In the same month Joe Henry produced Ramblin' Jack Elliott's A Stranger Here, he produced Allen Toussaint's Bright Mississippi with a brilliant cast of musicians and a seemingly random but ultimately well-linked group of songs. It's amazing to me that Joe Henry can produce this many excellent records at this pace and still be a relative unknown. Put him in the same class as Nigel Goodrich or T-Bone Burnett any day.
The stellar acoustic guitar work comes from Marc Ribot, who made his name playing on Tom Waits' Rain Dogs. Nicholas Payton's trumpet playing is the right combination of lazy and technical, making him ideal for any New Orleans jazz record. The best cameo is on a cover of Jelly Roll Morton's "Winin' Boy Blues", a soulful piano duet between Toussaint and Brad Mehldau.
Other essential tracks for modern jazz lovers are the bluesy clarinet take on "Just A Closer Walk With Thee", the uplifting title track, and the stunning cover of Duke Ellington's "Solitude" (one of Ribot's finest moments). This entire album is a joy to hear and a testament to one of the greatest jazz musicians alive.
It's been a great year for the over-60 crowd, and Bob Dylan has a new record on Tuesday. More on that in a few days...
Sunday, April 26, 2009
Sunday, April 19, 2009
Ramblin' Jack Elliott's "A Stranger Here"
The second I read the names Joe Henry, Van Dyke Parks, and Ramblin' Jack Elliott in the same sentence, I knew I had to own this record. I didn't even need to hear anything first. Joe Henry is one of the decade's most underrated artists - his last two records (Civilians and Tiny Voices) were largely overlooked masterpieces. Everything Van Dyke Parks touches is gold, from Brian Wilson's finally-completed Smile to Joanna Newsom's epic Y's to reviving the career of Silverchair - and that's only some of what he's done in the last 5 years. Ramblin' Jack Elliott is a 77 year old folk legend. Get these three together, something special will happen.
Like Dylan and Waits in recent years, he delivers something new by drawing songs from the past - in this case an era that none of us are old enough to remember - the depression of the 1930's. Aside from Jack's voice, the barroom piano playing of Van Dyke Parks is what dominates this record. David Hidalgo's accordion adds a great south-of-the-border feel to a desperate take on Leroy Carr's "How Long Blues". The record's centerpiece is a cover of Rev. Gary Davis's "Death Don't Have No Mercy"; the interplay of Park's frantic piano playing and the dark marching baseline make it the most unnerving six minutes of music I've heard this year.
After flashy upbeat records by Bruce Springsteen and Prince failed to keep our attention, Jack used the simplicity of depression-era blues to deliver one of the year's best albums. Good luck finding a copy of it.
Like Dylan and Waits in recent years, he delivers something new by drawing songs from the past - in this case an era that none of us are old enough to remember - the depression of the 1930's. Aside from Jack's voice, the barroom piano playing of Van Dyke Parks is what dominates this record. David Hidalgo's accordion adds a great south-of-the-border feel to a desperate take on Leroy Carr's "How Long Blues". The record's centerpiece is a cover of Rev. Gary Davis's "Death Don't Have No Mercy"; the interplay of Park's frantic piano playing and the dark marching baseline make it the most unnerving six minutes of music I've heard this year.
After flashy upbeat records by Bruce Springsteen and Prince failed to keep our attention, Jack used the simplicity of depression-era blues to deliver one of the year's best albums. Good luck finding a copy of it.
Thursday, April 16, 2009
Bat For Lashes
Prompted by Pitchfork's recent review, I picked up a copy of Bat For Lashes Two Suns this past week. This album has a few strong moments, but ultimately pales in comparison to any Portishead record or the first few by Tori Amos, all of which you can't help but compare it to.
A few highlights come to mind: the opener, "Glass", uses pounding drums to chilling effect, and he voice lifts an octave beautifully on the chorus. The piano rhythm with the organ behind it is chilling on the waltzing ballad "Moon And Moon", although the whole song feels like it's building to something that doesn't happen. The track on the album that interested me the most is "The Big Sleep", but that is a result of my surprise that the famously reclusive Scott Walker would do a duet with anybody. As the king of haunting art-rock, there really isn't anybody better to sing counter melodies if creepiness and loneliness are the desired effect.
Not a bad album - definitely a musician to keep an eye on in the future if you love the Feist/Cat Power/Joanna Newsome set.
A few highlights come to mind: the opener, "Glass", uses pounding drums to chilling effect, and he voice lifts an octave beautifully on the chorus. The piano rhythm with the organ behind it is chilling on the waltzing ballad "Moon And Moon", although the whole song feels like it's building to something that doesn't happen. The track on the album that interested me the most is "The Big Sleep", but that is a result of my surprise that the famously reclusive Scott Walker would do a duet with anybody. As the king of haunting art-rock, there really isn't anybody better to sing counter melodies if creepiness and loneliness are the desired effect.
Not a bad album - definitely a musician to keep an eye on in the future if you love the Feist/Cat Power/Joanna Newsome set.
Saturday, April 11, 2009
Leonard Cohen live
One of music's great recluses has returned after disappearing for a half decade. Fresh out of a 5 year stint in a Buddhist monastery and a bizarre court case where a former manager stole his retirement money, Leonard Cohen is selling out shows worldwide by reforming his catalog around a varied 9-piece backing band. His recently released double disc set Live In London brilliantly documents his return.
Playing a little of everything from his stunning 1967 debut record on, Leonard keep these tunes intimate while giving them an arena filling, layered sound. Even as brilliant as the songs themselves are, nothing shines on this record like his calm, humble personality and his dark humor. One song starts with him talking about how he spent time studying religion and philosophy but "cheerfulness keeps breaking through". The crowd hangs on his every word and he repeatedly thanks them and refers to them as his friends. This guy has charisma on a Barack Obama scale.
Quick tangent: I can see why most good live records are recorded in England. They know exactly when to clap and when to listen. No random yelling during soft songs. They allow the performer to speak between tunes. This cannot happen in the US. Someday, I will make a pilgrimage to London just to go to shows. Someday.
"Everybody Knows" is a highlight; over a dark, driving baseline, he softly rants about how screwed the world is. On the other hand, "Hallelujah" is a angelic blast of gospel folk; he reclaims one of rock's most covered songs as his own. Some tracks, particularly "I Tried To Leave You", are a series of solos linked by short choruses. This record isn't a solo show - he allows every member of the band to shine and individually acknowledges them more times than I've ever heard.
Whether you are a fan or taking a first listen to Cohen's catalog, this is a powerful performance. It is doubtful that a better live record will be released this year.
(Leonard - would it trouble you too much to play a show in Florida? Please? I'll pay anything!)
Playing a little of everything from his stunning 1967 debut record on, Leonard keep these tunes intimate while giving them an arena filling, layered sound. Even as brilliant as the songs themselves are, nothing shines on this record like his calm, humble personality and his dark humor. One song starts with him talking about how he spent time studying religion and philosophy but "cheerfulness keeps breaking through". The crowd hangs on his every word and he repeatedly thanks them and refers to them as his friends. This guy has charisma on a Barack Obama scale.
Quick tangent: I can see why most good live records are recorded in England. They know exactly when to clap and when to listen. No random yelling during soft songs. They allow the performer to speak between tunes. This cannot happen in the US. Someday, I will make a pilgrimage to London just to go to shows. Someday.
"Everybody Knows" is a highlight; over a dark, driving baseline, he softly rants about how screwed the world is. On the other hand, "Hallelujah" is a angelic blast of gospel folk; he reclaims one of rock's most covered songs as his own. Some tracks, particularly "I Tried To Leave You", are a series of solos linked by short choruses. This record isn't a solo show - he allows every member of the band to shine and individually acknowledges them more times than I've ever heard.
Whether you are a fan or taking a first listen to Cohen's catalog, this is a powerful performance. It is doubtful that a better live record will be released this year.
(Leonard - would it trouble you too much to play a show in Florida? Please? I'll pay anything!)
Wednesday, April 8, 2009
Pearl Jam's "Ten"
I just saw a sign that I am getting old. They just release a 20-year reissue of Pearl Jam's Ten. Granted they cheated - this album is only 18 years old, but this still seems too soon.
I think this has already clinched the "overdone reissue of 2009" award. You can get a 2-disc set with the album remixed ($17), a 2 CD/1 DVD set with their MTV Unplugged set ($40), or a 2-LP set ($30). Or, if this recession isn't bothering you at all, for the low price of $180 you can get all of this plus a reproduced notebook (why?), a live show, and a reproduced cassette of Eddie Vedder's audition for the band (again, why?). For $180, I think they should have included Vedder's hair or toenail clippings, but that's just me.
With all of these options, I did what many PJ fans probably did: I pulled out my worn old copy and listened to it every day this week. I still find the murky production charming. The drum part at the end of "Alive" sounds messier as it goes along, like the drummer might die before he gets through the song. Because they turned the amps up, "Black" and "Jeremy" never sound like the ballads they were probably meant to be. This was a garage band making a record that would be an underground record had it come out one year earlier, but instead it sold 13 million copies and became one of the defining records of the 90's. What's not to love?
Two decades later, I still am trying to figure out half the lyrics to "Even Flow". I still think of that creepy glare Eddie does for the video whenever I hear "Jeremy". I still think "Alive" has one of the greatest air guitar solos since "Free Bird". I still try to mumble and scream along with the vocals in "Once". This album is our generation's version of Led Zeppelin 4 and Back In Black. Every spin of this one takes us back to those few years where rock was revived, before Kurt Cobain killed himself and grunge was reduced to the Nickelbacks and Creeds of the world.
There are a lot of revisionist historian critics who will try to tell you that Pavement's Slanted And Enchanted is the "real" important rock record of the early 90's, and I understand - if screeching guitars and atonal singing are your idea of good rock music, that's your monument. Pearl Jam went on to do other great albums (actually, I thought Vs. was an ever better one), but after Ten, can you remember another rock album that changed American youth culture like this one did?
These reissues are great if you lost your old copy, but otherwise, there's no improving something that was perfect in the first place.
I think this has already clinched the "overdone reissue of 2009" award. You can get a 2-disc set with the album remixed ($17), a 2 CD/1 DVD set with their MTV Unplugged set ($40), or a 2-LP set ($30). Or, if this recession isn't bothering you at all, for the low price of $180 you can get all of this plus a reproduced notebook (why?), a live show, and a reproduced cassette of Eddie Vedder's audition for the band (again, why?). For $180, I think they should have included Vedder's hair or toenail clippings, but that's just me.
With all of these options, I did what many PJ fans probably did: I pulled out my worn old copy and listened to it every day this week. I still find the murky production charming. The drum part at the end of "Alive" sounds messier as it goes along, like the drummer might die before he gets through the song. Because they turned the amps up, "Black" and "Jeremy" never sound like the ballads they were probably meant to be. This was a garage band making a record that would be an underground record had it come out one year earlier, but instead it sold 13 million copies and became one of the defining records of the 90's. What's not to love?
Two decades later, I still am trying to figure out half the lyrics to "Even Flow". I still think of that creepy glare Eddie does for the video whenever I hear "Jeremy". I still think "Alive" has one of the greatest air guitar solos since "Free Bird". I still try to mumble and scream along with the vocals in "Once". This album is our generation's version of Led Zeppelin 4 and Back In Black. Every spin of this one takes us back to those few years where rock was revived, before Kurt Cobain killed himself and grunge was reduced to the Nickelbacks and Creeds of the world.
There are a lot of revisionist historian critics who will try to tell you that Pavement's Slanted And Enchanted is the "real" important rock record of the early 90's, and I understand - if screeching guitars and atonal singing are your idea of good rock music, that's your monument. Pearl Jam went on to do other great albums (actually, I thought Vs. was an ever better one), but after Ten, can you remember another rock album that changed American youth culture like this one did?
These reissues are great if you lost your old copy, but otherwise, there's no improving something that was perfect in the first place.
Saturday, April 4, 2009
Prince's New 3-Pack
Time to point out another of my flaws - I'm a sucker for a lot of music for a small price. I'll buy it even if I don't have any reason to believe it is good. It's something to listen to - and it was cheap!
So of course I jumped on it when Prince released a 3-disc set for $12 this week. Yes, I know that everything he has made since Sign O' The Times has been a mess. Even his best records since then (The Gold Experience, The Love Symbol, Musicology) aren't albums you'd ever want to hear start to finish. He hasn't done anything in that time that even approaches his unprecedented 1982-1987 run of records.
So now, we get three new albums, one of which is by his protege Bria Valente:
LotusFlow3r: Finally, Prince decided to make a blues-guitar Jimi Hendrix tribute album. The guitar playing is exceptional (even for him), but the singing is meandering and sometimes has no purpose - I really don't get the blurred vocal production in "Crimson and Clover". When he brings his R&B vocal styles back, he sounds more comfortable and makes some gems like "4Ever" and "Love Like Jazz". The overbearing politics in "Colonized Mind" are made up for with great soloing, and the second half of the record is more unrestrained (he even goes metal on "Dreamer"). Overall, this is one of the best discs he produced this decade. Not a bad track here.
MPLsound: After listening to the first disc, you may wonder to yourself: "what did he do with all of his generic, crappy dance tracks"? Here you go! "Chocolate Box" and "Dance 4 Me" would have sounded corny in 1985. "U're Gonna C Me" and "Better With Time" are love ballads that are so syrupy and sappy they make my stomach turn. "Here" is a lone gem on this album; its high-pitched sonics and acoustic rhythms make for the only memorable ballad worth salvaging. The $12 you paid were for the first disc - forget this one happened.
Elixer: The third disc is sung by Prince's protege and sound-alike Bria Valente. Her album can be best described as pleasant and unmemorable. Her voice doesn't vary in tone or pitch and the instrumentation is Prince-by-the-numbers. That's really all I can tell you.
To summarize, LotusFlow3r is a must-have for Prince fans. You have to buy the two other discs too, but at $12, this is still a good deal, but not a great one.
If you don't know Prince, ignore this and go buy Purple Rain, Sign O' The Times, Dirty Mind, and 1999 in that order.
So of course I jumped on it when Prince released a 3-disc set for $12 this week. Yes, I know that everything he has made since Sign O' The Times has been a mess. Even his best records since then (The Gold Experience, The Love Symbol, Musicology) aren't albums you'd ever want to hear start to finish. He hasn't done anything in that time that even approaches his unprecedented 1982-1987 run of records.
So now, we get three new albums, one of which is by his protege Bria Valente:
LotusFlow3r: Finally, Prince decided to make a blues-guitar Jimi Hendrix tribute album. The guitar playing is exceptional (even for him), but the singing is meandering and sometimes has no purpose - I really don't get the blurred vocal production in "Crimson and Clover". When he brings his R&B vocal styles back, he sounds more comfortable and makes some gems like "4Ever" and "Love Like Jazz". The overbearing politics in "Colonized Mind" are made up for with great soloing, and the second half of the record is more unrestrained (he even goes metal on "Dreamer"). Overall, this is one of the best discs he produced this decade. Not a bad track here.
MPLsound: After listening to the first disc, you may wonder to yourself: "what did he do with all of his generic, crappy dance tracks"? Here you go! "Chocolate Box" and "Dance 4 Me" would have sounded corny in 1985. "U're Gonna C Me" and "Better With Time" are love ballads that are so syrupy and sappy they make my stomach turn. "Here" is a lone gem on this album; its high-pitched sonics and acoustic rhythms make for the only memorable ballad worth salvaging. The $12 you paid were for the first disc - forget this one happened.
Elixer: The third disc is sung by Prince's protege and sound-alike Bria Valente. Her album can be best described as pleasant and unmemorable. Her voice doesn't vary in tone or pitch and the instrumentation is Prince-by-the-numbers. That's really all I can tell you.
To summarize, LotusFlow3r is a must-have for Prince fans. You have to buy the two other discs too, but at $12, this is still a good deal, but not a great one.
If you don't know Prince, ignore this and go buy Purple Rain, Sign O' The Times, Dirty Mind, and 1999 in that order.
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