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

I decided to enjoy Ms Krall's latest before dinner.

PCD - you are in for a treat  ....and I'd suggest be selective with Eva's releases. Some are not worth having if you have LABA/Nightbird. It's a shame that Nightbird was so long coming.

Prompted by Kevin-W (thanks Kevin), I've just ordered the Terry Callier CD version for ~£3 from 'Other Sellers' on the River. OK it's 2nd-hand but it's a cheap way to access new music. I've not had a bad experience with purchasing 2nd-hand CD's so far - there seem to be plenty of vendors out there. 

Four Tet - New Energy

And ..... relax.

On vinyl...

Hungryhalibut posted:

Mention was made above of adding a genre to the albums to help people search. One of the best things about this thread is that it brings to one’s attention new music from all sorts of styles and genres. It’s certainly led me to hundreds of albums I would not have investigated, and in some cases never heard of. Squeezing them into an arbitrary category may actually put people off and I see little merit in it. 

I try to only post new acquisitions that I think are very good, or those I play that I think might interest others, or maybe something that’s a real blast from the past that brings fond memories. I see little benefit in posting something that everyone knows and which is being played for the umpteenth time. 

 

I very much agree with your point about discovering lots of new artists and albums on here. I've found this thread very valuable in that regard.  But I take a different view about posting well-known albums, the bit I've highlighted.  I find I'm often prompted to dig out and play something familiar simply on the basis of someone else posting it on here. I like that.  Maybe that's a characteristic of me being a CD fan and having to peruse the edges of hard-to-read CD cases in my rack while you streaming guys and girls can wiz through the covers of albums on your i-pads etc.

M 

On vinyl...

sjt posted:

Brand new out today...

The reason I post is because of the label - this is Ultimae, a French electronica / downtempo label (for those that don't know of them). I think I have all Ulitimae's releases on Bandcamp and I like pretty much all of their artists. I actually buy from them without listening first! In my experience (and taste obviously) of about 10 years listening to their releases, I am pretty sure I will like anything they put out. I got an email today about this being released and it was straight off to Bandcamp to throw money at them. Upon listening, I am not disappointed.

One thing I have noticed is that their records sound great on articulate systems like the ones Naim does (although I am listening now on my mobile rig, which is Ak100 mk1 / Chord Hugo 1 / SE846).

BTW I don't work for them, and they are not paying me to say this! They are just very well matched with what I like to listen to.

Sjt, good stuff. I have a few from the Ultimae label on bandcamp and agree with your views. I got the same e-mail this morning, you have prompted me to start digging deeper into their extensive catalogue. A favourite band is Asura, Radio Universe which gets quite a bit of play when I'm out and about. 

Steven Wilson - Catalogue/Preserve/Amass, on vinyl...

I wanted to hear "I Feel Free" and it went from there.   So far today, all on the silver disc - 

-Remastered release from 1998.  

Willy and the Poor Boys.   Hybrid SACD.

Mardi Gras.  Hybrid SACD.     First listen.  

Now - 

Hot Tuna.  2 CD.  

patk posted:

I wanted to hear "I Feel Free" and it went from there.   So far today, all on the silver disc - 

 

-Remastered release from 1998.  

 

Willy and the Poor Boys.   Hybrid SACD.

 

Mardi Gras.  Hybrid SACD.     First listen.  

 

 

Now - 

Hot Tuna.  2 CD.  

Much good music there  

Scott Hamilton - After hours

(2016)

Inspired by EOINK playing what looks like a very good, well priced 6 CD collection of Eagles live material

Alexei Sayle's Imaginary Sandwich Bar on R4. Listen out for Rowan Atkinson in Barcelona.

apye! posted:

On vinyl...

Which version are you playing, Andy? I have yet to find one which thrills like it did when I first heard it, despite being played on equipment about 500 times the cost of that used to play it then!

Hungryhalibut posted:

This is the fourth volume in a really wonderful series on Hyperion. The two players work so well together. I don’t recall this being mentioned on here, other than by me: I’d be interested to hear what other, more knowledgeable, members make of it. 

This is a great collection absolutely fully recommended. I prefer this over some of the older recordings...

Miles Davis - In person

From allmusic.com:

The first of two sets recorded during a weekend in 1961 features the Miles Davis Quintet at a period of time when Hank Mobley was on tenor and the rhythm section was comprised of pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb. What is most remarkable is the way Kelly fits into this particular blend of the Miles band. Kelly's interplay with Chambers is especially brilliant, because his sense of blues phrasing inside counterpoint harmony is edgy and large, with left-hand chords in the middle register rather than sharp right-hand runs to accentuate choruses. Davis himself has never played with more intensity and muscularity on record than he does here. He is absolutely fierce, both on the Friday night and Saturday night sets. Kelly plays more like a drummer than a pianist, using gorgeously percussive left-hand comps and fills to add bottom to the front line's solos. Mobley displays his bebop rather than hard bop and groove sides here, and reveals his intricate knowledge of the bop phraseology; he sounds free of the baggage and responsibility that he replaced John Coltrane and Cannonball Adderley. His solos on "If I Were a Bell" and "No Blues" are simply revelatory. This is an underappreciated group because of its relatively short life, but as evidenced here, the bandmembers swung fast and hard and never looked back. Hearing a dropped bassline, an out-of-time cymbal flourish, and a shortened series of phrases by Miles because he miscounted -- you guess the track -- adds to the charm of this being recorded as it was, without any cleanup. It is difficult to recommend this set over Saturday Night or vice versa; Miles fans will need both to fully appreciate how special this engagement with this particular band was.

Just listened to Ralp Bowen, great..

How can one's sense of blues phrasing be 'edgy and large'? What on earth does that mean?

Clive, check the journo's byline. Is it Phil Space?

Long time didn't play. Now some memories coming back. 

Haim Ronen posted:

Gianluigi Mazzorana posted:

Gian,

You have got all the essential elements here, what else do you need?

Have a happy Italian Thanksgiving.

H

Sorry Haim! Saw it late!

I'd need some real rest indeed.....

LP - Ruf Records 2015 : )

 Released on Ruf Records in 2015 – and marking Savoy Brown’s 50th year as pack-leaders of the British blues scene – The Devil To Pay was born during a white-knuckle burst of inspiration. “We recorded the album in April 2015 at SubCat Studios in Syracuse, New York,” reflects Kim. “I record very fast, within two or three days, and most of the work is done in a single day.
“All the work is done in the months before going into the studio. The songwriting, getting the focus right, the rehearsals, the practice, playing the material live.” The Devil To Pay represents years of wood shedding in Kim’s White Cottage Studio, usually at o’dark thirty in the morning. Between tours, Simmonds is constantly honing his craft, playing guitar, singing, writing songs, recording. ”Once all that is done, it’s a simple matter of going into the studio and catching the moment. Exactly like I did, for instance, with Street Corner Talking back in 1971.”

On CD:-

Joe Cocker - Civilized Man

It's almost the weekend...

Older vinyl copy that I bought in a cheap as chips job lot .