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;
Sublime christmas music.
Inspired by MDS earlier, my favourite Joni album, Hejira. (Note to self, remember to fix the cover metadata.) Jazzy Joni, perhaps her finest album lyrically, both revealing her characters’ souls and poetically beautiful, with a stellar band, I have listened to this album for well over 30 years, and still find new depths.
winkyincanada posted:Hungryhalibut posted:This is such a good album, and probably one of his best.
Whilst I agree that it's a great album, PTSA is better, in my view.
Maybe. I really like The Boatman’s Call as well, and of course the wonderful Murder Ballads. The man is something of a genius.
A journey into the past, but not too far...
The Kills - Blood Pressures.
I mentioned The Dead Weather earlier, so here's Alison Mosshart of said collaboration, in The Kills.
Stripped down raw chords and spiky top notes from guitarist Jamie Hince make for some great music.
Saw these live in Leeds last year, bonkers, yet great. 
An Avishai Cohen evening, this one not my favorite - to sentimental...
Over the past few years, bassist Avishai Cohen has become recognized as one of the most creative musicians of current times. A fertile composer of the highest rank, he has, among other things, enriched and expanded the genre he works in: a master of the upright bass, an improviser of not-so-often-seen genius, and a bandleader with a rich and kaleidoscopic history.
Seven Seas is another exceptional chapter in the Cohen catalog, one that showcases a willingness to stretch itself to the breaking point and open up the music to a wider array of approaches. It is one of his most spontaneous recordings, with both disciplinarian and freewheeling sense of adventurous interaction. In general, there is a spirit of true exploration on his records which is also evident here, with adventurous improvisation added to that blend of Mediterranean melodies (with touches of Ladino/Judeo-Spanish heritage) and the art of jazz. As always, he successfully blends, extracts, adapts, and layers one set of music onto another, through a personal approach to music making. In the constant sonic middle ground, there are the sounds of piano, bass and percussion, and the occasional oud and brass ensemble, that merge the melody and rhythm brilliantly.
Dreaming is an inspired opener, with playful harmonies, wordless vocals, irregular phrase lengths and the sort of lyricism and playfulness that has long been a hallmark of his trio with drummer Mark Guiliana. The magic of this band shines on the title track, where Shai Maestro's piano acts as a gorgeous signpost to which virtually all of these musicians can return. His melodic sensibility and crisp tone are beacons in the often swirling, escalating and cascading whorls of melodies and interchanges. The longer this album plays, though, the more this music flourishes on its own. At moments it is beautiful beyond description.
Empathetic communication is the key to jazz of the highest order, and that kind of communication is evident from start to finish, regardless of the compositions' dynamics. The way this band shifts seamlessly from one style to another pays substantial creative dividends. "Ani Aff" features the Latino rhythms and melodies for which Cohen is well-known, and that type of playfulness and interchange simply shines on "Two Roses," embellished by Itamar Douari's percussion work. But that kind of interplay is also evident on quieter tracks such as "Staav," which unfolds slowly, with beautiful piano melodies augmented by Cohen and Douari, who add subtle touches here and there, as well as "Hayo Hayta" and the closing "Tres Hermanicas Eran," a traditional Ladino song, beautifully sung by Cohen.
Seven Seas is a remarkable album; most impressive is Cohen's clarity of vision, which is what separates the boys from men. Cohen knows what he wants and, even better, he knows how to achieve it. The album's immediate attraction is its loose, fresh informality, a spontaneous and sparkling liveliness. The result of this unlikely union is one of the most seamlessly beautiful works Cohen has ever produced.
Track Listing: Dreaming; About a Tree; Seven Seas; Halah; Staav; Ani Aff; Worksong; Hayo Hayta; Two Roses; Tres Hermanicas Eran
Personnel: Avishai Cohen: vocals, acoustic and electric bass; Karen Malka: vocals; Shai Maestro: piano, keyboards; Itamar Douari: percussion
This one I do like a lot...
With this release on his own Razdaz Recordz, Avishai Cohen firmly entrenches himself as a frontrunning innovator in the piano trio medium. The Israeli bassist is joined by Mark Guiliana on drums and countryman Shai Maestro on piano—the latter a change in personnel from Continuo (Razdaz, 2006) and Live At The Blue Note (Razdaz, 2007).
"Seattle" represents a slightly ponderous start, with a lyrical bass solo from Cohen over meandering chordal piano vamps, but it is not more than a gentle prelude to what is coming up. The next track, "Chutzpan," gives a fuller insight into the incredible locked synchronisation that exists between these three musicians. Shifting between angular, cascading motifs and jumping, jittery movements with consummate ease, the trio is well-drilled yet instinctive in its manner of interaction.
"The Ever Evolving Etude" is an outstanding track, a perfect example of Cohen's minutely accurate compositional style. Based around a couple of piano riffs and building in degrees, it works up to a frenzy of intricately subdivided phrasing with manically precise off-pulse syncopations. It's a wall of sound that doesn't stand still. Similar traits are present on tunes such as "Pinzin Kinzin," "Eleven Wives," and the dense album closer "Structure in Emotion," but they are all different enough to make the CD unpredictable.
A few slower items add further spice to the mix: "Variations in G Minor," "Puncha Puncha," and the title track, "Gently Disturbed," are more relaxed but no less crafty. It's all perfectly executed and Cohen's compositional identity has become distinctively recognisable—particularly in piano voicing and the rhythmic intensity he draws from his group. In Maestro and Guiliana he has found ideal poetic partners.
The disc's title is reflective of the music—many of Cohen's ideas are challenging, but not inaccessible. Listeners can almost obliviously float through the advanced concepts without getting hung up, in the same way the musicians do. So, while it can take several listenings to fully understand what's going on, that effort should not be a deterrent to enjoying this release.
Track Listing: Seattle; Chutzpann; Lo Baiom Velo Balyla; Pinzin Kinzin; Puncha Puncha; Eleven Wives; Gently Disturbed; The Ever Evolving Etude; Variations in G Minor; Unray; Structure in Emotion.
Personnel: Avishai Cohen: bass; Mark Guiliana: drums; Shai Maestro: piano.
dave marshall posted:
The Kills - Blood Pressures.
I mentioned Dead Weather earlier, so here's Alison Mosshart of said collaboration, in The Kills.
Stripped down raw chords and spiky top notes from guitarist Jamie Hince make for some great music.
Saw these live in Leeds last year, bonkers, yet great.
Wow! Keep On Your Mean Side was the last album I heard by them and that was a while ago.
Final one of the evening also very much liked great start with smash...
As Is ... Live At The Blue Note is a CD and DVD document of a superb set. Bassist Avishai Cohen is a true virtuoso on both the electric and acoustic bass and, quite naturally, his compositions are extremely strong rhythmically.
The band consists of his working trio, keyboardist Sam Barsh and drummer Mark Giulliana, to which saxophonist Jimmy Greene and trumpeter Diego Urcola have been added. That Barsh and Giulliana have been with Cohen awhile can be heard in the way they navigate his intricate rhythms and changing measure and phrase lengths. Jimmy Greene also knows Cohen well, playing on his album Devotion (Concord, 1999).
Greene is quite amazing as he moves in and out of synch rhythmically and harmonically with the rest of the band. There is something of the sense of sheer abandon in his attack, but he is under control all of the time and knows when to come back down to earth. His long lines swirl as he tells his story, rather than just blowing. His playing alone is worth the price of admission.
The tightness of the band is in constant tension, however, with the virtuosity of Cohen, who is so adept and secure that he draws attention to himself without working up a sweat, even when he is playing the role of accompanist. Whether this will be disconcerting to the listener is something else, and many might find an extra energy created by the bass being so up front; many in the audience appear to have.
"Feediop" is another example of how virtuosic complexity can sometimes be distracting. The bass line vamp has a meter/rhythm change that is clearly related to the main rhythm, but which is so odd that it sounds like showing off. It is as if Cohen is saying, "Look, I can write this hard bit right here," and the band responds, "Oh yeah, well we can do that!" as Barsh plays different keyboards with each hand and Guilliana takes it in stride.
This is all really just a quibble, since the music does carry one away and is hugely entertaining, including the almost fifteen-minute ending tune, Ellington's "Caravan," which is given a double twist with an odd meter and a funky backbeat. There must have been smiles all around as this very familiar standard was deconstructed, and each member of the band strutted his stuff.
The equally fine DVD contains other performances of four tunes from the CD, and three different ones from another set.
Track Listing: CD: Smash; Elli; Etude; Bass Suite #1; Feediop; Remembering; Caravan. DVD: Feediop; Samuel; One for Mark; Nu Nu; Smash; Remembering; Caravan.
Personnel: Avishai Cohen: acoustic and electric bass; Sam Barsh: keyboards, melodica; Mark Guilliana: drums; Diego Urcola: trumpet; Jimmy Greene: saxophones.
Pianist Horace Parlan is literally at home during the three sessions which make up My Little Brown Book. Joined by bassist Jesper Lundgaard (a frequent collaborator) and alto saxophonist Christina von Bülow, he is in great form throughout these intimate performances, consisting of originals, standards and jazz compositions by other greats. (AllMusic)
Tidal. The Rolling Stones - After Math
Following Hejira, another of my desert island discs. Beethoven String Quartet No. 16 is probably for pure musical reasons (as opposed to personal memories) my all time favourite piece of music. Like all the late Beethoven quartets, it is intensely sophisticated music, with a deep insight into the composer’s soul, despite the depth of the 3rd movement and the complexity of the beginning of the 4th, it finishes with sheer joy and affirmation of the human spirit. This is a lovely live performance by the Bergs, I prefer the studio recording, but don’t want to disturb my sleeping cat to go for the vinyl.
Richard Morris posted:nigelb posted:Chris Stapleton - From A Room: Volume 2
The man has only gone and done it again. Another superb album following on from Volume 1. Great voice and great choons. Consistently high score on the belterometer! Love it.
I notice this one is available as a hi-res download. Time to hint unashamedly to the family about how much I rate this and what a wonderful Christmas gift it would make.
I'm not quite as keen as his many fans on this forum. The first track reminds me of the late great Jimmy La Fave who I much prefer.
@Richard Morris, I am intrigued by your reference to Jimmy LaFave. There are several of his albums on Tidal. I could just dive in but I wondered if, knowing of my liking of Chris Stapleton, you might recommend a couple of Jimmy's albums to start with.
(Tip - lose the gap between 'La' and 'Fave' for a successful search on Tidal).
Heading towards another of my DID pieces of music. Fairport have been a part of my life since the early ‘80s, so well after their glory days, but they’ve still been immensely important to me. Meet on the Ledge is an immensely powerful song,, its Cropredy renditions with 20,000 people singing along move deeply, and it has immense personal meaning for me.
The Cult - Love.
Ending the evening's listening with a classic album from The Cult.
As one reviewer over on The River put it, "This is what the eighties sounded like to those of us who were actually listening."
Exactly, 'nuff said.
Beautifully relaxing in the early hours....
Now Playing......
Anouar Brahem - The Astounding Eyes of Rita
Now Streaming from NAS....... Enjoy this album from Anouar quite a bit, I also enjoy the poems of Mahmoud Darwish for whom this album is dedicated to.
Note from ECM Records: Delightful new project, assembled by Tunisian oud master Brahem with producer Manfred Eicher. Combination of bass clarinet with oud suggests a link to Anouar’s “Thimar” trio, but this East/West line-up often feels closer to the more traditionally-inclined sounds of “Barzakh” or “Conte de l’Incroyable Amour”. Klaus Gesing, from Norma Winstone’s Trio, and Björn Meyer, from Nik Bärtsch’s Ronin, are both players with an affinity for musical sources beyond jazz, and they interact persuasively inside Brahem’s music. A dance of dark, warm sounds, urged onward by the darbouka and frame drum of Lebanaese percussionist Khaled Yassine. The album is dedicated to the memory of Palestinian poet Mahmoud Darwish.
1996 - Tidal Masters...
Hungryhalibut posted:Well, I’m glad my 80s didn’t sound like that.
What did your 80's sound like, Nigel?
2017 - Tidal Masters - 50th Anniversary Edition...
Rickie Lee Jones. The Magazine. On vinyl from 1984. Music and SQ both very impressive.
Rickie Lee Jones. Pirates. Original vinyl from 1981. In the mood for another RLJ album. Also wondering if she's related to Tommy Lee Jones?
Rickie Lee Jones. Eponymous debut on original vinyl from 1979. Figured I'd go ahead and complete the trilogy of RLJ albums I own. Her first three, in reverse order. Made for a great listening session this evening.