead of drums, infusing it with a “latinâ€Â￾ feel.

    3) Herbie Nichols Project - Ron Horton (t), Wycliffe Gordon (tb), Michael Blake (ss), Ted Nash (ts), Ben Allison (b), Matt Wilson (d) Moments Magical (Herbie Nichols) 2001, The Herbie Nichols Project: Strange City
    HNP is (was?) a tribute band devoted to play the music of the great Herbie Nichols. Besides that, to unearth unknown and unrecorded compositions. Key members are pianist Frank Kimbrough and bassist Ben Allison. This album features different line-ups, from duets to full septet. Here, it’s a sextet, with the absence of Kimbrough. This album fascinates me for both the beauty of compositions and high level of playing. No player is limited to a simple supporting role, all voices seems to have prominence whenever its due, and yet the ensemble sounds very harmonious (an opposite feeling of Dino’s) with no player sounding obstructed. From Kimbrough/Allison liner notes: “Ron, Frank and Ben got together in the fall of 2000 to play through nearly 30 unrecorded Nichols compositions that Ron had tracked down at the Library of Congress in 1995. (...) Nichols himself never recorded the compositions on this album, with the exception of Shuffle Montgomery and Moments Magical (the latter was never commercially released). (...) We first heard Moments Magical when WKCR-FM played an acetate demo recording of a solo performance by Herbie. Our pianoless version features all four horns improvising harmonies on the in and out heads. The solo section is an intimate three-way conversation between Michael, Ben and Mattâ€Â￾. By the way, what great drummer Matt Wilson is!
     
  8. LASaxman

    LASaxman Active Member

    I'm going to get mine done this week. I promise!!!!
     
  9. Let’s continue with three more
    4) Gunther Schuller (cond), Snooky Young (t), Lew Soloff (t), Randy Brecker (t solo 1), Jack Walrath (t), Joe Wilder (t), Wynton Marsalis (t solo 3), Urbie Green (tb), Britt Woodman (tb), Sam Burtis (tb), Eddie Bert (tb), David Taylor (tb), Paul Faulise (tb), Don Butterfield (tba), Bobby Watson (as solo 2), John Handy (as), Jerome Richardson (as), Phil Bodner (ts, ob), George Adams (ts), Gary Smulyan (bs), Roger Rosemberg (bs), Michael Rabinowitz (bsn), Dale Kleps (cbcl), Roland Hanna (p), John Hicks (p), Karl Berger (vib), John Abercrombie (g), Reggie Johnson (b), Edwin Schuller (b), Victor Lewis (d), Daniel Druckman (perc) Ballad (In Other Words, I Am Three) (Charles Mingus) 1989, Charles Mingus Epitaph
    Another tribute album. Gunther Schuller restored meticulously the scores from the troubled Mingus 1962 Town Hall concert presenting the Epitaph suite, edited and prepared them for a performance in which he also conducted this stellar orchestra. Five musicians are also featured in different tracks of this BFT. Bobby Watson and Victor Lewis are on #1, other three will folllow.
    IMO, this is one of the best and most important recordings of last century late years. I have it on both CD (double) and DVD. The CD includes a 44-pages text by Gunther Schuller, beginning with a discussion about “the problem of how to create extended forms in jazzâ€Â￾, from Duke Ellington’s Creole Rhapsody on. That booklet for itself is worthy having. Allow me to elongate and reproduce (for the ones who don’t have the album) what he wrote about this track.
    “Ballad (In Other Words, I Am Three)â€Â￾ is one of two originally untitled pieces in Epitaph. The new title comes from Mingus’ autobiography, Beneath The Underdog. These are in fact the six words with which the autobiography begins, an appropriate title, we believe, because of the form and character of this movement: a series of three improvised solos leading to an open-ended extended climactic exploration, coming to a sort of semi-conclusion. The movement is in effect a capsule biography in sound of Mingus’ life and career. Its form is indeed unusual in that a slow polytonal introduction – which was reused a year later in “Black Saint And The Sinner Ladyâ€Â￾ – serves as a thrice recurring “interludeâ€Â￾ surrounding three major improvisations. The third reiteration of the introduction leads instead of to another improvised solo to an extraordinary episode of astonishing multi-layered complexity, more like some of Charles Ives’ most daring works than anything known in jazz. The whole piece produces another remarkable form: Intro, A(B-flat minor blues, solo), Intro, B(ballad statement), A (blues, solo), B(ballad statement continued and expanded), A(blues, solo), Intro, B(ballad statement elaborated into a gigantic climax).
    The three solos are third tumpet, first alto, and sixth trumpet (Brecker, Watson, Marsalis, respectively). An unusual formal touch here is that the alto solo rises out from a thin little phrase played by trumpet and alto, broken off by the solo. But when the solo subsides, this thin little phrase returns, continuing as if it had never been interrupted. This episode leads to a magnificent, stately chordal progression, enriched by powerful timpani strokes.
    The final peroration of this movement is, as mentioned, quite beyond anything previously known in jazz or ever demanded of a jazz orchestra. A rhythmic chordal riff in the six trombones and guitar gets things started, surrounded soon by swirling figures in the two pianos, vibraphone, and alto saxes. A zanily careening atonal unison trumpet line appears out of nowhere, and as the music accelerates in tempo and a constantly mounting crescendo, the trumpets’ line split in two, inexorably rising to a tremendous, cataclysmic climax. A terifying low-register crash in tam-tam and various bass instruments, and a timpani solo finally bring the movement to a quiet restâ€Â￾.

    5) Rahsaan Roland Kirk (cor, ts), Ron Burton (p), Steve Novosel (b), Jimmy Hopps (d) The Black And Crazy Blues (Roland Kirk) 1967, Rahsaan Roland Kirk: The Inflated Tear
    Ken and Ronald (“the unison horn playing basically seals itâ€Â￾) identified Roland Kirk. The liner notes quotes himself about this bluesy funeral march: “When I die I want them to play The Black and Crazy Blues , I want to be cremated, put in a bag of pot and I want beautiful people to smoke me and hope they get something out of itâ€Â￾. The main horn instrument here is rarely used in jazz - an english horn (!!), as Dr. Bob mentioned (same as cor anglais?). The icing on the cake is the coda quoting Claude Debussy’s La Fille aux cheveux de lin, from Préludes Livre I L117 (8th prelude), which Dr. Bob referred to by its english title. A nice video of Arturo Benedetti Michelangeli playing this Prelude can be found on Youtube. Reference recordings of mine are: Walter Gieseking and Claudio Arrau.

    6) Marilyn Crispell (p), Gary Peacock (b), Paul Motian (d) December Greenwings (Gary Peacock) 2000, Marilyn Crispell / Gary Peacock / Paul Motian: Amaryllis
    I didn’t thought on that while selecting the tracks for this BFT, but in the end it turned out to have many paired tracks. For instance, two piano trio tracks, both with a woman as pianist. This is the second album this trio recorded for ECM. It embodies some “slow free piecesâ€Â￾ and some original compositions by each player. This one is a Gary Peacock’s from the 80s. In spite of some participants saying of the whole track as having a “introductionâ€Â￾ character, I hear a tuneful A-B-A’ 18-bar theme which has many interesting traits (varied phrases metrics, the first A phrase which remains unresolved, the B part which is a sort of inversion of A, etc) followed by an “improvisedâ€Â￾ section which never loses sight of main theme’s melody, restated in its original form in the end.

    Next, part 3 – tracks 7 to 10
     
  10. J. Robert Bragonier

    J. Robert Bragonier Maitre d' Forums Staff Member

    I'm lovin' it, Luis Antonio: What great program notes...! I haven't listened to "Zodiac Suite" or "Epitaph Suite" for ages, and it never occurred to me to think of them. I'd be embarrassed if I weren't enjoying so much your reintroduction to this great music!

    Keep up the good work!
     
  11. LASaxman

    LASaxman Active Member

    Track #1. Wind chimes open gently, followed by some rubato trombones, but the energy increases quickly on this opening track featuring a big band and a hot alto player. I’m afraid I don’t recognize the writing or the alto player. But both are excellent.

    Track #2. Congas, piano and bass. Kind of a samba feel, with the quick two-beat rhythm. Again, I would only be guessing if I named names. After awhile the bassist gets very busy, which makes it feel less samba-like. I will say that the pianist reminds me a little of Ahmad Jamal in the percussive parts. Very enjoyable.

    Note: both of the first two tracks end with a fade. I almost always think fades are a cop out.

    Track #3. A small ensemble with about four horns. I think I hear trumpet, tenor and alto saxes, trombone. Maybe a soprano sax too. About 1:40 bass and drums join the horns and soprano sax takes the lead. Then it is just soprano, bass and drums for a couple of minutes, until the other horns join back in. This whole thing reminds me of something Mingus might do. It is at the same time bluesy and outside. I like the soprano player's tone and ideas.

    Track #4. And speaking of bluesy, this track has it. Minor key. After the dissonant intro we get about two minutes of trumpet solo, with lots of growling and plunger effects. Actually I think the form is a twenty-four bar blues. Then the ensemble comes back. It is hard to tell if the ensemble is written or improvised. Nice alto sax solo, then more growling trumpet. This strikes me as possibly a Wynton Marsalis effort. Aha! Some applause reveals this to be a live concert.

    Track #5. This one was not to my liking. A slow, one might say plodding, blues. I believe that is an oboe or English horn, but it could possibly be a soprano sax. At any rate, I don’t like the sound the player gets, whatever it is.

    Track #6. A piano trio. The pianist has a nice light touch. Kind of rhythmically free, but still with some harmonic and melodic structure. I enjoyed it, but I can’t say who or what it is, although about halfway through it almost sounded like he was quoting Spanish Eyes.

    Track #7. The first melody in this BFT that is recognizable to me. Where or When (Rogers & Hart) played by two R&B style tenor saxes and four rhythm. One tenor has a sharp edgy sound while the other has a more mellow sub-tone reminiscent of Lester Young. Guess time: Illinois Jacquet and Buddy Tate. I thoroughly enjoyed this one. When they are trading fours one of the tenors starts his phrase (4:20) with some high notes that could be mistaken for a trumpet.

    Track #8. Another familiar song, I Can’t Give You Anything But Love, nicely rearranged and played by a tenor sax led quartet. I am really digging this tenor player, very laid back in the line of Prez. When I find out who and what it is I am going to buy it. Also a great bass solo, concentrating in the upper register. Too bad he piano doesn’t get to solo. My favorite track (so far).

    Track #9. Jazz bassoon, there can’t be too many of those. Ray Pizzi comes to mind. Kind of melancholy, but I liked it. A very forceful violin solo. A good trumpet solo too, by a player who likes to play around with half-valve effects.

    Track #10. Oliver Nelson’s famous composition Stolen Moments. A large ensemble featuring a trombonist. Also trumpet and bass solos. This was good, but not exceptional. It seems like once you get past Jack Teagarden and Bob Brookmeyer, I have trouble identifying trombone players.

    Track #11. Another famous jazz composition, Duke Ellington’s Come Sunday, originally a part of his 1942 suite Black, Brown and Beige. Played by a solo piano. I don’t know who the pianist is, but his or her reading of the tune is lovely.

    Track #12. More solo piano, in a live performance. A virtuoso of the keys, but I have no idea who and I don’t recognize the composition. Wait, I think the tune is I Want All Of You, but I’m not sure if I have the title exactly right.

    Track #13. Third solo piano piece in a row. I think I’m beginning to detect a pattern. This time I do recognize the melody, but I can’t quite put a name to it. Is it Beware My Foolish Heart? A very nice version of it.

    Summary: I think I am going to stick with my initial judgement about track #8, I Can’t Give You Anything But Love, being my favorite.
    [/quote][/i]
     
  12. Thank you for your valuable contributions, David. You alone nailed Wynton on #4 and... let us see more

    7) Flip Phillips (ts), James Carter (ts), Benny Green (p), Howard Alden (g), Christian McBride (b), Kenny Washington (d) Where Or When (Richard Rodgers) 1999, Flip Phillips: Swing Is The Thing!
    Yes, it is James Carter, Ronald! This is one out of many CDs I purchased from our departed friend Mike (Kiwijazz). It was recorded by the great Joseph Edward Filipelli less than two years before his death. The liner notes names it “a multi-generation summitâ€Â. Some tracks (three each) feature as guests two other tenor sax players: Joe Lovano and James Carter, who is 54 years younger than Flip! “Generation gap? Forget about such things when Flip Phillips is on the sceneâ€Â. The horn dialogues reminded me of Al & Zoot stuff. Of course, all of you can notice that, to use David’s words, the “sharp edgy sound†is JC and the “more mellow sub-tone†is FP. Worth mentioning James Carter’s I’m Confessin’ quote, noticed py Dino.

    8 ) Warne Marsh (ts), Lou Levy (p), Jesper Lundgaard (b), James Martin (d) I Can’t Give You Anything But Love Baby (Jimmy McHugh) 1983, Warne Marsh Quartet: A Ballad Album
    It's just Warne Marsh doing great music. Ronald mentioned him as a possibility. What else can I say? This album was recorded in Netherlands for Criss Cross. Jesper Lundgaard, a Danish bass player, deserves all the accolades some of you gave him. I think that his (and Lou Levy’s) ground bass is the core basis upon which this very original arrangement is done.

    9) Dave Douglas (t), Michael Rabinowitz (bsn), Michael Jefry Stevens (p), Mark Feldman (vn), Joe Fonda (b), Harvey Sorgen (d) Mr. Phinney (Michael Jefry Stevens) 1988, Mosaic Sextet
    According to the liner notes, the Mosaic Sextet existed for two-and-a-half years as a group who “coalesced out of the community of musicians in New York City in 1987 (...) its identity as a band emerged during an intense period of weekly rehearsals during which they workshopped one another’s compositions (...) every few months they bought studio time to record some of their best pieces.†At the turning off the lights, David nailed the instrument that put some of you in doubt. It’s a bassoon, another horn of very rare use in jazz. Dave Douglas and Mark Feldman are well-known of mine; Ken nailed both. Joe Fonda plays bass in at least one Anthony Braxton CD I have. And Michael Rabinowitz is also in the Epitaph band on #4. He was featured in at least another past BFT (as a member of The Bill Kirchner Nonet in Dr. Bob’s #64). The other two I didn’t know. “Mr. Phinney was written out of respect for a great drummer, Arthur Phinney Lillard†(does anybody knows?) This is also another Gunther Schuller connection in this BFT. He is the “Executive Producer†of this double CD issued by GM Recordings, a label he founded in 1981 “as an outlet for innovative composers and performers†from both jazz and classical. For me, one highlight of this track is Dave Douglas’ solo emerging from the little phrase with which Mark Feldman ended his, passed from one to another through Jefry Stevens on piano.

    10) J.J. Johnson and His Big Band - Thad Jones (t, flhn), Ernie Royal (t), Jimmy Cleveland (tb), J.J. Johnson (tb), Tony Studd (btb), Ray Beckenstein (reeds), Jerry Dodgion (reeds), Oliver Nelson (arr, reeds), Jeromy Richardson (reeds), Hank Jones (p), Bob Cranshaw (b), Grady Tate (d) Stolen Moments (Oliver Nelson) 1964, J.J. Johnson And His Big Bands: Say When
    Dr. Bob gave us some slightly different infos about this line-up, in which the “reed†instruments are more precisely identified (Ray Beckenstein on baritone and so on) and don’t list Jerome Richardson, who would have been the 4th Epitah player to be featured on another track of this BFT. It’s possible to be a misinformation in my CD, issued by RCA Bluebird in 1987 coupling two J.J-led big bands recordings, from 1964 and 1966. At first, I had selected a track (among the many splendid) from the 1966, but ended up deciding for Stolen Moments. Some of you put in contrast this arrangement against the legendary on “Blues And Abstract Truthâ€Â. I didn’t pretend to convey any “message†with this selection, yet it should be noted that Oliver Nelson is also the arranger here. There’s no information about the soloists, but it’s no difficult to suppose Jay Jay on trombone, Thad Jones on trumpet and Bob Cranshaw on bass.

    Next, the pianists on 11 to 13
     
  13. J. Robert Bragonier

    J. Robert Bragonier Maitre d' Forums Staff Member

    This has been kinda cool, Luis Antonio: getting the information a bit at a time. I think I'm paying more attention to it, now that I don't have so much to concentrate on at one time...

    You really do a great job of spanning a wide swath of jazz history, all in one disc!
     
  14. relyles

    relyles Active Member

    Location:
    West Hartford, CT
    Thank you Luis. By coincidence I heard James Carter's Organ trip live last week with a guest vocalist doing a tribute to Billie Holiday. He is still a monster on all the saxophones, although part of me feels like sometimes it overshadows the music.

    Ahhh - Marilyn Crispell. I have a couple of recordings by that trio, but not the particular one here. she is indeed a wonderful pianist.
     
  15. The pianists... Again, there was no “special message†in putting them as the last three. As usual, I picked all tracks from my between-BFTs period listening and intented to put these piano solos here and there alongside the compilation. While testing different track orderings on the Mp3 player, it sounded good to put these three as a sort of “codaâ€Â. Besides being all beautiful, it sounded as if they could be played by the same pianist, as some of you remarked.

    11) D.D. Jackson (p) Come Sunday (Duke Ellington) 1999, D.D. Jackson: ... So Far
    D.D. Jackson is a continuator of the lineage of great canadian jazz pianists (thinking on Glenn Gould, pianists generally speaking). I had yet featured him in my last BFT #103, in a duet with Ray Anderson. The liner notes offer interesting remark about his selection of that Duke Ellington’s masterpiece: “... so (a joy) is Jackson’s semi-free meditation on Ellington’s Come Sunday, a piece he knows inside out from having written a paper on it in college and performed it at a number of memorials.â€Â

    12) John Hicks (p) All Of You (Cole Porter) 1990, John Hicks: Live At Maybeck Recital Hall, Volume Seven
    John Hicks is the 5th Epitaph band member to be feature twice in this BFT. A favourite pianist of mine, his premature death was greatly lamentable. Both Ken and Ronald deserve a prize for having felt the Maybeck smell. I never thought on that before - besides identifying “who†and “whatâ€Â, someone identifying “whereâ€Â. Again, the liner notes provide interesting insight about the many ways jazz players include some tunes into their sets. Most of the times, they enter stage with a previous selected set list from which they go picking the tunes. But even the methods can be changed by at the moment inspiration. As we read from Hicks: “All Of You wasn’t even on my list, but its got that pedal tone, and at that moment I felt I could stretch out on itâ€Â.

    13) Chucho Valdés (p) Esta Tarde Vi Llover / My Foolish Heart (Armando Manzanero / Richard Rodgers) 2003, Chucho Valdés en el Teatro Colón
    Another prize, this time to Dino, for identifying “whereâ€Â, Buenos Aires! Teatro Colón is a magnific opera house and concert hall built in the 19th century. One of the times I went to Buenos Aires with my wife and friends we went to Colón to see Mahler’s Titan Symphony. It’s a beautiful piece of architecture, from both inner and outside views. I bought this CD in Buenos Aires too, one of the very few times when I bought a CD which wasn’t in a previous extensive list of CDs-I-can-buy, following the instinct that “it must be goodâ€Â. Indeed, it’s a wonderful album. Finding and revealing to us a point of contact between two so nice tunes as these is a registered mark of master musicians as Chucho Valdés. Of course, everyone of you knows My Foolish Heart, a tune Bill Evans adopted. Esta Tarde Vi Llover is a beautiful bolero by the great mexican singer and songwriter Armando Manzanero. I heard it recently, to my surprise, with ... Bill Evans’ (!), while listening to his “The Secret Sessionsâ€Â, at the Village Vanguard in 1973, under the title Yesterday I Heard The Rain. As I learned too with Dr. Bob identifying the Debussy Prelude #8, you americans love to translate not only the lyrics but also the music titles. :)

    Thank you all for participating
     
  16. relyles

    relyles Active Member

    Location:
    West Hartford, CT
    Thanks Luis. Interestingly I own both the D.D. Jackson and John Hicks recordings, although I have no recollection of listening to either in the past couple of years.
     
  17. Bluetrain

    Bluetrain Active Member

    Location:
    jacksonville, fl
    An excellent BFT as usual, Luis Antonio. Lots of great music. I really enjoyed it.
     
  18. LASaxman

    LASaxman Active Member

    Could it be a coincidence that we have D.D. Jackson and J.J. Johnson on the same BFT? Or is there something deeper going on?
     
  19. J. Robert Bragonier

    J. Robert Bragonier Maitre d' Forums Staff Member

    Thanks again for a fine BFT, Luis Antonio! Each track was chosen with care, and it shows...

    I plan to submit a BFT #109, but it will not be until next month or so. I don't think anyone will be grieving the postponement; maybe these "now and then" submissions, as the spirit moves us, will work going forward; we can see...
     

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