What Are You Listening To?

[Dennie]

The Grand Encounter -- CD

Diane Reeves

1996 Blue Note Records

This CD could have been titled Finally! Dianne Reeves has long had the potential to be the top female jazz singer, but so many of her previous recordings were erratic as she skipped back and forth between idioms without committing herself. However, after years of flirting with jazz and being seemingly undecided whether she would rather be a pop star, she at last came out with a full jazz album in 1996, and it is a gem. The supporting cast on the ten selections (which feature different personnel on each cut) is remarkable and everyone gets a chance to play: trumpeters Clark Terry and Harry "Sweets" Edison, altoists Phil Woods and Bobby Watson, tenorman James Moody, trombonist Al Grey, harmonica great Toots Thielemans (on "Besame Mucho"), pianist Kenny Barron, bassist Rodney Whitaker, and drummer Herlin Riley. In addition, Joe Williams shares the vocal spotlight on "Let Me Love You" and a touching version of "Tenderly," Germaine Bazzle sings along with Reeves on "Side by Side," and a rendition of Charlie Ventura's "Ha!" has a vocal group consisting of Reeves, Bazzle, Terry, Moody, and the young Kimberley Longstreth. Other highlights include Nat Adderley's "Old Country," "Some Other Spring," and "Cherokee." Despite the heavy "competition," the leader emerges as the star of the set due to her beautiful voice and highly expressive singing. This highly recommended CD is the Dianne Reeves release to get. ~ Scott Yanow


Track Listing
1. Old Country
2. Cherokee
3. Besame Mucho - (Spanish)
4. Let Me Love You
5. Tenderly
6. After Hours
7. Ha!
8. Some Other Spring
9. Side by Side
10. I'm Okay

Personnel: Dianne Reeves (vocals); James Moody (vocals, tenor saxophone); Clark Terry (vocals, trumpet); Joe Williams, Germaine Bazzle, Kimberley Longstreth (vocals); Phil Woods, Bobby Watson (alto saxophone); Harry "Sweets" Edison (trumpet); Al Grey (trombone); Toots Thielemans (harmonica); Kenny Barron (piano); Rodney Whittaker (bass); Herlin Riley (drums).

 

[Dennie]

Ella and Louis -- 32-bit UltraHD CD

Ella Fitzgerald and Louis Armstrong

1956/2005 Verve/First Impression Music

The very fact that America's biggest jazz label called one of their albums quite simply Ella and Louis indicates that we are talking about something very special here. And surely enough has been said--"Satchmo" and the grand dame of jazz certainly need no further introduction. In the 1950's just the mere mention of their forenames was enough to light up the eyes of jazz fans. A glance at the track list reveals that tranquility rules the day; wild stomps and improvised scats will neither be sought nor missed. Of prime importance to the jazz ballad is a feeling of "letting oneself drift" in the inspiration which gushes forth from the minds of genial American songwriters.

Ultra High Definition 32-Bit Mastering!
Ultra High Definition 32-Bit Mastering is a proprietary ultra-high-quality mastering system. This leading-edge system has achieved unprecedented sonority and musicality, reproducing as closely as possible the sound of the original master tape! This format employs what is currently the highest attainable resolution bit depth (word length) in the professional audio field, i.e. 32-bit. 32-bit resolution makes possible maximized, undistorted dynamics, and the lowest noise floor, allowing even the quietest musical information to be heard more clearly. This breakthrough results from the development, through years of experience and application of advanced digital technology, of a sophisticated A/D and D/A processing system.

Ultra HD 32-Bit Mastering does not specify a sampling rate; this allows flexibility in meticulously choosing the appropriate bandwidth for a particular recording. The higher the sampling rate -- for example, 192 kHz -- the greater the bandwidth. However, merely employing the greatest bandwidth may not guarantee the ultimate sound. With some recordings, a lower sampling rate -- 96 or 176 kHz -- may offer better musicality and more homogeneous harmonics. This determination requires careful and discerning auditioning and professional judgment. In the end, the human being’s hearing and emotions should be the final arbiter, rather than the print-out of testing equipment or technical measurements.

Recognizing these variables, FIM nevertheless tries to use 32-bit depth and 192 kHz bandwidth whenever the original analog master is at hand. Alternatively, if the original recording is on 24/96, the 32/96 may eventually be used to maintain the integrity of the sonority particular to that recording. With this flexibility, First Impression Music believes that preeminent sound is only achievable when the chemistry of the recording, mastering, glass-stamper making, replication, and quality control is right. As always, listening is believing.

This recording has been mastered by the new Ultra High Definition 32-Bit Mastering process, which creates an unbelievable sound surpassing other formats!

The benefits of Ultra HD 32-Bit Mastering:
• Ambience of Analogue Sound
• Higher Resolution
• Undistorted Dynamics
• The Lowest Noise Floor, allowing even the quietest musical information to be heard more clearly!
• Richer Sound Field
• Master-Tape Quality Sound!!!
• Delivers what musicians originally intended!

Features:
• Special Silver Logo First Pressing!
• Limited Run of Only 2,000 First Edition Pressings Available!
• Ultra HD Mastering
• Beautifully packaged
• Playable on ALL CD Players!

Musicians:
Louis Armstrong, vocals, trumpet
Ella Fitzgerald, vocals
Ray Brown, bass
Herb Ellis, guitar
Oscar Peterson, piano
Buddy Rich, drums

Selections:
1. Can't We Be Friends?
2. Moonlight In Vermont
3. Cheek To Cheek
4. Tenderly
5. The Nearness Of You
6. Stars Fell On Alabama
7. April In Paris
8. Isn't This A Lovely Day?
9. A Foggy Day
10. Under A Blanket Of Blue
11. They Can't Take That Away From Me

 

[Dennie]

Julie Is her Name/Julie Is here Name Vol. 2 -- CD

Julie London

1955/58-1992 Liberty/EMI Records

The actress Julie London more than held her own amidst all the other jazz and pop singers of the mid-'50s. In fact, she was probably more successful in her recording career than as a movie star. "Cry Me A River" is a classic '50s track, right up there with June Christy's "Something Cool" and Chet Baker's "My Funny Valentine." The singer is aided immeasurably by the spare, sympathetic accompaniment of Barney Kessel on guitar. (In some ways, it's just as much his session as hers, which is why it sounds so much like real jazz.) One can imagine her performing this set in a small Hollywood club or even her own living room. She is relaxed and confident, and doesn't try to do too much vocally, which was a smart choice all around. One can only imagine what Marilyn Monroe would have sounded like in similar circumstances.

Julie Is Her Name (Mono):

1 "Cry Me a River" Arthur Hamilton 2:36
2 "I Should Care" Paul Weston/Axel Stordahl/Sammy Cahn 2:35
3 "I'm in the Mood for Love" Jimmy McHugh/Dorothy Fields 2:28
4 "I'm Glad There Is You" Paul Madeira/Jimmy Dorsey 2:34
5 "Can't Help Lovin' That Man" Jerome Kern/Oscar Hammerstein II 3:08
6 "I Love You" Cole Porter 1:58
7 "Say It Isn't So" Irving Berlin 2:00
8 "It Never Entered My Mind" Richard Rodgers/Lorenz Hart 2:25
9 "Easy Street" Alan Rankin Jones/Carlton 3:12
10 "'S Wonderful" George and Ira Gershwin 1:33
11 "No Moon at All" Redd Evans/Dave Mann 1:53
12 "Laura" Johnny Mercer/David Raksin 1:37
13 "Gone with the Wind" Allie Wrubel/Herbert Magidson 2:05

Julie Is Her Name Vol. 2 (Stereo):

1 "Blue Moon" Richard Rodgers/Lorenz Hart 2:20
2 "What Is This Thing Called Love?" Cole Porter 1:47
3 "How Long Has This Been Going On?" George and Ira Gershwin 2:46
4 "Too Good to Be True" Clay Boland 2:40
5 "Spring Is Here" Richard Rodgers/Lorenz Hart 2:05
6 "Goody Goody" Johnny Mercer/Matt Malneck 1:55
7 "The One I Love Belongs to Somebody Else" Isham Jones/Gus Kahn 2:00
8 "If I'm Lucky" Josef Myrow/Edgar DeLange 2:16
9 "Hot Toddy" Ralph Flanagan/Herb Hendler 1:45
10 "Little White Lies" Walter Donaldson 2:00
11 "I Guess I'll Have to Change My Plan" Arthur Schwartz/Howard Dietz 1:50
12 "I Got Lost in His Arms" Irving Berlin 2:05

Personnel: Julie London (vocals); Howard Roberts , Barney Kessel (guitar). Ray Leatherwood (bass). Audio Remasterer: Bob Norberg.Audio Remixers: Ron Furmanek; Bob Norberg.Liner Note Authors: Dawn Eden; Bill Ballance.Recording information: 1955.Photographer: Phil Howard.

 

[Dennie]

In My Soul -- CD

The Robert Cray Band

2014 Mascot Music

Here's to the next 40 years... April 1, 2014
By G. E. Harrison
Format:Audio CD

This album marks 40 years in the business for Robert Cray (and long-term bass player/song writer Richard Cousins) and highlights Robert's soul/R&B side with covers of songs by Otis Redding, Lou Rawls and Bobby `Blue' Bland. This is good news for me because I've always favoured Robert's soul output rather than his straight blues. As well as Cousins the band features returning keyboard player Dover Weinberg as well as drummer Les Falconer, who joins Robert on vocals for the fabulous version of Redding's "Nobody's Fault but Mine" - with its great brass lines. Robert does a really good laid-back reading of Rawls' "Your Good Thing (Is About to End)" and "Deep in My Soul" is transformed from Bland's impassioned southern soul blues to Robert's own style of smooth late night soul blues.

Elsewhere his own songs are very much on a par with these soul classics, opener "You move me" is probably the album's most bluesy song, with really nice stinging guitar and the instrumental "Hip tight onions" is pure Booker T and the MGs. There are also some really nice trademark Cray super-smooth soul ballads - with two of my favourites "What Would You Say" and "Pillow" starting off with strange almost psychedelic guitar effects before turning into typical Cray melodic heart-felt ballads. Looking forward to seeing Robert in early May in Birmingham during his UK tour.

You move me
Nobody's fault but mine
Fine yesterday
Your good thing is about to end
guess i'll never know
Hold on
What would you say
Hip tight onions
You're everything
Deep in my soul
Pillow (bonus track)

Robert Cray: Vocals and Guitar, Richard Cousins: Bass, Les Falconer: Drums, Dover Weinberg: Keyboards

 

[Dennie]

Louis Armstrong Plays W.C. Handy -- Remastered CD (SBM)

Louis Armstrong

1954/2008 Columbia Legacy

This wonderful and historically monumental recording pairs the master of jazz trumpet and jazz singing with "the father of the blues." In the early years of the 20th century, composer W.C. Handy authored many blues numbers, some of which have gone on not only to become enduring standards in the genre, but also to influence a vast repertoire of popular music.Armstrong, who achieved some of his earliest successes with treatments of Handy favorites, is in superior form on this recording. Perhaps due to Handy's presence at the sessions (the booklet is full of wonderful photos of the two), Satch seems even more focused and full of enthusiasm than usual. With excellent support from a band that includes Trummy Young (trombone), Barney Bigard (clarinet), and Velma Middleton (vocals), Armstrong and Co. interpret such Handy favorites as "The Memphis Blues," "Beale Street Blues," and the immortal "St. Louis Blues." The CD appends five previously unreleased tracks and an interview with Handy, making this set immeasurably worthwhile, in terms of both historic importance and entertainment value.

Side 1

"St. Louis Blues" (Handy) - 8:50
"Yellow Dog Blues" (Handy) - 4:16
"Loveless Love" (Handy) - 4:28
"Aunt Hagar's Blues" (Brymn, Handy) - 4:57
"Long Gone (From Bowling Green)" (Handy, Smith) - 5:08

Side 2

"Memphis Blues" (Handy, Norton) - 2:59
"Beale Street Blues" (Handy) - 4:56
"Ole Miss Blues" (Handy) - 3:25
"Chantez Les Bas (Sing 'Em Low)" (Handy) - 4:48
"Hesitating Blues" (Handy) - 5:20
"Atlanta Blues (Make Me a Pallet on the Floor)" (Elman, Handy) - 4:33

1996/2008 CD bonus tracks

"George Avakian's Interview with W. C. Handy - 2:44
"Loveless Love" (Handy) - 5:55
"Hesitating Blues" (Handy) - 5:38
"Alligator Story" - 0:47
"Long Gone (From Bowling Green)" (Handy, Smith) - 7:53

--------

Louis Armstrong – trumpet, vocals
Barney Bigard – clarinet
Barrett Deems – drums
W. C. Handy – performer
Billy Kyle – piano
Velma Middleton – vocals
Arvell Shaw – bass
Trummy Young – trombone

 

[Babs]

Zing & I are totally enjoying this! We have always been Daughtry fans. So far, my favorite is 'Long Live Rock & Roll'!

Btw, Batman, what are your thoughts about Daughtry?

 

[Batman]

Btw, Batman, what are your thoughts about Daughtry?

I'm not a fan...I can see why people may like him. His style isn't my cup of tea.

 

[Babs]

Btw, Batman, what are your thoughts about Daughtry?

I'm not a fan...I can see why people may like him. His style isn't my cup of tea.

Just what Zing & Babs thought! In the HT having fun! When I searched for the image for the Daughtry CD, I came across this...

He is Batman proud brother! We know, it won't change your pleasure for his music, just had to share!

 

[Botch]

:laughing-rolling:

His "head spurt" is much funnier than his t-shirt!

 

[Babs]

^ Too funny! I didn't even notice that, from copy or paste! Total LOL!

 

[Dennie]

Today's work truck music....

Back On The Block -- CD

Quincy Jones

1989 Qwest Records

1989's BACK ON THE BLOCK is a producer's record in every sense of the word. Although he produced and arranged every track, Quincy Jones is rarely front and center on his own album. Instead, every track is jazzed up--and souled up and rocked up and popped up--by a galaxy of guest stars. The range is remarkable; any album that can bring together Ella Fitzgerald and Ice-T has to have something going for it. That something is Jones's uncanny ability to match artists and songs; few other producers would have thought of a Ray Charles and Chaka Khan duet, and having that song be the exhilarating "I'll Be Good To You" is just lagniappe. Jones's jazz roots show proudly throughout, most particularly on the slinky bossa nova groove of "Septembro (Brazilian Wedding Song)" and the celebratory tribute "Birdland." However, BACK ON THE BLOCK is really a concept album about the 20th century evolution of African-American music.


1 "Prologue (2Q's Rap)" Big Daddy Kane, Jones 1:04
2 "Back on the Block" Jones, Rod Temperton, Siedah Garrett, Caiphus Semenya, Ice-T, Melle Mel, Kane, Kool Moe Dee 6:34
3 "I Don't Go for That" Ian Prince 5:11
4 "I'll Be Good to You" George Johnson, Louis Johnson, Sonora Sam 4:54
5 "The Verb To Be (Introduction to Wee B. Dooinit)" Mervyn Warren 0:29
6 "Wee B. Dooinit (Acapella Party by the Human Bean Band)" Jones, Garrett, Ian Prince 3:34
7 "The Places You Find Love" Glen Ballard, Clif Magness, Caiphus Semenya 6:25
8 "Jazz Corner of the World (Introduction to "Birdland")" Kane, Dee 2:54
9 "Birdland" Joe Zawinul 5:33
10 "Setembro (Brazilian Wedding Song)" Ivan Lins, Gilson Peranzzetta 5:05
11 "One Man Woman" Garrett, Ian Prince, Harriet Roberts 3:44
12 "Tomorrow (A Better You, Better Me)" George Johnson, Louis Johnson, Garrett, 4:46
13 "Prelude to the Garden" Jorge Calandrelli 0:54
14 "The Secret Garden (Sweet Seduction Suite)" Jones, Temperton, Garrett, El DeBarge 6:41

 

[heeman]

In My Soul -- CD

The Robert Cray Band

2014 Mascot Music

Here's to the next 40 years... April 1, 2014
By G. E. Harrison
Format:Audio CD

This album marks 40 years in the business for Robert Cray (and long-term bass player/song writer Richard Cousins) and highlights Robert's soul/R&B side with covers of songs by Otis Redding, Lou Rawls and Bobby `Blue' Bland. This is good news for me because I've always favoured Robert's soul output rather than his straight blues. As well as Cousins the band features returning keyboard player Dover Weinberg as well as drummer Les Falconer, who joins Robert on vocals for the fabulous version of Redding's "Nobody's Fault but Mine" - with its great brass lines. Robert does a really good laid-back reading of Rawls' "Your Good Thing (Is About to End)" and "Deep in My Soul" is transformed from Bland's impassioned southern soul blues to Robert's own style of smooth late night soul blues.

Elsewhere his own songs are very much on a par with these soul classics, opener "You move me" is probably the album's most bluesy song, with really nice stinging guitar and the instrumental "Hip tight onions" is pure Booker T and the MGs. There are also some really nice trademark Cray super-smooth soul ballads - with two of my favourites "What Would You Say" and "Pillow" starting off with strange almost psychedelic guitar effects before turning into typical Cray melodic heart-felt ballads. Looking forward to seeing Robert in early May in Birmingham during his UK tour.

You move me
Nobody's fault but mine
Fine yesterday
Your good thing is about to end
guess i'll never know
Hold on
What would you say
Hip tight onions
You're everything
Deep in my soul
Pillow (bonus track)

Robert Cray: Vocals and Guitar, Richard Cousins: Bass, Les Falconer: Drums, Dover Weinberg: Keyboards

Dennie,

How is this one?

Keith

 

[topper]

Telarc Blues ~ 2004

1 Rock Daniel
2 Don't Ever Let Nobody Drag
Your Spirit Down
3 Get Up Get Ready
4 Lean On Me
5 Bessie's Advice
6 Good Stuff
7 Rolling Log
8 Gotta Serve Somebody
9 Travelin' Woman Blues
10 Little Rain
11 Maggie Campbell
12 Give A Little More
13 My Sisters and Brothers

~~ bscene-drinkingcheers:

 

[Dennie]

In My Soul -- CD

The Robert Cray Band

2014 Mascot Music

Here's to the next 40 years... April 1, 2014
By G. E. Harrison
Format:Audio CD

This album marks 40 years in the business for Robert Cray (and long-term bass player/song writer Richard Cousins) and highlights Robert's soul/R&B side with covers of songs by Otis Redding, Lou Rawls and Bobby `Blue' Bland. This is good news for me because I've always favoured Robert's soul output rather than his straight blues. As well as Cousins the band features returning keyboard player Dover Weinberg as well as drummer Les Falconer, who joins Robert on vocals for the fabulous version of Redding's "Nobody's Fault but Mine" - with its great brass lines. Robert does a really good laid-back reading of Rawls' "Your Good Thing (Is About to End)" and "Deep in My Soul" is transformed from Bland's impassioned southern soul blues to Robert's own style of smooth late night soul blues.

Elsewhere his own songs are very much on a par with these soul classics, opener "You move me" is probably the album's most bluesy song, with really nice stinging guitar and the instrumental "Hip tight onions" is pure Booker T and the MGs. There are also some really nice trademark Cray super-smooth soul ballads - with two of my favourites "What Would You Say" and "Pillow" starting off with strange almost psychedelic guitar effects before turning into typical Cray melodic heart-felt ballads. Looking forward to seeing Robert in early May in Birmingham during his UK tour.

You move me
Nobody's fault but mine
Fine yesterday
Your good thing is about to end
guess i'll never know
Hold on
What would you say
Hip tight onions
You're everything
Deep in my soul
Pillow (bonus track)

Robert Cray: Vocals and Guitar, Richard Cousins: Bass, Les Falconer: Drums, Dover Weinberg: Keyboards

Dennie,

How is this one?

Keith

Hey Keith,

I'm really enjoying it. Soulful blues at their best! :handgestures-thumbup:




Dennie

 

[Dennie]

The Bridge -- Remastered CD

Sonny Rollins

1962/2003 RCA-Bluebird Records

The 1962 release of THE BRIDGE marked the end of Sonny Rollins's two year-plus hiatus from live performance and recording. An absolutely stunning comeback, the album clearly shows both the technical and spiritual benefits that can be gained from intense woodshedding. Sonny's tone, already legendary, is even more wonderfully full and mellow here. The whole band, especially the amazing Bob Cranshaw on bass, swings so breezily and blows so delicately, even on the up-tempo numbers, that "hard" bop almost seems a misnomer.The album's title refers to an actual bridge (the Willamsburg, which connects Manhattan and Brooklyn), where Sonny spent long hours practicing alone, and the record possesses a deep, meditative quality which conjures perfectly the image of the city rushing by while a solitary man sits immersed in his music. Guitarist Jim Hall in particular seems to instinctively pick up on Sonny's vibe. On Billie Holiday's "God Bless the Child," Hall unfolds long, lush lines that are a model of taste and restraint, perfectly complementing every note of Sonny's sexy, bluesy solos. One of Sonny Rollins's finest albums, THE BRIDGE gives the listener an overwhelming sense of rightness.

Track Listing
1. Without a Song
2. Where Are You?
3. John S.
4. The Bridge
5. God Bless the Child
6. You Do Something to Me

Personnel: Sonny Rollins (tenor saxophone); Jim Hall (guitar); Bob Cranshaw (bass); Ben Riley, Harry T. Saunders (drums).Recorded at RCA Victor Studios, New York, New York on January 30 & February 13 & 14, 1962. Originally released on RCA (2527). Includes liner notes by FRancis Davis and George Avakian.

 

[Botch]

Today's work truck music....

Back On The Block -- CD

Quincy Jones

For you Bass Hounds, this is my demo disk for the bass response on my old Advents (superb!); it would rattle the front door with not too much volume.
Haven't tried it with my new (2010) system; got somethin' to do tonight! :banana-dance:

 

[Dennie]

This is really good.... :banana-dance:

1969 All Star White House Tribute To... -- CD

Duke Ellington

1969/2002 Blue Note Records

One of the undeniable highlights of President Richard Nixon's administration was the 1969 White House gala celebrating Duke Ellington's 70th birthday, though jazz fans waited 33 years for their release. The all-star band includes trumpeters Clark Terry and Bill Berry, alto saxophonist Paul Desmond, baritone saxophonist Gerry Mulligan, guitarist Jim Hall, trombonists J.J. Johnson and Urbie Green, pianist Hank Jones, bassist Milt Hinton, and drummer Louis Bellson. There are three medleys of Ellington hits, with a new soloist for each song, since each of the brass and reed players is individually featured with the rhythm section. The first medley showcases Desmond's whisper-soft solo in "Chelsea Bridge," Mulligan's lyrical take of "Sophisticated Lady," and the sauntering feature for the trumpeters of "Just Squeeze Me," which is wrapped by an extended workout of "In a Mellotone" that spotlights just about everyone. The lush miniature of "In a Sentimental Mood" makes one wish that Hall and Hinton had recorded additional duets together, while Mulligan's somewhat wild arrangement of "Prelude to a Kiss" may have caused Ellington to lift an eyebrow. Billy Taylor takes over at the piano for a brief trio medley, while liner-note writer Doug Ramsey, who was present for the affair, mentions that the maestro sat bolt upright when he heard Desmond's flawless impression of Johnny Hodges during "Things Ain't What They Used to Be," which also has enjoyable solos by Mulligan and Dave Brubeck. Earl Hines' rollicking interpretation of "Perdido" is a crowd-pleaser. Singer Virginia Mayo's selections are easily eclipsed by the better-known Joe Williams, especially his emotional delivery of "Heritage." Ellington himself finally takes over the piano for "Pat," a lovely (and likely improvised) ballad dedicated to Mrs. Nixon. This wonderful tribute to Duke Ellington is highly recommended. ~ Ken Dryden

Track Listing
1. Take the "A" Train
2. Medley 1: I Got It Bad
3. Medley 1: Chelsea Bridge
4. Medley 1: Satin Doll
5. Medley 1: Sophisticated Lady
6. Medley 1: Just Squeeze Me
7. Medley 1: I Let a Song Go Out of My Heart
8. Medley 1: Do Nothing Till You Hear from Me
9. Medley 1: Don't Get Around Much Anymore
10. Medley 1: In a Mellotone
11. In a Sentimental Mood
12. Prelude to a Kiss
13. Ring Dem Bells
14. Drop Me off in Harlem
15. Medley 2: All Too Soon
16. Medley 2: It Don't Mean a Thing (If It Ain't Got That Swing)
17. Things Ain't What They Used to Be
18. Perdido
19. Warm Valley
20. Caravan
21. Mood Indigo
22. Medley 3: Prelude to a Kiss
23. Medley 3: I Didn't Know About You
24. Praise God and Dance
25. Come Sunday
26. Heritage
27. Jump for Joy
28. Pat

Recorded at The White House on Duke Ellington's 70th birthday, when he was awarded the Medal Of Freedom by President Richard M. Nixon.Personnel: Duke Ellington (piano); Mary Mayo, Joe Williams (vocals); Paul Desmond (alto saxophone); Gerry Mulligan (baritone saxophone); Clark Terry (trumpet, flugelhorn); Bill Berry (trumpet); Urbie Green, J.J. Johnson (trombone); Earl Hines, Dave Brubeck, Hank Jones, Billy Taylor (piano); Jim Hall (guitar); Milt Hinton (bass); Louie Bellson (drums).Recorded live at the White House, Washington, D.C. on April 29, 1969. Includes liner notes by Doug Ramsey.

 

[Dennie]

Today's work truck music...

Kill To Get Crimson -- CD

Mark Knopfler

2007 Warner Bros. Records

Amazon.com

Three decades after Dire Straits broke onto the scene with their remarkable debut, Mark Knopfler remains an iconic figure in popular music, his graceful guitar playing equaled only by his genial baritone and a novelist's ability to create distinct characters and themes in his songs. His fifth solo album since he pulled the plug on the band in 1995, Crimson reflects on a torrent of narratives, from the gracefully aging spouse in the flute-powered ballad "The Scaffolder's Wife" to the valiant down-and-outer in the Scottish folk song "Heart Full of Holes." Employing accordions, fiddles, and horns as majestic accompaniment, Knopfler drifts into the Celtic-tinged melodies of his past, explicitly in the whiskey-soaked singalong "Secondary Waltz," the busker's saga "Madame Geneva's," and "The Fish and the Bird," with its vagabond pensiveness. Clocking in at just under an hour, the album--without any page-turning epic--plays instead like an anthology of written works, every personification crisp in definition, every story exquisitely told. --Scott Holter

"True Love Will Never Fade" – 4:21
"The Scaffolder's Wife" – 3:52
"The Fizzy and the Still" – 4:07
"Heart Full of Holes" – 6:36
"We Can Get Wild" – 4:17
"Secondary Waltz" – 3:43
"Punish the Monkey" – 4:36
"Let It All Go" – 5:17
"Behind With the Rent" – 4:46
"The Fish and the Bird" – 3:45
"Madame Geneva's" – 3:59
"In the Sky" – 7:29

 

[PaulyT]

Beginning my exploration of this band... based on CMonster's plug at the last GTG.

 

[CMonster]

^Ha, a Radiohead song just popped up on my Pandora station and I was wondering if you'd taken the plunge yet. I think you're going to have a lot of fun with the first three albums, mainly the growth and experimentation that really gets going on OK Computer.