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;
Tidal. Lucinda Williams - This Sweet Old World
Still amazing what he came up in 47...
Thelonious Monk: Thelonious Monk: Genius Of Modern Music, Volume 1 – Blue Note 1510
Marc Davis By MARC DAVIS
July 31, 2014
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There's bebop, there's hard bop—and then there's Thelonious Monk.
It's not hard to imagine where the bebop pioneers found their new sound in the late 1940s, after World War II. It emerged from the big bands, which were dying. It was a natural progression. Hard-charging, uber-fast soloists pushed the limits of speed and rhythm, to the chagrin of the jazz establishment, but to the thrill of listeners. It was new, but it wasn't a giant leap—more of an incremental step.
Thelonious Monk was there. But it's clear from Genius of Modern Music, Volume 1, that Monk was hearing something very different in his head than what Dizzy Gillespie, Charlie Parker and Bud Powell were hearing. This CD chronicles the first recording sessions with Monk as leader in 1947, and it's clear that Monk, even at this very early date, was creating something no one had heard before.
It's hard to put the Monk sound into words. It's off-kilter, with unusual rhythms and unexpected notes. It's melodic, but not of the standard Tin Pan Alley/Great American Songbook variety. It is fast and improvisational, but just a little bit different than the usual bebop flights of fancy.
Genius of Modern Music, Volume 1, features the first recordings of many classic Monk tunes by Monk. Each runs about 3 minutes, so there are no lengthy solos. Each is simply a nugget of angular melody, followed by short solo sprints, then it's off to the next tune.
Oh, but what's there is choice. While the horns play the expected bebop riffs, Monk is off doing something almost completely different. It's not that the horns don't get Monk. It's that Monk, even in 1947, was already pushing past the standard bebop tropes.
And what a selection of classic Monk tunes. There's "Thelonious" and "Off Minor" and "Ruby My Dear" and "Well You Needn't" and the all-time Monk ballad pleaser, "Round Midnight." These are the first takes ever by Monk on record and they are fully formed. Historically, these are comparable to Louis Armstrong's Hot Fives and Sevens, or Duke Ellington's jungle bands of the 1920s and 1930s—but with much better sound.
The horns are OK, but not all-star quality. Idrees Sulieman and George Taitt on trumpet, Danny Quebec West and Sahib Shihab on alto, Billy Smith on tenor are good, but not great. The drumming by Art Blakey is innovative. But it's Monk you came to hear, and his piano sound is as original and, yes, fun as you'd expect. It's heard best on the 10 sides with just a piano-bass-drums trio.
There's more where this came from. Volume 2 features Monk sessions from 1951 and '52, including one with Kenny Dorham on trumpet and Lou Donaldson on alto. And there another CD featuring Monk and vibraphonist Milt Jackson. You can find them all on the box set of Monk's Complete Blue Note Recordings—a very worthwhile investment.
But for a one-disc treat of historic Monk that is extremely listenable, you can do much worse than Genius of Modern Music, Volume 1.
Rating: 5 stars (out of 5)
An intermezzo with Stacey, in a way nice...., but to much outside the English language...
So now back to Monk....
David Gilmour, Live At Pompeii on CD.
This is my first play, on track 6 of disc one and I am enjoying it, but I am not blown away by it (so far!).
Going through one of HDD's and found this album from 2015 . Great Southern Rock album.
Staying at Monk, enjoying myself very much...
Finally, we come to the two-disc set At Newport 1963 & 1965 (Columbia 63905) wherein we get the complete 1963 Newport performance that found iconoclast clarinetist Pee Wee Russell sitting in with the Monk quartet on two numbers. Even more cause for celebration has to be the unearthing of a totally unheard four-song set from Newport in July of 1965. Rouse, Gales, and Riley support Monk on the numbers “Off Minor,” “Ruby, My Dear,” “Hackensack,” and “Epistrophy,” and the results are uniformly excellent—as is the live sound recording. Not even listed previously in discographies, these unissued discoveries are worth the price of admission by themselves.
On CD:-
Led Zeppelin - Houses of the Holy
Exploring a recent record..
recorded in Oxford 1992...two beautiful masses from Tomas Luis de Victoria of Spain (d. 1611).
To end again in earlier material - still exciting...
On CD:-
George Michael - Listen Without Prejudice
Now Playing......
Dire Straits - Communique
Picking up on the mention from MDS yesterday and taking out 'Communique' out for a spin......
A solid album, really enjoying the trip down memory lane.
Erich posted:
Tidal. Lucinda Williams - This Sweet Old World
Fantastic album, I loved the original release and after listening to this a few times I love this release a lot more.
My first chance to listen to the album in full, released today and downloaded from bandcamp, Shpongle's latest with Simon Posford firmly at the helm as usual.
Excellent Swedish space-rock, thanks very much to Stevee_S for introducing me to them, I have downloaded all of their music from Bandcamp, great 70s-era Hawkwind style rock.
Bert Schurink posted:
For people who dig this kind of music - have a listen quite good....
Duo Review
Kaipa - Children of the Sounds
Kaipa - Children of the Sounds
Country of Origin: Sweden
Year of Release: 2017
Time: 58:01
Links:
Info
Samples
Track List:
Children of the Sounds (11:31), On The Edge of New Horizons (17:10), Like A Serpentine (12:52), The Shadowy Sunlight (6:57), What's Behind The Fields (9:31)
Patrick McAfee's Review
Since re-establishing Kaipa in 2002, keyboardist/songwriter Hans Lundin has overseen the release of seven well-received studio albums. The only significant change during this time, was the departure of guitarist Roine Stolt in 2005. That move recently led to the creation of two competing "Kaipa" bands, with the formation of Stolt's Kaipa Da Capo a few years ago. Children Of The Sounds, the newest release from the Lundin-led unit, is a clear indication of his commitment towards continuing the rich tradition of Kaipa music.
If you've heard any previous recordings by Kaipa, there is nothing here that will surprise you drastically. They employ a consistent, old-school progressive rock style that is respectful to the band's past, without sounding even remotely dated. Most of the tracks on this new album are epic in form, and are showcases for the wonderful keyboard work of Lundin. This is progressive rock in its most traditional, symphonic sense, and the expanded nature of the music provides each band member an ample opportunity to shine. Special mention must be made of vocalists, Patrik Lundström and Aleena Gibson. Their excellent performances over the years have made them a staple of the Kaipa sound. It is a true testament to their talents, that they are able to stand out so prominently amongst the instrumental muscle that this band displays.
There is an enthusiasm and adventurousness to Kaipa's music, that is appealing and fully evident on the title track that opens this album. With a renaissance folk beginning, that builds confidently to a frenzied keyboard solo finale, this entertaining song assures the listener of what's to come. A key element of the band's appeal is their ability to effectively combine many different musical styles, to form a great prog stew. On The Edge Of New Horizons is a great example of this variety and one of the best tracks that Kaipa has ever recorded. The song confirms just how underrated a keyboardist and songwriter Hans Lundin is. He stands on par with the top prog keyboardists and it is great fun listening to his solos and the melodies that he writes.
When an epic is as strong as On The Edge Of New Horizons, there is the inevitable chance that the track that follows it, will pale a bit in comparison. That is the case here, but ultimately, Like A Serpentine is very entertaining nonetheless. A bit more mellow than what preceded it, the song is well placed at this point of the album.
The Shadowy Sunlight is the shortest track and a slight change of pace for the band, in that it is somewhat more immediate in structure. The song still pushes all the right Kaipa buttons though, and its more straightforward nature definitely works. Closing the album is the more traditional but multi-dimentional What's Behind The Fields. A scorcher of a prog track that drives effectively towards a strong anthem-like guitar/keyboard led conclusion.
I realise that this review borders on unabashed positive gushing, and yes, there are criticisms that I can make about the album. It is true that Lundin follows a consistent musical mould, and there is little diversion from that to be found here. That said, he and the band clearly adheres to the old saying about giving the audience what they want. Though the band keeps things vibrant, I can't imagine anyone is looking for them to completely reinvent the wheel at this point.
I can only celebrate progressive rock that is written, produced and performed with this much talent and gusto. There are moments on this album that reminded me of why I love progressive rock, and I can't ask for much more than that. Children Of The Sound is an extremely entertaining recording and another fine addition to the Kaipa discography.
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Alan Weston's Review
Kaipa is a Swedish progressive rock band that released its very first album (featuring Roine Stolt on guitar) way back in 1975. Children Of The Sounds is their 13th studio album.
Although the line-up no longer features Stolt, it however features the one and only Jonas Reingold (Karmakanic and The Flower Kings) on bass. Kaipa zealots won't be disappointed with this latest effort from the Swedish symphonic prog outfit. They sound fresh and exciting. To me they are a cross between The Tangent and The Flower Kings (just coincidence that Jonas Reingold has been involved with both these bands?).
The thing I personally have difficulty with here, are the lead vocals of Hans Lundin. He has not got a bad voice and, it's been said before, sounds like a poor man's Freddie Mercury. Given 40 years doing this kind of music, his voice still has an amazing, youthful edge but it doesn't quite do it for me. It may be down to personal taste though, as he certainly has the ability to sing.
On the other hand, the main vocals on the title track are performed by the talented Aleena Gibson who sounds uncannily a bit like Hans Lundin. It's a pity she doesn't get more of the lead limelight. This opening track has a catchy melody, lovely bass and guitar and some great harmonies. It is a good opening track to set the scene.
On The Edge Of New Horizons is the longest track of the album, and is a well-crafted song with some excellent keyboard work, that interacts well with the guitar. The drumming by Morgan Agren is superb, and together with Jonas Reingold they keep this track nice and tight.
Like A Serpentine is probably the closest Kaipa gets to a ballad. It is a lovely song and once again we have some lovely harmonies and the best guitar solo on the album.
The Shadowy Sunlight has a folky, medieval opening that gives way to a pulsating bassline, accompanying Aleena Gibson again on vocals. This well-constructed song slowly builds in intensity and fervour. What's Behind The Fields has an ELP-style opening before the lead guitar enters. In some ways this track also has some of the folky vibes of The Shadowy Sunlight. It is a pleasant track that rounds off the album in a satisfying way.
Although a very competent guitarist, Per Nilsson's guitar solos tend to have a homogeneous sound and style, that can become a little predictable once you're well into the third track. Having said that, there are of plenty solos to be had! To me he lacks that 'soulful' edge that Roine Stolt has, and tends to be more about technical virtuosity. But overall this is a very good album.
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Conclusions:
Patrick McAfee: 9 out of 10
Alan Weston: 7.5 out of 10
I do like it - while it will not be my favorite album of him...
