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

Turn a nice more local jazz trio, saw them live a good year ago...

Richard Morris posted:

Bert Schurink posted:

Bert Schurink posted:

1st run..

 

A kind of raw album. Sometimes starting in normal jazz but then almost moving to rough rock with a distorted guitar, to again go back to silent. Will require some more runs to get the needed insight.

What's the album Bert? None of your covers are showing up.

I am sorry the new service also proofed to be unreliable. The album is Aliso from David Binney...

Two of my favourite artists.

Bought some Bowers and Wilkins P5 wireless headphones and got a free Society of sound subscription. Downloaded these:

Not convinced by either unfortunately.

Good version of Townes Van Zandt's Dollar Bill Blues on this

An example of how great modern jazz can sound with the right artists...

Taking another great one, sophisticated jazz with also good sound...

Randall Bramblett - Thin Places

Having been suitably impressed by Ewan's tip of this gentleman's EP - Juke Joint At The Edge of The World, I had a listen to this on Tidal and pretty fine it is too.

Sophisticated sounds...lovely.

G

A + 3 | WAV

(2009)

Identity | Airbag

This was a great debut album from the Norwegian prog rockers so, that's good enough reason to listen to some of their music again. 

Yellowjackets featuring Mike Stern - Lifecycle

Frank Sinatra - 80th All the best

From Amazon:

Frank Sinatra turned 80 in 1995, and Capitol released this two-disc "best of" in celebration. Sinatra's initial tenure at Capitol, which lasted from 1953 to 1962, is generally considered to be his artistic watermark. His voice and technique had improved considerably since his initial peak of popularity in the mid-'40s (the "swinging" phrasing most commonly associated with Sinatra's style really came to the fore during the Capitol years); he also had the good fortune to work with Nelson Riddle and Billy May, whose inventive arrangements certainly brought out the best in Sinatra's singing. This set's song selection is tough to argue with, but you'll really need to get all of Sinatra's Capitol albums to gauge the true measure of the man's artistry.

Interesting guy, will see him as well at North Sea Jazz...

Bert Schurink posted:

Interesting guy, will see him as well at North Sea Jazz...

 

Hi Bert

I am hoping you will do a thread again this year on your visit to North Sea Jazz.  I was looking at the line-up scheduled there for 2017 and you have much to chose from.  regards, Jeff A

Avoided this one so far, as I was not attracted by the concept. Now giving it a try via Tidal. So far interesting...

A + 3 | WAV

(2000)

Rumours of APC 'possibly' realising a new album have got me reaching for their debut. 

Kevin Mahogany - Big Band.

If you are interested in vocal jazz with a great swining big band (with lots of room for the band members to play their solo's) than I recommend this CD by Kevin Mahogany.

From Allmusic.com

Given the strong influence that Joe Williams, Jimmy Rushing and Billy Eckstine have had on his work, it stands to reason that Kevin Mahogany would provide a big band-oriented album -- and on this early 2005 release, the deep-voiced Mahogany reminds us of the great contributions that male vocalists have made to jazz' big band tradition. Big Band doesn't find the Midwestern singer working with one big band exclusively; instead, he teams up with hard-swinging outfits that include Frank Mantooth's orchestra as well as the Kansas City Boulevard Big Band and the Big City Swing Big Band. And the producers vary, ranging from Mantooth to T.S. Monk to Allen Farnham. Nonetheless, Big Band has a feeling of continuity; whether Mahogany is joining forces with Mantooth on "Moonlight in Vermont," Duke Ellington's "It Don't Mean a Thing" (which receives an Afro-Cuban/salsa-influenced treatment) and Harry "Sweets" Edison's "Centerpiece," or T.S. Monk on father Thelonious Monk's "Ruby My Dear," Mahogany recalls a time when male jazz vocalists made important contributions to the big bands of Count Basie and others. But he does it on his own soulful terms; Williams, Rushing, Eckstine and Johnny Hartman are creative inspirations to Mahogany, but they aren't people he actually tries to emulate. In terms of material, Big Band isn't as risk-taking as some of Mahogany's other albums; most of the standards that he embraces on this project are warhorses that have been recorded countless times over the years. Big Band won't go down in history as Mahogany's most adventurous or unconventional album, but even so, it's a solid, worthwhile effort from the expressive jazz singer.

Rather good