What Are You Listening To?
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Dennie
Well-Known Member
The Collection -- CD
Undisputed Truth
2002 Spectrum Music
This compilation presents the greatest hits of the Norman ... Full DescriptionWhitfield-produced 1970s Motown band Undisputed Truth, including their most well-known song "Smiling Faces Sometimes."
As is usually the case, Motown's European division and its licensors have been more active than their American counterparts, which is why this 19-song, 78-minute compilation surfaced in 2002, a year before the U.S.-issued 12-song Smiling Faces: The Best of the Undisputed Truth. All 14 of the singles that were issued in America are represented, along with selected B-sides and album tracks, for a slightly more comprehensive overview of the group's output -- "Ball of Confusion (That's What the World Is Today)" and "Poontang" are missing, but in their place are some equally worthy cuts, mostly notably the group's poignant nine-minute rendition of "What's Going On." Obviously, along with being a cross-section of the group's sound, this compilation gives us a good look at Norman Whitfield's altering sensibilities, and the changes that American soul underwent during the four years represented. By 1972, the Undisputed Truth had moved into louder, bolder, more funk-oriented sounds (with the exceptions of "Smiling Faces Sometimes," "Papa Was a Rolling Stone," and their version of "What's Going On"); away from socially significant songs, and into more of a pure dance mode -- not that these aren't extraordinary dance productions; they are. Most notable is "Law of the Land," with its pounding, larger-than-life rhythm section and swooping, soaring orchestral accompaniment. The sound is excellent throughout, especially on the later cuts. The solo electric guitar on "What's Going On," with its mix of trills and rhythm fills, is virtually isolated on its own separate channel, and is almost worth the price of the disc by itself. Its presence here is also a subtle tribute to Whitfield's influence on Motown: he was, after all, responsible for convincing Berry Gordy that there was room for two different hit versions of "I Heard It Through the Grapevine," when Gordy thought there wasn't room for one, and the original "What's Going On" was another case of Gordy almost missing the boat on something new, daring, important, and wonderful, and here was a sincere attempt to reshape that song from the bottom up. Only on the later tracks, such as "UFO's," "Higher Than High," and "Boogie Bump Boogie," do inspiration and subtlety seem to desert the band's sound, but they get it back for "Let's Go Back to Day One." ~ Bruce Eder
Track listing
1. Save My Love For a Rainy Day
2. Smiling Faces Sometimes
3. You Got the Love I Need
4. You Make Your Own Heaven and Hell
5. What It Is
6. Papa Was a Rolling Stone
7. Girl Youre Alright
8. Mama I Got a Brand New Thing
9. Law of the Land
10. Help Yourself
11. Whats Going On
12. Im a Fool For You
13. Lil Red Riding Hood
14. Spaced Out
15. UFOs
16. Got to Get My Hands on Some Lovin
17. Higher Than High
18. Boogie Bump Boogie
19. Lets Go Back to Day One
Dennie
Well-Known Member
Happy Halloween Everyone! :twisted:
My Feet Are Smiling -- CD :handgestures-thumbup: :handgestures-thumbup:
Leo Kottke
1972/1990 One Way Records
5.0 out of 5 stars In a class of its own, February 1, 2005
By Curtiss Clarke (Calgary, Alberta Canada) - See all my reviews
This review is from: My Feet Are Smiling (Audio CD)
Along with the earlier 6 and 12 String Guitar, this is unarguably Leo Kottke's finest work. While it was recorded some 30-plus years ago, the sound suffers not. This is a live recording with ambiance in abudance. At the time, Leo Kottke and John Fahey had virtually pioneered the technique of closely miking an all-acoustic instrument through the P/A at relatively high volume. This album will give you the feeling that you are on stage right beside the musician. (The concert was recorded at Tyrone Guthrie Theater in Minneapolis in 1972). Kottke's command of his instrument(s) has few peers, but his harmonic sense is matched only by that of the late Bill Evans. While picking speed was at the time of this record, one of Leo's trademarks (witness the closing track Jack Fig), it cannot be said that this detracts in any way from the musicianship. Anyone who has seen Leo live can attest to how his picking hand resembles a crab in perfect fluid motion as it massages the strings. Kottke is also a master of the instrumental ballad. The composition Easter is one of the most beautiful melodies ever played. Check out The Ice Miner and Mona Roy (neither is contained on this recording) for more examples of gorgeous instrumentals a la LK. But the title that has received the most mileage from this album is Louise, one of the great tragic songs about life in a small truckstop (For more about that, read about Paul Siebel, the song's composer). This album is typical of a Kottke concert; some very dry-wit, some self-deprecating pokes, a little prosaic banter about weird concerts, and long-time stories that make the listener feel as if their own life is not so weird after all. In between the chat is of course, a multi-course feast of 6 and 12 string bottleneck guitar and fretted wonders that may just make you want to investigate John Fahey, Peter Lang, Bruce Cockburn, Jim Hall, Don Ross, and Baden Powell. This is a pretty good place to start if you've never listened much to pure acoustic solo guitar. This recording has endured the time machine test admirably. It's also a great promotion for one of Leo Kottke's live performances.
Side one
1. "Hear the Wind Howl" – 3:10
2. "Busted Bicycle" – 2:40
3. "Easter" – 3:19
4. "Louise" (Paul Siebel) – 4:26
5. "Blue Dot" – 2:58
6. "Stealing" – 3:03
Side two
1. "Living in the Country" (Pete Seeger) – 1:38
2. "June Bug" – 2:06
3. "Standing in My Shoes" (Leo Kottke/Denny Bruce) – 2:50
4. "The Fisherman" – 2:43
5. "Bean Time" – 2:15
6. "Eggtooth" (Leo Kottke/Michael Johnson) – 5:15
7. "Medley: Crow River Waltz,/Jesu, Joy of Man's Desiring/Jack Fig" ("Jesu…" composed by Johann Sebastian Bach) – 7:20
My Feet Are Smiling -- CD :handgestures-thumbup: :handgestures-thumbup:
Leo Kottke
1972/1990 One Way Records
5.0 out of 5 stars In a class of its own, February 1, 2005
By Curtiss Clarke (Calgary, Alberta Canada) - See all my reviews
This review is from: My Feet Are Smiling (Audio CD)
Along with the earlier 6 and 12 String Guitar, this is unarguably Leo Kottke's finest work. While it was recorded some 30-plus years ago, the sound suffers not. This is a live recording with ambiance in abudance. At the time, Leo Kottke and John Fahey had virtually pioneered the technique of closely miking an all-acoustic instrument through the P/A at relatively high volume. This album will give you the feeling that you are on stage right beside the musician. (The concert was recorded at Tyrone Guthrie Theater in Minneapolis in 1972). Kottke's command of his instrument(s) has few peers, but his harmonic sense is matched only by that of the late Bill Evans. While picking speed was at the time of this record, one of Leo's trademarks (witness the closing track Jack Fig), it cannot be said that this detracts in any way from the musicianship. Anyone who has seen Leo live can attest to how his picking hand resembles a crab in perfect fluid motion as it massages the strings. Kottke is also a master of the instrumental ballad. The composition Easter is one of the most beautiful melodies ever played. Check out The Ice Miner and Mona Roy (neither is contained on this recording) for more examples of gorgeous instrumentals a la LK. But the title that has received the most mileage from this album is Louise, one of the great tragic songs about life in a small truckstop (For more about that, read about Paul Siebel, the song's composer). This album is typical of a Kottke concert; some very dry-wit, some self-deprecating pokes, a little prosaic banter about weird concerts, and long-time stories that make the listener feel as if their own life is not so weird after all. In between the chat is of course, a multi-course feast of 6 and 12 string bottleneck guitar and fretted wonders that may just make you want to investigate John Fahey, Peter Lang, Bruce Cockburn, Jim Hall, Don Ross, and Baden Powell. This is a pretty good place to start if you've never listened much to pure acoustic solo guitar. This recording has endured the time machine test admirably. It's also a great promotion for one of Leo Kottke's live performances.
Side one
1. "Hear the Wind Howl" – 3:10
2. "Busted Bicycle" – 2:40
3. "Easter" – 3:19
4. "Louise" (Paul Siebel) – 4:26
5. "Blue Dot" – 2:58
6. "Stealing" – 3:03
Side two
1. "Living in the Country" (Pete Seeger) – 1:38
2. "June Bug" – 2:06
3. "Standing in My Shoes" (Leo Kottke/Denny Bruce) – 2:50
4. "The Fisherman" – 2:43
5. "Bean Time" – 2:15
6. "Eggtooth" (Leo Kottke/Michael Johnson) – 5:15
7. "Medley: Crow River Waltz,/Jesu, Joy of Man's Desiring/Jack Fig" ("Jesu…" composed by Johann Sebastian Bach) – 7:20
Dennie
Well-Known Member
Closing Time -- CD
Tom Waits
1973/1990 Elektra Records
Amazon.com essential recording
It starts with a sunrise, it ends with "one star shining," and in between Closing Time contains an honest year's worth (1973, to be exact) of sweet, melodic, vintage Tom Waits--minus some of the vocal growl and thematic grit of his later stuff (but you can see it coming). Waltzes, lullabies, blues, jazz, you name it. Driving songs and drinking songs, even an honest to gosh country tune: "Rosie." There are torchers ("Lonely"), scorchers ("Ice Cream Man"), and back-porch senior citizen love songs ("Martha"): "Those were the days of roses/Poetry and prose, and/Martha, all I had was you and all you had was me." Other standouts are "I Hope That I Don't Fall in Love with You" (guess what--he does!) and "Grapefruit Moon," in which Waits croons: "Every time I hear that melody, something breaks inside." Hang on to your hearts and hats, folks. --Dan Leone
Side One
1. "Ol' '55" 3:58
2. "I Hope That I Don't Fall in Love with You" 3:54
3. "Virginia Avenue" 3:10
4. "Old Shoes (& Picture Postcards)" 3:40
5. "Midnight Lullaby" 3:26
6. "Martha" 4:30
Side Two
1. "Rosie" 4:03
2. "Lonely" 3:12
3. "Ice Cream Man" 3:05
4. "Little Trip to Heaven (On the Wings of Your Love)" 3:38
5. "Grapefruit Moon" 4:50
6. "Closing Time" (Instrumental) 4:20
Dennie
Well-Known Member
Nine Tonight - Live -- CD :handgestures-thumbup:
Bob Seger & The Silver Bullet Band
1981 Capitol Records
More of a greatest hits package than a live album, July 24, 2000
By A Customer
This review is from: Nine Tonight "Live" (Audio CD)
I agree with the other reviewers that this is a better greatest hits collection than the actual greatest hits CD. however, it hardly sounds like a live album. When seger achieved commercial success he fell into the same trap that the eagles have always been in - playing the songs *exactly* as they were recorded in the studio. "Old Time Rock & Roll" is the only song that sounds different with it's extended intro and lower key presumably so Bob could handle the vocals live. If you're looking for a place to start your seger collection and want to start with the hits then definitely buy this one first. However, if you're looking for some great live seger drop everything you're doing and pick up Live Bullet. Now *that* is a five-star album!
1. Nine Tonight
2. Tryin' To Live My Life Without You
3. You'll Accomp'ny Me
4. Hollywood Nights
5. Old Time Rock And Roll
6. Mainstreet
7. Against The Wind
8. The Fire Down Below
9. Her Strut
10. Feel Like A Number
11. Fire Lake
12. Betty Lou's Gettin' Out Tonight
13. We've Got Tonight
14. Night Moves
15. Rock And Roll Never Forgets
16. Let It Rock (Edited for CD)
Dennie
Well-Known Member
I really enjoy this one.....
Downright Upright -- CD :text-bravo:
Brian Bromberg
2007 Artistry Music
Amazon.com
Long before the coining of "smooth jazz," catchy numbers like Herbie Hancock's "Cantaloupe Island," Joe Zawinul's "Mercy Mercy Mercy," and the Les McCann-Eddie Harris tune "Cold Duck Soup" enticed pop fans to cross over, however casually or tentatively, into jazz. Now, on veteran bassist Brian Bromberg's Downright Upright, those three songs are vehicles for name-brand smooth jazz players including saxophonists Kirk Whalum, Boney James and Gary Meek, keyboardists George Duke and Jeff Lorber, guitarist Lee Ritenour and trumpeter Rick Braun to do a little crossing back of sorts to show off their mainstream chops. Nobody will confuse the facility of their straightahead solos with real depth, however much emotion they pour into them. But it's an agreeable excursion for all concerned, with Bromberg making the most of his opportunities to lay down melodic lines. Even after the cover versions give way to originals in the same vein, the music stays lively. --Lloyd Sachs
Track listing
1. Cantaloupe Island
2. Mercy Mercy Mercy
3. Cold Duck Time
4. Sunday Mornin'
5. Hacha Cha Cha, The
6. Chameleon
7. Serengeti Walk
8. Leisure Suit
9. Slow Burn
10. Shag Carpet
Downright Upright -- CD :text-bravo:
Brian Bromberg
2007 Artistry Music
Amazon.com
Long before the coining of "smooth jazz," catchy numbers like Herbie Hancock's "Cantaloupe Island," Joe Zawinul's "Mercy Mercy Mercy," and the Les McCann-Eddie Harris tune "Cold Duck Soup" enticed pop fans to cross over, however casually or tentatively, into jazz. Now, on veteran bassist Brian Bromberg's Downright Upright, those three songs are vehicles for name-brand smooth jazz players including saxophonists Kirk Whalum, Boney James and Gary Meek, keyboardists George Duke and Jeff Lorber, guitarist Lee Ritenour and trumpeter Rick Braun to do a little crossing back of sorts to show off their mainstream chops. Nobody will confuse the facility of their straightahead solos with real depth, however much emotion they pour into them. But it's an agreeable excursion for all concerned, with Bromberg making the most of his opportunities to lay down melodic lines. Even after the cover versions give way to originals in the same vein, the music stays lively. --Lloyd Sachs
Track listing
1. Cantaloupe Island
2. Mercy Mercy Mercy
3. Cold Duck Time
4. Sunday Mornin'
5. Hacha Cha Cha, The
6. Chameleon
7. Serengeti Walk
8. Leisure Suit
9. Slow Burn
10. Shag Carpet
Dennie
Well-Known Member
Come Rain or Come Shine - The Songs of Johnny Mercer -- CD
Nancy LaMott
1992 Midder Music
Amazon.com
As an interpreter, Nancy LaMott shunned extremes. Whatever clouds may have darkened the sky, she always sounded as if they couldn't possibly lead to a thunderstorm--only a gentle rain that would eventually becomes, well, shine. And so her tribute to lyricist Johnny Mercer typically avoids emotional extremes, exploring instead subtle in-betweens. The low-key version of "Moon River" that starts things off is indicative of this album's subdued mood. LaMott was well aware she wasn't a swinger, so her take on finger-snapping classics such as "Accentuate the Positive" (instead of the song's usual spelling "Ac-Cent-Tchu-Ate") and "That Old Black Magic" is sensitive rather than jazzily buoyant. Her minimalist approach reaps maximum rewards on "P.S. I Love You" and "On the Atchison, Topeka & the Santa Fe," on which she basically engages in duets with carefully selected instruments (an acoustic guitar and a stand-up bass, respectively). --Elisabeth Vincentelli
Moon River
Accentuate the Positive
That Old Black Magic
On the Atchison, Topeka & the Santa Fe
The Days Of Wine & Roses/Whistling Away the Dark
Come Rain Or Come Shine
Talk To Me Baby
Autumn Leaves/When October Goes
Hit the Road To Dreamland
P.S. I Love You
Dennie
Well-Known Member
East River Drive CD
Stanley Clarke
1993 Epic Records
Lord of the Low Frequencies, March 8, 2003
By Russell Diederich (Littleton, CO United States) - See all my reviews
(VINE VOICE)
Not many people can step out and make the bass the front instrument, but Stanley Clarke sure can. Clarke composes most of his songs with a smooth jazz feel that builds around the bass like many musicians build their music around a guitar, trumpet or sax. His unique style of snapping the strings against the fretboard gives him his signature sound. Although there is no "School Days" track on this album, it is a good listen, smooth.
"East River Drive" shows off Clarke's smooth jazz composing abilities. His bass leads us through the song with a good solo by George Howard on sax. The other extreme is "Funk Is Its Own Reward" where Clarke gets, well, funky. His long time collaborator, George Duke, sits in for this upbeat tune. This should get your feet taping with a cool groove, and some impressive string snapping, slapping and sliding. "I'm Home Africa" is another upbeat tune, with a great solo from saxophonist Doug Webb. Clarke can really romance it up with slow tunes as well like, "What If I Forget the Champagne". And the tunes "Illegal" and "Lords of the Low Frequencies" are a base workout.
Ever since I saw Clarke perform "School Days" with Larry Coryell on guitar, he has been one of my favorites. He has helped move me over into the Jazz world with his incredible musicianship. This album, like "Hideaway", is smoother than his stuff from the seventies. It's still a great album, with great playing, just a little different. It still doesn't top my favorite album by him, "Stanley Clarke and Friends, Live at the Greek" with Larry Carlton, Billy Cobham, Deron Johnson, and Najee.
1. Justice's Groove
2. Fantasy Love
3. Zabadoobeedé ? (Yabadoobeeda)
4. East River Drive
5. I'm Home Africa
6. Theme from Boyz N the Hood
7. Christmas in Rio
8. What If I Forget the Champagne
9. Never Lose Your Heart/There Lies the Passion
10. Illegal
11. "Lord of the Low Frequencies"
12. Funk Is Its Own Reward
Dennie
Well-Known Member
Fumbling Towards Ecstasy -- CD
Sarah McLachlan
1993 Arista Records
Amazon.com essential recording
Pre-Lilith Fair, McLachlan had critical acclaim and a cult following but was otherwise just another hard-working female singer/songwriter--one who wasn't blasting down doors with overt sexuality or popping along in front of a male Svengali. Similar in their emotional urgency to her more recent work but delightfully less polished, these folk-rock songs are surprising gems. If not for McLachlan's poignant vocals, lyrics like "Your love is better than ice cream" (on "Ice Cream") would sound childishly absurd (especially alongside deeper material like "Hold On"), but here they're given just as much respect as the weightier issues she explores. A great album to accompany your moments of introspection. --Rebecca Wallwork
All songs written by Sarah McLachlan unless otherwise noted.
1. "Possession" – 4:39
2. "Wait" – 4:09
3. "Plenty" – 4:05
4. "Good Enough" – 5:03
5. "Mary" – 3:55
6. "Elsewhere" – 4:44
7. "Circle" – 3:43
8. "Ice" – 3:54
9. "Hold On" – 4:09
10. "Ice Cream" – 2:44
11. "Fear" – 3:59
12. "Fumbling Towards Ecstasy" (Pierre Marchand, McLachlan) – 9:49
* "Possession" (hidden track) (solo piano version)
Dennie
Well-Known Member
Isn't It Romantic CD
The Charlie Byrd Trio
1992 Concord Jazz
On this enjoyable set, Charlie Byrd's trio performs five classics by Rodgers & Hart and numbers by Ray Noble, Irving Berlin, Hoagy Carmichael, George Gershwin, and Jimmy Van Heusen. All of the songs are quite familiar, but Byrd (along with his brother Joe on bass and drummer Chuck Riggs) makes such potential warhorses as "Cheek to Cheek," "Thou Swell," and "I Thought About You" sound fresh and alive. Byrd's solo guitar interpretation of "Someone to Watch Over Me" is a highlight. ~ Scott Yanow
Recorded at Classic Sound Productions, New York, New York in March 1984 and Penny Lane Studios, New York, New York in August 1991. Includes liner notes by Gordon Raddue.
Track List:
01. Isn’t It Romantic? (Hart, Rodgers) 3:34
02. I Could Write a Book (Hart, Rodgers) 3:05
03. Cheek to Cheek (Berlin) 4:33
04. The Very Thought of You (Noble) 3:26
05. Thou Swell (Hart, Rodgers) 2:52
06. I Guess I’ll Have to Change My Plan [#] (Dietz, Schwartz) 4:09
07. He Loves and She Loves [#] (Gershwin, Gershwin) 4:04
08. Last Night When We Were Young [#] (Arlen, Harburg) 3:48
09. One Morning in May (Carmichael, Parish) 3:07
10. I Didn’t Know What Time It Was (Hart, Rodgers) 3:54
11. There’s a Small Hotel (Hart, Rodgers) 3:06
12. Someone to Watch Over Me (Gershwin, Gershwin) 3:52
13. I Thought About You (Mercer, VanHeusen) 3:37
[#] - Previously Unreleased Tracks
Been on a Joe marathon the past couple days, listening to all his albums in chronological order. Interesting to follow his development. I definitely prefer his later albums, though his very first one (A New Day Yesterday) is really the only one I don't care for much at all.
This live one's still my favorite, by a substantial margin. I love the way he takes the time to develop some of these songs, exploring the music in a way not possible (or at least not usual) on a studio album.
Dennie
Well-Known Member
The Soul Sessions -- CD :handgestures-thumbup:
Joss Stone
2003 Virgin US Records
Amazon.com
Not every 16-year-old white, English girl can hang with the likes of Betty Wright ("Clean Up Woman") and Angie Stone. Joss Stone (no relation), however, is blessed with a strong voice and a will to sing old-school soul. This debut CD is worthy of more than novelty status, though. Wisely avoiding iconic songs by the genre’s biggest names, Stone and a production team that includes Wright opt for lesser-known tunes more often by the likes of Laura Lee, Joe Simon, and the Soul Brothers Six--not to mention their digging out (with guest co-producer ?uestlove from the Roots) the great soul lyric in the White Stripes’ "Fell in Love with a (Boy)." Joss Stone occasionally misses a connection; her "Some Kind of Wonderful" is listless, and when she develops a bit more subtlety, it’ll be welcome. But The Soul Sessions has a spark beyond the album’s obvious good taste. --Rickey Wright
1. "The Chokin' Kind" (Harlan Howard) – 3:35
2. "Super Duper Love (Are You Diggin' on Me?) Pt. 1" (Willie Garner) – 4:20
3. "Fell in Love with a Boy" (Jack White) – 3:38
4. "Victim of a Foolish Heart" (Charles Buckins, George Jackson) – 5:31
5. "Dirty Man" (Bobby Miller) – 2:59
6. "Some Kind of Wonderful" (John Ellison) – 3:56
7. "I've Fallen in Love with You" (Carla Thomas) – 4:29
8. "I Had a Dream" (John Sebastian) – 3:01
9. "All the King's Horses" (Aretha Franklin) – 3:03
10. "For the Love of You Pts. 1 & 2" (Ernest Isley, Marvin Isley, O'Kelly Isley, Jr., Ronald Isley, Rudolph Isley, Christopher Jasper) – 7:33
I thought this was interesting......
Original versions
Song Original performer Year
"The Chokin' Kind" Waylon Jennings 1967
"Super Duper Love (Are You Diggin' on Me?) Pt. 1"
(originally titled "Super Duper Love (Are You Diggin' on Me) - Part 1") Sugar Billy 1974
"Fell in Love with a Boy" (originally titled "Fell in Love with a Girl") The White Stripes 2001
"Victim of a Foolish Heart" Bettye Swann 1972
"Dirty Man" Laura Lee 1967
"Some Kind of Wonderful" Soul Brothers Six 1967
"I've Fallen in Love with You" Carla Thomas 1968
"I Had a Dream" John Sebastian 1970
"All the King's Horses" Aretha Franklin 1972
"For the Love of You Pts. 1 & 2" The Isley Brothers 1975
"The Player" First Choice 1973
Dennie
Well-Known Member
This One's for Blanton -- CD :handgestures-thumbup: :handgestures-thumbup:
Duke Ellington and Ray Brown
1990 Pablo Records
A superb duo outing by two geniuses, August 4, 2000
By Steve Frazier (Seattle) - See all my reviews
This review is from: This One's for Blanton (Audio CD)
This album was created in the early 1970's when Norman Granz, the music impresario who founded the Verve label and the Jazz at the Philharmonic concert series in the 50's, started a new label called Pablo. He went around recording many giants of jazz in solo, duo and small group settings. Most are products of pure joy -- great musicians getting out of their normal routines and stretching out on tunes they loved.
This is no exception. It captures Duke Ellington in a (fairly) rare duo setting, playing songs he is associated with, with the great jazz bassist Ray Brown, one of the pioneers of great jazz bass. The title -- "This One's for Blanton" -- refers to the great Jimmy Blanton, who played with the Duke Ellington orchestra in the 1940's and who was an inspiration to people like Ray Brown. Hearing Ellington and Brown together is an amazing experience, as you hear two master instrumentalists deliver the essence of songs normally associated with a full jazz orchestra. The first half of the CD is Ellington standards, beautifully delivered. The last half is a suite Ellington wrote just for this occasion (I think), a superb little creation that really gives Ray Brown a stretch out and play with all of the colors that a string bass can deliver. Don't buy this as your first Ellington CD (get the Webster/Blanton CD or The Great Paris Concert), but if you like Ellington and/or jazz bass at all you need this for a different twist on the Ellington legacy.
All compositions by Duke Ellington except as indicated
1. "Do Nothin' Till You Hear from Me" (Ellington, Bob Russell) - 5:36
2. "Pitter Panther Patter" - 3:06
3. "Things Ain't What They Used to Be" (Mercer Ellington) - 4:00
4. "Sophisticated Lady" (Ellington, Irving Mills, Mitchell Parish) - 5:30
5. "See See Rider" (Traditional) - 3:07
6. "Fragmented Suite for Piano and Bass: First Movement" (Ray Brown, Ellington) - 4:51
7. "Fragmented Suite for Piano and Bass: Second Movement" (Brown, Ellington) - 5:11
8. "Fragmented Suite for Piano and Bass: Third Movement" (Brown, Ellington) - 3:40
9. "Fragmented Suite for Piano and Bass: Fourth Movement" (Brown, Ellington) - 4:58
* Recorded at United Recording Studios in Las Vegas, Nevada on December 5, 1972.
soundhound
Well-Known Member
That's a great recording with great music. I use it for system evaluation quite a bit.