Mark-T
Well-Known Member
See if you can find her duet with Paul Simon on "Something So Right". It's truly beautiful!
The Now Spinning/Recent Purchases Thread
- Thread starter Rudy
- Start date
I found this one while looking through Roon Player. It dates back to 1961.
"Hey" Lewis is Louis Hayes. All the musicians were born in the Detroit area, except for Paul Chambers who was born in Pittsburgh but moved to Detroit at 13 years old to live with his father, after his mother passed.
"Hey" Lewis is Louis Hayes. All the musicians were born in the Detroit area, except for Paul Chambers who was born in Pittsburgh but moved to Detroit at 13 years old to live with his father, after his mother passed.
I had a couple of new arrivals yesterday. I missed out on buying the Johnny Hammond album Gears (which was on the Jazz Dispensary series by Craft Recordings), but got a tip from another forum that one of the Shuga Records stores in Chicago had them in stock, and indeed they were, and at the original price. (Already, price gougers are asking $100+ on Discogs. 
)
The other is a recent reissue, the Astrud Gilberto with Turrentine album on CTI. This is a new pressing from Music on Vinyl. The label color is off (too orange), but here's a couple of interesting photos...
It's a green pressing that leans towards turquoise (it's a little more blue, and lighter, in the photo here). And in typical MoV fashion, the pressing is flawless. It's probably digitally mastered but, if Columbia provided them, it's probably a high-res transfer straight from their vaults.
The jacket was even more interesting. It's textured. In sort of a cross-hatched fashion. It has a unique, high-end feel to it.
I had to photograph the cover at an odd angle in the sulight and enhance it to show off the grain, but the cover art is otherwise very clear when looking at it normally.
)The other is a recent reissue, the Astrud Gilberto with Turrentine album on CTI. This is a new pressing from Music on Vinyl. The label color is off (too orange), but here's a couple of interesting photos...
It's a green pressing that leans towards turquoise (it's a little more blue, and lighter, in the photo here). And in typical MoV fashion, the pressing is flawless. It's probably digitally mastered but, if Columbia provided them, it's probably a high-res transfer straight from their vaults.
The jacket was even more interesting. It's textured. In sort of a cross-hatched fashion. It has a unique, high-end feel to it.
I had to photograph the cover at an odd angle in the sulight and enhance it to show off the grain, but the cover art is otherwise very clear when looking at it normally.
Bobberman
Well-Known Member
That Blue Vinyl Is Beautiful. Very Nice.I had a couple of new arrivals yesterday. I missed out on buying the Johnny Hammond album Gears (which was on the Jazz Dispensary series by Craft Recordings), but got a tip from another forum that one of the Shuga Records stores in Chicago had them in stock, and indeed they were, and at the original price. (Already, price gougers are asking $100+ on Discogs.
The other is a recent reissue, the Astrud Gilberto with Turrentine album on CTI. This is a new pressing from Music on Vinyl. The label color is off (too orange), but here's a couple of interesting photos...
It's a green pressing that leans towards turquoise (it's a little more blue, and lighter, in the photo here). And in typical MoV fashion, the pressing is flawless. It's probably digitally mastered but, if Columbia provided them, it's probably a high-res transfer straight from their vaults.
The jacket was even more interesting. It's textured. In sort of a cross-hatched fashion. It has a unique, high-end feel to it.
I had to photograph the cover at an odd angle in the sulight and enhance it to show off the grain, but the cover art is otherwise very clear when looking at it normally.
Annie Lennox' Bare (2003) yesterday and so far this morning, Billy Joel's The Bridge (1986). Thanks to the Grammys for the kick in the memory bank. I actually owned The Bridge back in the day and had completely forgotten it. It's actually a very solid album.
About to start Caymmi's Grandes Amigos with Nana, Dori and Danilo Caymmi.
About to start Caymmi's Grandes Amigos with Nana, Dori and Danilo Caymmi.
jfiedler17
Well-Known Member
Well, you certainly can't go wrong with anything by Lennox. I think my favorite of her solo outings is Songs of Mass Destruction ("Fingernail Moon" in particular is one of the prettiest songs I've ever heard by anyone), but, really, they're all wonderful.
And The Bridge is an immensely underrated album. I don't think it did quite as well commercially as his other '80s or '90s releases, but I actually find it way more consistent from start to finish than most of his post-Glass Houses albums except for maybe An Innocent Man. [For some reason, I've always been very lukewarm to Storm Front, though I like "Extremes" and "And So It Goes." To my ears, at least, The Bridge strikes me as being the superior album.] "A Matter of Trust" and "This Is the Time" are both excellent singles (the former may be uncharacteristically hard-rocking compared to his usual output, but it still sounds great and is easily one of my favorite sets of lyrics he's ever penned). "Modern Woman" might be a little dated lyrically, but it's still more infectious than most people probably remember since you almost never hear it on the radio these days. And "Running on Ice," "Big Man on Mulberry Street" (which I can never hear these days without thinking about that Moonlighting sequence it accompanied), "Baby Grand," and "Code of Silence" are all outstanding album cuts. ("Code of Silence" really could have been a huge hit in its own right if it had been issued as a single, I think. One of his most underrated songs.)
Last night while making tacos (and enjoying a margarita or three while cooking them) I put on BMB's Head's Up. I followed that with an I.R.S. guilty pleasure, playing Tom Robinson 's 2nd I.R.S. album, North by Northwest. Robinson was an interesting discovery for me.
I'd never heard of him until his first I.R.S. LP, Sector 27 (which was both the album. title and the name of his band on the project). At the time one of my Navy roommates -- shocked that I was listening to Robinson -- asked/told me, "Why are you listening to him? You know he's a f**!" To which I said, "Really? I just like the music." I WILL admit the lyrics took on a completely different meaning with that new found knowledge and (even though I'm not gay) I sought out his two previous albums and continued to buy his new realeases for years to come. He has great voice and his lyrics often have a wicked wit.
What got me with North by Northwest is that two of the songs are co-written by Peter Gabriel, something I hadn't noticed on my previous listenings (which were decades ago). Of the two "Atmospherics (Merrily Up On High)" is the best cut. And the closing song (my favorite on the album), "Love Comes" is a cover of a tune by Lewis Furey, from Furey's own A&M album from 1976.
Another interesting fact about Robinson was that in the early 2000's an investigative reporter discovered Robinson was actually a sort of "reverse Rock Hudson," tracking Robinson to a woman's home and discovering he had a long running relationship (possibly even being married) with her having even fathered children. Seems we're all human!
--Mr. Bill
I'd never heard of him until his first I.R.S. LP, Sector 27 (which was both the album. title and the name of his band on the project). At the time one of my Navy roommates -- shocked that I was listening to Robinson -- asked/told me, "Why are you listening to him? You know he's a f**!" To which I said, "Really? I just like the music." I WILL admit the lyrics took on a completely different meaning with that new found knowledge and (even though I'm not gay) I sought out his two previous albums and continued to buy his new realeases for years to come. He has great voice and his lyrics often have a wicked wit.
What got me with North by Northwest is that two of the songs are co-written by Peter Gabriel, something I hadn't noticed on my previous listenings (which were decades ago). Of the two "Atmospherics (Merrily Up On High)" is the best cut. And the closing song (my favorite on the album), "Love Comes" is a cover of a tune by Lewis Furey, from Furey's own A&M album from 1976.
Another interesting fact about Robinson was that in the early 2000's an investigative reporter discovered Robinson was actually a sort of "reverse Rock Hudson," tracking Robinson to a woman's home and discovering he had a long running relationship (possibly even being married) with her having even fathered children. Seems we're all human!
--Mr. Bill
jfiedler17
Well-Known Member
Robinson and Gabriel have collaborated on more than one occasion, too! My favorite song on the second Tom Robinson Band album, "Bully for You," is also a co-write with Gabriel, who composed the music for the tune. (Fabulous song, too.)
Robinson is immensely underrated here in the U.S., where I don't believe he's ever so much as cracked the Hot 100. I love his melodic abilities, though. He's equally great at crafting both an infectious hook ('specially on the likes of "2-4-6-8 Motorway," which is one of the catchiest songs most Americans have never heard) and a stunningly pretty melody line like that of "War Baby." I can't say as I've ever heard any album by him - whether with the TRB, Sector 17, or as a solo artist - that wasn't a sheer delight to listen to.
Well that's interesting--I never noticed that! I've listened to the LP but didn't pay much attention to the songwriting credits.
Casa Rudy has gone to the Byrds...
I nabbed a couple more titles on sale. This one was recorded at Montreux in July 1973, but was only just released in 2022 on what would have been Donald Byrd's 90th birthday.
Musically, I get the impression that many of Byrd's albums from this period were like a more accessible take on what Miles Davis was doing at the time. Blue Note's store gives a good explanation of the album and its significance. While the following doesn't make note of it, some of the musicians were students of Byrd's at the university he taught at.
I nabbed a couple more titles on sale. This one was recorded at Montreux in July 1973, but was only just released in 2022 on what would have been Donald Byrd's 90th birthday.
Musically, I get the impression that many of Byrd's albums from this period were like a more accessible take on what Miles Davis was doing at the time. Blue Note's store gives a good explanation of the album and its significance. While the following doesn't make note of it, some of the musicians were students of Byrd's at the university he taught at.
In July 1973, Blue Note Records headed to Montreux, Switzerland to showcase several of the label’s stars at the Montreux Jazz Festival. Produced by Blue Note President George Butler, live albums all titled Live: Cookin’ with Blue Note at Montreux followed from vibraphonist Bobby Hutcherson, organist Ronnie Foster, flutist Bobbi Humphrey, and vocalist Marlena Shaw, but one of the performances by trumpeter Donald Byrd remained unreleased in the Blue Note vaults, until now.
That summer, Byrd was fresh off the release of his hit crossover fusion album Black Byrd, the first of his innovative and incredibly successful studio collaborations with producer Larry Mizell. But in a live setting the band had a rawer, harder edge, as this searing set attests. Byrd led a 10-piece band that included Larry Mizell on synthesizers, Fonce Mizell on trumpet and vocals, Allan Barneson tenor saxophone and flute, Nathan Davis on soprano and tenor saxophone, Kevin Toney on electric piano, Barney Perry on electric guitar, Henry Franklin on electric bass, Keith Killgo on drums, and Ray Armando on congas and percussion. The set list includes Larry Mizell’s tune “Black Byrd” along with otherwise unrecorded Byrd originals like “The East,” “Kwame,” and “Poco-Mania,” as well as an excellent cover of Stevie Wonder’s “You’ve Got It Bad Girl.”
Live: Cookin’ with Blue Note at Montreux is released on what would have been the legendary trumpeter’s 90th birthday—December 9, 2022—and is available on Blue Note Store exclusive blue vinyl, black vinyl, CD, and digital download. The vinyl release is all-analog and mastered by Kevin Gray.
The other Byrd that came to roost is Ethiopian Knights. This one was part of the Blue Note 80th anniversary vinyl releases, and feature Kevin Gray's mastering, and pressing at Optimal.
Notable for those who care, this group of Byrd's recorded the album at A&M Studios.
It's a groovin' set of jazz/funk tracks. Enjoying it so far! This album was recorded just prior to the landmark Black Byrd album, which was his first of a handful to feature the Mizell brothers, and also became the biggest selling album in Blue Note's history.
As there is only a 75th anniverary reissue of Black Byrd, I'm going to pass on it. Popular as it was, I suspect it may show up in the Classic Vinyl series. (The 75th anniverary vinyl series was digitally sourced and sounds kind of flat, and the pressing quality was uneven at best.)
Notable for those who care, this group of Byrd's recorded the album at A&M Studios.
It's a groovin' set of jazz/funk tracks. Enjoying it so far! This album was recorded just prior to the landmark Black Byrd album, which was his first of a handful to feature the Mizell brothers, and also became the biggest selling album in Blue Note's history.
As there is only a 75th anniverary reissue of Black Byrd, I'm going to pass on it. Popular as it was, I suspect it may show up in the Classic Vinyl series. (The 75th anniverary vinyl series was digitally sourced and sounds kind of flat, and the pressing quality was uneven at best.)
About to take off for nearly three weeks visiting the grandkids, so don't be alarmed if I'm not on.
A quick catch-up on albums I've listened to the past couple of days: Caymmi's Grandes Amigos from 1986 (more of a Danilo Caymmi album, but Dori's on it), Ahmad Jamal's Chamber Music of the New Jazz (1955), and Stacey Kent's The Changing Light. All highly recommended.
A quick catch-up on albums I've listened to the past couple of days: Caymmi's Grandes Amigos from 1986 (more of a Danilo Caymmi album, but Dori's on it), Ahmad Jamal's Chamber Music of the New Jazz (1955), and Stacey Kent's The Changing Light. All highly recommended.
Mark-T
Well-Known Member
Enjoy your time! It’s one of my favorite parts of getting older.
rockdoctor
Well-Known Member
jfiedler17
Well-Known Member
Very cool! I don't believe either of those even so much as saw a release on CD in the U.S., so it's nice to have those available again. Some excellent songs on both - I think "Not Tonight" is probably my favorite track on the former, while the title cut is my favorite on the latter. I'm not sure either of those songs saw release as a single, though.
I saw them on television just a few weeks ago (playing "Love Will Find a Way," though they also posted footage online later of them treating the studio audience to a second number, "Whatcha Gonna Do?"), which was a real treat to see, especially since I'm too young to have seen them play on television back when they were originally together. Lerios and Jenkins are the only ones still remaining in the lineup from the 1975-1983 era, but the band still sounded superb. Jenkins split vocal duties with a new member who can better handle the higher parts, but the band's instrumental chops were still fully intact, and their harmonies are still as spot-on and distinctive as ever. I was really floored by how good they still sounded.
rockdoctor
Well-Known Member
I have the lp's A Place In The Sun and Worlds Away plus their 20th Century Masters Millennium Collection CD.
They all get into rotation for play.
GDBY2LV
Well-Known Member
I was very lucky to find this on EBay a week ago. Great price. Another seller was asking $300 for it. Ouch! I got it for about 10% of that price. It has two cuts that aren’t on From The Top. Crescent Noon, Karen on lead vocal, 1969, and Ain’t Got Time To Die, the choir, with Richard on piano,1968. Karen only sings about 25% of Crescent Noon by herself. The rest is the choir singing. Wanda Freeman sings We’ll Kneel with the choir, from 1970, for anyone that might be interested. Both sides of the record jacket list everyone who sang in the A Capella/University Choir from 1959-1984 in alphabetical order.
Mark-T
Well-Known Member
Never even heard of this one! Incredible!I was very lucky to find this on EBay a week ago. Great price. Another seller was asking $300 for it. Ouch! I got it for about 10% of that price. It has two cuts that aren’t on From The Top. Crescent Noon, Karen on lead vocal, 1969, and Ain’t Got Time To Die, the choir, with Richard on piano,1968. Karen only sings about 25% of Crescent Noon by herself. The rest is the choir singing. Wanda Freeman sings We’ll Kneel with the choir, from 1970, for anyone that might be interested. Both sides of the record jacket list everyone who sang in the A Capella/University Choir from 1959-1984 in alphabetical order.
Stevenj
Well-Known Member
Reminds me of some Isaac Hayes from that era. It was so good!Casa Rudy has gone to the Byrds...
I nabbed a couple more titles on sale. This one was recorded at Montreux in July 1973, but was only just released in 2022 on what would have been Donald Byrd's 90th birthday.
Musically, I get the impression that many of Byrd's albums from this period were like a more accessible take on what Miles Davis was doing at the time. Blue Note's store gives a good explanation of the album and its significance. While the following doesn't make note of it, some of the musicians were students of Byrd's at the university he taught at.
In July 1973, Blue Note Records headed to Montreux, Switzerland to showcase several of the label’s stars at the Montreux Jazz Festival. Produced by Blue Note President George Butler, live albums all titled Live: Cookin’ with Blue Note at Montreux followed from vibraphonist Bobby Hutcherson, organist Ronnie Foster, flutist Bobbi Humphrey, and vocalist Marlena Shaw, but one of the performances by trumpeter Donald Byrd remained unreleased in the Blue Note vaults, until now.That summer, Byrd was fresh off the release of his hit crossover fusion album Black Byrd, the first of his innovative and incredibly successful studio collaborations with producer Larry Mizell. But in a live setting the band had a rawer, harder edge, as this searing set attests. Byrd led a 10-piece band that included Larry Mizell on synthesizers, Fonce Mizell on trumpet and vocals, Allan Barneson tenor saxophone and flute, Nathan Davis on soprano and tenor saxophone, Kevin Toney on electric piano, Barney Perry on electric guitar, Henry Franklin on electric bass, Keith Killgo on drums, and Ray Armando on congas and percussion. The set list includes Larry Mizell’s tune “Black Byrd” along with otherwise unrecorded Byrd originals like “The East,” “Kwame,” and “Poco-Mania,” as well as an excellent cover of Stevie Wonder’s “You’ve Got It Bad Girl.”Live: Cookin’ with Blue Note at Montreux is released on what would have been the legendary trumpeter’s 90th birthday—December 9, 2022—and is available on Blue Note Store exclusive blue vinyl, black vinyl, CD, and digital download. The vinyl release is all-analog and mastered by Kevin Gray.
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