What Are You Listening To?

[Dennie]

I do, I think I got it on your recommendation (as I probably will for the "A 20-bit Taste of DMP", stop it!)

I got the SACD pressing, but didn't know it was originally done on tape, with a single Blumfeld stereo mic pair, no mixing/compression/reverb. Still a stunning recording, but I wish I'd got the CD.

The info was posted near the bottom of the page here...

http://www.theaudioannex.com/forum/viewtopic.php?f=40&t=717&start=30


I'm glad you are enjoying it. I have no regrets buying the SACD version. It is truly spectacular.

BTW: There is also "A Taste of DMP" which is typically cheaper than the "20-bit" version. FYI


Dennie

 

[Botch]

BTW: There is also "A Taste of DMP" which is typically cheaper than the "20-bit" version. FYI


Dennie

That's probably the one I just ordered; it was released earlier than the $53 copy, which I'll pass on. :?

 

[Dennie]

BTW: There is also "A Taste of DMP" which is typically cheaper than the "20-bit" version. FYI


Dennie

That's probably the one I just ordered; it was released earlier than the $53 copy, which I'll pass on. :?

I know, right?!!! It makes me want to sell my copy! :think:



Dennie

 

[Dennie]

Discovery - Live At The Five Spot -- CD

The Thelonious Monk Quartet featuring John Coltrane

1957/1993 Blue Note/Capitol Records

This recording made by Coltrane's first wife Naima, can hardly be classified as hi-fi, but it captures the incredible energy and power of Coltrane and Monk almost at the moment of inception for the young tenor innovator, who seems to be discovering his voice for the first time on the bandstand. The sound of joy and surprise is evident in his voluminous solos, and in Monk's more minimalist, rhythmically complex gestures, as the band (featuring the legendary drummer Roy Haynes) tears through five Monk standards in a manner which more than makes up for the aural deficiencies of the recording. A historic find that will thrill fans and scholars alike.

Track Listing
1. Tinkle Trinkle
2. In Walked Bud
3. I Mean You
4. Epistrophy
5. Crepuscule With Nellie

Full performer name: The Thelonious Monk Quartet featuring John Coltrane.Personnel: Thelonious Monk (piano); John Coltrane (tenor saxophone); Ahmed Abdul-Malik (bass); Roy Haynes (drums).Recorded live at the Five Spot, New York in the summer of 1957. Includes liner notes by Lewis Porter.

 

[Babs]

Not only do I thoroughly enjoy listening to Joss, the cd cover is just awesome!

 

[Dennie]

Not only do I thoroughly enjoy listening to Joss, the cd cover is just awesome!

Great call, Joss just oozes soul and is pretty sexy too! (Bonus!) :happy-smileygiantred:



Dennie

 

[Dennie]

This is a must own for fans of The Divine Sarah Vaughan.... :bow-blue:

Sarah Vaughan with Clifford Brown -- Remastered CD

1954/2001 Emarcy/Verve Master Edition

This album joined the talents of legendary jazz singer Sarah Vaughan with those of 24-year-old wonder-trumpeter Clifford Brown for a December, 1954 released on Mercury Records subsidiary EmArcy. A warm and welcoming hiss washes over this album, giving it a graceful, familiar patina. One feels like a privileged listener let in on an intimate closed session.Brown's playing is sharp and confident throughout, and at times even bears a bit of a racy, histrionic edge. But it is clearly Vaughan who steals the show in this set. The opening and closing strains of "Jim" demonstrate her peerless intonation, as her voice blends with the rest of the instruments to create a mellifluous whole. On "Lullaby of Birdland," Vaughan wallows around her soupy lower register only seconds before breaking into some bebop maneuvering. It is interesting to listen to what kind of interpretive character her tight vibrato and winsome pitch-modulation bring to standards like "September Song," and the Gershwins' "Embraceable You." This is a thoroughly representative collection from one of jazz's all-time greats.

Track Listing
1. Lullaby of Birdland - (composite master take)
2. April in Paris
3. He's My Guy
4. Jim
5. You're Not the Kind
6. Embraceable You
7. I'm Glad There Is You
8. September Song
9. It's Crazy
10. Lullaby of Birdland - (Partial Alternative Take)

Personnel: Sarah Vaughan (vocals); Ernie Wilkins (arranger); Paul Quinichette (tenor saxophone); Clifford Brown (trumpet); Herbie Mann (flute); Jimmy Jomes (piano); Joe Benjamin (bass); Roy Haynes (drums).Producer: Bob Shad.Reissue producers: Richard Seidel, Paul Ramey.Recorded December 16 and 18, 1954, in New York. Originally released at Emarcy (36004). Includes liner notes by Michael Bourne.Digitally remastered by Kiyoshi Tokiwa.

 

[Dennie]

Not only do I thoroughly enjoy listening to Joss, the cd cover is just awesome!

You know..... upon second look Babs, it resembles your Avatar! Nice! :text-bravo:




Dennie :eusa-clap:

 

[Dennie]

Days of Future Passed -- Remastered CD

The Moody Blues with The London Festival Orchestra Conducted by Peter Knight

1967/1997 Deram/Decca Records

One of the best albums, January 27, 2008
By B. B. Bridenbaugh "KingNot" - See all my reviews
(REAL NAME)
This review is from: Days of Future Passed (Audio CD)

A musical album based around a day, and all its extrapolations. Youth to age, innocence to love, joy to sadness... In short, life expressed in a day. We've all heard parts of this played to excess, most notably Tuesday Afternoon and Knights in White Satin, but to truly be experienced this album should be played in its entirety.

Side one1.

The Day Begins: (5:50)

"The Day Begins" (Peter Knight & The Moody Blues) - (4:08)
"Morning Glory" (Graeme Edge) [unlisted track] - (1:42)

2. Dawn: (3:48)

(Intro) (Peter Knight) [unlisted track] - (0:38)
"Dawn is a Feeling" (Mike Pinder) - (3:10)

3. The Morning: (3:55)

(Intro) (Peter Knight) [unlisted track] - (0:21)
"Another Morning" (Ray Thomas) - (3:34)

4. Lunch Break: (5:33)

(Intro) (Peter Knight) - (1:53)
"Peak Hour" (John Lodge) - (3:40)

Side two

5. The Afternoon: (8:23)

"Forever Afternoon (Tuesday?)" (Justin Hayward) - (5:06)
"(Evening) Time to Get Away" (Lodge) [unlisted track] - (3:17)

6. Evening: (6:40)

(Intro) (Peter Knight) [unlisted track] - (0:38)
"The Sunset" (Pinder) - (2:39)
"Twilight Time" (Thomas) - (3:23)

7. The Night: (7:24)

"Nights in White Satin" (Hayward) - (5:38)
"Late Lament" (Graeme Edge) [unlisted track] - (1:46)

 

[Dennie]

Random Access Memories -- CD

Daft Punk

2013 Columbia Records

When Daft Punk announced they were releasing a new album eight years after 2005's Human After All, fans were starved for new material. The Tron: Legacy score indulged the seminal dance duo's sci-fi fantasies but didn't offer much in the way of catchy songs, so when Random Access Memories' extensive publicity campaign featured tantalizing clips of a new single, "Get Lucky," their fan base exploded. But when the album finally arrived, that hugely hyped single was buried far down its track list, emphasizing that most of these songs are very much not like "Get Lucky" -- or a lot of the pair's previous music, at least on the surface. The album isn't much like 2010s EDM, either. Instead, Daft Punk separate themselves from most contemporary electronic music and how it's made, enlisting some of their biggest influences to help them get the sounds they needed without samples. On Homework's "Teachers," they reverently name-checked a massive list of musicians and producers; here, they place themselves on equal footing with disco masterminds Giorgio Moroder and Nile Rodgers, referring to them as "collaborators." That could be self-aggrandizing, yet it's also strangely humble when they take a back seat to their co-stars, especially on one of RAM's definitive moments, "Giorgio by Moroder," where the producer shares his thoughts on making music with wild guitar and synth solos trailing behind him. Elsewhere, Daft Punk nod to their symbiotic relationship with indie on the lovely "Doin' It Right," which makes the most of Panda Bear's boyish vocals, and on the Julian Casablancas cameo "Instant Crush," which is only slightly more electronic than the Strokes' Comedown Machine. And of course, Pharrell Williams is the avatar of their dancefloor mastery on the sweaty disco of "Lose Yourself to Dance" as well as "Get Lucky," which is so suave that it couldn't help but be an instant classic, albeit a somewhat nostalgic one. Indeed, "memories" is the album's keyword: Daft Punk celebrate the late '70s and early '80s with lavish homages like "Give Life Back to Music" -- one of several terrific showcases for Rodgers -- and the spot-on soft rock of the Todd Edwards collaboration "Fragments of Time." More importantly, Random Access Memories taps into the wonder and excitement in that era's music.

Track Listing
1. Give Life Back to Music
2. The Game of Love
3. Giorgio by Moroder
4. Within
5. Instant Crush
6. Lose Yourself to Dance
7. Touch
8. Get Lucky
9. Beyond
10. Motherboard
11. Fragments of Time
12. Doin' It Right
13. Contact

 

[Dennie]

My Favorite Things -- CD

John Coltrane

1961/1990 Atlantic Records

Amazon.com essential recording

This 1960 recording was a landmark album in John Coltrane's career, the first to introduce his quartet with pianist McCoy Tyner and drummer Elvin Jones and the first release on which he played soprano saxophone. It also provided him with a signature hit, as his new group conception came together wonderfully on the title track. It's an extended modal reworking in 6/4 time that brought the hypnotic pulsating quality of Indian music into jazz for the first time, with Coltrane's soprano wailing over the oscillating piano chords and pulsing drums. The unusual up-tempo version of Gershwin's "Summertime" is a heated example of Coltrane's "sheets of sound" approach to conventional changes, while "But Not for Me" receives a radical harmonic makeover. This is an excellent introduction to Coltrane's work. --Stuart Broomer

"My Favorite Things" (Richard Rodgers) – 13:41
"Everytime We Say Goodbye" (Cole Porter) – 5:39
"Summertime" (George Gershwin) – 11:31
"But Not for Me" (Gershwin) – 9:34

 

[Dennie]

Today's work truck music.....

RIP Pete Seeger, your music touched my soul....

Pete Seeger's Greatest Hits -- CD

Pete Seeger

2002 Sony Music

Amazon.com

Pete Seeger's recording career covers more than 60 years, so a single-CD collection is bound to leave out more than a few worthy songs. But the 16 selections on Pete Seeger's Greatest Hits include indispensable Seeger-composed classics like "Turn! Turn! Turn!," "Bells of Rhymney," and an abbreviated a cappella version of "Where Have All the Flowers Gone?" Also included are songs Seeger popularized, such as "Wimoweh," which he learned from Solomon Linda's original South African recording in the 1940s, and "Guantanamera," which he picked up from some children at a Catskills summer camp where he was singing. All of the performances are drawn from his 1960s tenure at Columbia Records--only the first 12 tracks were included on the original 1967 package--and include both studio and live recordings. This CD features only a small fraction of the songs that could legitimately be called Seeger's greatest hits, but because most of these selections are so important to his career, this set can be thought of as the greatest of his greatest hits. --Michael Simmons

1. Little Boxes
2. Wimoweh (The Lion Sleeps Tonight)
3. Where Have All The Flowers Gone?
4. Abiyoyo
5. The Bells Of Rhymney
6. Turn! Turn! Turn! (To Everything There Is A Season)
7. Talking Union
8. Which Side Are You On
9. We Shall Overcome
10. Living In The Country
11. Darling Corey
12. Guantanamera
13. Waist Deep In The Big Muddy (Bonus Track)
14. Barbara Allen (Bonus Track)
15. This Land Is Your Land (Bonus Track)
16. Michael Row The Boat Ashore (Bonus Track)

 

[Dennie]

Next Future -- CD

Eddie Gomez

1993 Stretch/GRP Records

Bassist Eddie Gomez is better as a sideman than as a leader on recording dates, but this is one of his stronger efforts in the latter category (even if one has to get used to him taking or sharing virtually all of the melodies). Chick Corea sticks exclusively to an atmospheric synthesizer, but otherwise this is a fairly straight-ahead quintet session featuring Gomez with the Coltrane-ish tenor of Rick Margitza, pianist James Williams, drummer Lenny White, and a guest appearance from flutist Jeremy Steig. ~ Scott Yanow

Track Listing
1. Next Future (Intro)
2. Next Future (Body)
3. Dreaming of You
4. North Moore St.
5. Lost Tango
6. Tenderly
7. Cheeks
8. Love Letter
9. Basic Trane-Ing
10. Walter (Pigeon)

Personnel: Eddie Gomez (bass); Rick Margitza (tenor & soprano saxophones); Jeremy Steig (flute); James Williams (piano); Chick Corea (synthesizer, piano); Lenny White (drums).Recorded at Skyline Studios, New York.All songs written by Eddie Gomez or Chick Corea except "Dreaming Of You" (Dan Wall/Carol Veto) and "Tenderly" (Jack Lawrence/Walter Gross).

 

[Dennie]

Bass Desires -- CD

Marc Johnson - Bill Frisell - John Scofield - Peter Erskine

1986/2008 ECM Records

The pairing of electric guitarists Bill Frisell and John Scofield had to be one of the most auspicious since John McLaughlin and Carlos Santana. Acoustic bassist Marc Johnson's stroke of genius in bringing the two together on Bass Desires resulted in a sound that demonstrated both compatibility between the guitarists and the distinctiveness of the two when heard in combination. Add drummer Peter Erskine and you had a bona fide supergroup, albeit in retrospect a short-lived one, before Frisell and Scofield would establish their own substantial careers as leaders. The guitarists revealed symmetry, spaciousness, and a soaring stance, buoyed by the simplicity of their rhythm mates. This is immediately achieved on the introductory track, "Samurai Hee-Haw," as hummable, head-swimming, and memorable a melody as there ever has been, and a definite signature sound. A perfect country & eastern fusion, the guitarists lope along on wafting white clouds of resonant twang, singing to themselves while also playing stinging notes, supported by the insistent two-note funk of Johnson and the rolling thunder of Erskine. The title track is a one-note ostinato from the bassist with a popping, driven drum rhythm and the guitars more unified in their lines, but broadening their individualistic voices. The light reggae funk of "Mojo Highway" sounds more conversational and jam-like, while "Thanks Again" is a relaxed, unforced waltz, again eschewing Asian-Missouri folkloric alchemy fired by Frisell's wah-wah and Scofield's stairstep strums. Ethereal and effusive sky church inflections lead to loose associations, especially from Frisell's moon-walking guitar synthesizer on "A Wishing Doll." There are three covers: a take on Elmer Bernstein's "A Wishing Doll;" "Resolution," the second movement from John Coltrane's A Love Supreme suite, with a more spiky bass and spacy lead melody played only once; and the standard "Black Is the Color of My True Love's Hair," floating and eerie, held together by silk and lace threads. One of two Bass Desires albums, this debut has stood the test of time -- it is priceless, timeless, and still far from being dated. ~ Michael G. Nastos

Track Listing
1. Samurai Hee-Haw
2. Resolution
3. Black Is the Color of My True Love's Hair
4. Bass Desires
5. Wishing Doll, A
6. Mojo Highway
7. Thanks Again

Personnel: Marc Johnson (bass); Bill Frisell (synthesizer, guitar); John Scofield (guitar); Peter Erskine (drums).Recorded at Power Station, New York, New York in May 1985.

 

[Dennie]

Compact Jazz -- CD

George Benson

1990 Verve Records

Great Jazz Guitar for the Jazz Enthusiast May 19, 2013
By Craig Hamilton
Format:Audio CD

Never mind what pop music fans like. This album is great in every way. It just takes a jazz enthusiast to appreciate an album like this one, maybe even someone so specialized as a jazz guitar enthusiast. Okay, so usually I reserve the five out of five possible star ratings for stuff that has appeal for anyone, and sorry, for the 15% that would say sausages grow on trees if polled, these are the kind of folk that will never appreciate the mastery of a virtuoso jazz musician. In fact, I imagine that this album wouldn't have much appeal even for an average person, but let's get one thing straight. I am not an average person. I like the arts, and the arts is usually not the stuff pop stars crank out, as far as I am concerned, that stuff is all crud. I will say this though, for the average guitar jazz enthusiast, the music on this album is timeless. Though this album may be forgotten, somehow I don't think it will, as it is one of the earlier works of the jazz recording industry. Likewise, George Benson is one the first ever jazz guitarist to be recorded. Thus, it is such that because the Rolling Stones and the Beatles where among the first in their trade, so as well it will be with the recordings of early jazz virtuosos like George Benson.

Track Listing
1. Billie's Bounce
2. What's New
3. Thunder Walk
4. Low Down and Dirty
5. That Lucky Old Sun
6. Song For My Father
7. Sack O' Woe
8. Doobie Doobie Blues
9. Tuxedo Junction
10. I Remember Wes

Featuring: Herbie Hancock, Ron Carter, Billy Cobham, Jimmy Smith

 

[Dennie]

Things Are Getting Better -- SACD

Cannonball Adderley with Milt Jackson

1958/2004 Riverside Records

Of course, alto saxophonist Julian "Cannonball" Adderley played with Miles Davis on several classic sessions, and his collaborations with Bill Evans on 1961's KNOW WHAT I MEAN and with Wes Montgomery on 1960's THE POLLWINNERS are widely beloved. But this 1958 date, where Adderley and vibraphonist Milt "Bags" Jackson go head to head, may be the finest of Adderley's collaborative sessions.Jackson, forever remembered as an integral member of the Modern Jazz Quartet, is the greatest vibes player in jazz history. He creates powerful solos with the distinctively mellow percussion instrument. Jackson's inimitable playing meshes beautifully with Adderley's hard-bop style, whether on such originals as "Groovin' High" or on standards like Cole Porter's "Just One of those Things." Any album featuring either of these players is worth hearing. An album showcasing both--with powerhouse drummer Art Blakey, bassist Percy Heath, and pianist Wynton Kelly, to boot--is an absolute must-own.

Track Listing
1. Blues Oriental
2. Things Are Getting Better
3. Serves Me Right - (take 5)
4. Serves Me Right - (take 4, bonus track)
5. Groovin' High
6. Sidewalks of New York, The - (take 5)
7. Sidewalks of New York, The - (Take 4, bonus track)
8. Sounds for Sid
9. Just One of Those Things

Personnel: Cannonball Adderley (alto saxophone); Milt Jackson (vibraphone); Wynton Kelly (piano); Percy Heath (acoustic bass); Art Blakey (drums).Recorded at Reeves Sound Studios, New York, New York on October 28, 1958. Originally released on Riverside (1128). Includes liner notes by Orrin Keepnews.Digitally remastered by Joe Tarantino (1989, Fantasy Studios, Berkeley, California).

 

[Dennie]

Today's work truck music...

Sunshine On Leith -- CD

The Proclaimers

1988 Chrysalis Records

Sunshine on Leith is The Proclaimers' second and best known album, released in August 1988. The album had three singles, including the title track, "I'm On My Way," and "I'm Gonna Be (500 Miles)," which also became a hit following its inclusion on the soundtrack to Benny & Joon five years later in 1993. It is about their birthplace, Leith, and the title track Sunshine on Leith is played by Hibernian F.C. at the beginning of matches.

All Songs Written By Craig & Charlie Reid, except where noted.

"I'm Gonna Be (500 Miles)" – 3:33
"Cap in Hand" – 3:24
"Then I Met You" – 3:50
"My Old Friend the Blues" – 3:06 (Steve Earle)
"Sean" – 3:23
"Sunshine on Leith" – 5:16
"Come on Nature" – 3:34
"I'm on My Way" – 3:45
"What Do You Do?" – 3:38
"It's Saturday Night" – 3:24
"Teardrops" – 2:32
"Oh Jean" – 5:55

 

[topper]

~ ~ bscene-drinkingcheers:

 

[Dennie]

Been All Around This World -- CD

Jerry Garcia & David Grisman

2004 Acoustic Disc

Amazon.com

This (possibly) final installment in the Garcia/Grisman series leans heavily on a country music repertoire, as the pair tackles tracks by Jimmie Rodgers, Merle Travis (a jazzed-up "Nine Pound Hammer"), George Jones, Mel Tillis (a bluesy, gently shuffling "I Ain't Never"), and Freddie Hart. They also make detours into the realms of traditional folk, reggae (Jimmy Cliff's "Sittin' Here in Limbo"), soul (Garcia's passionate run through James Brown's "I'll Go Crazy" gets an E for effort), and Bob Dylan (a delightfully understated "Ballad of Frankie Lee and Judas Priest"). Sure, Garcia's vocal cords might have seen better days, but you can never find fault with his heartfelt, emotionally captivating singing. The picking here is tasteful and low-key, and the overall result is a warm, relaxed stroll through the duo's many musical influences. --Marc Greilsamer

"Been All Around this World" (Traditional)
"I'll Go Crazy" (James Brown)
"Take Me" (George Jones/Leon Payne)
"Handsome Cabin Boy Waltz" (Traditional)
"The Ballad of Frankie Lee and Judas Priest" (Bob Dylan)
"I'm Troubled" (Traditional)
"Blue Yodel #9" (Jimmie Rodgers)
"Nine Pound Hammer" (Merle Travis)
"I Ain't Never" (Michael Pierce/Mel Tillis)
"Sittin' Here in Limbo" (Plummer Bright/James Chambers)
"Dark as a Dungeon" (Merle Travis)
"Drink up and go Home" (Freddie Hart)

 

[Xgm3]