What are you listening to and WHY might anyone be interested? (Vol. XIII)
Posted by: Richard Dane on 01 January 2017
2017 has arrived today, so time to start this thread afresh.
Last year's thread can be found here;


On vinyl...
A bit dark, muffled sound, mixed feelings on the album...

Bert Schurink posted:A bit dark, muffled sound, mixed feelings on the album...
Pushed the volume a bit up, further into the album. Seemed to be the solution, now enjoying it more.
Bert Schurink posted:
Thanks Bert, you started me on another journey of discovery, from the above through:

and on to:

a very enjoyable journey, the only constraint being the time needed to be dedicated to any Flower Kings albums.....they sure know how to fill a couple of hours on a few of their albums!
On CD:-

The Enid - In The Region Of The Summer Stars
Now Playing

William Bell - This is Where I Live
Giving sweet William's voice a listen, soft and easy on this Monday morning........

(2008)
Something from the Black Angels to start Monday evening with, their heavy psychedelic rock and nods back toward The Velvet Undergound hit the spot.

Culture - Culture on the Frontline.
Following Ewen's reggae mood of yesterday, this set of Culture's 4 albums for Richard Branson's Front Line imprint, including the
previously hard to find 1st. album, "Harder Then The Rest" ................... highly recommended Roots Reggae. ![]()
Keith Jarrett trio - Up for it.

A brilliant live album featuring Donald Fagen, Michael McDonald, Boz Scaggs, Charles Brown, Boz Scaggs, Phoebe Snow, Eddie & David Brigati.

1991 CD

(2007)
Moving on to similar but slightly differently nuanced psychedelia which places more emphasis on fuzzy guitars and drone. This was Wooden Shjips self produced, recorded and released debut album. Well known in San Fransisco they continue in the tradition of creating interesting psychedelic rock and sounds from the Bay Area that started over fifty years ago.

David Rodigan - Real Authentic Reggae.
A spot on selection of Roots Reggae choons from David Rodigan, ................ the UK's champion of reggae. ![]()
Original vinyl

Why? There are so many reasons...mostly connected to the past...
steve

I had May You Never playing in my head earlier, so this was an obvious choice, some great songs.
Pat Martino - Live at Yoshi's

From allmusic.com:
With Live at Yoshi's, his 20th recording as a leader and third release for the Blue Note label, the legendary Pat Martino has come full circle. Accompanied by Joey DeFrancesco on Hammond B-3 and Billy Hart on drums, the hard bop and funky soul-jazz of this trio are sure to please enthusiasts of the guitar, organ, and drum trio. Martino, heir to Wes Montgomery's warm, bluesy guitar style, plays eight great compositions, including two great extended versions of the classic Miles Daviscompositions "All Blues" and "Blue in Green." On "All Blues," creative guitar voice plays the melody with soulful interpretations and subtle musical resonance. Martino's version of "Blue in Green" creates a world of melancholy and the guitarist plays his guitar with the same sweet sadness as Miles did with the support of DeFrancesco's organ solo adding additional shades of emotion. The songs selected for this "live" performance recording also appear on previously recorded Martino projects, including his 1970 Desperado album and his 1998 Stone Blue CD. However, listeners now receive the benefit of having the set performance available in real time. From the sound of the audience on Live at Yoshi's, the guitar sage's head-spinning dexterity and cool tones on "Catch" are more spirited than ever, and after listening to this CD, you'll be inclined to agree.

Bert Schurink posted:
Now with review..
Pianist David Kikoski, one of the most recorded musicians on the Criss Cross label (both as a leader and a sideman), returns for his fourth trio release on the label. Drummer Jeff 'Tain' Watts has worked with Kikoski before in a variety of settings, but this time around the bassist is Eric Revis.
As the album's title implies, the program consists of "mostly standards," though the trio also manages to sneak in a few originals as well. The album's opener, "Grey Areas," is a Kikoski original and is surprisingly simple, based entirely around a syncopated ostinato bass riff. While Revis and Watts exercise great restraint in holding down the funky groove, Kikoski keeps up a steady stream of new ideas, beginning simple, but eventually utilizing his jaw-dropping technique to create a shapely and majestic solo. Surprisingly Watts' compositional contribution is a delicate ballad that gives Revis some nice space to explore melodically beneath Kikoski's lovely harmonic excursions. The final track, "Leaves" is another Kikoski original, and is taken as a solo number. It begins as a ballad, but as the piece progresses Kikoski takes it in a more energetic direction, once again displaying his confident command of the piano and his ability to take the music in a spontaneous new direction.
The classic standard "Autumn Leaves" is taken at a challengingly fast tempo that the band handles with aplomb, but on Sonny Rollins' Doxy, Kikoski and Co. get inside a deep, bluesy swing with a fairly traditional take on the tune. McCoy Tyner's "Blues on the Corner" is also played with a jam session-style approach, though Kikoski's blend of modal and bluesy playing in his solo is good enough to carry the simple arrangement. The trio takes an especially subtle approach to the old ballad "Old Folks," with the entire trio showing a mature sensitivity in terms of dynamics and space. It's a stretch to call Kenny Kirkland's "Chance" a standard, but the trio rounds out the program with the piece and their presentation of it makes a good argument for it being an overlooked gem.
The session has a generally impromptu feeling, but the musicians are all certainly good enough that they are able to make very good music even with little in the way of arrangements or forethought. Kikoski's formidable technical abilities are always a treat to hear, but he also shows an impressive amount of restraint and subtlety throughout the disc. The same applies to Revis and Watts, both of whom keep up with Kikoski and even spur him on, but never play distastefully. Overall, it's a very well-done jam session, certainly worth a few listens for those who appreciate simple arrangements and heavy playing.
dav301 posted:On CD:-
The Enid - In The Region Of The Summer Stars
Great reminder, Dave. I recall seeing the Enid twice on tour promoting this and Aerie Faerie Nonsense. They were quite progressive at the time, but seemed to change for the third album. I must get the albums on the Okki Nokki and give them a listen.




Just spent a couple of enjoyable mornings with the ladies !!!

For me, this is one of the great 20th century Concertos, lovely melodic violin, with backing from the orchestra that synthesises multiple earlier styles (and a nod to Pärt in the 2nd movement), superbly played by Kremer under Nagano. Chosen over the wonderful BBC recording under the composer’s baton because I fancied listening to Shaker Loops as well.

Herbie Hancock - Head Hunters
On Vinyl
al9315 posted:
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Just spent a couple of enjoyable mornings with the ladies !!!
Apart from two of them imo, these are great singers and interpreters, Al. I haven’t listened to Ute for quite sometime.
Great stuff!

1st disc of 4 from a great festival, SQ only OK, but the music rocks, which is what matters. On this disc alone, Airplane, Booker T, Otis and the Who!
Now Playing.....

Norman Brown - Sending My Love
Some smooth jazz, the lovely guitar of Norman Brown...... streaming from TiDAL
Review on TIDAL:
One could easily argue that smooth jazz started on the instrument that Norman Brown has been using to express himself: the electric guitar. During the last few years of his life, Wes Montgomery moved away from hard bop and post-bop and recorded some pop-drenched albums consisting of what eventually came to be called smooth jazz -- and then, in the 1970s, the guitar maintained its prominence in smooth jazz thanks to George Benson, Earl Klugh, and Lee Ritenour. None of that is lost on Brown, whose smooth jazz recordings of the 1990s and 21st century have underscored his artistic debt to the aforementioned guitarists. Brown no doubt has it in him to make a killer soul-jazz album; unfortunately, he has spent much of his career pandering to the rigid formats of smooth jazz/NAC radio. But while Sending My Love isn't the creative gem that Brown is quite capable of providing, it isn't a bad album, either. This 2010 release contains a few R&B vocal offerings (Brown occasionally sings in addition to playing his guitar), although for the most part, Sending My Love favors an instrumental blend of jazz, R&B, and pop -- and thankfully, producer Herman Jackson is smart enough to give Brown's guitar some breathing room. Excessive production is a major problem in smooth jazz, but Jackson avoids smothering Brown's guitar on pleasantly laid-back, Benson-esque instrumentals such as "Thinking About You," "Special Moments," "Coming Back (Return of the Man)," and the Brazilian-flavored "Play Time." Brown's guitar doesn't get lost in the production the way it has on some of his previous albums, which is a good thing. Nonetheless, there is no denying that this is a highly formulaic effort -- and while Brown is obviously someone who has spent a lot of time listening to Benson's Breezin' album, the fact is that Breezin' took a lot more chances. But again, Sending My Love is generally a pleasant listen even though it isn't a terribly memorable one. ~ Alex Henderson