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

Lyrical and introspective, great album..

Now Playing..........

Avishai Cohen - Avishai Cohen's Triveni -- Dark Nights / featuring  Omer Avital, Nasheet Waits & Guests

Avishai Cohen (trumpet), Omer Avital (Bass), Nasheet Waits (drums), Anat Cohen (clarinet), Gerald Clayton (piano), and Keren Ann (vocals)

Streaming on TIDAL.......    Another fine album from Avishai, sounding fantastic this Thursday Morning!

Review from jazztimes.com found here:

For the third Triveni album, trumpeter Avishai Cohen departs from the norm by adding electronic overdubs and/or guest artists on four of the 10 songs. He also promotes concentrated spontaneity by presenting the material to his triomates Omer Avital (bass) and Nasheet Waits (drums) with no prior touring, no rehearsal and a two-take limit to generate a finished track.

Every gambit was successful. By restricting his electronic trumpet effects primarily to his own solos on his own compositions (and dubbing them in without first hearing the song), Cohen gilds his personal conceptions with a rock-ish tinge without otherwise infringing on the identity of the ensemble. As for the guest stars, one is a top-drawer clarinet virtuoso and blood relative (Anat Cohen) and another is a sensitive pianist (Gerald Clayton) with a poignant touch tailor-made for a song about Cohen’s son (“Old Soul”). A third, Keren Ann, sounds angelic singing a fragile cool-jazz classic (“I Fall in Love Too Easily”). Demanding instant familiarization from the rhythm section also pays off, as Avital and Waits play with a restraint, especially on the six Cohen originals, that enhances the Dark Nights ambiance of slower tempos and shaded hues.

Undergirding these (muted) bells and whistles is the razor-sharp technique, thorough scholarship and sincere love of tradition that have always been the core virtues of Triveni. The heavy sway of Mingus’ “Goodbye Pork Pie Hat” and the impressions of indolence sketched by Strayhorn’s “Lush Life” depict two vastly different types of melancholy, and the trio is valiantly faithful to both. They are equally loyal to Frank Foster’s snappy gift to the Count Basie band, “Shiny Stockings,” executed with deft swing. Last but hardly least, Cohen’s deep affection and affinity for the music of Ornette Coleman continues with his knowledgeable tribute, “The OC,” that captures the piquant efficiency and gusty rhythms associated with the harmolodic sage, right down to the simmering snare rolls Waits delivers à la Billy Higgins.

Frank Zappa Live at the Hammersmith Odeon - recorded in 1978

Nice relaxing album...

Now on to a singer in her own class..

Philippe Herreweghe - Bach: Magnificat

This is a very nice version of Bach's Magnificat.

Allmusic.com:

This 1990 recording offered new and unusual perspectives on Bach's very familiar Magnificat. Most amateur choristers who have sung the Magnificat think of it as a loud shout of joy, partly because they've had to bellow their way through the challenging vocal lines. But French conductor Philippe Herreweghe and his historical-instrument Collegium Vocale tone down the work's enthusiasm, delivering the choral movements with transparency, a bit of a dance-like quality, and perhaps Gallic elegance in place of the more usual big sound. The difference is apparent right from the start, but don't confine your sampling to that -- one result of Herreweghe's approach is an appealing balance between the choral and solo vocal sections. With solo or duo music making up more than half of the work's 12 sections, that makes a lot of sense, and the soloists here are for the most part absolutely ravishing. Hear the hushed, wondrous "Quia respexit humilitatem" (track 3) of soprano Barbara Schlick, or the lush countertenor alto of Gérard Lesne in the "Esurientes," track 9. Only second soprano Agnès Mellon disturbs the transcendent mood with her strangely aspirated "t" sounds, which may be more of a problem for some listeners than others. The unusual version of the likewise familiar Cantata No. 80, "Ein feste Burg ist unser Gott," is a bonus inclusion; Herreweghe programs a revision by Bach's son Wilhelm Friedemann that includes trumpets and tympani. Those new to Bach's Magnificat on original instruments might check out performances by John Eliot Gardiner for a comparison with a gutsier interpretation, but Bach devotees will find unearthly delights in this famous recording.

Now Playing......

Grant Green - Street of Dreams

Grant Green (guitar), Larry Young (organ), Bobby Hutchinson (vibraphone), and Elvin Jones (drums)

Streaming on TIDAL.......   Enjoying some more of Grant Green's wonderful guitar.......

Review by Chris MAY on All About Jazz found here:

Grant Green (1931-79) is probably the most sampled guitarist of his generation, and is rightly regarded as a godfather of acid jazz. His debut, Grant's First Stand (Blue Note, 1961)—heavy on the good foot groove—was made with soul jazz organist Baby Face Willette, and by 1965, when Green recorded an album for Verve, the label was able to title it, accurately enough, His Majesty King Funk. Many of Green's post-1970 recordings were built around extended, vamp or ostinato driven jams.

But along with a singularly melodic take on funk and blues, Green was capable of considerable harmonic and contextual sophistication. His legacy in this regard has been overshadowed by that of Wes Montgomery (1925-68), an altogether more polished player; but during the early part of his career, with the Blue Note label, Green made a handful of the hard bop era's most enduring albums. Of these, the greatest may be the laidback and exquisitely lyrical Idle Moments (Blue Note, 1963)—in which Green shared the frontline with tenor saxophonist Joe Henderson and vibraphonist Bobby Hutcherson—whose dreamlike title track offers 14:52 minutes of the most serene instrumental romancing ever put on disc. While Henderson plays with sumptuous elegance throughout, much of the album's magic comes from the pairing of Green's guitar and Hutcherson's vibraphone.

Not far behind Idle Moments, however, and with the same mellifluous, late night ambiance, comes Street Of Dreams (Blue Note, 1964). Like the earlier album, Street Of Dreams has been reissued as part of Blue Note's ongoing RVG strand (a series of albums remastered by original recording engineer Rudy Van Gelder and often, though not in this case, including previously unissued alternate takes).

For Street Of Dreams, Green was reunited with Hutcherson. But there's no horn player or bassist, and the lineup is completed by organist Larry Young and drummer Elvin Jones. Young was famously described around this time as "the Coltrane of the organ," and Jones, of course, was in 1963 the drummer in saxophonist John Coltrane's classic quartet. On Street Of Dreams, this potentially turbulent duo seem to relish kicking back into Grant and Hutcherson's mellow groove.

Compared to Idle Moments, which was distinguished by pianist Duke Pearson's thoughtful arrangements, Street Of Dreams feels more like a blowing session—simple heads serve as jumping off points for solos, served out pretty evenhandedly, from Green, Hutcherson and Young. The choice of material, however, delivers an abundance of structural and harmonic interest. Each of the four tunes (none of them originals) takes a few surprising twists along its way, and only the title track had, in the mid-1960s, much jazz currency. "Lazy Afternoon," which Green successfully recasts from 4/4 to 5/4, had been pretty widely recorded by vocalists. "Somewhere In The Night" had, in the mid-1950s, been the theme for the TV series The Naked City, but had yet to be widely picked up by jazz players.

(2006)

More great stuff from the Black Angels, luverly psychedelic rock that has a particular lineage back to The Velvet Underground.

Now Playing......

Luciana Souza - The Book of Chet

Steaming on TIDAL.......   Saw this album above that was mentioned by BERT SCHURINK so placed in the TIDAL queue and now taking it out for a spin.......  Lovely voice.

Note from All Music found here:

Brazilian vocalist Luciana Souza pays tribute to legendary trumpeter/singer Chet Baker on her 2013 album The Book of Chet. The third album Souza has recorded with husband and producer Larry Klein, The Book of Chet also features guitarist Larry Koonse, bassist David Piltch, and drummer Jay Bellerose. Interestingly, while Souza has picked a handful of songs that will certainly will be recognizable to longtime Baker fanatics, these are definitely lesser known standards from Baker's catalog. Subsequently, there is no "My Funny Valentine" or "There Will Never Be Another You," and instead Souza delves into evocative versions of "Forgetful," "He Was Too Good to Me," "The Touch of Your Lips," and others. These are intimate, reflective recordings that capture Baker's laid-back melodicism.

2017 - Tidal...

Edvard Grieg:  Franziska Pietsch (violin) | Detlev Eisinger (piano)

The Violin Sonatas

It was late this year that I started getting acquainted with Franziska Pietsch and I quite like her playing.  She is a (former) East German who faced reprisals for two years after her father escaped to the West in 1984.  I am a firm believer in the idea that a hard life with a fews knocks can either destroy you or make you a better person.  In a musical sense, I believe it is the hard knocks that make you more musical as well.  I can hear this in the Franziska Pietsch's playing.  She does not wear it on her sleeve but underneath you can hear the pain and the beautiful longing lurking.

I look for this in various players because I feel that the composers I listen to are all experts at transferring pain from their lives into the music they wrote.  It therefore makes little sense to have superstars who may have been born with a silver spoon in their mouth pretending they know anything about the depth in music.

I am not great at comparisons but I wonder if it is an apt case study of opposites to position Anne Sophie Mutter (the West German with the connection to Herbert von Karajan) against Franziska Pietsch, the East German?  Nothing wrong with Mutter.  In fact I like her as well but given the game of choosing, I would most definitely pick Pietsch if I could only have one for musicality.  Maybe smoother (Mutter) vs. a slightly rough around the edges approach (Pietsch)

One could also contrast the piano partners of these two violinists.  Lamert Orkis is the American pianist who is around 17 years Mutters senior.  Detlev Eisinger, born in Munich, is around 12 years older.  I think the playing in either case is quite good and strong and in either case they are supportive of each other.  Whether it is true or not, the perception to me is that with Mutter, it is all about her.  Pietsch and Eisinger appear to be more of partners in this exercise of making music.

I like that Eisinger is playing on a Steingraeber & Söhne piano.  After listening and looking into this piano I would definitely add this to my dream list of pianos 

So working my way through all the Pietsch has recorded now.  She previously was part of the Trio Testore and is now also part of the String Trio Lirico.  Listening to portions of the Trio recordings is so compelling that I could not not get those recordings either.  It appears to be music making and not a day at the races so what a relief.   

https://www.youtube.com/watch?v=S6WAY1qZZgo

John Hicks - Sweet love of mine

Allmusic.com:

A few weeks prior to his death on May 10, 2006, pianist John Hicks entered the recording studio for what was likely the final time to produce this memorable CD. His reflective ballad "One Peaceful Moment" is a meditative solo piano feature that opens the disc. Two additional solo features, "The Things We Did Last Summer" and the original "Sunset Blues," continue the mood set by the opening track. Tenor saxophonist Javon Jackson's heartfelt tenor sax is the perfect pairing with the leader in "Guess I'll Hang My Tears Out to Dry." Hicks' wife (and frequent recording partner), Elise Wood, is added on flute in several Latin selections, including Woody Shaw's lively "Sweet Love of Mine" and the pianist's breezy "Peanut Butter Two," which also feature percussionist Ray Mantilla. This excellent date is a fitting conclusion to John Hicks' career.

seakayaker posted:

Stevee_S posted:

(1969)

Another one from the late sixties, one of my favourites that I have loved ever since it first emerged, glorious west coast bay area sound at its psychedelic finest. 

In its day it was one of my favorite albums!  White Bird is a tremendous track!

Great album - David LaFlamme knows his violin and percussion is not bad either. 

Continued with an earlier album of her. Musically perhaps a bit more ordinary, but her voice was already mighty fine in this album as well....

Vijay has created quite a number and of genre defining albums so far. This albums is more mainstream, but that doesn’t mean that it is not good, it definitely is....

(1971)

Because I fancied a bit of TYA as the year comes to a close. 

Ok, Steve, if you insist...

1968 - vinyl...

Tony2011 posted:

Ok, Steve, if you insist...

1968 - vinyl...

That is such a good early live album of theirs Tony, well played sir! 

Stevee_S posted:

Tony2011 posted:

Ok, Steve, if you insist...

1968 - vinyl...

That is such a good early live album of theirs Tony, well played sir! 

Thanks for the reminder, Steve. 

Berhaps it's a bit early for this but happy holidays everyone 

(1995)

Steely Dan Live In America - The Dan's best live album, great material really well recorded during their American tour in 1993 and 1994, lovely live stuff.

Vladimir Feltsman - Bach: Art of Fugue.

I find this a very entertaining version of the Art of Fugue. Vladimir Feltsman certainly has his own view on how to play this piece. And I mean this in a good way. He phrases the musical lines (a bit) differently (not always) as most other pianist. The same applies to the tempi he uses.

Recommended if you are looking for a piano version of the Art of Fugue.

Astounding roster of musicians on this record and they live up to their reputations. Hugely enjoyable record. 

On CD:-

Diana Krall - Christmas Songs

This is the first time I've played this since getting the new amplifiers. Sounding really good now.