What are you listening to right now?

[Otis Westinghouse]

That was a quick judgement, I'd want to hear all of it a few times. It didn't grab me straight off the way Cat P did, but often the best records are the ones you have to play 5 times before getting anywhere. Always found this with Lambchop, and it's one of the reasons I'm so into them now. I don't know Strange Mercy, only Marry Me, which I like a lot, but it's not particularly immediate.

I'd say it's one of those CDs you wouldn't regret as it will repay exploration, but possibly might annoy you as much as please you.

[Jack of All Parades]

Herbie Hancock's "Takin' Off" his Blue Note debut from 1962. I find it hard to believe that it is now fifty years old as a record. It still sounds so fresh and invigorating. Everybody knows "Watermelon Man"; it has become ubiquitous. I am concentrating on the second track-"Three Bags Full". It is a waltz tempo that is enchanting and is filled with a pleasing vibrato from Dexter Gordon's horn and which is complimented by an equally enchanting turn by a young Freddie Hubbard on trumpet. Hancock's deft left/right exchanges on his solo are a marvel. To be 22 and leading your first session with big time players! And to be only one year away from occupying the piano bench in one of Jazz's greatest units, the second great Davis quintet, is awesome! Have a listen to "Three Bags Full":

http://www.google.com/url?sa=t&rct=j&q= ... OkBPgRAQSA

[Kevin Davis]

Never heard that one, Jack. I always surmised that Herbie must have had an apartment at Rudy Van Gelder's studio in the early sixties--he plays on so many records.

I think my favorite Herbie album might be the 1979 solo record "The Piano."

[Jack of All Parades]

Never heard that one, Jack. I always surmised that Herbie must have had an apartment at Rudy Van Gelder's studio in the early sixties--he plays on so many records.

I think my favorite Herbie album might be the 1979 solo record "The Piano."

My wife has been trying to learn the chords to many of the songs on that record. It is some great improvisation on the piano. She is particularly trying to learn this one-"My Funny Valentine":


http://www.google.com/url?sa=t&rct=j&q= ... mDD4lxGnUw

It is extremely difficult as she works her way through it.


These two are my favorites by him:

""Maiden Voyage" and "Empyrean Isles"- Herbie Hancock- as dark, ominous clouds form over the town where I work. These two albums are transporting me to a better place. Cannot get enough of the early and vibrant trumpet artistry of Freddie Hubbard on these two records and the incomparable ebb-flow washes of the brushes on Tony William's drums[Otis, you would appreciate those sounds]. God, I love the overall sound of those old BlueNote records from that period- pristine, melodic playing with great intelligence and sense of the dynamics in an individual song."

You might be right about that studio in New Jersey. It was filled with a lot of great musicians. I remember reading somewhere that the success of his first record and the cover by MongoSantamaria allowed him to go out and buy his first sportscar- hence the name to one of his songs King Cobra.

[Jack of All Parades]

Have been listening all afternoon to "Chopin Meets the Blues" by the Peter Beets Quintet which includes the strong drummer, Gregory Hutchinson and my brother-in-law, Joe Cohn, on guitar. I am in awe of how they have taken such notable classical melodies and given them a new twist. The record is over two years old and it deserves a wider audience. If you are lucky enough to catch them at a gig in Europe or one of their occasional dates in NYC grab the chance. Here is a clip from a recent show earlier this year in NYC. I am enjoying how they open up Chopin's Nocturne in F flat as they stroll luxuriously through the melody.

http://youtu.be/imrAZmuzDOM

[Jack of All Parades]

"The Gigolo"- Lee Morgan-- a Bluenote reissue featuring his solid and lively trumpet playing complemented by a lyrical Wayne Shorter on tenor and Bob Cranshaw[of Sonny Rollins fame] on base, Billy Higgins on drums and a piano player, Harold Mabern, Jr. Love the introductory tune "Yes I can, No you can't" it has me dancing in the aisles.

[invisible Pole]

Listening to Tracey Thorn's new album, Tinsel And Lights - mostly a collection of covers, all celebrating Christmas holidays.
Includes songs written by Ron Sexsmith, Randy Newman, Joni Mitchell, The White Stripes and Green Gartside.
Oh, and two beautiful new songs written by Tracey herself.
Out next week.
Simply lovely.
You can preview it here:
http://soundcheck.wnyc.org/blogs/soundc ... =sharedUrl

[Otis Westinghouse]

You guys rock, as they say. Listening to the Peter Beets youtube link. Lovely stuff. As a lifelong (almost) lover of Chopin and very much the Nocturnes as part of that, I love this treatment and note with joy that the album is on Spotify (and sounds great after a quick sampling), as is the Lee Morgan one (ditto - love that opening track!).

And great news indeed that there's a new Tracey T one coming. Not mad about Christmas albums as a rule, though I do have a couple by Kate Rusby that I like to dust off each year along with the King's College Choir one. Will definitely get this, though, and like the fact that a lot of it seems to be wintry more than Christmassy per se. I totally loved 2010's Love and Its Opposite and am hungry for more. Nice that there's a new original of hers opening it, which sounds great, and also that two of my utter heroes have songs on it: Ron Sexsmith and Green Gartside. She obviously loves Ron as she did a great cover of his Child Star as a bonus track for the above album. Green's 'Snow In Sun' was the standout track from his last album (great lyrics), and have loved it live each time I've seen him. And he guests on another one, so brilliant stuff.

I have the day at home with a chunk of it on the computer, so it's good to have a few hours quality listening lined up thanks to the two of you!

[Jack of All Parades]

This afternoon enjoying "The Movie Song Album"- Tony Bennett. He really extends himself on this record entertaining 12 movie themes with some tasteful arrangements provided by Johnny Mandel, Neal Hefti, Luiz Bonfa[along with his guitar] and three done by my father in law, Al Cohn, including a superb version of "Smile". The players include Zoot Sims, Jimmy Rowles and Tommy Flanagan. This is making for a subdued and reflective mood in my office space this afternoon. To think I found it for a $1.00 in a bin of discs. It pays to rummage now and then.

Here it is but it is not the album cover sweet-

http://youtu.be/CFMuPmtNwUw

[Jack of All Parades]

With all the 'blueness' invading life around me these days have been having a spirited session with Taj Mahal and that particularly powerful elixir of his- "Senor Blues"- he, with the help of this strong Horace Silver composition has me out of my seat, out of my muddied mind, and just enjoying the power of a great piece of music- sample for yourself:

http://youtu.be/DpPXgjsjgAw

[Jack of All Parades]

With the sun finally making a sincere effort to break through in the sky above my office after a sustained absence for over two weeks- been playing Madeleine Peyroux's "Dreamland". The sound of her distinct vocals and the musicianship of Marc Ribot are transforming a formerly gloomy day.

[Jack of All Parades]

The new one by Aimee Mann- "Charmer"- the title track is a keeper. It is deceptive in its plain yet elegant lyrical stanzas set to a blithe pop tune. It is withering in its self examination of one's own ego and the perceptions of one from within and without. The record has 'fun' tunes tied to some withering and caustic but perceptive lyrics- I am in love with the 'fight' metaphor used in the song "Slip and Roll". I am also so tired of people referring to her as that 'relationship' writing chick. She simply writes intelligent[and fun] songs about how humans treat one another[and themselves] and she happens to do it better than most. It is going to be an Aimee Mann day in the 'cube'.

[Otis Westinghouse]

Must get it. Love her writing and voice. She's playing London next year, but not sure I'll make it.

I'm listening to stuff as I reload my iPod. Makes me sad how much music I have and never get round to playing! I don't play music at work, maybe I should. Had a listen to Kind of Blue earlier. Sublime as ever. And then the song 'Together Alone' by Crowded House, which I played to death on its release. The Maori choir always make the hairs stand up on my neck, just an incredible sound with a beautiful melody and harmonies.

[invisible Pole]

Watching and listening to this:



One of the best concerts I’ve ever seen on DVD – beautiful songs, great voices, brilliant musicians and the feeling you are watching two friends who respect each other and who love to be back on the stage together.

Also just realized the lines “Can you imagine us years from today, sharing a park bench quietly, how terribly strange to be seventy” came true for them last year.

[Otis Westinghouse]

Wasn't aware of the above. I loved them as a teen and still do. Think I need this in the house. I read it's from 2004 and is half a live show and half recordings from 60s/70s.

I've recently been very taken with their cover of Jackson C Frank's 'Blues Run the Game'. Heard it on the radio, and found myself knowing it without realising where it was from, then found it was a bonus track on the Sounds of Silence reissue. Great song. Sad character, Jackson C Frank. his death is pretty grim, with a sad P Simon element to it:

http://en.wikipedia.org/wiki/Jackson_C._Frank

[invisible Pole]

Otis,
the main part is all live show from 2004, almost 30 songs!
Bonus features include the footage from 1969 tv special Songs for America.

It’s only 5.99 GBP from Amazon UK -
http://www.amazon.co.uk/Simon-Garfunkel ... 034&sr=1-2

Thanks for the link.
I wasn’t aware of the story behind "Blues Run The Game" writer. Truly depressing.

[Otis Westinghouse]

Ah I misread what Amazon said re Act 1 and Act 2 and thought the latter was all TV stuff, which seemed odd. they're also wrong if it was 1969!

£5.99 definitely worth investing for this, though in fact went for 'used - like new' for £4.26.

Only thing is current news is making me want to boycott Amazon with their (along with Starbucks and Google) policy of taking every last bit out of this country but not putting back what they owe. Still, our stupid fault for the legal loopholes.

[Jack of All Parades]

Continued exploration of Lee Morgan and his Blue Note catalog. Today- "Sonic Boom" a reissue of two previous recording dates from early 1967 featuring David "Fathead" Newman and Cedar Walton and Ron Carter and Billy Higgins and one from late 1969 with George Coleman on Tenor Sax. I am in love with the opening track "Sneaky Pete"- and its easy melodicism. That and the standard ballad "I'll Never Be the Same"- Morgan and Newman fit together like a glove in their playing. Most enjoyable.

[Poor Deportee]

Presently coming out of an extended period of obsessing over Dylan's Tempest. The latest album by the Tragically Hip, Now for Plan A, has helped me with this recovery through its impassioned and well-crafted rock-and-roll venting. The lead singer, Gordon Downie, certainly leaves his guts all over the floor on this one - anguish over his wife's breast cancer clearly shaping both the lyrics and the over-the-top vocal expiations. One of the record's calmer moments is here:

http://www.youtube.com/watch?v=iDrG-R8KRJ0

The Hip aren't for everyone, but they are THE band of my youth, and - unlike many fans who embraced them when they were kings of Canadian FM radio in the early 1990s - I've found them worth following over a long and somewhat uneven career. If you like cerebral rock music you might give them a look.

I recently came across A.C. Newman's latest and my initial impressions are of a highly melodic and intelligent pop album. He's best known for his work with The New Pornographers, who I never really flipped for, but this seems like a promising bet. More likely than the Hip, I think, to appeal to the sensibilities of this forum:

http://www.youtube.com/watch?v=oiecx_qqRiI

[Otis Westinghouse]

Don't know much of the above, though I've heard some of the new Pornographers along the way and like you not been overly into. I really liked TTH's Done and Done, had to play it twice through, talking of which, the way he adds 'through and through' after lots of 'We're through's is perfect. Great song. Also liked the AC Newman so followed the link advice to download.

Am a bit jealous of your obsessing over Dylan. Haven't got it yet and very much fear that in common with all his recent ones I'd play once or twice and not really want to hear it much more, but either way, obsessing is a great thing. That feeling of not being able to hear a song enough times, like a dependency, like falling in love anew. I crave that in music, and I guess it's what makes me want to always buy more, the desire to have that hit and not fearing that songs you might take to the grave are out there and you missed them.

[Jack of All Parades]

AC played in my city not too long ago at a little comedy club I enjoy on Main Street as part of a comedy show. I am a bigger fan of the Pornographers than either of you two- my middle daughter and I are always dancing to them. He has a solid way with a pop hook and melody and when he is on, like his new solo record, he can be most entertaining. He is definitely worth giving a listen.

[Poor Deportee]

Well, Otis, sometimes we just can't hear what's there in a given case. I'm that way with Neil Young - as admirable as he is, I have never been able to 'go deep' into his music, for whatever reason; and in fact these fanatical Young fans irritate me. This seems to be your situation with late-era Dylan, a situation shared by a small but vocal minority of Dylan fans, if the Expecting Rain site is any guide. When it comes to Bob, I myself am somewhat tone-deaf when it comes to his early 'folkie' stuff.

On the wider point - a certain diminishing pleasure from music as years grind on - you describe a poignant and common scenario. Off the cuff, I think I'd propose three explanations. One is that years of listening lend themselves to a certain 'heard it all' experience; without claiming to be some musical expert (far from it), popular music in general no longer seems like this fantastic chest of wonders opening up - rather it all sounds like variations on themes I've heard before. So I still enjoy it, but that electrifying element of newness is rarely accessible to me anymore. I remember Elvis saying somewhere that he 'processes' music much more quickly than he did when he was younger; same idea. A new album that might have taken me months to full absorb when I was 19 now takes far less than that.

Another issue is the existential/identity factor. When you're young and still forming your own identity, it's natural to look to artists, including popular musicians, for inspiration and clues about what stance to take toward the world. I remember being 16 or 17 and hearing Sting chant, be yourself, no matter what they say, and holding onto that like a lifeline. Similarly, Elvis's cuttingly more-incisive-than-thou attitude influenced me to a degree, at a certain point in my life. Once our identities stabilize (more or less), I think music becomes less pregnant with this kind of personal meaning.

Finally, there is the problem of expectations. One only need to peruse message boards relating to veteran acts to see the constant tendency to want artists to be essentially what they were 10, 20, 30 years ago. Indeed, there seems to be a kind of anxiety about this: that our musical heroes will let us down. For me, it is absolutely key to relax and take music for what it is, on its own terms, rather than insist on it doing what it used to do - both when it comes to specific artists and to music in general. This attitude yields so much more pleasure than anxiously fretting over whether the new album 'ranks' up there with some old classic, or whether this show/musical experience is 'doing for me' what some analogue did 20 years earlier, I can't recommend it enough!

[Otis Westinghouse]

Interesting points, and I wouldn't argue against any of them, although in my case not related to a diminishing pleasure. Maybe heady rushes are harder to come by, but in many ways pleasure increases as with many other spheres because when it comes to music that was great in its day and still is I never lose the original sense of a thrill when I go back to it as well as hearing new things. Harder to get the same thrill because, yeah, you've heard a lot by know and true originality doesn't hit too often, but when it hits, it hits as it always did.

I'm often impressed by how cool my tastes were as a teen. There's a core to my CD collection which is very in line with my vinyl one. Often newer stuff I've liked was influenced by the stuff I was into before. I find that if I go back to earlier stuff that my older siblings had before I'd really got there, it has a resonance that would be lost otherwise. Probably I wouldn't be anything like as into Neil Young if I hadn't grown up hearing his classics, as well as his cool mid-70s stuff (how can you not adore him???). I rediscovered my CD of Goodbye Yellow Brick Road the other day and the title track always blows me away. In a similar way, I've been meaning to get Dark Side of the Moon for some day as it was a huge part of my collection as a 12 year old.

I've got as far as John Martyn in reloading my iPod. Not mentioned much around here (apart from Ready To Hear The Worst a few years back!), and someone I only really explored as an adult. had the pleasure of seeing him on his last tour, a bloated whale, but still brilliant. His best is up there with almost anybody's, and for a certain mood or vibe there's stuff of his that no-one else can come close to. I'm sure there are songs from his wide body of work I haven't heard yet that would be profound landmarks in my head. The last one I discovered was 'Spencer The Rover' off Sunday's Child. An old folk song, very simple arrangement, it shows why his voice, guitar and vibe were uniquely wonderful. He was such an alcoholic that I think he developed a style of singing where everything is slurred in a somewhat pissed way, and yet an amazing purity comes through. Remarkable.

[Jack of All Parades]

I have greatly enjoyed the give and take on this topic by both of you. I sit with Otis on this one as those artists, performers and musicians who fired my imagination most as a youth continue to hold me in their sway. Even after decades of familiarity with my favorites they can still give me a new jolt from time to time. The good ones have a depth in their best work to hold me and still shock me from time to time.

I really like PD's notion that you live in the moment with a given artist- I know there is a body of work but I always try to listen, view or read in the here and now with my favorites. I still try to be 'myself' in my critical choices and hope I never fall into the trap of becoming so jaded that there will never seem nothing new coming to catch my imagination. If anything my advancing years allow me to listen afresh to what enchanted me so many years ago with ears and eyes enhanced by years of listening and viewing and reading. I still hope, like Otis, that there is something new out there.

[Poor Deportee]

Hmm, I think my use of the phrase 'diminishing pleasure' may have been poorly advised...I wasn't trying to say I enjoy music less. More that I enjoy it differently...the excitement factor that comes with novelty has definitely receded, and so has the 'identity' factor. It no longer seems like life and death to me, as it once did. But it still gives me a lot of satisfaction.

As for the geniuses? Yep, I can listen to a great album 20 years on and still be excited by it. But not in the same way that I was when I first heard it, obviously! The real problem is the seeming lack of new talent on the scale of early Elvis or Dylan. It may be out there, but I'm not hearing it.

Neil Young: again, I'm not slagging the guy, and I like a lot of his music. It's just that he - like Joni Mitchell - never consumed my imagination as he's done for others. As for Pink Floyd, I actively loathe what I regard as their utterly humourless, ponderous music. I'll never win the argument, but neither will I ever inflict their stuff upon myself if I can help it!!