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alelsupreme
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  • #51
  • Posted: 03/15/2016 04:02
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Latest batch.


The Ultimate by Elvin Jones

Rather mediocre effort from Elvin. I was disappointed really, given that Elvin is such a tremendous drummer, and was part of the greatest musical quartet ever, but this really is just... aggressively okay.


Shades Of Redd by Freddie Redd Quintet

Another nice lil' batch of hard bop on Blue Note which you should all listen to and then vote for in the BLT (VOTE BLUE NOTE).


The Sermon! by Jimmy Smith

Now this was a hell of a find. Some brilliant musicianship throughout, especially from Smith himself who is a real talent on the organ, and a brilliant relaxed vibe, reminded me of In A Silent Way (cos I've barely heard any organ-led jazz lol). But yeah leapt well high on my 50's chart this did.


A Swingin' Affair! by Frank Sinatra

Relistening a bunch to In The Wee Small Hours and Songs For Swingin' Lovers recently reminded me how good Sinatra/Riddle were together, and made me want to hear more. Seen a lot of comparisons drawn between this and Swingin' Lovers, and whilst this record isn't as strong it's still a sterling effort from Sinatra,with that same blend of forceful, bright arrangements and his near-peerless voice. Well worth a listen for anyone who liked Swingin' Lovers.

Also apparently Riddle backed Ella on some albums, which can only mean good things.
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alelsupreme
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  • #52
  • Posted: 04/11/2016 04:31
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suede's update reminded me this was a thing so here's what i've been listening to recently.


Who The Fuck Are Arctic Monkeys? by Arctic Monkeys

The last of the Arctic's stuff that I hadn't heard, this just solidifes my belief that early Arctics were far and away the best thing to come out of this isle of mine during the 2000's music-wise. Begins with the opener to Whatever People Say I Am "The View From The Afternoon" which is just as energetic and propulsive a starter as it is there, but the real highlight is the brilliant third track, "Despair in the Departure Lounge". A weary-eyed weeper with a lovely, lugubrious guitar tone brilliantly showcasing Turners lyrical skill (which I feel are part of what puts the Arctics ahead of so many of their contemporaries - few could boast someone as clever as Turner). The other tracks are well worth a listen too, "Cigarette Smoker Fiona" is one of the bands heavier tracks ala "Brianstorm", "No Buses" a rather lighthearted romp whilst the title track is just very good but I can't remember what it sounds like cos I'm listening to something else right now so I'll just say I'm really glad that the lyrics "In five years time will it be/Who the fuck are Arctic Monkeys?" was wrong, even if we never will enjoy another Whatever People Say I Am


My Reverie by Bea Wain

Was drawn to this by the absolutely stunning "Heart and Soul" and title track, but any disappointment on my part is really down to me cos how often do artists match up to their most acclaimed songs consistently anyhow? Anyway this is on the whole just rather pleasant trad pop, Bea has a sweet, mature tone and Larry Clinton provides warm, wonderful backing. Worth a listen for anyone into traditional pop.


Open Sesame by Freddie Hubbard


Soul Station by Hank Mobley

More Blue Note hard bop goodness. Would especially reccomend the top album.

(I would say more but I've listened to so much of this type of music recently it can be hard to diffrentiate between them after only 3 listens)


Love Deluxe by Sade


Promise by Sade

Given how I enjoyed Diamond Life I thought I'd give some of Sade's other stuff a listen (There's another released between Diamond Life and Promise but what I've seen indicates its a rather mediocre release so I probably won't bother any time soon)

Promise starts off incredibly strong, Is It A Crime starts things off on a high note, with an energy like Smooth Operator on steroids, followed by other highlights The Sweetest Taboo and the beautiful You're Not The Man (honestly, that saxophone melody is on a whole nother level). The album as a whole is typical Sade, which is by no means an insult. Expertly performed neo-soul, effortlessly smooth (Tar Baby is a solid contender for smoothest songs ever, after... well everything on Love Deluxe, but was nevertheless improved upon immensely by Macintosh Plus) with only the overwrought Fear letting things down.

Love Deluxe however, is on a whole different level. Advances in technology allowed for even smoother shit, to the point that this album is almost impossibly smooth (god I've said that a lot in this post) resulting in some absolutely gorgeous stuff. The album establishes an incredibly texturally rich atmosphere throughout amidst a swirling mix of guitars, synths and piano, all topped off by Sade's powerful, sweet voice. There's several standouts here, including the great opener No Ordinary Love, a quiet storm of a song, and the drivingly transcendental Cherish The Day, but the undisputed highlight has to be Kiss Of Life, one of those fine, wonderful love songs that captures not the thrill of attraction, but rather the relaxed, detached satisfaction of a genuine trust and connection with another. Could easily chart, this one.


Solid Air by John Martyn

I thought one of my co-workers put this on once in the car on the way to a shift and I was really disappointed to find out this wasn't what they put on cos what they put on was honestly incredible but this was good too I guess.


Schumann: The Symphonies by Leonard Ber... Orchestra

I thought this was just alright but honestly I was on the verge of passing out during most of it cos I had like two hours sleep after a what was honestly just an absolutely wild night so I'll give it the benefit of the doubt.


Expensive Shit by Fela Kuti

Pretty much what you expect from Fela, incredibly funky afrobeat that kicks your ass.


The Blanton-Webster Band by Duke Ellington

Holy shit I spent 10 hours listening to this album this week.

Duke was a master craftsman, creating some incredibly rich and melodically brilliant music. This compilation of his work during 40-42 brilliantly showcases this, as over its 3+ hour duration not once is there a dip in quality. It's never not at least good, and for that to be true of a 66 track compilation showcases this far better than a shorter comp of only his greatest highlights could. I was honestly tempted to chart this simply for managing to be so long and yet not have a bad track but I don't imagine I'll ever listen to it in its entirety again any time soon (I've learned my lesson.. currently listening to the Hot Five and Seven recordings by Louis Armstrong in two halves...)
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alelsupreme
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  • #53
  • Posted: 04/23/2016 01:20
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I've realised while writing these that I pretty much always run out of the will to do them halfway through but then pick back up near the end.

Me recent discoveries.


The Complete Hot Five & Hot Seven R... Armstrong

Woo boy. This was a hell of a trip. Discs 2 and 3 contain, hands down, some of the most unbelievable jazz I've ever heard. Louis and co. played in a polyphonic style employing several melodic lines, a style which fell out of favour with the rest of the Dixieland style in jazz, and it's approach that allows them to create some absolutely stunning music, utterly relentless and dense, with so much to follow. Does most of it sound the same? Yes, but when it's this hot it doesn't matter. Louis himself, obviously, proves himself as one of the finest Trumpetists (is that the word? probably and if not it is now) to ever live, and if the rest of the set kept up to the standard set here then it would easily rocket towards the top of my chart. Unfortunately it doesn't. Disc 1 is similar, but not quite to the same incredible standard, whilst disc 4 takes a turn for the mellow, which is infinitely less interesting. Overall though, still a great collection and obviously an utter essential for anyone interested in jazz as a genre. Not listening to it is like never reading Shakespeare as an English student, or trying to get into classical without ever listening to Beethoven, You'd be an utter dipshit. SO LISTEN TO IT!!


Let England Shake by P.J. Harvey

The Hope Six Demolition Project by P.J. Harvey

Oh, what a wonderful coincidence, just as I listen to and love PJ's last album, her new one comes out!

I'm not sure quite how to describe the sound of Let England Shake, RYM says indie rock, chamber pop and art rock... and I suppose all of them fit? It calls to mind Stories From The Sea, but with more diverse instrumentation and more sophisticated song structures. Could easily become my new fav PJ.

From the second I saw the Metro had rated Hope Six Demolition Project 4 out of 5, I knew it'd be a classic. They weren't wrong. HSDP carries on along the political lines of LES, but this time focusing on... idk poverty I suppose? Lacks the instrumental diversity of LES, opting for a more rockish style, somewhere between Stories From The Sea and Dry. It's basically stunning and is my fav of the year (Granted I've only heard like 4 albums, including this, but whatever) and The Wheel kicks arse.


Veedon Fleece by Van Morrison

I can't remember much about how this sounded but I will say that it doesn't pull any punches, but it doesn't push the river! (In this case this means pushing it onto my iPod, where this did not stay, I suppose.)


Genius of Modern Music: Volume 1 by Thelonious Monk

Apply what I said about volume two here, it's all really much of the same. Which is good, because Thelonious was a master and this shit is masterful.


Aja by Steely Dan

Now obviously going into a Steely Dan you expect some degree of slickness. I mean, of course you do. But this? Shit sounds plastic (thanks, random RYM dude who pointed that out as a hypothetical criticism in a positive review!). It's achingly competent, with little flair or verve. Did these guys forget the wonderful thing about jazz isn't meticulous attention to detail, but rather it's improvisatory nature and passion? At least it can boast Deacon Blues I suppose, but this is painfully middle of the road.


The Famous 1938 Carnegie Hall Jazz Conc...ny Goodman

I've seen this concert touted as "Jazz's coming out to the world" and whilst I'm skeptical about that (I know for a fact that Duke had national radio play and commercial success before 1938) this wouldn't be a bad show to come out with I suppose. Much of it is merely pleasant, but when the band kicks into gear (especially Gene Krupa, who is an absolutely propulsive drummer) they can swing with the best of them. This is best demonstrated on the absolutely stunning extended version of Sing Sing Sing (With A Swing). The original 8 minute version was already probably the greatest pre-album age instrumental jazz record released, but the 14 minute version here takes that energy and sustains and intensifies it. That alone makes giving this a listen worth it, but is by no means the only display of musical excellence on display - Goodman assembled a sterling cast of musicians, from Basie to Teddy Wilson (okay yes my Billie fanboyism is showing but he's like 30% of why her records are good anyhow) to the aforementioned Krupa. And plus if you're one of those people who care about historical significance, it was the first ever double album.


The Dance Collection (A Compilation Of ...nna Summer

oh my fucking gooooood

okay the rest of the album is nice but im just gonna talk about 3 things here because they're what really matter.

1: i feel love is a tapestry of gliding synth atop arpeggio's atop bouncing basslines, atop donnas otherworldly croon in which "love" isnt even a concept the real meaning doesnt matter anymore shit may as well just be a colour while the beat is borne ceaselessly into the future. it still sounds like the future of music today, nearly 40 years after its release.
2: the "heaven knows" part of the macarthur park suite. heaven DOES know donna thank you for bringing it into the studio with you to prove so.
3: last dance. anyone who knows me well knows im not the sort to obsessively play songs over and over, but since i heard this... 3 days ago maybe? i've listened to it like 11 or so times perhaps, which is genuinely rare for me. it is simply one of the most important and significant songs ever made, and my proof for this is: just fucking LISTEN to it! last dance will cure all problems and sadness in your life, Guaranteed.
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RoundTheBend
I miss the comfort in being sad



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  • #54
  • Posted: 04/23/2016 06:41
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I thought Aja was pretty boring as well.
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alelsupreme
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  • #55
  • Posted: 05/29/2016 23:41
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Blue by Joni Mitchell

when i dont know what to listen to nowadays i default to this. it's always a good decision.
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alelsupreme
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  • #56
  • Posted: 06/14/2016 00:26
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Been a while lads. Here are some of the things I've listened (the ones I could think to write about)


The Complete Decca Recordings by Billie Holiday

Billie's time at Decca continued her turn away from her jazz-band days at Columbia, and an embrace of a more orchestral sound. This album captures Billie in fine vocal form, recorded before poor health and substance abuse left her voice as ruined as it is in her Verve recordings. She imparts her typical magic touch on these songs, shining paritcularly bright on the first disc. "Lover Man", "Don't Explain" and "What Is This Thing Are Called Love" are the best of Billie's slow ballads that one critic, surprisingly, regarded as possibly dangerous to her career and talent as an artist. It's said that Billie reportedly wept with joy upon hearing a playback of her first recording with strings, and whilst I feel her Columbia work was easily her best one can see how well suited Billie was to this sort of music, her voice interweaving itself perfectly with the richly textured backing orchestra. And of course, it's not all gloom - the breezy, coy "Baby, I Don't Cry Over You", her spirited remake of "Them There Eyes" and her great duets with Louis Armstrong all show the light-hearted, fun side of Billie which sadly did not survive into her Verve work. Unfortunately, this compilation is let down by much of the second disc. Much of it is overly brassy, ugly accompaniment which mixes with Billie like oil with water. Regardless, this comp is worth a listen.


Fallen Angels by Bob Dylan

Another oldies album in the same vein as Shadows in the Night, Fallen Angels is basically exactly what you'd expect; Bob croons his way through a series of mellow, tasteful renditions of various classics. Bob's famously no vocal virtuoso, but time has weathered his voice into a deep croak, which handles these songs almost as well as ol' blue eyes did. Chief highlight here, if there is one amidst a remarkably consistently great collection, is his spirited take on "That Old Black Magic", buoyed by a smooth rockabilly-esque shuffle. It's pretty obvious that we're witnessing the twilight period of Bob's career, and really it's fitting that a man who's music never made any secret of its rooting in the past, from his rambling folk beginnings to the rustic traditionalist style of John Wesley Harding would leave the stage with albums like this. And honestly? Good for him. Man's done enough.

Anyway this is worth a listen, a nice chill record.


Born In The U.S.A. by Bruce Springsteen

*intro to Born In The USA starts playing holy shit *fucking explodes*

Every song on here makes me want to holler like hell in some pure 50's American car driving down a run down street. Ideally in this scenario I'm a recovering 30 year old alcoholic. Apart from maybe the last track. Anyway it's all fucking incredible, the title track is such a vital banger it confused that fuck Reagan into thinking it was a patriotic ode (sike!! Bruce doesn't do crass uncritical patriotism, dickhead!!), "Dancing in The Dark" and "I'm On Fire" are well cathartic and basically everything here apart from the last track (which is redeemed by the other 11 incredible preceding tracks) are huge fucking tunes which is why I can't say anything intelligent about it.


Live In Seattle by John Coltrane (Featu...h Sanders)

Capturing Coltrane late into his career as his music became more and more independent of typical musical forms, becoming more free, this recording see's him with fellow free saxophonist/spirit Pharaoh Sanders (and also some dude named Donald Garrett who doesn't even have a wiki page) along with the rest of the classic quartet. Unfortunately, the music doesn't live up to it's immense promise. To me there's a sense that often the playing is meandering, aimless - of course, given the talent involved it's still greatly enjoyable, but it's by no means essential.

(Really, I've never been a great fan of Coltrane's wilder, free stuff. I feel his work was at it's best when it walked the fine line between his more conventional hard bop roots and the comparative chaos of Ascension and Meditations)


Djangology by Django Reinhardt

Collecting the best of a 1949 session between Django and his violinist partner from the Quintette du Hot Club de France Stephane Grappelli, this comp perfectly showcases Django's legendary skill. He's often regarded as one of the finest guitarists of all time, and the reason why becomes obvious listening to this - he weaves his way round these tracks expertly, providing a perfect underpinning to Grappelli's playing, whilst easily upstaging him when taking the spotlight.


King Of The Delta Blues Singers by Robert Johnson

Collecting a series of recordings made shortly before the legendary bluesman's dea- blah blah y'all know the tale.

This music's got a real dark quality to it. From the lo-fi recording quality itself (I mean, this is a delta blues recording from 1936 - lord knows Johnson wasn't getting into the sort of studios Duke or Benny Goodman were or anything), to the style of music itself - very sparse, just Johnson's plaintive edgy singing and his intricate guitar - to the subject matter, full of devils, murder and misery (my favourite song here, "32-20 Blues", features Robert very casually telling us how he's gonna mow down his wife - who's .38 special, mind you, "does do very well" - with a shotgun... and also a gatling gun? I love when musicians do this sort of braggadaico about their weapons, like when Mobb Deep say they'll shoot through 100 layers of kevlar, as if they've got some fucking Krupp artillery on deck). It drags a bit near the end, but Robert's take on the blues is just so damn entrancing he keeps you hooked.


Live At The Harlem Square Club, 1963 by Sam Cooke

Revelation had while listening to this: late 50's-early 60's soul music is the most likable music ever made.

An absolute fucking riot of a show, every second of this album is just such fun. "Twistin' The Night Away" and "Bring It On Home To Me" are absolutely incredible, sort of shit that just makes you step back in awe, but really all of it is great Sam's great his band's great the crowds great it's all fucking brilliant.


Joyce Manor by Joyce Manor

This is the sort of shit 15-6 year old me would have eaten up. As well as 19 year old me, apparently.
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alelsupreme
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  • #57
  • Posted: 07/14/2016 22:50
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The Key To The Kingdom by Washington Phillips

This album compiles all the recordings from gospel singer Washington Phillips. What makes Phillips stand out is the stringed instrument he accompanies himself with. It's disputed what this is - on some tracks its a zither, but its thought on others it's a homemade instrument. Whatever it was, it lends his recordings an ethereal, entrancing nature, a heavenly sheen over his preacherly intonations and lessons. Highlight of this set is Washington's take on the hymn Take Your Burdens to the Lord, the most exultory recording Phillips ever made, with his impassioned delivery underpinned by his most gorgeous, intricate accompaniment.


Can The Circle Be Unbroken: Country Mus...ter Family

This set collects the best recordings of the Carter Family, among the biggest stars in the early days of country music. The group's music has a very odd, austere quality to it. Their voices blend into an identical whole, their voices rendered nigh-on indistinguishable, genderless. The music is pervaded through with a very old, folksy sensibility, at times very puritan. At its best, their close harmonies are truly beautiful, the music revelatory - "River of Jordan" and "Can The Circle be Unbroken" show off a spiritual extreme of passion. However, more often than not this music touches not on such deep spiritual matters of salvation and death, but the more universal themes of folk-song - love (often lost) and hard times. Lovers are often departed ("Texas Girl") or distant ("Wildwood Flower", "Tonight I'm Thinking of My Blue Eyes"). Here, the Carters trademark style can shine, as it does on "Lulu Walls", a fine number that would befit any Standards album, or can flop, as on the very dated sounding, square "Single Girl, Married Girl" and "Cannon Ball Blues". This set works as a fine introduction to the group, and is worth a listen.


Monk's Music by Thelonious Monk

I think I'm growing a bit tired of Hard Bop, or perhaps my taste is gravitating more towards the group dynamic found in early jazz, for I found this a rather difficult release to get into at first. However, it's prime-era Monk, featuring Hawkins and Coltrane, so it's obviously a high quality release and well worth a listen.


Body & Soul by Billie Holiday

Songs For Distingué Lovers by Billie Holiday

These two albums capture the last time Billie was to ever record with a small combo - after this her remaining works until her death would be with a large orchestra, as on Lady In Satin. Billie is in fine form here, well complimented by her backing band, an understated trio who's mellow instrumentation makes this record such a calm delight. Distingue Lovers is the stronger of the two, with a brilliant version of Stars Fell On Alabama but both are fine accomplishments in a dazzling career that, sadly, was to end all too soon after their creation.


25 by Adele

Singles are deceiving, man.

I was drawn in by "Send My Love (To Your New Lover)", a peppy, Swiftian kiss-off (cordial breakup songs are an underutilised thing tbh) and "When We Were Young", which makes full use of Adele's powerful, expressive voice (as does "Hello", which boasts an utterly crushing chorus). However, outside of these, there is little to recommend this album. Shame, really, I was hoping to like it.


Sarah Vaughan by Sarah Vaughan

A strong album from one of the 50's leading jazz vocalists, Sarah is accompanied by a strong band (including, famously, trumpetist Clifford Brown) on a similarly strong set, including some fine versions of "Lullaby of Birdland", "Embraceable You" and "It's Crazy". Sarah, although not a huge favourite of mine, is on undoubtedly great form, with a very clear and smooth delivery. The only dud on the album is "April In Paris", which is a pretty poor song no matter who performs it imo.


Ella & Louis by Ella Fitzgerald And... Armstrong

The Great Summit: The Master Takes by L... Ellington

As a bandleader and instrumentalist, Louis was absolutely astonishing, beyond compare at the time (the only man who could compare is, appropriately enough, Ellington). As a singer... not so much. Louis was unquestionably hugely important in the development of jazz singing, I'm personally not a huge fan of his style. Due to such, neither of these albums live up to their promise. Ella & Louis, the first meeting of these two huge talents (they would go on to record two more, equally well received albums) is a rather weak set, let down by rather uninspired arrangements.
The Great Summit, capturing the only instance of these two titans of early Jazz playing together, consists of a series of Ellington compositions with Louis on vocals. Given the strength of material, this can't be anything less than decent, but there is also nothing revelatory here, and it is certainly not as rewarding as a full instrumental collaboration between the two could have been. Funnily enough, Louis' singing partner on the former album provided a far better interpretation of many of these songs on "Ella Fitzgerald sings the Duke Ellington Songbook".
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alelsupreme
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  • #58
  • Posted: 08/02/2016 22:33
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IV by BADBADNOTGOOD

More like GOODGOODNOTBAD!


The Complete Early Recordings Of Skip J...Skip James

Skip James was one of many bluesmen who recorded for Paramount records in the late 20's - early 30's, only to lapse into obscurity before his rediscovery in the 60's. This comp collects all his recordings with the label, and is considered one of the most idiosyncratic and important of its kind. It's undeniable that James was a great talent- his guitar playing is incredible, as can be seen on the blistering "I'm So Glad". At his best, his music has a deeply emotive ("Jesus Is A Mighty Good Leader" finds James in full joyous zeal, imbuing the songs few bare lines with all the evangelical thrill of a true believer) and at times even haunting quality ("Devil Got My Woman" turns a standard "woman done me wrong" song into something like the last harrowing song of a man about to die) that only the best bluesmen can communicate. Sadly, there's two major problems with this comp. One is the sound quality on some songs - no masters survive from Paramount Records, meaning that these songs were recorded off of found records, resulting in some songs being so affected by the natural wear and tear of time that it's really difficult getting past the hiss and pops. The other problem, at least in my opinion, is the presence of several songs on piano. Placed at the end of the record, these hold none of the pathos of his guitar-based work, and serve as a pretty disappointing end to what would otherwise be a brilliant compilation.


The Hissing Of Summer Lawns by Joni Mitchell

Released after the commercial jazzy pop of Court and Spark, Hissing of Summer Lawns sees Joni experimenting more with her sound, incoprorating african percussion, more synths and generally embracing more complex song structures. I don't have much to say about the album - it is undoubtedly a good album, though I do prefer Blue and Court and Spark, but I did want to highlight one song. "The Boho Dance" is, simply put, a near perfect song. With a lovely, bittersweet melody, and lyrics which are among her best, it's up there with "A Case of You" in contention for the title of the best song she ever did.


Jelly Roll Morton: 1926-1930 by Jelly Roll Morton

Jelly Roll Morton was among one of the earliest figures in jazz, and his work is some of the best this period has to offer. This comp collects all his early work, and makes for three discs (5, tehnically, but the latter two are merely alternate takes) of brilliant Dixieland.

[WILL FINISH TYPING UP TOMORROW]

Okay I shan't write anything substantiative.

Anyhow Jelly Roll Morton is incredibly fun, and when his band really get going they're nigh on untouchable.


Hex Enduction Hour by The Fall

"Who Makes The Nazi's? " Well uh, usually the failure of liberalism and social democracy, coupled with the fear of communism, immense economic hardship, a convenient racial scapegoat, militar-
"Balding techno faggots,, bad tele-v"
Oh uhh... okay Mark E Smith whatever you say


Founder Of The Delta Blues by Charley Patton

Is Patton the founder of the Delta Blues? Maybe. I mean the dude was in his 40's when he recorded after all. Patton was a songster, a performer who would go from party to party, playing all sorts of music for some cash, a job which, by all accounts, Patton did very well, even earning enough to buy himself a car - which would have been rare for black men in the south at the time. It's perhaps this background that meant Patton was able to diversify his music so, to switch things up and keep them engaging over the course of this 26 track comp - his music can be downright sprightly ("Shake It and Break It"), despite 80 years of wear and tear (Patton was another Paramount Records artist) He was a skilled guitarist and an incredibly powerful singer, a skill likely developed from the need to make his music heard in busy establishments without amplification. The highlight of this brilliant comp is no doubt "High Water Everywhere", a desparate recounting of the 1927 Mississippi flood that finds Patton howling and beating his guitar like a man who lost all he had to the rushing waves.



Bob Graettinger was a composer truly born out of time. Graettinger's work, a strange melding of jazz and classical, often very atonal, would have fit right in with the likes of Mingus and other visionaries within the field. As it stands, Graettinger's work was released in a roughly 6 year period from 1947-53, and stood as truly unique. In Stan Kenton, a like-minded bandleader interested in the sort of progressive sounds embodied in Graettinger's work, Graettinger found a perfect partner.

Graettinger's work was no doubt visionary, but it can also make for some very hard listening at times. It is very atonal, often with several instruments playing at the same time in a polyphonic mess of sound. The reference to Mingus earlier fits, as it can often resemble the wilder moments in his catalogue, such as in the final movement of "The Black Saint and the Sinner Lady". This incredibly dense sound can become exhausting, especially in as concentrated a form as this. Stan Kenton said of his work with Grattinger "Well, I tell ya, it was either the greatest music the band ever presented, or the biggest pile of crap we ever played, and I still do not know which." I can sympathize.

However, when Graettingers music works, it works, proving very gripping and interesting - the one thing you can say with this set is it's never boring, the hallmark of a truly important and innovative artist. Although it can often sound utterly bereft of any of the 'feeling' of jazz, instead veering closer to the more avant-garde currents in 20th century Art music, I would still regard it as a very important document, and well worth a listen to anyone interested in jazz outside of the sort of mainstream that one sees on most music sites (there's a world beyond hard bop!).


Tusk by Fleetwood Mac

This is very close to being a perfect flawed masterpiece. Nicks, McVie and Buckingham have lost none of the craftmanship that makes Rumours the best pop album to have ever been released (although there are a few missteps from the latter, who's songs on here can be rather jerky and bizarre at times). However, this skill - showed perfectly on songs such as the beautiful "Sara", doesn't seem to rear it's head as often, meaning this album simply doesn't live up to the wonderful potential it could hold - this could have been your Smile Sessions, Fleetwood, o if only you realised!


My Woman by Angel Olsen

Angel Olsen's work retains much of the dour mood of Strange Cacti and Burn Your Fire For No Witness, but this see's her dabbling in pop, with great results. The first half of the album is definitely the strongest, containing the sum of these experiments - "Never Be Mine", "Shut Up Kiss Me" and "Give It Up" are all strong, punchy songs showing a side of Olsen which she shall hopefully continue to explore in future. The rest of the album is more familiar to those who have followed her work, with both "Sister" and "Woman" clocking in at over 7 minutes. In the hands of so many lesser skilled musicians, this sort of dour, lethargic music could prove to be an utter bore, but Olsen's skill lies in keeping even rather simple, very monochromatic songs engaging, largely through the strength of her lyrics, which take on a very heartbroken tone here. Overall, a fine album which, sadly, will likely be under-appreciated just like "Burn Your Fire" was.



Miller was, as you probs know, one of the most successful bandleaders during the swing era. Unfortunately, he had none of the skill or talent on hand of, say, Goodman. This comp is largely tepid, full of poor, dated pop songs such as "Pennsylvania 6-5000" or attempts at hot music that just reveal his limitations, such as his attempt at "King Porter Stomp". Miller is at his best when handling softer music, such as "Moon Love", a lovely little ballad, or his beautiful, much celebrated "Moonlight Serenade". I cannot possibly fathom why the Down Beat readers poll voted Miller into their Hall of Fame on the basis of work like this, especially before they inducted Benny Goodman.


Lady Day: The Complete Billie Holiday o...ie Holiday

The best compliment I can possibly pay Billie is that, over the course of this 11 hour album, she is only occasionally boring. My god what a talent.
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alelsupreme
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  • #59
  • Posted: 09/03/2016 19:59
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You Got My Mind Messed Up by James Carr

A Man Needs A Woman by James Carr

James Carr is probably one of the most passionate artists to ever live. Every song on his great debut is shot through with with an aching intensity, a storm of emotion, an unspeakably large inner pain (Carr suffered from depression, and it ended up costing him his career) mixed with a great deal of love. This shines through in his incredibly expressive voice, especially when he lets loose as on the title track, screaming his doomed love for the angelic figure which has so tortured him. This title track, a passionate lament, and the eternal "Dark End of the Street", a beautiful, almost holy depiction of forbidden love, are among the crowning achievements of Soul, but every song on here is a classic really. The deepest of deep soul.

The followup is not as strong, and repeats some of the songs on its predecessor, but it still a fine work.


In-A-Gadda-Da-Vida by Iron Butterfly

Most the tracks here are either pleasant or just fluff. But I mean no one has ever, ever cared about a single track by this band not called "In-A-Gadda-Da-Vida", which is widely (by me) recognised as one of the greatest songs ever made, an utterly unmatchable tour de force. Amen.


Speedin' Bullet 2 Heaven by Kid Cudi

Sometimes I like to listen to The Return of Chip Douglas and look at the cover whilst doing so. Never fails to make me laugh.


Aretha Now by Aretha Franklin

Released the same year as the also great Lady Soul, Aretha Now is another strong release from the peak of Aretha's career. She is, as always, a tremendous singer, who can bring life even to the most pedestrian songs. Not a great deal to say, it's a strong set of songs from one of the best pop vocalists ever. Highlight is definitely the sublime I Say A Little Prayer, with some incredible interplay between the siren like backing vocals and a more restrained, yet still powerful Aretha. Not as consistent as Lady Soul, but still well worth a listen.



This compilation collects all the master takes from Billie's time at Verve. Her work at verve easily matches, and perhaps surpasses her celebrated Columbia work. Billie's voice, weathered by her excessive lifestyle, lacks some of its former sprightliness, but retains it's character and emotiveness. She benefits from a greater selection of songs and longer track times, giving her and the bands more space to stretch out and work with the songs. At 6 discs, each clocking in at just over an hour, this is quite a lot to take in, but it's absolutely worth it, representing as it does one of the best jazz singers to ever live finally being able to flourish with an authentic jazz backing, no longer constrained by the confines of 30's pop music.


Ella Fitzgerald Sings The Cole Porter S...Fitzgerald

I called Ella's interpretation of the Ellington songbook "musical comfort food". That label applies just as much here. Cole Porter was a very witty songwriter, with an ear for a great melody. Combine that with a playful and skilled vocalist like Ella, and it's like mixing milk with honey.


The Complete Decca Recordings by Count Basie

Basie was one of the key bandleaders of the swing era, and is often mentioned as one of the key figures in pre Bebop jazz. Listening to this compilation one can see why he gained such accolades - the first disc collects some fine examples of Big Band jazz, and one can imagine that this band, freed from the constraints of shellac, were a hell of a live act. However, this compilation is let down by a series of lethargic slow blues and poor vocal tracks - whoever told Helen Humes she should pursue music with her utterly piercing reed of a voice should of been fired from whatever company they were scouting for. Stick with disc 1.


Michael Brecker by Michael Brecker

Apparently this dudes seen as "the most influential tenor saxophonist since Coltrane". Idk about that but listening to this one can see the dude's a hell of a player, breaking out from some pretty lame 80's production (There's some seriously punishing synth on this) to still impress. Definitely worth a listen, despite some questionable musical choices.


Judee Sill by Judee Sill

Heart Food by Judee Sill

Judee Sill only released two albums in her tragically short, tumultuous life. They point to an extraordinary artist, one who’s incredibly unique music, a complex sort of country-ish pop, drawing from many veins of music, from adult contemporary to baroque. Her work is rich and deeply rewarding, and I fully recommend it.


The Audience With Betty Carter by Betty Carter

Someone on RYM said that this record was "musical masturbation, with no soul". I can kinda see where they're coming from. This is a very technical record, and Betty is a very technical singer, focusing less on emotiveness and more on complexity and skill, as can be seen in the 25 minute opener "Sounds (Movin' On), serving as a centerpiece for her scatting ability, a pure example of the voice as instrument, soloing just as a piano or sax might on an instrumental album. That dude rated this album a 2/5, but I feel that's being too harsh - Betty is undoubtedly a great singer, and she handles the material here commendably. Maybe not worth the honour bestowed upon it in the Penguin Guide to Jazz (it's a "crowned album" in there - the highest possible ranking for an album), but it is a worthy display for a talent like Carter.



Mary Wells was one of Motown's first stars, and though she left before the label hit its commercial and artistic peak, she's still a major figure in the labels history. This comp serves as a decent enough collection of her best work with the label. Starting with her first release, the raucous "Bye Bye Baby", Mary moved from there into a fruitful musical relationship with Smokey Robinson, who penned a number of hits for her. The best of these songs, typified by their easy-going, calypso like nature are undeniable classics, with "You Beat Me To The Punch" and "The One Who Really loves You" boasting a seemingly effortless gorgeousness, whilst lesser efforts such as "Laughing Boy" still worthwhile. This was followed by a spell of songs more in line with most peoples perception of the Motown sound, all similarly commendable. "You Lost The Sweetest Boy" is a classic Holland-Dozier-Holland rave, and "My Guy", her last hit with the label (she quit Motown just as her career was at its peak, and it never really recovered from the split) is undeniable. Of course, there's some duds here - the tracks with Marvin Gaye don't bring out the best in either, and a number of her earlier tracks are fairly weak - but this still serves as a decent enough summation of a great talent who, when not weighed down by uninspired arrangements and writing, was the greatest talent in the early days of a historic label.
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  • Posted: 03/28/2017 22:50
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