The Now Spinning/Recent Purchases Thread

[Michael Hagerty]

Was Chicago's use of sequential Roman numerals in their album titles, inspired by the Superbowl?

I don’t think so. The Super Bowl was only four years old when Chicago first used the Roman numerals for Chicago III (the second album’s official title is just “Chicago”).

That was 1971, which was the first year the Super Bowl used Roman numerals.

Interestingly, that was the same year Santana released Santana III on the same label.

 

[Harry]

If you listened to any album rock radio, you probably heard it there. Frankly, I thought it should have been a single, and I vaguely recall having it in an oldies library at one of my stations.

That's probably it. I'm guessing that many stations that were airing it would have carted it up and probably faded out that cold moog ending. My brain seems to hear a fade-out.

 

[Rudy]

Chicago's Greatest Hits Vol. II had "Happy Man" on it, side two, track three, and appeared on a compilation or two following that (including Love Songs).

But (thanks to Discogs) the only place I see a separate release for "Wake Up Sunshine" that remotely resembles a single was on a flexi-disc, with Santana's "Treat" on the flip side. A promotional tie-in with a cosmetics company. There's a live version from 2018 (Chicago II: Live on Soundstage 2018). Otherwise, for hits packages, I got nothin'.

 

[Rudy]

Was Chicago's use of sequential Roman numerals in their album titles, inspired by the Superbowl?

I vaguely recall they were trying to make their albums appear as though they were parts of an "opus."

The logo was designed to look like an iconic American logo similar to Coca Cola.

 

[Harry]

But (thanks to Discogs) the only place I see a separate release for "Wake Up Sunshine" that remotely resembles a single was on a flexi-disc, with Santana's "Treat" on the flip side. A promotional tie-in with a cosmetics company. There's a live version from 2018 (Chicago II: Live on Soundstage 2018). Otherwise, for hits packages, I got nothin'.

Yeah, that's what I saw too. Not really an official single. I wonder if there's a fade-out on that - or that unsettling cold ending.

 

[Mr Bill]

More Accordion for your enjoyment...

 

[Michael Hagerty]

Yeah, that's what I saw too. Not really an official single. I wonder if there's a fade-out on that - or that unsettling cold ending.

Everyone here in the West played the ending. I never considered it unsettling.

 

[Harry]

Everyone here in the West played the ending. I never considered it unsettling.

Interesting.

 

[AM Matt]

The R&B soul group Brass Constuction (who did the 1976 song "Movin'") did the same numbers like the group Chicago did!!!

 

[Michael Hagerty]

To coin a phrase---"Baby, What A Big Surprise". Both Chicago X and Chicago XI are better than I remembered. It drops off fast after that, though (I'll hear the 12th album, Hot Streets, when I get to the "H"s).

The Chicago rabbit hole led me to Robert Lamm's albums, so I've gone back to the "B"s for his Bossa Project album from 2008. We'll see.

(UPDATE: Pass. No offense to Robert, but too many other people do those songs more to my liking. Back to the alphabet---The Chick Corea Songbook by Manhattan Transfer.)

 

[jfiedler17]

To coin a phrase---"Baby, What A Big Surprise". Both Chicago X and Chicago XI are better than I remembered. It drops off fast after that, though (I'll hear the 12th album, Hot Streets, when I get to the "H"s).

Yeah, for the most part, I myself can make do with the best-of packages from Chicago in lieu of the regular studio albums (even if there are a few singles of theirs I like that missed the Top 40 and consequently don't pop up on compilations, like "Gone Long Gone" or "Thunder and Lightning"), but there are some regular studio albums of theirs that seem to hold up better than the others and that I've held onto for that reason. For me, the top three are probably the first one, VI, and VII. X might've been better had they substituted some of the weaker cuts (i.e. "You Get It Up," "Skin Tight") with some of the songs from the same sessions that strangely missed the cut, like "Your Love's an Attitude" or "I'd Rather Be Rich," but it's still a better album than it tends to get credit for being. "If You Leave Me Now" may not sound very much like the band's usual style, but I still think it's a great piece of pop songwriting, and there are quite a few underrated cuts on it, particularly "Mama Mama" (one of Cetera's catchiest songs for the band to never get issued as a single) or "You Are on My Mind."

They still produced some fairly good soft-rock singles during the David Foster period, so I don't mind those years quite as much as others [even if I do still miss the greater emphasis on the horns and the tight interplay between Cetera's bass work and Seraphine's drums (those two always played so well off of each other)], but the band was never quite the same for me after Cetera's departure. The only one of their post-Cetera albums I find myself ever listening to is Stone of Sisyphus, which Warner Bros. kinda dropped the ball by not releasing when it was recorded. ("Bigger Than Elvis" could have been a big Adult Contemporary hit, at the least, I would think. That song is almost impossible for me not to listen to without tearing up just a little.)

Oh, and Rudy, I totally agree with your assessment of Depeche's Ultra. The first time I heard it, I was convinced for the first two songs that I was going to hate it ("Barrel of a Gun" may very well be the worst choice for a lead-off single they've ever gone with for any of their studio albums), but then "Home," "It's No Good," and "Useless" came on and totally made up for it. They've been a little hit-and-miss for me ever since Faith and Devotion. I did enjoy Exciter to a certain extent ("Dream On" and "Freelove" were both fairly infectious and hypnotic singles) and Playing the Angel slightly less so, but the next couple after that I just could not seem to warm up to at all. Memento Mori, on the other hand, though, I thought was their best album in decades. It's just a shame they don't get the radio play in the U.S. for their new material that they once did, because a song like "Ghosts Again" would have been huge for them had it come out during the band's peak years commercially.

 

[Rudy]

Memento Mori, on the other hand, though, I thought was their best album in decades. It's just a shame they don't get the radio play in the U.S. for their new material that they once did, because a song like "Ghosts Again" would have been huge for them had it come out during the band's peak years commercially.

I never did get around to listening to that album yet. The last few....yeah, a few earworms in the batch but nothing like Violator, that's for certain.

 

[hannahtobin]

Polka can be life-changing! And here's some gratuitous accordion.






From the Slavic side of the globe, an old favorite:




And who knew Serbia had an army orchestra?

Very magnificent.

 

[Michael Hagerty]

The Chick Corea Songbook by Manhattan Transfer led me to Chick himself ( a massive oversight on my part thus far). The Adventures of Hippocrates with Chick, John Harbison, Mark Neikrug and the Orion String Quartet is a classical work and just marvelous. Now listning to Chick's Antidote (feat. the Spanish Heart Band).

 

[Rudy]

I run hot and cold on Corea, but have a couple of favorites--I've found that his albums ranged from over-indulgent to brilliant. Crystal Silence and Duet (both with Gary Burton) are good ones on ECM, the latter having a duo version of "La Fiesta"* worth listening to. Also on ECM, Return to Forever is OK once you get past the weird/preachy (but minimal) lyrics by Neville Potter--its redeeming quality is having Stanley Clarke and Airto, and a side-long "Sometime Ago/La Fiesta."

Light as a Feather is the other of the two ECM recordings (when Corea named the band after that first album) and is the same vibe as the first, with the same lineup. For Return to Forever (the band), Return to the Seventh Galaxy covers the Polydor recordings, although the better collection (The Anthology) isn't up on streaming. I'd say No Mystery or Romantic Warrior would be the best bet for albums of the "classic" Clarke/Corea/Di Meola/White era. Avoid Musicmagic though--it's the third configuration of the band and Gayle Moran's vocals on that are widely panned for good reason.

On the GRP side with the Elektric Band, Eye of the Beholder is probably the most consistent of the bunch. My Spanish Heart is a highlight from the mid 70s.

If you're in the "C" portion of your lists, track down Captain Marvel (Stan Getz) as it's a similar lineup to those first two RTF albums, but more energetic. One of Getz's better albums, along with The Best of Both Worlds (the reunion with João Gilberto), both on Columbia.

* Side note--a talented trio in high school slightly altered the Corea/Burton arrangement of "La Fiesta" by adding an acoustic bass, which was the first time I'd heard the song. All three are now teaching at universities. They played at a pro level in their teens, the piano and bass/guitar being twin brothers, and the drummer living next door to them. Somewhere I have their performance recorded on cassette--they did three warm-up tracks before local saxophonist George Benson joined them for a long set.

 

[Rudy]

Tone Poet preordered. Not gonna miss this one.



No Horace Silver on the upcoming Classic Vinyl schedule though. Tokyo Blues, Horace-Scope, and Cape Verdean Blues could stand a freshening up either in CV or Tone Poet series. Cape Verdean Blues was released a decade ago but the quality was...not good.

 

[Rudy]

I've played this twice during the past week.



A memory from my high school years. The record still plays like new.

And it brings to mind another LP I can't find--Street Life. I'm very sure I didn't sell/trade/give it away, yet it's in none of the boxes and not in my vinyl shelving. There has to be a box or two misplaced somewhere. Two (?) copies of Cal Tjader's Soul Burst, the Paul Desmond AM+ version of From the Hot Afternoon, and a couple others are MIA.

 

[Bobberman]

I've played this twice during the past week.



A memory from my high school years. The record still plays like new.

And it brings to mind another LP I can't find--Street Life. I'm very sure I didn't sell/trade/give it away, yet it's in none of the boxes and not in my vinyl shelving. There has to be a box or two misplaced somewhere. Two (?) copies of Cal Tjader's Soul Burst, the Paul Desmond AM+ version of From the Hot Afternoon, and a couple others are MIA.

I have both Free as the wind and Street life on CD and those two along with Rhapsody and Blues are my top 3 Crusaders stand out favorites of course I have a few others along with a few Joe sample solo recordings but in the 80s I was really getting into this kind of jazz

 

[Rudy]

I have both Free as the wind and Street life on CD and those two along with Rhapsody and Blues are my top 3 Crusaders stand out favorites of course I have a few others along with a few Joe sample solo recordings but in the 80s I was really getting into this kind of jazz

I've been revisiting Ashes to Ashes lately.

 

[Bobberman]

I've been revisiting Ashes to Ashes lately.

Great album I also love Spellbound that is Definitely a companion to Ashes to Ashes in my opinion.

 

[hannahtobin]

I run hot and cold on Corea, but have a couple of favorites--I've found that his albums ranged from over-indulgent to brilliant. Crystal Silence and Duet (both with Gary Burton) are good ones on ECM, the latter having a duo version of "La Fiesta"* worth listening to. Also on ECM, Return to Forever is OK once you get past the weird/preachy (but minimal) lyrics by Neville Potter--its redeeming quality is having Stanley Clarke and Airto, and a side-long "Sometime Ago/La Fiesta."

Light as a Feather is the other of the two ECM recordings (when Corea named the band after that first album) and is the same vibe as the first, with the same lineup. For Return to Forever (the band), Return to the Seventh Galaxy covers the Polydor recordings, although the better collection (The Anthology) isn't up on streaming. I'd say No Mystery or Romantic Warrior would be the best bet for albums of the "classic" Clarke/Corea/Di Meola/White era. Avoid Musicmagic though--it's the third configuration of the band and Gayle Moran's vocals on that are widely panned for good reason.

On the GRP side with the Elektric Band, Eye of the Beholder is probably the most consistent of the bunch. My Spanish Heart is a highlight from the mid 70s.

If you're in the "C" portion of your lists, track down Captain Marvel (Stan Getz) as it's a similar lineup to those first two RTF albums, but more energetic. One of Getz's better albums, along with The Best of Both Worlds (the reunion with João Gilberto), both on Columbia.

* Side note--a talented trio in high school slightly altered the Corea/Burton arrangement of "La Fiesta" by adding an acoustic bass, which was the first time I'd heard the song. All three are now teaching at universities. They played at a pro level in their teens, the piano and bass/guitar being twin brothers, and the drummer living next door to them. Somewhere I have their performance recorded on cassette--they did three warm-up tracks before local saxophonist George Benson joined them for a long set.

That sounds like an incredible trio! It's impressive that they were performing at such a high level in high school and have since gone on to become university-level educators. It must have been an unforgettable experience to hear their rendition of "La Fiesta" with the added acoustic bass. Having a recording of their performance, especially with George Benson joining them for a set, must be a cherished keepsake.

 

[Rudy]

Interesting sidetrack:



I had watched a video of former Revolution guitarist Wendy Melvoin (daughter of LA session musician Mike Melvoin) giving a demonstration of her new pedal board, and she mentioned playing guitar on a recording by Rag'n'Bone Man.

I wasn't sure what to expect, and given the album cover was also a little apprehensive, but turns out it's like a modern day soul/blues sound, who in his youth, used to sing along to records by Muddy Waters which influences his bluesy vocal style. He is based in the UK, and apparently his first album Human won a BBC Music Award for British Album of the Year. As a teen he was more into hip-hop but, after taking part in a blues open-mike night and receiving a very enthusiastic reception, he decided to make his career in singing rather than rapping.

 

[Rudy]

This is...interesting?



A local reviewer mentioned this was his album of the year for 2023. I can't even describe it, as it's such a mashup of different styles. Atwood-Ferguson is a violinist/multi-instrumentalist, composer, and arranger. The music treads a line between jazz, classical, ambient, maybe even light touches of new age, hip-hop, and prog-rock synths. Despite orchestrating for many popular musicians in the past (including Ray Charles, Stevie Wonder, Dr. Dre), appearing on hundreds of albums, and scoring for numerous television and film productions, this is his solo debut release, which has been an ongoing 14 year project, and part one of an overall three-part work.

This is not a short listen--at 3½ hours, it's spread across 4 LPs or 3 CDs, a lot to digest, and I'm about half of the way through what would be the first CD (listening via Qobuz). It's quite an adventure so far. It feels like it might be one of those works where I'd let it play while on a long road trip.

Spoiler: Press kit

14 years in the making, “Les Jardins Mystiques Vol.1” comprises 52 tracks / 3.5 hours of music composed, arranged and produced by Miguel with contributions from 50+ friends including Kamasi Washington, Thundercat, DOMi & JD Beck, Jeff Parker, Carlos Niño, Austin Peralta, Bennie Maupin, Gabe Noel, Jamael Dean, Jamire Williams, Burniss Travis II, Deantoni Parks, Josh Johnson, Marcus Gilmore and many more.

Based in his hometown of Los Angeles, Miguel is one of the preeminent musicians, orchestrators, arrangers and composers of our time. “Les Jardins Mystiques Vol.1” is his long-awaited inaugural album. It presents us with a passionate statement of intent, a labor of love, and a realm of beautiful possibilities.

“Les Jardins Mystiques” is a project that throws open and shares Miguel’s musical universe. It took shape over a dozen years, largely self-funded by Miguel, and showcasing his distinctly elegant musicianship (on violin, viola, cello and keyboards among other instruments) alongside his free-spirited dialogues with more than 50 instrumentalists. Volume 1 is the first in a planned triptych, which will collectively comprise ten-and-a-half-hours of original, refreshingly expansive music. Miguel connected with his guest musicians in versatile ways: through convivial studio dialogues; over remote communication during the pandemic era; and via the energy of live performances at LA venues including Del Monte Speakeasy (the gorgeously invigorating, piano-led “Dream Dance”) and Bluewhale (including “Ano Yo” with vivacious alto from Devin Daniels, and the cosmic harmonies of “Cho Oyu”). Bennie Maupin, the legendary US multi-reedist whose repertoire includes Miles Davis’s fusion opus Bitches Brew, plays bass clarinet on the entrancing opening number, “Kiseki”.

“Les Jardins Mystiques” reflects Miguel’s ethos that music is a natural, vitally unaffected life force. The titles across Volume 1’s tracks draw from international languages and traditions, including Spanish, Swahili, Sanskrit, Ancient Greek, Japanese and Hebrew, as well as the Buddhist practice that has been key to Miguel’s life since his twenties (“It’s very joyous and very hard, because it says that there’s no retirement age in human revolution,” he says). The tracks contrast in length, from “Zarra”’s vivid burst of analogue synths to the alluringly chilled melody of “Kairos (Amor Fati)”, yet there’s a gloriously unconstrained flow throughout, and each piece seems to unfurl and blossom into its own wondrous world.

The blissfully radiant “Airavata” derives its title from the white elephant who carries the Hindu deity Indra: a divine being associated with elemental forces. It features Miguel on electric guitar (recorded then reversed to mesmerizing effect) and acoustic violin/viola, alongside bassist Gabe Noel and cellist Peter Jacobson. The stirring “Tzedakah” alludes to a Hebrew and Arabic concept of philanthropy and righteousness, and incorporates soulful bouzouki and oud within its multi-instrumental whirl. The vividly emotive piano melody “Mångata” is inspired by a Swedish word that describes the moon’s undulating reflection on water.

“To me, playing music in any kind of setting is like swimming in an ocean of sounds and emotions and vibrations,” he says. “It’s the combination of all these different rivers, right? Western European classical music is an intense love and passion of mine; all the different genres within jazz music are a joy to practice and have given my life so much meaning; electronic music, world music, and all these different things I’ve been exploring all these years.”

“I just want to be an enabler for magic and empowerment, everyone and everything. I believe in people… and I think that this is a very benevolent multiverse we’re living in. I feel like everything has infinite worth. That’s why I tried to have the diversity of tracks on there; every one is a mystical garden, in my opinion.”

 

[hannahtobin]

Interesting sidetrack:



I had watched a video of former Revolution guitarist Wendy Melvoin (daughter of LA session musician Mike Melvoin) giving a demonstration of her new pedal board, and she mentioned playing guitar on a recording by Rag'n'Bone Man.

I wasn't sure what to expect, and given the album cover was also a little apprehensive, but turns out it's like a modern day soul/blues sound, who in his youth, used to sing along to records by Muddy Waters which influences his bluesy vocal style. He is based in the UK, and apparently his first album Human won a BBC Music Award for British Album of the Year. As a teen he was more into hip-hop but, after taking part in a blues open-mike night and receiving a very enthusiastic reception, he decided to make his career in singing rather than rapping.

Aside from the guitar, I must say that the drum is pretty good and a head turner.

 

[Rudy]

Great album I also love Spellbound that is Definitely a companion to Ashes to Ashes in my opinion.

I think Spellbound was the first Joe Sample album I bought--four of the tracks had heavy airplay on our jazz station locally. I'd already had Free as the Wind and Street Life on LP at the time.