lakedmb
Well-Known Member
Love the song, "The Veldt," but read this short story first...
http://www.d.umn.edu/~csigler/PDF files/bradbury_veldt.pdf
What Are You Listening To?
- Thread starter Rope
- Start date
Love the song, "The Veldt," but read this short story first...
http://www.d.umn.edu/~csigler/PDF files/bradbury_veldt.pdf
Dennie
Well-Known Member
Today's work truck music...
Now and Zen -- CD
Robert Plant
1988 Atlantic Records
Something alittle different, February 24, 2009
By Mike T (United States)
Everyone knows Robert Plant from the classic rock group Led Zepplin, but if you want to hear something alittle different listen to Now and Zen.
I originally owned this CD when it was first released and then someone took it from me using a five finger discount so now years later I picked it up on Amazon. Some of the songs seem dated with the 1980's electric keyboard sound but there are two songs that make it all worth it: "Heaven Knows" and "Ship of Fools" possibly some of Robert Plants best solo work.
"Heaven Knows" (Barratt, Johnstone) – 4:06
"Dance on My Own" (Crash, Johnstone, Plant) – 4:30
"Tall Cool One" (Johnstone, Plant) – 4:40
"The Way I Feel" (Boyle, Johnstone, Plant) – 5:40
"Helen of Troy" (Johnstone, Plant) – 5:06
"Billy's Revenge" (Johnstone, Plant) – 3:34
"Ship of Fools" (Johnstone, Plant) – 5:01
"Why" (Crash, Plant) – 4:14
"White, Clean and Neat" (Johnstone, Plant) – 5:28
"Walking Towards Paradise" (Williams) – 4:40
Now and Zen -- CD
Robert Plant
1988 Atlantic Records
Something alittle different, February 24, 2009
By Mike T (United States)
Everyone knows Robert Plant from the classic rock group Led Zepplin, but if you want to hear something alittle different listen to Now and Zen.
I originally owned this CD when it was first released and then someone took it from me using a five finger discount so now years later I picked it up on Amazon. Some of the songs seem dated with the 1980's electric keyboard sound but there are two songs that make it all worth it: "Heaven Knows" and "Ship of Fools" possibly some of Robert Plants best solo work.
"Heaven Knows" (Barratt, Johnstone) – 4:06
"Dance on My Own" (Crash, Johnstone, Plant) – 4:30
"Tall Cool One" (Johnstone, Plant) – 4:40
"The Way I Feel" (Boyle, Johnstone, Plant) – 5:40
"Helen of Troy" (Johnstone, Plant) – 5:06
"Billy's Revenge" (Johnstone, Plant) – 3:34
"Ship of Fools" (Johnstone, Plant) – 5:01
"Why" (Crash, Plant) – 4:14
"White, Clean and Neat" (Johnstone, Plant) – 5:28
"Walking Towards Paradise" (Williams) – 4:40
Dennie
Well-Known Member
Happy Sunday everyone... :banana-rock:
Listen Here! -- CD
The Gene Harris Quartet
1989 Concord Records
Although often associated with the blues, only one of the ten selections on this quartet set by pianist Gene Harris (who is joined by guitarist Ron Eschete, bassist Ray Brown, and drummer Jeff Hamilton) is technically a blues. On this excellent all-around showcase for the soulful pianist, Harris sounds in prime form exploring such tunes as "This Masquerade," "Don't Be That Way," Eddie Harris' "Listen Here," and "The Song Is Ended." Listen Here! gives listeners a pretty definitive look at Gene Harris' accessible and swinging style. ~ Scott Yanow
Track Listing
1. This Masquerade
2. Don't Be That Way
3. I've Got a Feeling I'm Falling
4. Listen Here
5. This Can't Be Love
6. To You
7. Blues for Jezebel
8. Sweet and Lovely
9. Lullabye
10. The Song Is Ended
Gene Harris Quartet: Gene Harris (piano); Ron Eschete (guitar); Ray Brown (bass); Jeff Hamilton (drums).Recorded at The Plant Recording Studios, Sausalito, California in March 1989.
Listen Here! -- CD
The Gene Harris Quartet
1989 Concord Records
Although often associated with the blues, only one of the ten selections on this quartet set by pianist Gene Harris (who is joined by guitarist Ron Eschete, bassist Ray Brown, and drummer Jeff Hamilton) is technically a blues. On this excellent all-around showcase for the soulful pianist, Harris sounds in prime form exploring such tunes as "This Masquerade," "Don't Be That Way," Eddie Harris' "Listen Here," and "The Song Is Ended." Listen Here! gives listeners a pretty definitive look at Gene Harris' accessible and swinging style. ~ Scott Yanow
Track Listing
1. This Masquerade
2. Don't Be That Way
3. I've Got a Feeling I'm Falling
4. Listen Here
5. This Can't Be Love
6. To You
7. Blues for Jezebel
8. Sweet and Lovely
9. Lullabye
10. The Song Is Ended
Gene Harris Quartet: Gene Harris (piano); Ron Eschete (guitar); Ray Brown (bass); Jeff Hamilton (drums).Recorded at The Plant Recording Studios, Sausalito, California in March 1989.
Dennie
Well-Known Member
New Favorite CD
Alison Krauss + Union Station
2001 Rounder Records
No expectations, June 16, 2003
By A Customer
This review is from: New Favorite (Audio CD)
It seems that most of the negative or lukewarm reviews here are written by those who approached this record with expectations of what bluegrass should be, or what Krauss & Union Station should be, or what country should be.
I came in with none of those. I know almost nothing about bluegrass or AKUS...I'm not even sure what a dobro is.
I heard "Lucky One" on an "adult alternative" radio station, of all places, and had heard about Krauss' talent, so I took a chance on this CD. I'm not a country fan nor a bluegrass fan by any means, I just thought it was a pretty song.
It turns out that the whole CD is very strong, filled with beautifully written and performed songs. There's definitely a pop feel to a few of the tunes, such as Fogelberg's "Stars", but every one is played and sung with feeling and musicianship. The production values are excellent too -- no studio gimmicks, just pure sounds crystal clear.
It's hard to imagine anyone who appreciates music being let down by this set.
"Let Me Touch You for Awhile" (Robert Lee Castleman) – 3:21
"The Boy Who Wouldn't Hoe Corn" (Traditional) – 4:40
"The Lucky One" (Castleman) – 3:10
"Choctaw Hayride" (Jerry Douglas) – 3:10
"Crazy Faith" (Mark Simos) – 3:47
"Momma Cried" (Bob Lucas) – 3:20
"I'm Gone" (Eric Kaz, Wendy Waldman) – 3:28
"Daylight" (Lucas) – 4:03
"Bright Sunny South" (Traditional) – 3:00
"Stars" (Dan Fogelberg) – 2:54
"It All Comes Down to You" (Ron Block) – 2:44
"Take Me for Longing" (Simos) – 2:51
"New Favorite" (David Rawlings, Gillian Welch) – 4:34
^--- Nice, topper.
This is one that I got after watching Whiplash; the main character in that movie spends a lot of time listening to Buddy Rich. Chris, and others, if you like the music from the movie, this is very much in the same style. It's a live recording from 1966, so the SQ isn't quite up to, say, Gordon Goodwin's Big Phat Band (which sounds amazing), but still it's quite listenable and terrifically well played.
This is one that I got after watching Whiplash; the main character in that movie spends a lot of time listening to Buddy Rich. Chris, and others, if you like the music from the movie, this is very much in the same style. It's a live recording from 1966, so the SQ isn't quite up to, say, Gordon Goodwin's Big Phat Band (which sounds amazing), but still it's quite listenable and terrifically well played.
Dennie
Well-Known Member
The Complete Gramercy Five Sessions -- Remastered CD
Artie Shaw
1989 RCA/Bluebird Records
Almost all the great big bands of the Swing Era had a small "band-within-the-band." Tommy Dorsey had The Clambake Seven, Benny Goodman had his trio (or quartet) and Duke Ellington and his orchestra members had various small groupings. This gave the bandleader and certain band members a little variety and chances to try different things away from the constraints of dance-oriented big bands. Artie Shaw's outfit was The Gramercy Five, which had a slightly unusual instrumental line-up: the leader's clarinet, electric guitar, bass, drums, trumpet, and harpsichord (occasionally piano, too). The sound was elegant yet swinging, with a more freewheeling and wry feeling in the solos. The Five could indulge in Ellingtonian voicings ("Summit Ridge Drive"), Dixieland/New Orleans-style solos ("Special Delivery Stomp"), bluesy melodies and traces of that strange new music that would be known as bebop. The band's sly humor is evident in some of the song titles: "The Gentle Grifter," "When The Quail Come Back To San Quentin." Shaw's Gramercy Five featured some musicians who went on to jazz legendhood: trumpeter Roy Eldridge, pianist Dodo Mamarosa (who went on to play with Charlie Parker and Gene Ammons), and the wonderfully versatile guitarist Barney Kessel (who went on to play with Sonny Rollins, Julie London, and the Beach Boys). COMPLETE is small-band swing at its finest.
Track Listing
1. Special Delivery Stomp
2. Summit Ridge Drive
3. Keepin' Myself for You
4. Cross Your Heart
5. Dr. Livingstone, I Presume?
6. When the Quail Come Back to San Quentin
7. My Blue Heaven
8. Smoke Gets in Your Eyes
9. Grabtown Grapple, The
10. Sad Sack, The
11. Scuttlebutt
12. Gentle Grifter, The
13. Mysterioso - (Take 1)
14. Mysterioso - (Take 2)
15. Hop, Skip and Jump
Personnel includes: Artie Shaw (clarinet); Billy Butterfield, Roy Eldridge (trumpet); Dodo Mamarosa (keyboards); Jud DeNaut (bass).Recording information: 09/03/1940-08/02/1945.Illustrator: David McMacken.
Dennie
Well-Known Member
PaulyT said:^--- Nice, topper.
This is one that I got after watching Whiplash; the main character in that movie spends a lot of time listening to Buddy Rich. Chris, and others, if you like the music from the movie, this is very much in the same style. It's a live recording from 1966, so the SQ isn't quite up to, say, Gordon Goodwin's Big Phat Band (which sounds amazing), but still it's quite listenable and terrifically well played.
Nice.... :handgestures-thumbup:
Dennie
^--- OMG, while I'm far, far from an expert on drums, Rich's solo towards the end of the West Side Story medley on this album was astonishing. I don't think I've ever heard anything like that before. Wow!
I guess there's maybe a reason Buddy Rich has such a reputation.
I guess there's maybe a reason Buddy Rich has such a reputation.
Dennie
Well-Known Member
Happy Monday everyone... :doh:
Porgy And Bess - Remastered CD
Miles Davis - Orchestra under the direction of Gil Evans
1959/1997 Columbia Legacy
Of all Gil Evans' orchestral scores for soulmate Miles Davis, PORGY AND BESS is his richest and most ambitious--a watershed of modern jazz harmony which served to secure Davis' pop star stature and define his brooding mystique. Inevitably, even non-jazz listeners own a copy of PORGY AND BESS or SKETCHES OF SPAIN.Like MILES AHEAD, Evans' band on PORGY AND BESS de-emphasized the traditional reed section in favor of a tuba, three French horns, two flutes and two saxophones. The resulting chords and overtones are dark, alluring and mysterious. Thus the opening brass-cymbal bluster of "The Buzzard Song" gives way to a mid-eastern carpet of flutes and deep brass as Davis' poignant trumpet speaks in split tones and yearning cadences, bursting with blues feeling; a tuba soon picks up the theme as muted trumpets are followed by tolling trombone/French horn chords.Each of the thirteen sections contrast lush instrumental details with intimate trumpet arias (which suggest the profound influence of Billie Holiday, particularly over the eerie textures of "I Loves You Porgy"). Evans' ability to orchestrate hypnotic call and response patterns with Davis, and his ability to layer multiple textures at contrasting tempos makes for several memorable moments: Philly Joe's dancing breaks and exchanges with Miles on "Gone," the church-like amens of "Gone, Gone, Gone," the counter-melodies on a lightly swinging "Summertime," Miles' sustained lyricism (and Evans' tart blue chordal rejoinders) on "Prayer," the brash after-hours swagger of "It Ain't Necessarily So," and the contrasting folkish themes of "Here Come De Honey Man." Timeless music.
Track Listing
1. Buzzard Song
2. Bess, You Is My Woman Now
3. Gone
4. Gone, Gone, Gone
5. Summertime
6. Bess, Oh Where's My Bess
7. Prayer (Oh Doctor Jesus)
8. Fishermen, Strawberry and Devil Crab
9. My Man's Gone Now
10. It Ain't Necessarily So
11. Here Come de Honey Man
12. I Loves You, Porgy
13. There's a Boat That's Leaving Soon For New York
14. I Loves You, Porgy - (take 1, second version)
15. Gone - (take 4)
Porgy And Bess - Remastered CD
Miles Davis - Orchestra under the direction of Gil Evans
1959/1997 Columbia Legacy
Of all Gil Evans' orchestral scores for soulmate Miles Davis, PORGY AND BESS is his richest and most ambitious--a watershed of modern jazz harmony which served to secure Davis' pop star stature and define his brooding mystique. Inevitably, even non-jazz listeners own a copy of PORGY AND BESS or SKETCHES OF SPAIN.Like MILES AHEAD, Evans' band on PORGY AND BESS de-emphasized the traditional reed section in favor of a tuba, three French horns, two flutes and two saxophones. The resulting chords and overtones are dark, alluring and mysterious. Thus the opening brass-cymbal bluster of "The Buzzard Song" gives way to a mid-eastern carpet of flutes and deep brass as Davis' poignant trumpet speaks in split tones and yearning cadences, bursting with blues feeling; a tuba soon picks up the theme as muted trumpets are followed by tolling trombone/French horn chords.Each of the thirteen sections contrast lush instrumental details with intimate trumpet arias (which suggest the profound influence of Billie Holiday, particularly over the eerie textures of "I Loves You Porgy"). Evans' ability to orchestrate hypnotic call and response patterns with Davis, and his ability to layer multiple textures at contrasting tempos makes for several memorable moments: Philly Joe's dancing breaks and exchanges with Miles on "Gone," the church-like amens of "Gone, Gone, Gone," the counter-melodies on a lightly swinging "Summertime," Miles' sustained lyricism (and Evans' tart blue chordal rejoinders) on "Prayer," the brash after-hours swagger of "It Ain't Necessarily So," and the contrasting folkish themes of "Here Come De Honey Man." Timeless music.
Track Listing
1. Buzzard Song
2. Bess, You Is My Woman Now
3. Gone
4. Gone, Gone, Gone
5. Summertime
6. Bess, Oh Where's My Bess
7. Prayer (Oh Doctor Jesus)
8. Fishermen, Strawberry and Devil Crab
9. My Man's Gone Now
10. It Ain't Necessarily So
11. Here Come de Honey Man
12. I Loves You, Porgy
13. There's a Boat That's Leaving Soon For New York
14. I Loves You, Porgy - (take 1, second version)
15. Gone - (take 4)
Dennie
Well-Known Member
Happy Tuesday everyone.... :banana-dance:
Heart To Heart -- CD
Diane Schuur & B.B. King
1994 GRP Digital Master
B.B. King is more than just one of the greatest masters of electric blues guitar; he is also an extraordinarily gifted singer. His talents on his instrument are so great that they tend to eclipse his soulful and sophisticated singing voice, but any who might possibly have doubted his ability will do so no more upon hearing Heart to Heart. On this 1994 release, he joins pop-jazz balladeer Diane Schuur for ten surprising tracks. It is a very moody album, with the overall vibe being mainly of the drown-your-broken-heart-in-gin variety. Some of the string and synth arrangements come off as a little unnecessary, as the music is ably framed by piano, guitar, bass, and drums. However, producer Phil Ramone should be credited for minimizing the schmaltzy moments on Heart to Heart as much as possible, as the music is already treading the fine line between sentiment and drivel. The fine vocal performances by Schuur and King carry much of the music, but drummer Vinnie Colaiuta does the rest. Take, for example, "It Had to Be You." With Doug Katsaros' synth prominently displayed and with the band limping through a Vegas-style funk groove, the drummer's extreme sensitivity and chops enliven the track and not only make it listenable, but one of the high points of the record. Fans of King's blues work may be very surprised by how effectively he slips into the role of balladeer and pop interpreter. To be honest, he does it far more convincingly than Schuur. ~ Daniel Gioffre
Track Listing
1. No One Ever Tells You
2. I Can't Stop Loving You
3. You Don't Know Me
4. It Had to Be You
5. I'm Putting All My Eggs in One Basket
6. Glory of Love, The
7. Try a Little Tenderness
8. Spirit in the Dark
9. Freedom
10. At Last
Personnel: Diane Schuur (vocals, piano); B.B. King (vocals, guitar); Paul Viapiano (guitar); Dan Higgins, Gary Foster (saxophone); Tom Scott (tenor saxophone); George Graham, Warren Luening (trumpet); Richard Todd (French horn); George Roberts (bass trombone); Randy Waldman (piano, synthesizer); Doug Katsaros (synthesizer); Vinnie Colaiuta (drums); Bashiri Johnson (percussion); Diva Gray, Jill Dell'Abate, Karen Kamon, Vaneese Thomas (background vocals).Liner Note Author: Phil Ramone.Recording information: Capitol Studios, Hollywood, CA; Power Station, New York, NY.Unknown Contributor Roles: Chuck Berghofer; Waldman; Randy Waldman; Paul Viapiano; Vinnie Colaiuta.Arrangers: Diane Schuur; Doug Katsaros; Patrick Williams; Randy Waldman.
Heart To Heart -- CD
Diane Schuur & B.B. King
1994 GRP Digital Master
B.B. King is more than just one of the greatest masters of electric blues guitar; he is also an extraordinarily gifted singer. His talents on his instrument are so great that they tend to eclipse his soulful and sophisticated singing voice, but any who might possibly have doubted his ability will do so no more upon hearing Heart to Heart. On this 1994 release, he joins pop-jazz balladeer Diane Schuur for ten surprising tracks. It is a very moody album, with the overall vibe being mainly of the drown-your-broken-heart-in-gin variety. Some of the string and synth arrangements come off as a little unnecessary, as the music is ably framed by piano, guitar, bass, and drums. However, producer Phil Ramone should be credited for minimizing the schmaltzy moments on Heart to Heart as much as possible, as the music is already treading the fine line between sentiment and drivel. The fine vocal performances by Schuur and King carry much of the music, but drummer Vinnie Colaiuta does the rest. Take, for example, "It Had to Be You." With Doug Katsaros' synth prominently displayed and with the band limping through a Vegas-style funk groove, the drummer's extreme sensitivity and chops enliven the track and not only make it listenable, but one of the high points of the record. Fans of King's blues work may be very surprised by how effectively he slips into the role of balladeer and pop interpreter. To be honest, he does it far more convincingly than Schuur. ~ Daniel Gioffre
Track Listing
1. No One Ever Tells You
2. I Can't Stop Loving You
3. You Don't Know Me
4. It Had to Be You
5. I'm Putting All My Eggs in One Basket
6. Glory of Love, The
7. Try a Little Tenderness
8. Spirit in the Dark
9. Freedom
10. At Last
Personnel: Diane Schuur (vocals, piano); B.B. King (vocals, guitar); Paul Viapiano (guitar); Dan Higgins, Gary Foster (saxophone); Tom Scott (tenor saxophone); George Graham, Warren Luening (trumpet); Richard Todd (French horn); George Roberts (bass trombone); Randy Waldman (piano, synthesizer); Doug Katsaros (synthesizer); Vinnie Colaiuta (drums); Bashiri Johnson (percussion); Diva Gray, Jill Dell'Abate, Karen Kamon, Vaneese Thomas (background vocals).Liner Note Author: Phil Ramone.Recording information: Capitol Studios, Hollywood, CA; Power Station, New York, NY.Unknown Contributor Roles: Chuck Berghofer; Waldman; Randy Waldman; Paul Viapiano; Vinnie Colaiuta.Arrangers: Diane Schuur; Doug Katsaros; Patrick Williams; Randy Waldman.
Dennie
Well-Known Member
Happy Wednesday everyone... :dance:
Graceland -- CD
Paul Simon
1986/1990 Warner Bros. Records
Amazon.com essential recording
The melding of South African styles and Simon's trademark sensibility made for one of the most intriguing albums--not to mention commercial hits--of the '80s. At once lively, thoughtful, gorgeous, and tough, Graceland acknowledges splits both in South Africa's social fabric and in Simon's personal life (the title track is a clear descendant of the earlier "Hearts and Bones," a song about the singer-songwriter's brief marriage to Carrie Fisher). Humor is hardly absent from the mix, though; witness the addled "I Know What I Know" and the fable-like "You Can Call Me Al." --Rickey Wright
Side one
No. Title Writer(s) Length
1. "The Boy in the Bubble" Forere Motloheloa, Paul Simon 3:59
2. "Graceland" Simon 4:48
3. "I Know What I Know" General MD Shirinda, Simon 3:13
4. "Gumboots" Lulu Masilela, Jonhjon Mkhalali, Simon 2:44
5. "Diamonds on the Soles of Her Shoes" Joseph Shabalala, Simon 5:45
Side two
No. Title Writer(s) Length
6. "You Can Call Me Al" Simon 4:39
7. "Under African Skies" Simon 3:37
8. "Homeless" Shabalala, Simon 3:48
9. "Crazy Love, Vol. II" Simon 4:18
10. "That Was Your Mother" Simon 2:52
11. "All Around the World or the Myth of Fingerprints" Simon 3:15
Graceland -- CD
Paul Simon
1986/1990 Warner Bros. Records
Amazon.com essential recording
The melding of South African styles and Simon's trademark sensibility made for one of the most intriguing albums--not to mention commercial hits--of the '80s. At once lively, thoughtful, gorgeous, and tough, Graceland acknowledges splits both in South Africa's social fabric and in Simon's personal life (the title track is a clear descendant of the earlier "Hearts and Bones," a song about the singer-songwriter's brief marriage to Carrie Fisher). Humor is hardly absent from the mix, though; witness the addled "I Know What I Know" and the fable-like "You Can Call Me Al." --Rickey Wright
Side one
No. Title Writer(s) Length
1. "The Boy in the Bubble" Forere Motloheloa, Paul Simon 3:59
2. "Graceland" Simon 4:48
3. "I Know What I Know" General MD Shirinda, Simon 3:13
4. "Gumboots" Lulu Masilela, Jonhjon Mkhalali, Simon 2:44
5. "Diamonds on the Soles of Her Shoes" Joseph Shabalala, Simon 5:45
Side two
No. Title Writer(s) Length
6. "You Can Call Me Al" Simon 4:39
7. "Under African Skies" Simon 3:37
8. "Homeless" Shabalala, Simon 3:48
9. "Crazy Love, Vol. II" Simon 4:18
10. "That Was Your Mother" Simon 2:52
11. "All Around the World or the Myth of Fingerprints" Simon 3:15
Dennie
Well-Known Member
Today's work truck music....
Medusa -- CD
Annie Lennox
1995 Arista Records
Amazon.com essential recording
Post-Beatles, the virtues of deft song interpretation have been consistently devalued in favor of self-contained composer-performers, seldom more so than in the initial response to this sequel to Annie Lennox's triumphant solo debut, Diva. That album's gripping originals deserve acclaim, but the lush Scottish alto remains one of the most riveting pop singers of the past two decades, and this smartly chosen, meticulously arranged collection of cover versions boasts its own abundant charms in her selection of obscure gems and bona fide classics from Al Green, Procol Harum, Neil Young, the Clash, the Temptations, Paul Simon, Bob Marley, and the Blue Nile. The songs are the rightful stars here, and Lennox brings passion and nuance to a set that plays beautifully. From the cinematic heartbreak of "No More I Love Yous" to the faithful recreation of the Blue Nile's "Downtown Lights," this is ravishing pop. --Sam Sutherland
1. "No More I Love You's" Joseph Hughes, David Freeman 4:51
2. "Take Me to the River" Al Green 3:31
3. "A Whiter Shade of Pale" Keith Reid, Gary Brooker, Matthew Fisher 5:17
4. "Don't Let It Bring You Down" Neil Young 3:36
5. "Train in Vain" Mick Jones, Joe Strummer 4:38
6. "I Can't Get Next to You" Norman Whitfield, Barrett Strong 3:09
7. "Downtown Lights" Paul Buchanan 6:42
8. "Thin Line Between Love and Hate" Richard Poindexter, Robert Poindexter, Jackie Members 5:53
9. "Waiting in Vain" Bob Marley 5:40
10. "Something So Right" Paul Simon 3:54
11. "Heaven" (Japanese bonus track) Richard Butler, Tim Butler 4:58
Medusa -- CD
Annie Lennox
1995 Arista Records
Amazon.com essential recording
Post-Beatles, the virtues of deft song interpretation have been consistently devalued in favor of self-contained composer-performers, seldom more so than in the initial response to this sequel to Annie Lennox's triumphant solo debut, Diva. That album's gripping originals deserve acclaim, but the lush Scottish alto remains one of the most riveting pop singers of the past two decades, and this smartly chosen, meticulously arranged collection of cover versions boasts its own abundant charms in her selection of obscure gems and bona fide classics from Al Green, Procol Harum, Neil Young, the Clash, the Temptations, Paul Simon, Bob Marley, and the Blue Nile. The songs are the rightful stars here, and Lennox brings passion and nuance to a set that plays beautifully. From the cinematic heartbreak of "No More I Love Yous" to the faithful recreation of the Blue Nile's "Downtown Lights," this is ravishing pop. --Sam Sutherland
1. "No More I Love You's" Joseph Hughes, David Freeman 4:51
2. "Take Me to the River" Al Green 3:31
3. "A Whiter Shade of Pale" Keith Reid, Gary Brooker, Matthew Fisher 5:17
4. "Don't Let It Bring You Down" Neil Young 3:36
5. "Train in Vain" Mick Jones, Joe Strummer 4:38
6. "I Can't Get Next to You" Norman Whitfield, Barrett Strong 3:09
7. "Downtown Lights" Paul Buchanan 6:42
8. "Thin Line Between Love and Hate" Richard Poindexter, Robert Poindexter, Jackie Members 5:53
9. "Waiting in Vain" Bob Marley 5:40
10. "Something So Right" Paul Simon 3:54
11. "Heaven" (Japanese bonus track) Richard Butler, Tim Butler 4:58
Dennie
Well-Known Member
Today's work truck music....
Dixie Chicken -- CD
Little Feat
1973/1990 Warner Bros. Records
Amazon.com essential recording
Everything came together for Little Feat's third album. An expanded lineup gave the Feat a more supple rhythmic base, Lowell George penned some of his strongest numbers, and they developed an oozy studio sound that suited them to a T. The title track, "Fat Man in a Bathtub," and "Two Trains" distilled compounded rhythms, wailing background vocals, and adroit wordplay into an intoxicating soul-rock swill. In many ways, Dixie Chicken stands as a kind of kissing cousin to the Rolling Stones' Exile on Main Street, which hit the streets one year earlier. While not as expansive as the Stones' magnum opus, its highlights are every bit as spectacular. --Steve Stolder
1. "Dixie Chicken" (Lowell George, Fred Martin) – 3:55
2. "Two Trains" (George) – 3:06
3. "Roll Um Easy" (George) – 2:30
4. "On Your Way Down" (Allen Toussaint) – 5:31
5. "Kiss It Off" (George) – 2:56
6. "Fool Yourself" (Fred Tackett) – 3:10
7. "Walkin' All Night" (Paul Barrère, Bill Payne) – 3:35
8. "Fat Man In The Bathtub" (George) – 4:29
9. "Juliette" (George) – 3:20
10. "Lafayette Railroad" (George, Payne) – 3:40
Dixie Chicken -- CD
Little Feat
1973/1990 Warner Bros. Records
Amazon.com essential recording
Everything came together for Little Feat's third album. An expanded lineup gave the Feat a more supple rhythmic base, Lowell George penned some of his strongest numbers, and they developed an oozy studio sound that suited them to a T. The title track, "Fat Man in a Bathtub," and "Two Trains" distilled compounded rhythms, wailing background vocals, and adroit wordplay into an intoxicating soul-rock swill. In many ways, Dixie Chicken stands as a kind of kissing cousin to the Rolling Stones' Exile on Main Street, which hit the streets one year earlier. While not as expansive as the Stones' magnum opus, its highlights are every bit as spectacular. --Steve Stolder
1. "Dixie Chicken" (Lowell George, Fred Martin) – 3:55
2. "Two Trains" (George) – 3:06
3. "Roll Um Easy" (George) – 2:30
4. "On Your Way Down" (Allen Toussaint) – 5:31
5. "Kiss It Off" (George) – 2:56
6. "Fool Yourself" (Fred Tackett) – 3:10
7. "Walkin' All Night" (Paul Barrère, Bill Payne) – 3:35
8. "Fat Man In The Bathtub" (George) – 4:29
9. "Juliette" (George) – 3:20
10. "Lafayette Railroad" (George, Payne) – 3:40
Dennie
Well-Known Member
Happy Sunday everyone... :banana-dance:
Sweet Georgia Peach -- CD
Russell Malone
1998 GRP/Jazz Heritage
During part of the 1990s, Russell Malone put his solo career on the back burner as he toured the world as an important part of Diana Krall's trio. Since he was scheduled to break away from Krall at the end of 1998, the release of this solo album was a timely event. With a couple of exceptions, the emphasis here is on slower tempos and relaxed moods. There are no swing standards included other than "Someone's Rocking My Dreamboat," and only "Sweet Georgia Peach" (which is a bit funky) and Thelonious Monk's "Bright Mississippi" (based on the chords of "Sweet Georgia Brown") are taken at faster speeds. The latter, a Malone duet with pianist Kenny Barron, is easily this CD's high point. Of the repertoire, the guitarist contributed five of the ten numbers and is also heard exploring Thad Jones' "Mean What You Say," "Swing Low, Sweet Chariot," and a couple of obscurities. Malone and Barron are joined by bassist Ron Carter and drummer Lewis Nash throughout the melodic, often melancholy, and generally wistful outing. Although it would have been better if there were more tempo variations and some heated selections, this is a tasteful effort, and Russell Malone does have a beautiful tone on his guitar. ~ Scott Yanow
Track Listing
1. Mugshot
2. To Benny Golson
3. Strange Little Smile / With You I'm Born Again
4. Sweet Georgia Peach
5. Rise
6. Mean What You Say
7. Song For Darius
8. Bright Mississippi
9. Someone's Rocking My Dreamboat
10. For Toddlers Only
11. Sweet Chariot Swing Low
Personnel: Russell Malone (guitar); Kenny Barron (piano); Ron Carter (bass); Lewis Nash (drums); Steve Kroon (percussion).Recorded at Avatar Studios, New York, New York on February 17-19, 1998. Includes liner notes by Bob Blumenthal.
Sweet Georgia Peach -- CD
Russell Malone
1998 GRP/Jazz Heritage
During part of the 1990s, Russell Malone put his solo career on the back burner as he toured the world as an important part of Diana Krall's trio. Since he was scheduled to break away from Krall at the end of 1998, the release of this solo album was a timely event. With a couple of exceptions, the emphasis here is on slower tempos and relaxed moods. There are no swing standards included other than "Someone's Rocking My Dreamboat," and only "Sweet Georgia Peach" (which is a bit funky) and Thelonious Monk's "Bright Mississippi" (based on the chords of "Sweet Georgia Brown") are taken at faster speeds. The latter, a Malone duet with pianist Kenny Barron, is easily this CD's high point. Of the repertoire, the guitarist contributed five of the ten numbers and is also heard exploring Thad Jones' "Mean What You Say," "Swing Low, Sweet Chariot," and a couple of obscurities. Malone and Barron are joined by bassist Ron Carter and drummer Lewis Nash throughout the melodic, often melancholy, and generally wistful outing. Although it would have been better if there were more tempo variations and some heated selections, this is a tasteful effort, and Russell Malone does have a beautiful tone on his guitar. ~ Scott Yanow
Track Listing
1. Mugshot
2. To Benny Golson
3. Strange Little Smile / With You I'm Born Again
4. Sweet Georgia Peach
5. Rise
6. Mean What You Say
7. Song For Darius
8. Bright Mississippi
9. Someone's Rocking My Dreamboat
10. For Toddlers Only
11. Sweet Chariot Swing Low
Personnel: Russell Malone (guitar); Kenny Barron (piano); Ron Carter (bass); Lewis Nash (drums); Steve Kroon (percussion).Recorded at Avatar Studios, New York, New York on February 17-19, 1998. Includes liner notes by Bob Blumenthal.
Dennie
Well-Known Member
Going Home -- CD
Bill Mays Trio
2003 Palmetto Records
Lovely stuff from a veteran pianist, April 10, 2003
By N. Dorward "obsessive reviewer" (Toronto, ON Canada) - See all my reviews
(TOP 1000 REVIEWER) (REAL NAME)
This review is from: Going Home (Audio CD)
I'd be surprised if there were a more sheerly lovely piano trio disc released this year than Bill Mays' new disc. It's dedicated to the memories of Jimmy Rowles, Red Mitchell & Shelly Manne. That's a great pianist, a great bassist, & a great drummer, & so it's no surprise that the music here places just as much emphasis on the roles of bassist (Martin Wind) and drummer (the always-excellent Matt Wilson) as it does on Mays's own piano. The programming is loosely based around the theme of home & homecoming, which leads to a nice mix of originals, mostly very offbeat choices of covers (only "You'd Be So Nice to Come Home To" is a familiar standard; there's even a nicely judged version of Dvorak's "Going Home", which was a favourite vehicle of Art Tatum). Mays' piano has a pearly but very precise quality to it: he isn't a "look at me" player. He likes to insert quotations in his lines, & he's one of the few players who does this who doesn't irritate me, because one never feels that it's a form of exhibitionism or lazy space-filling: Mays simply has all these tunes stashed in the back of his head (much like Jimmy Rowles) & they come out naturally & as part of the flow. He's also an excellent composer, though the show is stolen by a Rowles tune, the wonderful "Nosey Neighbors", which really ought to be better known. -- The recording itself is almost eerily beautiful: not in-your-face closemiked, but instead with a kind of silkiness that pulls the listener in gently rather than jumps out at him or her. Recommended.
Judy (Mays)
You’d Be So Nice To Come Home To (Porter)
Shohola Song (Sommer)
Home (Clarkson/Van Steeden)
On The Road (Mays)
Shoho Love Song (Mays)
Nosey Neighbors (Rowles)
In Her Arms (Mays)
Comin’ Home Baby (Dorough/Tucker)
Going Home (Dvorak)
I’m A Homebody (Mitchell)
Bill Mays, piano, (vocal on I’m A Homebody)
Matt Wilson, drums
Martin Wind, bass
Dennie
Well-Known Member
Inventions & Dimensions -- Remastered CD
Herbie Hancock
1963/1988 Blue Note Records
One of the greatest "trio" records ever, June 3, 2004
By Jess Row (NYC) - See all my reviews
(REAL NAME)
This review is from: Inventions & Dimensions (Audio CD)
"Trio" in quotation marks, of course, because there are actually two percussionists on this date, working as a single Afro-Cuban unit. I've always thought that Hancock's piano work is often overshadowed by the musical contexts he chooses to work in; this record is a rare example of Hancock alone at the helm, and it's a pure joy to listen to--an approach to "free" jazz that is relaxed and loose, critiquing jazz traditions without tearing them apart, as in the best work of Eric Dolphy (whom Hancock played with shortly before this recording). In some ways this record is similar to McCoy Tyner's "Plays Duke Ellington," especially in the mixture of Latin textures with jazz harmonies and structures. This is an overlooked gem which belongs in any Herbie Hancock collection.
All compositions by Herbie Hancock.
"Succotash" – 7:40
"Triangle" – 11:01
"Jack Rabbit" – 5:57
"Mimosa" – 8:38
"A Jump Ahead" – 6:33
"Mimosa" (alternate take) – 10:06 Bonus track on reissue
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Herbie Hancock – piano
Paul Chambers – bass
Willie Bobo – drums, timbales
Osvaldo "Chihuahua" Martinez – percussion (not on track 5)