What's New?: 7.4.2012

Happy Independence Day!

The Kingston Trio — self-titled (1958)
 
The Kingston Trio's first album was one of the key moments in the American folk revival.  It's a nice album of acoustic pop-folk, if not a little bit on the "lite" side of the genre.  Still, it's got loads of tunes that were traditionals that reentered the collective pop psyche with these renditions.  'Tom Dooley' and 'Sloop John B' are the tunes that have endured the longest from this one and they're darn fine.  Although the presentation is definitely dumbed down for a mainstream acceptance, the group harmonies are totally ace throughout and the all acoustic, drumless backing is excellent.  Total steal of a find, in the quarter bin.

Bobbi Humphrey — Bobbi Humphrey's Best (mid-1970's)

Cool synopsis of Bobbi's Mizell Brothers-hemled Blue Note albums.  I've never been too crazy about the Mizells overall, but Bobbi seemed to have the best average with them.  The dreamy funk of 'Fancy Dancer' is a vintage Mizell groove and one that seems to get overlooked these days.  Sample favorite 'Harlem River Drive' shows up kicking off side two and it just sounds as good as ever.  It ends with the classic funk revision of 'Spanish Harlem' and that's fitting.  This stuff was always pretty hit and miss for me, but between this one and the Blue Breakbeats album, I've got a pretty good overview of why Bobbi Humphrey's Mizell years are worthwhile.

Daniel Hecht — Willow (1980)

Another early one on Windham Hill that's all solo guitar.  Daniel Hecht was actually putting out solo acoustic albums since the early 70's.  This one would be his last, though he did continue playing sporadically.  Willow is actually pretty reminiscent of Will Ackerman's work from the same period, as most of the album takes on a very thoughtful, "2pm cup of tea" sort of tone.  Love it.  Can't get enough of it these days.  The songs are excellent from a compositional standpoint.  Something can be three and half minutes in length, but go through three full movements.  So, you get something like the closer 'Afternoon Postlude Soliloquy' that sounds lovely on the surface, but a closer listen reveals exchanging time signatures, a unique finger picking style and a master's grip on the sense of space within music.  Really excellent stuff. 

The Limeliters — Sing Out! (1962)

More overproduced group harmony folk revival.  The singing and the group harmonies, just overall, are fantastic.  That they were performed live —probably with the group gathering around one mic— is just refreshing and brilliant.  Love it.  For the most part, these guys rely on whimsy and self-deprecation in the songs, and that's just fine, because the performances are good.  But when they take on a more serious approach their full potential is fulfilled and it's pretty resonating stuff (see also their winning rendition of 'Poor Wayfaring Stranger' which goes for the big crescendo and actually pulls it off).  A fine album, just. . . feels a bit forced at times.

John Lennon — Double Fantasy (1980)

Yeesh, John, what are you doing??  I've read for years about how John's half of this album is supposedly a classic.  No, it's not.  It's semi-decent songs overproduced to the point that they're borderline unlistenable.  At least Yoko's half doesn't even try to be good.  She sounds like a fake Lene Lovich the whole time (this is meant as a compliment, fyi).  If any good things are thrown at John's half of the album, surely it's because of 'Watching the Wheels.'  That's a good song, without question.  But elsewhere, it's overproduced soft rock schlock.  Where John seems content to coast in the middle of the pop road, Yoko pilfers through new wave sounds for her half.  Makes for a very uneven album that's just kinda boring when it's all said and done.

Aztec Camera — Walk out to Winter (1983)

It's only so much I can talk about Aztec Camera before it comes to bore you, dear reader.  I will try to keep it to a minimum.  This spine is hard to see in the above scan, but it's there.  I've been on the hunt for this one for a while and it just happened on me by chance one day.  This does indeed contain my long sought after extended version of the a-side and it's just as great as I hoped it would be.  B-side (the otherwise unavailable) 'Set the Killing Free' finds Roddy in an early, chunked up rockstar mode.  The lyrics, here in storytelling mode, are excellent as usual.  It's one of the few early Aztec Camera tunes I was not familiar with, so I of course have scrutinized it beyond any reasonable point.  I really like that bit where he says, "Oh jesus and heaven, what's become of me?"

Roger Kellaway — Roger Kellway Cello Quartet (1971)

I found this record years ago and paid a dollar for it, only to get it home and be disappointed that there was a warp that rendered the first song on either side unplayable.  I listened to the 75% of the album that was playable and liked it a lot.  Filed it away.  About a year or so passed, I pulled it out again.  Finding that the first song on either side was unplayable, I went into a rage that involved a hair dryer and, when that didn't work, scissors.  Needless to say, I was happy to find a really nice copy of this album again.  For the most part, the music on this album is not very much in line with Kellaway's jazz past, as it takes on more of a chamber music sound.  Check out the opener 'Saturnia' for a good glimpse of this album's post-Gil Evans small group sound.  There's a slight Latin-tinge to some of the tunes that really ups the emotional ante of the whole thing.  Really glad I've rediscovered this one.

The Rolling Stones — Between the Buttons (1967)

Never really been into the Stones, honestly.  I've known their hits, of course.  Just never really got into any of their albums past that.  Saw this one for cheap and decided to go for it.  'Ruby Tuesday' has always been a favorite, so I thought at very least, I'd have a copy of that finally.  Turns out, the whole thing is great.  It's a pretty calm album, overall, with Keith's trademark guitar taking a backseat to pianos and vibes and other nice things.  'Complicated' and 'Amanda Jones' are gems, and probably the most "rockin" the album gets.  'Something Happened to Me Yesterday' is a good indicator of the whole album, with its old timey music hall horn arrangement.  Definitely want to hear more.

Bill Evans — A Simple Matter of Conviction (1966)

Post-bop brilliance from the best ever.  Just unbelievable how much Bill Evans I have and my library is still not complete.  The title track here is one of Bill's "lost" classics.  He didn't play it very often live, as his trio changed personnel after this album and much of the repertoire was discarded.  Eddie Gomez, on his first studio album with Bill, comes out shining on the run through here of 'Stella By Starlight.'  He takes one of his trademark upper register solos that just sounds incredibly gorgeous.  Hero.  The album closes with a rarely heard original by Bill called 'These Things Called Changes' that has another ace Eddie Gomez solo and you can practically hear Bill smiling with his playing as he comps along.  It's hard to get much better than that.

~Austin

What's New?: 4.6.2012 Part Two

Recent vinyl finds. . .

The Byrds — Fifth Dimension (1966)

Guess they had to make one not-so-hot album in their run of seemingly untouchable albums.  Plenty of fancy tunes though, regardless.  It just doesn't hold together as an album at all.  David Crosby's 'What's Happening?!?!' is the album highlight and one of my definitive 60's jangle songs, already.  Wonderful stuff.  Of course, this has the all time psych classic 'Eight Miles High' on it and I have to still marvel at how badass that opening vamp is.  In 1966, I imagine that genuinely did freak people out.  Side two is where the problems arise (I mean, other than there being no Dylan covers on the album), as the album just ventures off into a territory of experimentation for the sake of trying something "new man" in the face of Gene Clark's departure.  It's not bad stuff, per se.  Just everything good is up front.

Jorge Ben — Samba Nova (1976)

Jorge Ben is one of the most trusted names in my collection by this point.  This is my ninth album of his and, of the previous eight, I'd consider them all at least minor personal classics.  This one follows hot on the heels of his all time funk classic África Brasil.  But it differs in sound slightly, as it ventures back into his more traditional territory of slower, acoustic guitar-based tunes, with no horn section.  The very first song 'Oba, Lá Vem Ela' is case in point.  A mid-tempo groove is accented by a brilliantly arranged —presumably by producer Paulinho Tapajos— string section that recalls David Axelrod more than a little bit.  Elsewhere, 'O Circo Chegoo' recalls his late 60's albums with Trio Mocoto, while 'Hermes Trimegistro E Sua' is the sort of easy breezing gem that makes his music so likable in the first place.  Yes, it tones down the funk, but I prefer the more rootsy and stripped down Jorge Ben anyway.  It was a total accident of a find, and even I was skeptical after seeing the late date on it, but it's actually one of my better finds in recent times.  More "buy vinyl" propaganda: the copy of this album I found was a promo pack that came with a glossy black and white 8x10 photo and a short one sheet bio.  Just really can't get any cooler than that.

Bill Evans — Since We Met (1974)

A Bill Evans album I didn't already have!  There are so few of them, as far as the official discography goes, that I did a real live quintuple take at the cover to make sure I didn't recognize it.  It's a 70's album, so Eddie Gomez and Marty Morell fill out the trio on bass and drums respectively.  And I really don't have much else to say about it other than that it's a predictably resonating, strong and solitary performance from one of my favorite bands of all time.  The title track was a new composition at the time (and oh boy, is it a good one; capturing Bill at his tension-building best).  Side two closes out with three classics that Bill honed to perfection with this band: 'Time Remembered', 'Turn Out the Stars' and a really thoughtful 'But Beautiful.'  Hard to talk about such consistently brilliant music that's so closely related to so much other music of Bill's that I've treasured for over half my life.  Absolute perfection.  As usual.

Dave Brubeck — Time Further Out (1961)

Playing on the Brubeck group's notoriety for being able to play catchy tunes (and swing their merry arses off all the same) in time signatures other than the standard 4/4.  Hell, the meters are even listed on the album cover next to the song titles!  Been wanting to get deeper into Paul Desmond's catalogue for quite some time, so this was a nice thrift store find.  I've already got a pretty good cross section of Brubeck albums and I've yet to encounter one that wasn't fairly good and this one is no exception.  'Far More Blue' is an absolutely unabashed 'Take Five' rewrite.  But, guess what?  It's really good, too.  'Unsquare Dance' will have you clapping along, while 'Blue Shadows in the Street' sounds like the best-ever film noir soundtrack.  Great stuff.  And completely recommended if you like Time Out and are looking for the next best thing.

Fairport Convention — Fairport Chronicles (late 60's/early 70's)

I frown on compilations, normally, but this was a bargain I could not say no to.  I had roughly half of it previous, but as it contains a huge chunk of What We Did On Our Holidays (the only album of the classic Fairport era I don't have), it was of extreme interest to me.  The really juicy tidbit included here, for me, was the single-only release 'Now Be Thankful.'  Great stuff.  Other discoveries to be had here are the atmospheric and lovely 'The Way I Feel' (released under the name Fotheringay) and the epic nine minute meditation 'Sloth.'  Edit out the tracks I already had on other albums and this thing hangs together suprisingly well as a place holder until I can track everything else down.  I can only imagine what I'd think if everything here was my first taste.


William Ackerman — Childhood and Memory (1979)

More early Windham Hill stuff from the label's founder.  "New Age" debate is out the window, because the official word is that this guy jams.  'Seattle' is really the only bluegrass-y strummer on the album, as the rest of the pieces here are back to the slower, more contemplative sound that also dominates his first two albums (Childhood was Will's third proper album).  The album's first track 'The Wall and the Wind' is a good indicator the whole thing.  This time out, there is a duet with Dave Ross contributing flute to the excellent (and probably my favorite track on the album) 'Anne's Song.'  Otherwise, it's all Will's fingers doing the guitar work (save for 'Sunday Rain', which features some multi-tracked work with a gorgeous banjo line).  And, as such, it's really easy stuff to get into, especially since I liked his two previous albums so much and this is essentially an extension of them.  Wonderful music.

Van Dyke Parks — Song Cycle (1968)

Supposedly a classic.  Whatever.  Strikes me as too smarty pants for its own good.  Good tunes, in some cases though.  Just have a listen to the first track 'Vine Street' for an instance of what I'm talking about.  Beginning with a country band, jamming away and then swooping into a schmaltzy, full orchestral pop backing, Van Dyke sings about the tape you just heard.  I get that it's totally "brilliant man" with all of the "genius" backing and everything, but I just don't hear very many good melodies, honestly.  Seems like a case of presentation over actual substance.  I've sat with it for a week now and I still don't feel like anything is jumping out at me.  And the fact that the album's lone cover (of 'Donovan's Colours') is probably also its highlight should say all it needs to.  I don't get it; yet it's still decent, just based on its sound and era of inception.  This is my most negative "positive" review ever.  Hope you liked it.

~Austin

What's New?: 8.20.2011

Some sweet mail order finds. . .


Gavin Friday and Maurice Seezer — The Boxer Soundtrack (1998)

Gavin Friday and Maurice Seezer — In America Soundtrack (2003)

I *ahem* "ACQUIRED" these two soundtracks years ago before it occurred to me to look for newer albums second hand. Catholic recently lit a spark for me to acquire proper copies and I did for cheap on Amazon. I had previously saved these albums on an external drive that crashed over a year ago, so I consequently lost them. Going back now, I like them more than ever, with a definite preference for The Boxer. It contains more variety and the music is more Gavin Friday-ish. So, in this sense, it's more like a proper Gavin Friday album. Spooky beats and lush strings amidst vocal cues from the film and two proper Gavin Friday songs (rather good ones, too) make for a darn fine listen. In America, on the other hand, takes on a more traditional Jewish sound for the bulk of its time (no doubt more fitting with the visual accompaniment; but not outright unenjoyable on its own). The actual score parts are much more sparse with long, floating melodies. The only proper song is 'Time Enough for Tears' which features Andrea Corr on lead vocals. Can't say I like it. Overall though, these albums stand apart from the films as their own entities. I always have to admire film soundtracks that I like without ever having seen the movies.

The Reegs — The Reegs (late 80's/early 90's)

You know, it's so easy for Chameleons fans to just jump on the Sun and the Moon when looking for more from the former members. The band released an album on a major label that has stayed relatively easy to find over the years and the main thing that most of us connected with (Mark's voice and lyrics) is there. But what about the other half of the band? Arguably even more recognizable than Mark's big booming wail and relatably insightful world wise lyrics was the dual guitar attack that the Chams had. Reg Smithie's overdriven melodic rhythm parts and Dave Fielding's gargantuan walls of swirling echo are the stuff of legend with good reason. Together, the two created one of the most distinct and influential sounds in 80's post-punk. But because they released records on the low key independent label Imaginary and never really gigged outside of the UK, their post-Chameleons project, the Reegs, has remained a bit of a shadowy, mysterious entity for Chams fans (especially for us in America). Well, along with the great deluxe editions of the proper Chams albums that Blue Apple Music has been doing the past few years, the boutique label also gathered up the entirety of the Reegs' output from the late 80's and early 90's and packaged it together as a two disc set. Fully remastered and restored with new artwork by Reg and now featuring outtakes, radio sessions and previously unissued recordings (including a brand new track called 'Bosnia 2009' in which Chams fans finally get to hear something we've all been curious about for a long time: Dave sings lead [!!]). The sound of the band is immediately recognizable for Chams fans, as pretty much every song here has that rush of Dave and Reg's inimitable dual guitars. There's a bit more of a dream pop element at play here. While there's certainly a lot of distorted and downright rockin' guitar sounds, there's never any real rock out moments that the Chameleons could explode into at any point. The entire thing hangs together exceedingly well and across the two discs, there's too many highlights to really cover all of them. My personal favorites so far are 'As You Leave', the trippy Cocteau-ish instrumental 'JJ180' and the epic swoop of melancholy beauty on 'The Nasty Side.' Overall, just a weird combination of sounds and ideas that shouldn't work, but does (perhaps surprisingly well). Two guitar players so in tune to the other's sounds and moods that to say they compliment each other seems inadequate, a drum machine and a bloke that sometimes sounds like Dave Gahan on vocals ranting about relationships gone sour. The only complaint I have: the liner notes were a bit disappointing, as no official band discography is offered. So, as the songs are not sequenced chronologically, it makes for a bit of a frustrating listen for my inner music curator. Overall though, really excellent stuff. So pleased to finally have it all in one place. Well done.

Tony Bennett and Bill Evans — Together Again (1977)

Finally got this one after years of knowing and loving their first collaborative album. This one has always been a bit more of a tough find, as it was originally released on Bennett's own Improv label. It sits very well next to the first album and even though I'm not a Tony Bennett fan otherwise, I really have to hand it to the way he sings these tunes. The best part is the song selection, as these are mostly tunes that was in Evans' repertoire at the time, so it's great to hear just how good he was as accompanist as he was as the highlight. This CD reissue has a wealth of bonus tracks, containing at least half of the album in alternate versions. Very mellow, pure class.

~Austin

My latest purchases and some thoughts...

Out of pure boredom...

On the Spot: A Peek at the 1960's Nordic Jazz Scene (late 60's/early 70's)

On the mighty Ricky Tick label, out of Finland. Also home to folks like the Five Corners Quintet and Dalindeo. This compilation though, highlights the folks that planted the seeds for the current scene of Nordic jazzy dancey folks. Eleven songs of pure swingin' dancefloor jazz from an interesting time in the music's history and an even more interesting place. Sure, there's the americans who were using Europe as money making venue (Dexter Gordon and my favorite, Sahib Shihab) who appear here, but there's also quite a few local folks, who really swing and get deep into that soul jazz groove. Really exceptional stuff, actually. But comps like these are always a double edged sword for me, because I'm such an obsessive mofo. Now I want to hear full albums from people like Kjell Karlsen and Otto Donner. Maybe one day. But for now, there's plenty of groove and unique ideas offered up here to keep me interested for quite a while.

The Durutti Column — Fidelity (1996)

Recently picked up the reissue on the unbelievably cool British label LTM and I like the album after a few initial listens. Seems quite mid-90's techno, actually. I loved Obey the Time personally, but that was more of a UK Acid Housey/proto-trip hop sort of thing, whereas this album is much more synthy. 'Future Perfect' kicked me in the brain, which was cool. Otherwise, it seems like yet another one of those later period Durutti albums that requires at least ten front to back listens before it really hits you. Great vocals throughout from Elli Rudge though. She's got a purrty voice.

The Durutti Column — Idiot Savants (2007)


This album has officially kicked my ass. Immediately, it shot to the top of my iTunes 'most played' list. If I had heard it last year, it would've been my album of the year, without question. It's unfortunately cliched to say things like this, because of its overuse in offensive 'publications' like Pitchfork Media and Rolling Stone, but the Durutti Column, with this album, officially gets better with each album. I declared Keep Breathing my album of the year in 2006 and, upon hearing Sporadic Three in mid-year, I was trying not to jump the gun, so I kept my mouth aprehensively shut. However, being that this album was released last year and last year is already over, I have no problem with declaring it the year's best album. Eight songs, fifty-two minutes. He doesn't even care what anyone thinks anymore. This is not inaccessible music. It's just music that exists outside of any preconceived notion of what popular music currently is. And it just so happens to be utterly fantastic. Easily on par with the Column's peak work from the early 80's, but sounds entirely different. Simply wonderful, thought provoking and incredibly heartfelt music.

Wes Montgomery — Smokin' at the Half Note (1965)


Ahhh man... Wes Montgomery plays his ass off with Mr. PC and those weeners that played with Miles. How can this not suck?










Andrew Hill — Time Lines (2006)


This is my first Andrew Hill album. I don't know, I was just all uber-suspect of his hipster revival in recent years. That, and his lumping-in with the free jazzers. But it's not all skronk, by any means. It actually made me think of Clifford Thornton's later work, which was very friendly. The whole thing has an underlying sadness, which is actually kind of a downer, because he died not too long after. It's rather good, though.

Chris Walla — Field Manual (2008)


Well, I don't hate it as much upon second and third listens as much as I did my first. Don't get me wrong, I still think it's kind of poopy, but there's a few songs that are alright. Overall though, I'd give it maybe two and one-half or three out of five stars. Definitely a footnote for Death Cab fans. Otherwise, ignore.

Ron Carter — Spanish Blue (1974)


A good mid-70's CTI session for Mr. Bow-Tie. He re-envisions 'So What' as a latin-tinged post-bopper that is ten times as fast as the original. Cool stuff. Another strong album in the long line of Mr. Carter's unimpeachably consistent discography.

Duke Ellington — Live at the Whitney (1972)


A later live appearance by Duke and an even stranger album because it's just a drums-bass-piano trio. Seriously great stuff. The version of 'Lotus Blossom' is absolutely hypnotic. The tunes are short and Duke does little more than state the themes, but it's just mesmerizing. Beautiful and joyous stuff, which is great to hear because Duke was so close to death.

Bill Evans — Trio 65 (1965)


Believe it or not, my Bill Evans collection of studio albums is incomplete. The guy is practically my Jesus and I've yet to hear everything that was up to his standards. I don't know what it is, but I'm biased against his Verve period. He certainly did some wonderful stuff there, but nearly all of his records directly before or immediately after hit me a lot harder. Decent versions of 'Round Midnight', 'How My Heart Sings' and 'Come Rain or Come Shine', but the band just seems to be throwing out material for the label to have something to release. Not bad by any means, just not as heartfelt as Evans is usually known for.



Well, that's all I feel like saying for now.

Happy listening.

~Austin