What are you listening to and WHY might anyone be interested? (Vol. XIII)

Chris Jones & Steve Baker - Smoke & Noise

While we are remembering Chris Jones, we should not forget his collaboration with Steve Baker on the harp. Another album recorded live, this is a belter and it is on Tidal if you want to check it out.

Case/ Lang/ Veirs

I insist on capitalisation even though they don't. On the other hand, I'm very much enjoying this glass of cold Soave Classico.

C.

Testing my new power cable...

Original 1958 LP, on gloriously thick Decca mono vinyl. Humph is on genial form and the record sounds absolutely splendid (they knew how to record in 1958, did those Decca engineers). This used to belong to my Dad.

Ardbeg10y posted:

Bert Schurink posted:

Jeroen20 posted:

Keith Jarrett play Dimitri Shostakovich

To be honest, I dont know anything of Dimitri Shostakovich. I bought this CD because I'm a fan of Keith Jarrett and I liked the music.

You have not made a mistake, this experiment in the classical world is rather good...

As a reply to this:

Can't really enjoy it. I don't understand why someone being so good in improvisations makes such a sterile interpretation of the Wohl Temperiertes Klavier.

In the booklet he justifies himself by these words: 'The melodic lines themselves are expressive to me. Take for instance, the works of J. S. Bach: in most of what I have heard in the interpretation of other pianists, I feel that too much is imposed upon the music'.

What he ignores here is certain techniques harpsichordists in Bach's time were using. They used a an old way of using the finger positions, were used to apply all kind of colourations, were using overlegato playing, more arpeggios and most importantly: did not play on an ugly grand piano.

Especially the fugues are dull. All the so important 'melodic lines' (sic) are dead because they are often played straight on the beat which makes them anonymous. This implies that the harmonies take over on the counterpoint. Very 19th century.

But hey, its Keith Jarrett, it must be good.

... now going to the CD player and take the disc out for some years ...

... going to listen to Ton Koopman / Gustav Leonhardt / Fabio Bonizzoni or so ...

I don't have the Bach album, so that should give a hint. The Shostakovich is well done, the other experiments in classical are with mixed results. Some decent some mediocre...

Time for some modern jazz on the fine Criss Cross Jazz label.

Ardbeg10y posted:

Bert Schurink posted:

Jeroen20 posted:

Keith Jarrett play Dimitri Shostakovich

To be honest, I dont know anything of Dimitri Shostakovich. I bought this CD because I'm a fan of Keith Jarrett and I liked the music.

You have not made a mistake, this experiment in the classical world is rather good...

As a reply to this:

Can't really enjoy it. I don't understand why someone being so good in improvisations makes such a sterile interpretation of the Wohl Temperiertes Klavier.

In the booklet he justifies himself by these words: 'The melodic lines themselves are expressive to me. Take for instance, the works of J. S. Bach: in most of what I have heard in the interpretation of other pianists, I feel that too much is imposed upon the music'.

What he ignores here is certain techniques harpsichordists in Bach's time were using. They used a an old way of using the finger positions, were used to apply all kind of colourations, were using overlegato playing, more arpeggios and most importantly: did not play on an ugly grand piano.

Especially the fugues are dull. All the so important 'melodic lines' (sic) are dead because they are often played straight on the beat which makes them anonymous. This implies that the harmonies take over on the counterpoint. Very 19th century.

But hey, its Keith Jarrett, it must be good.

... now going to the CD player and take the disc out for some years ...

... going to listen to Ton Koopman / Gustav Leonhardt / Fabio Bonizzoni or so ...

Hi Arddeg10y,

I don't have that album of Keith Jarrett. I personaly like the sound of an acoustic piano. So, also for baroque music I rather listen to it being played on an acoustic piano that on a period instrument. But that's just personal preference.

Regards, Jeroen.

Kevin-W posted:

Original 1958 LP, on gloriously thick Decca mono vinyl. Humph is on genial form and the record sounds absolutely splendid (they knew how to record in 1958, did those Decca engineers).

Perhaps Samantha lent a hand.

C

Yes, I seem to remember Humph recalling that, when she went on a tour of a pie factory, Samantha liked the Steak and Kidney but much preferred the Tongue in Cider.

A priceless Humph one-liner from his Radio 4 days.

Ardbeg10y posted:

Bert Schurink posted:

Jeroen20 posted:

Keith Jarrett play Dimitri Shostakovich

To be honest, I dont know anything of Dimitri Shostakovich. I bought this CD because I'm a fan of Keith Jarrett and I liked the music.

You have not made a mistake, this experiment in the classical world is rather good...

As a reply to this:

Can't really enjoy it. I don't understand why someone being so good in improvisations makes such a sterile interpretation of the Wohl Temperiertes Klavier.

In the booklet he justifies himself by these words: 'The melodic lines themselves are expressive to me. Take for instance, the works of J. S. Bach: in most of what I have heard in the interpretation of other pianists, I feel that too much is imposed upon the music'.

What he ignores here is certain techniques harpsichordists in Bach's time were using. They used a an old way of using the finger positions, were used to apply all kind of colourations, were using overlegato playing, more arpeggios and most importantly: did not play on an ugly grand piano.

Especially the fugues are dull. All the so important 'melodic lines' (sic) are dead because they are often played straight on the beat which makes them anonymous. This implies that the harmonies take over on the counterpoint. Very 19th century.

But hey, its Keith Jarrett, it must be good.

... now going to the CD player and take the disc out for some years ...

... going to listen to Ton Koopman / Gustav Leonhardt / Fabio Bonizzoni or so ...

Yes, I too have this Bach recording and it is astonishing, as you say, how dull it is! I bought the vinyl copy because i assumed that being Keith Jarrett it would at least be interesting. Regrettably it has nothing to recommend it at all. Lifeless. Very odd.

Jeroen20 posted:

Ardbeg10y posted:

Bert Schurink posted:

Jeroen20 posted:

Keith Jarrett play Dimitri Shostakovich

 

To be honest, I dont know anything of Dimitri Shostakovich. I bought this CD because I'm a fan of Keith Jarrett and I liked the music.

You have not made a mistake, this experiment in the classical world is rather good...

As a reply to this:

 

Can't really enjoy it. I don't understand why someone being so good in improvisations makes such a sterile interpretation of the Wohl Temperiertes Klavier.

In the booklet he justifies himself by these words: 'The melodic lines themselves are expressive to me. Take for instance, the works of J. S. Bach: in most of what I have heard in the interpretation of other pianists, I feel that too much is imposed upon the music'.

What he ignores here is certain techniques harpsichordists in Bach's time were using. They used a an old way of using the finger positions, were used to apply all kind of colourations, were using overlegato playing, more arpeggios and most importantly: did not play on an ugly grand piano.

Especially the fugues are dull. All the so important 'melodic lines' (sic) are dead because they are often played straight on the beat which makes them anonymous. This implies that the harmonies take over on the counterpoint. Very 19th century.

But hey, its Keith Jarrett, it must be good.

... now going to the CD player and take the disc out for some years ...

... going to listen to Ton Koopman / Gustav Leonhardt / Fabio Bonizzoni or so ...

Hi Arddeg10y,

I don't have that album of Keith Jarrett. I personaly like the sound of an acoustic piano. So, also for baroque music I rather listen to it being played on an acoustic piano that on a period instrument. But that's just personal preference.

Regards, Jeroen.

I like the sound of an accoustic piano also very much. I actually have a Schimmel Classic 130T which was at the moment I bought it  the largest Schimmel upright piano. It was the only piano in the showroom which could handle Bach's Toccata and Fuga in D minor properly (think raising both your hands up a meter and slam with full power a D-chord). I played that piece in the showroom after I cursed against some Petrof or Yamaha piano's which couldn't handle that final chord. It was the first instrument I bought when I left my parents house and in my marriage the first thing which I brought into the house and on every move I did to a new place it was the object which was delivered in my house before I even entered it. This was a principal thing.

There are certain recordings of the WTC on Piano which I like very much. Glen Gould comes to my mind first and Ivo Janssen next. I believe that Bach can be played on any instrument but I strongly prefer a honkytonk piano in a midwest pub over a Steinway in a n empty concerthall. These Steinways in empty concerthalls or recording studios are like hummers on a battlefield. They are technically perfect but lack a certain maturity which I only can describe with the word 'soul'.

I remember very well that I listened to the WTC performed by Jeno Jando in the barn which I rented after I left my parents house. Started with disc one and suddenly the end of disc one was there. Changed to disc two. I was lying down on a bare floor captivated by the music.

The magic of the WTC and also the Goldberg variations is in my experience the sequentiality. No Fugue exists without a Prelude. and also, The second Prelude has a relation to the first Fugue. Sequentiality. Magic is there when the last - twentyforth - Fugue in B-minor is played. Magic is there when the Aria is repeated at the end of the Goldberg variations. This repetition has an element of fate or destiny. The cyclus can't be without.

This all is not understood by Keith Jarrett. It are individual pieced played and recorded on a disk. It is like a meatball which falls apart because the ingredients are mixed in the wrong balance.

Maybe I should have written this on a topic which has the name 'what are you listening to and why should others not do so'.

dayjay posted:

Something chilled before bed and one of the all time great Female voices in my view (along with Donna Summer).  Carpenters, Gold, Flac via Audirvana/Hugo

Absolutely agreed re Karen Carpenter, although I don't think she always had the best choice of songs.

But I think you need to include Sandy Denny in any list of all time great female voices. And that's in my view!

Another one from the 22 disc set. Not the greatest sound, but from the golden phase of Mr Hillage's output IMHO.

Continuing the Chris Jones theme - 

Chris Jones - Roadhouses & Automobiles

Unfortunately on my mac, as I do some work. But sounding surprising good as a 24bit Apple lossless file

Stevee_S posted:

sjt posted:

Stevee_S posted:

sjt posted:

Stevee_S posted:

A + 3 | WAV

(2016)

Berlin School Electronica by two fine exponents. 

I like a lot! Just bought it. I am not supposed to spend any more money on music this month but the will is weak. These boys are a new discovery for me. May could be expensive...

It could be very expensive SJT they are quite prolific and have material going back nearly 30 years! Downloading from Bandcamp might be more ermm economical? 

I've just looked on bandcamp and you are right there is lots there. I must confess I just bought Analog Overdose 2 based on the samples they have there. I have no discipline!

Thanks for introducing me to these lads - great stuff.

I'm glad you're liking them, I was introduced by Gary Shaw (of this forum) and instantly clicked with their music. Schönwälder is involved with other artists too, this album Drei  is also really rather good but with a slightly slower, longform style where he is joined by Broekhuis and Keller, you can find it (like the others) on Bandcamp to sample - enjoy.

Thanks - I will look these ones out (after payday!). I have liked Tangerine Dream mid 70s era for about 30 years now. I remember buying an LP of Ricochet in 1987 (my favourite) and I can hear a lot of this era TD in the two records I have from these boys. Its also nice to see the other collaborations - more to discover.

I like discovering new things but often need a starting point, and that's what this is. In my opinion finding starting points is actually what this thread is all about.

Caroline Shaw's Partita for 8 voices is stunning!  Winner of the 2013 Pultizer Prize.  On the New Amsterdam label.

Russian jazz:

The sound track is performed by the Russian composer himself:

https://www.youtube.com/watch?v=jwvFsotmxbU

Bert Schurink posted:

Testing my new power cable...

 

Ansuz power cable? Nice. Thoughts?

A + 3 | WAV

(2010)

A gentle start to the day with ripped CD 2 of 2, the instrumental version of this album.

During workout...