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November 12, 2018

jfl #morninglistening to #RichardStrauss’ #Rosenkavalier in…

#morninglistening to #RichardStrauss’ #Rosenkavalier in @LennyBernstein’s recording w/@Vienna_Phil & #ChristaLudwig for @sony_classical:
w/#GwynethJones, #LuciaPopp, #WalterBerry + #PlacidoDomingo as the Italian tenor.
#classicalmusic #classicalmusiccollection #classicalcdcollection #Strauss #LeonardBernstein #opera #DerRosenkavalier #20thcenturyclassical #

from Ionarts

OfficialDiscogs Five Of 2018’s Best Box Sets, All Ready For Your Wantlist

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The holiday season is around the corner. You know what that means: It’s time to put up with Aunt Carol at dinner, hear Little Drummer Boy roughly five million times, read about Starbucks cups on Facebook (ugh, Aunt Carol!), and deal with all your friends’ ironic ugly sweaters. Most importantly though, it means stuffing your Wantlist with all the sweet box sets you can’t normally afford in hopes that someone special will take the bait.

There’ve been plenty of mouth-watering new and reissue packages so far this year. Some overflow with copious amounts of archival material: photos, notebooks, and assorted ephemera. Others serve as an aural documentary of sorts, taking you from the earliest demo stages to final mix for the most iconic albums in history. Fewer still transform from “album” into straight up “art object,” thanks to luxe mementos in the box.

Below you’ll find choice examples of all those things. The only rubric for consideration was a release date of 2018 and the inclusion of vinyl. CD boxes certainly have their place, but nothing replaces the thud of a brand new 12-by-12 package on the table. This list is far from comprehensive, but each one packs a punch.

A Perfect Circle – Eat The Elephant

The first entry is firmly in the third category mentioned above. The contents of A Perfect Circle’s 2018 double LP, Eat The Elephant, isn’t massive or expansive. But as soon as you pick up the deluxe edition, it feels luxurious and only gets swankier once you dig into the box.

The custom card deck is an unexpected touch to be sure, but the real star of the show is what Maynard James Keenan and company call the “hologram prism.” The elegant black prism works hand in hand with your smart phone to create a haunting holographic companion piece to Eat The Elephant, crafted by award-winning director Steven Sebring. It’s the kind of item you don’t see every day — much less inside a box set.

Metallica – …And Justice For All

Three decades ago, Metallica came back from the devastating loss of bassist Cliff Burton in full force. They made the jump from metal standouts to rock and roll heavyweights thanks to …And Justice For All and the accompanying video for One. This remastered edition of the record is an admirable and entirely overboard tribute.

There is just so much here. Inside the hefty set, you’ll find six LPs, four DVDs, 11 CDs for consumption. On top of that, they’ve packed in a Pushead art print, 120-page book full of unseen material, ’80s-style lyric folder, and the pièce de résistance: a reproduction Cap’ns of Krunch tour laminate.

The Jimi Hendrix Experience – Electric Ladyland

We already dug into this beauty, so you can get an in-depth accounting of Electric Ladyland’s 50th anniversary box. There are six LPs, a Blu-ray, and a book inside the lift top.

The linchpin of this release, however, is the trippy 5.1 surround sound version of the landmark Jimi Hendrix record. In our extended look at the box set, you’ll find a video of famed producer Eddie Kramer talking about the experience of continuing his work with Hendrix by creating the 5.1 version to celebrate a half century of Ladyland.

Gorillaz – The Now Now

In 2010, Damon Albarn and Jamie Hewlett released two Gorillaz records, Plastic Beach and The Fall, just months apart. They followed that up seven years later in similar fashion with another one-two punch: 2017’s Humanz and 2018’s The Now Now.

The deluxe edition of The Now Now is everything you’d expect from the “virtual band,” with Hewlett’s distinctive artwork shining. In addition to the holographic cover, four art prints, heavy-duty vinyl, and six-piece button set, you get an “exact replica” of fake frontman 2D’s private journal. The whimsical 52-page notebook, which even comes with a “certificate of authenticity” (heavy quote marks there, of course), plays to the Gorillaz masterminds’ biggest strength: world-building.

Electric Light Orchestra – The U.K. Singles Volume One: 1972-1978

Not many massively successful songwriters are also massively under-appreciated. ELO’s Jeff Lynne is one of the few, racking up hit after hit while still being the least famous Wilbury in the caravan. This 15-disc collection showcases Lynne’s craft in a way that befits his legacy.

While bangers like Evil Woman, Strange Magic, and Mr. Blue Sky could’ve been combined on a few LPs to great effect — it just wouldn’t the same as holding 15 seven-inch records in your hands. Plus, you’d lose the most immersive part of the experience, since the original label for each track is reproduced in its original form.

The post Five Of 2018’s Best Box Sets, All Ready For Your Wantlist appeared first on Discogs Blog.

from Discogs Blog

jfl #morninglistening to #Mahler w/@SFSymphony under @MTilsonThomas…

#morninglistening to #Mahler w/@SFSymphony under @MTilsonThomas in #Symphony No.8:
One of the better recordings of that work!
In anticipation of my #AveMariaRadio interview w/#DealHudson
In anticipation of my #AveMariaRadio interview w/#DealHudson
#classicalmusic #classicalmusiccollection
#orchestralmusic #Faust #Faust2 #

from Ionarts

CAS Marvin Gaye ‘What’s Going On’ Legacy Playlist

Take a trip through the influence of Marvin Gaye with our What’s Going On Legacy playlist featuring artists such as Sly and The Family Stone, The Rolling Stones, Gil Scott-Heron, Bilal, Laura Mvula and Childish Gambino.

The album is available to buy here.

Classic Album Sundays London presents Marvin Gaye ‘What’s Going On’ Sunday December 2nd 2018
Read more: Rocky Mountain Audio Fest Album Blogs – Marvin Gaye ‘What’s Going On’
Listen: Marvin Gaye ‘What’s Going On’ Musical Lead Up Playlist

from Classic Album Sundays

CAS Marvin Gaye ‘What’s Going On’ Musical Lead Up Playlist

Take a journey through our playlist of tracks that inspired Marvin Gaye featuring artists such as The Five Keys, Clyde McPhatter, Little Willie John, Smokey Robinson, Curtis Mayfield and many more.

The album is available to buy here.

Classic Album Sundays London presents Marvin Gaye ‘What’s Going On’ Sunday December 2nd 2018
Read more: Rocky Mountain Audio Fest Album Blogs – Marvin Gaye ‘What’s Going On’
Listen: Marvin Gaye ‘What’s Going On’ Legacy Playlist

from Classic Album Sundays
via IFTTT (Spencer Grady)


A wet afternoon in the ‘Big Smoke’ is brightened by a quip about the ‘Windy City’. Ben LaMar Gay describes the latter, Chicago, as ‘country’ to the former, London, the urban sprawl. He then invites the audience at an impressively full matinee to be part of an ongoing transatlantic exchange that has already seen him and fellow Chicagoans Makaya McCraven and Jamie Branch work with young Brits in the past year or so.

The cornet player-electronicist-vocalist is here with his own quartet rather than local guests and there is a crackle of anticipation in the room at the prospect of him playing material from Downtown Castles Can Never Block The Sun, an album compiled from seven previously unreleased sets of music. All of which makes the point that the Chicagoan is nothing if not productive, but the sound palette he creates with a very cohesive band shows that quality matches quantity. Sat at a table with a couple of consoles for effects and beats, Gay, his distinctive red cap and dark blue jacket giving him the allure of an industrial revolution factory worker, channels the resources around with impressive aplomb. The combination of the digital drone and drag of his programming, the brooding rumble of Josh Sirotiak‘s tuba and the understated but penetrating flicker of Tomasso Moretti‘s drums makes for an enticing canvas upon which colours can be splashed. Will Faber‘s guitar is a vivid pastel in the mix, its precise, aqueous arpeggios enhancing the flow of the arrangements without flooding the upper or middle range. Gay’s brass pierces the air with a stark, melancholic beauty steeped in a far-reaching lineage of significant horn players that would include anybody from Roy Eldridge to Don Cherry. Yet, as the set unfolds, there is a more distinct resonance of Chicago in the 1990s and millennium, typified by Tortoise, that permeates the music, which builds a solid bridge between the dark undercurrents of dub and hip-hop and the light-and-shade of improvisation. Lines loop and motifs mutate, as the 21st century artist’s border crossing and time travelling gain steady traction, pushing Gay to the AEC axiom of ‘Great black music: ancient to future’.

His understanding of that heritage comes into focus in a few thrilling moments that send a notable tremor of excitement around the room. Firstly, he reaches for a melodica and plays the most charming, chugging riffs that vaguely recall the great Hermeto Pascoal’s singular Afro-Brazilian meta-modernism. The child-like brightness makes for a fine contrast to the breathy moan of Sirotiak’s bansuri flute. Secondly, Gay launches into a funky hybrid of rapped and sung choruses over a riveting, zigzag cowbell beat that underlines the Latin subtext. There is a spark in this sign-off that confirms Gay as ‘country boy’ who is more than a match for the big city.

Kevin Le Gendre

from News

CDandLP: A year of travels to meet you!

from CDandLP: Blog
via IFTTT (Spencer Grady)

Archie Shepp06

The Enjoy Jazz festival is currently celebrating its 20th anniversary, presenting gigs between three main cities in south-western Germany. It’s an extended season that usually begins in early October, stretching until mid-November. Each night features a show in either Heidelberg, Ludwigshafen or Mannheim, sometimes with simultaneous happenings in each location.

This year’s artist-in-residence is the veteran saxophonist Archie Shepp, and his first showing was at the Mannheim National Theatre, with an expanded crew revisiting his Fire Music album, from way back in 1965. Being his second release for the Impulse! label, a certain amount of free jazz was surely promised, rather than the more mainline style that Shepp has favoured during recent decades. We were not disappointed, as this eight-piece crew (including Hamid Drake on drums) set out to capture the essence of the original contents with a surprising closeness of spirit and style.

Drake (bells, mallets) and bowing bassist Darryl Hall laid sparse improvised terrain for Shepp’s recital of ‘Malcolm, Malcolm, Semper Malcolm’, followed by a pointed, overblowing solo on soprano saxophone, precise spikes driven in. The old LP’s key track, ‘Hambone’, wasn’t quite as complicatedly careening, here, but Shepp’s four-piece horn section certainly made a dynamic negotiation. He ripped straight into a tenor solo at high velocity, and Shepp’s hornmates looked visibly enamoured of their grand master’s inflamed efforts. Drake made lightning snicks and clatters, and regular sideman Carl-Henri Morisset issued a forceful piano statement. Trombonist Sebastien Llado led a bluesy slowing down, and ‘Los Olvidados’ didn’t take long before letting Shepp fly again, with a tough, racing tenor solo. This is an 81-year-old who’s not short on stamina.

As with the album, following the three more adventurous pieces, the set’s remainder inhabited standards-land, but still involving a few quirks. The reading of ‘The Girl From Ipanema’ was one of its free-er outings, and Shepp wasn’t rationing out his solos. He sang with a croaky, vulnerable tone on ‘Prelude To A Kiss’, and ended the show with an extra tune, ‘Syeeda’s Song Flute’, a Coltrane number covered on Shepp’s Impulse! debut.

In Heidelberg, there were two contrasting gigs at Karlstorbahnhof, an intimate arts venue. The Vincent Peirani Quintet adopt a jazz-rock fusion attitude, though without too much over-electrification. The leader’s significant left-hand man is soprano saxophonist Emile Parisien, who pretty much qualifies as a co-leader, so profound is his contribution. For a while, during ‘Bang Bang’ and ‘Unknown Chemistry’, he was restrained, but then embarked on his first soprano salvo of the session, swiftly escalating, feet beginning to pixie-prance and side-kick uncontrollably. Peirani’s first significant solo was on a chunky chromatic harmonica, but his accordion spotlights would be saved for later in the night. The quintet gave ‘Kashmir’ a slow build-up, initially unrecognisable, then releasing its full riff, following a snaking Parisien solo. Fractured Rhodes hacks followed, and then a transition was made into ‘Stairway To Heaven’, this Led Zeppelin celebration being among the most exuberant parts of the performance.

On a more internalised level, The Necks pleasingly offered two sets (and therefore two extended improvisations) at the same venue – often, if appearing at a festival, they’ll only play one, so this was a good chance to hear alternate manifestations of their epic-form extemporising. The first set was almost traditionally jazz piano trio in nature, until Chris Abrahams snagged onto a two-note repeat, with snail elaboration, Tony Buck limited to cymbal and small gong, softly resonant, until he added a scrunching metal texture. A blurry shimmer loaded up, Lloyd Swanton‘s bass alternating between bowed murmurs and sensitive finger-strums. The sombre, blood-red lighting was sympathetic, with slow growth into a saintly white glare. The second Neck-ing began obsessively, Buck deciding on a repetitive hand-drumming figure, on floor tom, fast and unbroken, until he clutched first one shaker, then another. Abrahams had both hands in the middle of his keyboard, amassing a Reichian blur of adjacent sonorities, a sonic mirage shaping, and the number finishing with him alone, as if his delayed entrance gave him some bonus time to conclude.

Over in Ludwigshafen at Das Haus, another well-sized arts haunt, the guitar, bass and drums trio Radian visited from Vienna, though they’ve been well-schooled in Germanic electro-rock approaches for around two decades. Their basic structure blooms outwards and across via a stack of processing boxes and pedals, splintering, fracturing, glitching and dispersing. Their edges were often brutal, but they also paused to release gaseous clouds of contemplation.

Enjoy Jazz continues until 16th November…

Martin Longley
Photo by Manfred Rinderspacher/Enjoy Jazz (Archie Shepp) 

from News

jfl #morninglistening to #JohnCage (@JohnCageTrust)…

#morninglistening to #JohnCage (@JohnCageTrust) w/#NicholasIsherwood on #BISrecords
An #AddOn item @ Amazon:
which is about as random as the music.
#classicalmusic #classicalcdcollection #classicalmusiccollection #20thcenturycomposer #20thcenturyclassical #aleatory music #avantgardemusic
(Gorgeous #JohannNepomukHummel Mass in B-flat beneath)

from Ionarts

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