One of my favorite things to do is listen to music in my car. It just sounds better when it can be a little bit louder and it surrounds you in such a small space. I also think the reaction to it is genuine since I drive most of the time by myself and I've got nothing else to do but drive, sitting there and listening. I'm also a big fan of the mix CD, even though I'm trying to end this by upgrading to an Ipod relatively soon. Until then, I make these mix CDs every couple of months with the sole intent being to listen to them in my car. These end up being the songs I really love. I thought I'd share these mix CDs here. So without any further ado here is the first installment.
1. Addicted to Love - Florence + the Machine
2. In Passing - Company of Thieves
3. Smokers Song - Imelda May
4. Calabria - Enur
5. Fast Car - Tracy Chapman
6. Better Things - Sharon Jones & the Dap-Kings
7. Twisted - Annie Ross
8. And It Spread - The Avett Brothers
9. All I Do Is Win - DJ Khaled
10. I Got Love for You - Michael Franti & Spearhead
11. Darkness Descends - Laura Marling
12. I Want You - Bob Dylan
13. Funkier Than a Mosquito's Tweeter - Nina Simone
14. Star of County Down - Van Morrison & the Chieftains
15. Mrs. Officer - Lil' Wayne ft. Bobby Valentino
16. I Can Change - LCD Soundsystem
17. Pressure - Company of Thieves
18. Medicine - Grace Potter & the Nocturnals
19. I'm into Something Good - The Bird & the Bee
20. On a Night Like This - Bob Dylan
If I haven't reviewed the album some of these tracks are on, I'm about to.
Thursday, July 15, 2010
Wednesday, July 14, 2010
Forecastle July 11, 2010 - Minus the Bear, She & Him, Company of Thieves, Spoon
Another beautiful, but HOT, day at Forecastle. We didn't get there until later because of the World Cup game (yay for Spain!). Minus the Bear played a good set, but I'll have to listen to their albums before I give much of a review. The music didn't leave much of an impression on me.
We headed down towards the stage near the end of their set to get a spot close to see Zooey Deschanel and M.Ward as She & Him. I love her acting but so far I'm not sold on the music. This performance didn't sell me either. Her voice was way off, especially in the beginning. M. Ward's voice was barely audible. Each song was the same 4 chords and a bland melody. She gets a little credit for switching between multiple instruments (a keyboard, an electric ukulele, and tambourine), but aside from a few jumping jacks, there was no involvement with the crowd and barely a smile on her face. Very boring like I was expecting. We left early and gave up our front row spot to fans more interested in her pretty blue dress and bright red lips (she did look cute, although a little bit bummed)
Eager to get away, stay awake, and hear some better music, we made our way over to the North Stage, only to catch the last song from Paper Route, which I really enjoyed. I'll definitely have to check them out again at some point. Then we hung around until Company of Thieves came on.
This was absolutely the find of the festival. These guys are real musicians. I'd never heard of them or any of their music although WPFK had been circulating them quite a bit the week before. A lot of reviews compare her voice to Fiona Apple, and I can see where they get that from, but trust me you need to hear it yourself. For such a tiny girl, there's a lot of power there and a lot of skill. She slides and pulls on each word as she belts them out. Then when the song is quiet, her voice gets a bit jazzier. I enjoyed the band here too. Not a jam band, by any means, they still are able to draw out the details of each song and explore them in depth as a nice compliment to Schatz's vocals.
Althought their first album, Ordinary Riches, has been out, reissued, since 2009, everything I heard was new to me, including a few songs which Schatz introduced as forthcoming on their album to be released later this year. She seemed excited to play them and the crows was very receptive, making this one of the few performances at the festival from not only a musicians, but an entertainer. This is far too often lacking in real shows. Here's a few videos of my new favorite band.
So engrossed was I in Company of Thieves, that we were late to the Spoon set. It was too crowded to get anywhere near the stage, but it was easy enough to hear everything from the back of the field. They played a decent show with lots of sound experimentation and plenty of their better known songs and a few new ones.
We headed down towards the stage near the end of their set to get a spot close to see Zooey Deschanel and M.Ward as She & Him. I love her acting but so far I'm not sold on the music. This performance didn't sell me either. Her voice was way off, especially in the beginning. M. Ward's voice was barely audible. Each song was the same 4 chords and a bland melody. She gets a little credit for switching between multiple instruments (a keyboard, an electric ukulele, and tambourine), but aside from a few jumping jacks, there was no involvement with the crowd and barely a smile on her face. Very boring like I was expecting. We left early and gave up our front row spot to fans more interested in her pretty blue dress and bright red lips (she did look cute, although a little bit bummed)
Eager to get away, stay awake, and hear some better music, we made our way over to the North Stage, only to catch the last song from Paper Route, which I really enjoyed. I'll definitely have to check them out again at some point. Then we hung around until Company of Thieves came on.
This was absolutely the find of the festival. These guys are real musicians. I'd never heard of them or any of their music although WPFK had been circulating them quite a bit the week before. A lot of reviews compare her voice to Fiona Apple, and I can see where they get that from, but trust me you need to hear it yourself. For such a tiny girl, there's a lot of power there and a lot of skill. She slides and pulls on each word as she belts them out. Then when the song is quiet, her voice gets a bit jazzier. I enjoyed the band here too. Not a jam band, by any means, they still are able to draw out the details of each song and explore them in depth as a nice compliment to Schatz's vocals.
Althought their first album, Ordinary Riches, has been out, reissued, since 2009, everything I heard was new to me, including a few songs which Schatz introduced as forthcoming on their album to be released later this year. She seemed excited to play them and the crows was very receptive, making this one of the few performances at the festival from not only a musicians, but an entertainer. This is far too often lacking in real shows. Here's a few videos of my new favorite band.
So engrossed was I in Company of Thieves, that we were late to the Spoon set. It was too crowded to get anywhere near the stage, but it was easy enough to hear everything from the back of the field. They played a decent show with lots of sound experimentation and plenty of their better known songs and a few new ones.
Forecastle July 10, 2010 - Umphrey's McGee, Grace Potter & the Nocturals, CAKE
Day 2 of Forecastle was gorgeous. We got there in time to see Umphrey's McGee, but watched them from the CokeZero party bus. I don't know if it was the extreme heat (close to 100), but they seemed a little bland. This is a video earlier in their set.
I was fine watching from the back of the field, taking in the whole scene and the nice view of the bridges that head to Indiana. It was good background music while we had some more BBC beer. When the band started a cover of the Beatles' "Dear Prudence," there was a rush down towards the stage. It woke me up and was a nice break in the drone of their typical jam music.
Luckily for us, and not so lucky for them, Grace Potter & the Nocturnals are still relatively unknown so the crowd wasn't very large at the front of the stage for their set. We got a great spot near the front, right behind the VIP section, close enough to see all the red flowers decorating the stage.
They are great live, fantastic stage presence. Its her voice that really carries the music, but the blend of funk, soul, rock, and blues that gives the performance character. They just released a new album last month, which I'm dying to listen to. In the past, their produced albums have been lacking compared to their live shows. I'm hoping this new album has finally captured that something, but still I never mind seeing them live. This video is of their signature song which they sing at every show, "Nothing But the Water." Grace is singing it a capella which really showcases her vocal abilities.
By the time Grace Potter's set was down, it was pretty crowded up front. Everyone was ready for CAKE. I've been a big fan since high school and was excited to finally see them live for the first time. Their albums sound so produced and detailed and John McCrea's voice is so unique that I couldn't picture how it would transpose to a stage.
Ultimately, I was a little disappointed with CAKE's set. He seemed a little condescending and unwilling to relate to the crowd. With a body of work that large and already well-known and liked by so many fans, I thought he was just resting on it, expecting a good set to happen by just playing crowd pleasing songs exactly as they sounded on the albums without any excitement or creativity. Ho hum. To top it off, they didn't really play any of my absolute favorites, but with CAKE I honestly like all their stuff anyway. So I'm glad I saw them and put a face to their music, but it's not something I would do again. This is and excerpt from their song "Short Skirt, Long Jacket." The quality is really bad since we were so close to the speakers. Just listen to the album version anyway, the live show added nothing.
We stuck around enough to see Devo perform "Whip It" and a few covers. What else have they written themselves?
Forecastle July 9, 2010 - Widespread Panic, The New Deal
Well after some plane delays and lots of driving back and forth between my house and the airport, we finally made it to Waterfront park for Widespread Panic on the Main Stage. They had quite a following, lots of glowsticks, lots of dancing, lots of lights, and lots of guitars. They were a fun band to see live with lots of talent. These guys really know their instruments. The vibe at the park at night is always really good. It felt like a party. The beer was from BBC, which made me happy. It's delicious. There was a slight problem with them not believing my NYS drivers license was real (they thought it was made of paper) because it's different then the KY license, but I'm used to arguing for common sense in KY by now. I got the beer (they want me to think they're doing me a favor by giving it to me even though I'm 25) and we headed over to the right side of the stage to watch Widespread Panic groove to some great guitar solos. I would see them again live, but I'm not sure if I'd buy the album just yet. WPFK had been playing their single "Shut Up and Drive" all week in anticipation. That was the only song that really stood out. I would expect that from a jam band though. This video doesn't do it justice, visually or aurally, but it's a good taste.
Then we headed over to the Ocean Stage to hear The New Deal from Toronto. This stage was tucked back in the woods with a hill on either side and in the middle valley was a dance party.
Every second of their set, the music got more interesting. The lighting reinforced this, syncing to each new sound. They played their hooks long enough to get stuck in your head, then they changed them, always leaving me wanting more and waiting to see what happened next. At one point the drummer was beatboxing. The next he was beatboxing and playing the drum set with his other hand. I couldn't stop moving despite being completely exhausted. There's a lot of talent here and I was pretty happy to hear them. Not what I was expecting at all. A trance, electronica, jam mix could go really wrong, but to get me excited about music and dancing at midnight after a full day, you know these guys have got something.
Tuesday, July 13, 2010
King Pleasure Sings/Annie Ross Sings - King Pleasure with Annie Ross
Recently I watched Deconstructing Harry, a 1997 Woody Allen film. On a sidenote, I love Woody Allen's acting persona and the plot line of this film was interesting and self-reflective as his tend to be. Anyway, the film begins with Annie Ross' Twisted. Not only is it catchy, it also set the scene perfectly during the opening credits. It is the perfect example of what brings King Pleasure and Annie Ross together musically - vocalese.
Grove Music Online (which may only be available to view through your library's subscription) gives the definition for vocalese as the following: "A term for the practice of jazz singing in which texts (newly invented) are set to recorded jazz improvisations." The entry names King Pleasure as one of the earliest and best-known in this practice, followed by Ross' trio, Lambert, Hendricks, and Ross. It seems to me that this album should be uniting two of the best vocalese musicians in a defining moment for the this particular style. While vocalese pretty much died out after these two and the height of bop with which it was most closely associated and borrowed from, other artists has used it sparingly including Joni Mitchell and the Pointer Sisters.
The format of this album includes a full length release by King Pleasure with and Annie Ross EP appended to the end - both easily classics in their own right. The album personnel includes King Pleasure, Annie Ross, Betty Carter, Blossom Dearie, The Three Riffs, The Dave Lambert Singers, and Jon Hendricks for vocals; Lucky Thompson on tenor saxophone; Danny Bank on baritone saxophone; Eddie Lewis ontrumpet; J.J. Johnson and Kai Winding on trombone; Charlie Ferguson, Teacho Wiltshire, John Lewis, George Wallington, Ed Swanston, and Jimmy Jones on piano; Ram Ramirez on organ; Peck Morrison, Paul Chambers, and Percy Heath on bass; Herbie Lovelle, Art Blakey, Joe Harris, and Kenny Clarke on drums. Couple this with outstanding composition by greats including Charlie Parker, Lester Young, and Stan Getz.
King Pleasure's songs have all the bounce and fun of a Louis Prima album with a good dose of Sinatra class. His duets with Betty Carter ("Red Top") and Blossom Dearie ("I'm in the Mood for Love") are some of the best his twelve track have to offer. "Funk Junction" offers an instrumental interlude, that stands on its own, as an interlude to Annie Ross' tracks.
Ross has a deeper voice, more serious and matter-of-fact than I picture her female jazz vocalist contemporaries. "Twisted" will instantly catch your ear thanks to the bebop recording of Wardell Gray's, American tenor saxophonist, from which it is borrowed. To keep up with the instrumental line Ross rolls out lyrics with impressive speed and the phrasing and timbre of a smooth saxophone.
It would be interesting to do a comparison of the original bop recording and the resulting vocalese rendition, but that is, perhaps, an entire paper, or series of papers. This short-lived style may not be revolutionary, but it certainly produced this highly entertaining album, brings to mind questions of the voice as instrument, and secured a place for both King Pleasure, Annie Ross, and their respective musical associations, in the center of the jazz scene and its many offshoots.
Grove Music Online (which may only be available to view through your library's subscription) gives the definition for vocalese as the following: "A term for the practice of jazz singing in which texts (newly invented) are set to recorded jazz improvisations." The entry names King Pleasure as one of the earliest and best-known in this practice, followed by Ross' trio, Lambert, Hendricks, and Ross. It seems to me that this album should be uniting two of the best vocalese musicians in a defining moment for the this particular style. While vocalese pretty much died out after these two and the height of bop with which it was most closely associated and borrowed from, other artists has used it sparingly including Joni Mitchell and the Pointer Sisters.
The format of this album includes a full length release by King Pleasure with and Annie Ross EP appended to the end - both easily classics in their own right. The album personnel includes King Pleasure, Annie Ross, Betty Carter, Blossom Dearie, The Three Riffs, The Dave Lambert Singers, and Jon Hendricks for vocals; Lucky Thompson on tenor saxophone; Danny Bank on baritone saxophone; Eddie Lewis ontrumpet; J.J. Johnson and Kai Winding on trombone; Charlie Ferguson, Teacho Wiltshire, John Lewis, George Wallington, Ed Swanston, and Jimmy Jones on piano; Ram Ramirez on organ; Peck Morrison, Paul Chambers, and Percy Heath on bass; Herbie Lovelle, Art Blakey, Joe Harris, and Kenny Clarke on drums. Couple this with outstanding composition by greats including Charlie Parker, Lester Young, and Stan Getz.
King Pleasure's songs have all the bounce and fun of a Louis Prima album with a good dose of Sinatra class. His duets with Betty Carter ("Red Top") and Blossom Dearie ("I'm in the Mood for Love") are some of the best his twelve track have to offer. "Funk Junction" offers an instrumental interlude, that stands on its own, as an interlude to Annie Ross' tracks.
Ross has a deeper voice, more serious and matter-of-fact than I picture her female jazz vocalist contemporaries. "Twisted" will instantly catch your ear thanks to the bebop recording of Wardell Gray's, American tenor saxophonist, from which it is borrowed. To keep up with the instrumental line Ross rolls out lyrics with impressive speed and the phrasing and timbre of a smooth saxophone.
It would be interesting to do a comparison of the original bop recording and the resulting vocalese rendition, but that is, perhaps, an entire paper, or series of papers. This short-lived style may not be revolutionary, but it certainly produced this highly entertaining album, brings to mind questions of the voice as instrument, and secured a place for both King Pleasure, Annie Ross, and their respective musical associations, in the center of the jazz scene and its many offshoots.
Cults 7" - Cults
Cults has barely cemented their style and already they're all abuzz on the internet. You can download the 3 song 7" (the physical copies sold out long ago) or listen to their latest cut and watch the video (my personal favorite song so far). With a little bit of time, I'd love to see where this band goes and what a full length album would sound like.
Monday, July 12, 2010
The Unique Thelonious Monk - Thelonious Monk
There are many interesting facts floating around about Monk: he is second only to Duke Ellington as the most recorded jazz composer despite his lack of original compositions (70); he is credited as one of the founders of Bebop among other greats like Dizzy Gillespie, Bud Powell, and Charlie Parker; he had a large personality including an unique style of dress and the penchant for dancing in the middle of a song for a bit before settling back to play again.
I love him for his "difficult" music, his piano skills, his hand in shaping the evolution of jazz from hot jazz to bebop to cool jazz, and his unparalleled ability to make every song his own through hisparticular style of composition. This album specifically exhibits the latter of these - this album is made up of seven standards allowing him to showcase his differences and abilities among the multitude of other musicians who recorded the same pieces.
The trio is Monk on piano, Art Blakey on drums, and Oscar Pettiford on bass. "Liza (All the Clouds'll Role Away)," a Gershwin tune, is short but upbeat. Blakey and Monk alternate intricate solos both incredibly fast and equally interesting. Monk's parts are incredibly repetitive, but he does each slightly differently without missing a beat between them, so fast that it's a surprise whether he'll repeat his current motive or switch to the next without pause. Despite the winding piano line or the rhythmically intricate drum solos from Blakely the song doesn't lose its melodic charm - they always end the phrase with it.
"Memories of You" originally composed by Eubie Blake is much darker in contrast. The tempo has slowed, the dissonances are piled on top of each other, and Monk is on his own. His haunting rendition is pensive and serves the title well.
"Honeysuckle Rose" is by another famed jazz pianist, Fats Waller. The mood here is playful amidst ragtime-esque stride piano, Monk sets up multiple, seamless chromatic runs down the piano followed by experiments on the melody, a hammering of single notes, then building on this. The hammering becomes chords then it becomes a rhythm of chords, then he suddenly breaks it all down again by playing the notes of the chords one at a time, but as fast as his fingers will fly. This pieces demonstrates many styles and abilities of the new Riverside artist ready to implement his radical techniques into his own compositions (which is exactly what he does on Brilliant Corners), but this album would help assimilate it with the listener's ears by showcasing it on familiar songs first.
Another contrast, "Darn that Dream" is slower and more reflective. Here the interest lies in the harmonic and chromatic choices. "Tea for Two" begins in this same dissonant vein. It stalls and starts like a broken machine then after a flourish, rights itself and Pettiford joins in. Suddenly, soon there after, the recognizable melody takes hold, but Monk works on it bit by bit, adding his own touches in many different realizations. "You Are Too Beautiful" is whimsical as if it comes from a music box and Monk is absorbed in thinking about his beloved. It's simpler and slower and provides a glimpse into Monk's emotive abilities.
The album ends on a jazzy note with the trio on "Just You, Just Me". Monk deftly shows off his dexterity with quick runs, hammering chords, and slippery melodies with a musicality all his own.
I love him for his "difficult" music, his piano skills, his hand in shaping the evolution of jazz from hot jazz to bebop to cool jazz, and his unparalleled ability to make every song his own through hisparticular style of composition. This album specifically exhibits the latter of these - this album is made up of seven standards allowing him to showcase his differences and abilities among the multitude of other musicians who recorded the same pieces.
The trio is Monk on piano, Art Blakey on drums, and Oscar Pettiford on bass. "Liza (All the Clouds'll Role Away)," a Gershwin tune, is short but upbeat. Blakey and Monk alternate intricate solos both incredibly fast and equally interesting. Monk's parts are incredibly repetitive, but he does each slightly differently without missing a beat between them, so fast that it's a surprise whether he'll repeat his current motive or switch to the next without pause. Despite the winding piano line or the rhythmically intricate drum solos from Blakely the song doesn't lose its melodic charm - they always end the phrase with it.
"Memories of You" originally composed by Eubie Blake is much darker in contrast. The tempo has slowed, the dissonances are piled on top of each other, and Monk is on his own. His haunting rendition is pensive and serves the title well.
"Honeysuckle Rose" is by another famed jazz pianist, Fats Waller. The mood here is playful amidst ragtime-esque stride piano, Monk sets up multiple, seamless chromatic runs down the piano followed by experiments on the melody, a hammering of single notes, then building on this. The hammering becomes chords then it becomes a rhythm of chords, then he suddenly breaks it all down again by playing the notes of the chords one at a time, but as fast as his fingers will fly. This pieces demonstrates many styles and abilities of the new Riverside artist ready to implement his radical techniques into his own compositions (which is exactly what he does on Brilliant Corners), but this album would help assimilate it with the listener's ears by showcasing it on familiar songs first.
Another contrast, "Darn that Dream" is slower and more reflective. Here the interest lies in the harmonic and chromatic choices. "Tea for Two" begins in this same dissonant vein. It stalls and starts like a broken machine then after a flourish, rights itself and Pettiford joins in. Suddenly, soon there after, the recognizable melody takes hold, but Monk works on it bit by bit, adding his own touches in many different realizations. "You Are Too Beautiful" is whimsical as if it comes from a music box and Monk is absorbed in thinking about his beloved. It's simpler and slower and provides a glimpse into Monk's emotive abilities.
The album ends on a jazzy note with the trio on "Just You, Just Me". Monk deftly shows off his dexterity with quick runs, hammering chords, and slippery melodies with a musicality all his own.
Friday, July 9, 2010
Volume Two - She & Him
Another artist I plan to see at Forecastle. I actually really like Zooey Deschanel as an actress - she's gorgeous with that dark hair, light eye contrast and her voice always interested me, but I have to admit that as a singer she leaves me a little disappointed. When I first listened to Volume One, I liked it. She picks really great songs to cover, that never really do justice to the original so she has a good ear and good musical taste, she just hasn't figured out how to really make it work yet.. The melodies are kind of catchy, the single "Why Do You Let Me Stay Here" especially, but her voice is a little grating, the instrumentals a little too raw or scratchy for the type of honest, unadulterated folk sound She & Him is going for. I was a little disappointed and I have to say I haven't listened to the album since.
Since Deschanel broke my heart with her debut I didn't even bother to seek out the follow up, Volume Two. It just so happens I have time in my Forecastle schedule to see them and I figured I'd better be all caught up on her musical output beforehand. In fact, this album couldn't be more boring or hard to listen to than the first, no danger of a sophomore slump here. We can only go up.
It's the same basic formula as her first album - straightforward vocals and a slight country swing. "Thieves" is already prettier than I remember Volume One being. I think the problem is actually when M. Ward (the Him) enters on backup vocals. The two do not mesh well together and I admit I think it would be tough for anyone to suit Deschanel's voice especially when she is having difficulties of her own.
Essentially She & Him is cutesy retro pop and it stops there. While one would hope musicians would reference the past then bring it up to date, She & Him seem stuck, simply recreating an era. This is fine if its what you're looking for. It's not terrible, but it's not taking music anywhere. For now, its Deschanel's acting that will get me to visit them at Forecastle, although I'm still hoping that with time I'll come to view her as a musician as well.
Since Deschanel broke my heart with her debut I didn't even bother to seek out the follow up, Volume Two. It just so happens I have time in my Forecastle schedule to see them and I figured I'd better be all caught up on her musical output beforehand. In fact, this album couldn't be more boring or hard to listen to than the first, no danger of a sophomore slump here. We can only go up.
It's the same basic formula as her first album - straightforward vocals and a slight country swing. "Thieves" is already prettier than I remember Volume One being. I think the problem is actually when M. Ward (the Him) enters on backup vocals. The two do not mesh well together and I admit I think it would be tough for anyone to suit Deschanel's voice especially when she is having difficulties of her own.
Essentially She & Him is cutesy retro pop and it stops there. While one would hope musicians would reference the past then bring it up to date, She & Him seem stuck, simply recreating an era. This is fine if its what you're looking for. It's not terrible, but it's not taking music anywhere. For now, its Deschanel's acting that will get me to visit them at Forecastle, although I'm still hoping that with time I'll come to view her as a musician as well.
Forecastle Attempted Schedule
Well, Forecastle starts tonight. Here's the complete schedule, but I wanted to share some of the bands I plan on definitely seeing.
Friday:
6:15-7:30 Drive-By Truckers
9:40-10:20 Margot and the Nuclear So and So's
9:45-12:15 Widespread Panic
Saturday
2:15-3:45 Umphrey's McGee
4:15-5:15 Grace Potter and the Nocturnals
5:45-7:00 CAKE
7:30-8:45 DEVO
Sunday
1:00-1:45 Joe Purdy
2:15-3:15 Dar Williams
5:30-6:30 Minus the Bear
7:00-8:15 She & Him
8:45-10:00 Spoon
9:40-10:20 Ted Leo and the Pharmicists
10:30-12:00 Flaming Lips
All the other bands are gravy. Hopefully I'll find a new band that I love. This schedule is different from the last time I checked and it might still change. Right now it's pouring and storming, but it should be nice for the rest of the weekend. I'm excited to hear some good music, but I'm also going to have to make some time to cheer on Spain and the Netherlands in the World Cup final.
Friday:
6:15-7:30 Drive-By Truckers
9:40-10:20 Margot and the Nuclear So and So's
9:45-12:15 Widespread Panic
Saturday
2:15-3:45 Umphrey's McGee
4:15-5:15 Grace Potter and the Nocturnals
5:45-7:00 CAKE
7:30-8:45 DEVO
Sunday
1:00-1:45 Joe Purdy
2:15-3:15 Dar Williams
5:30-6:30 Minus the Bear
7:00-8:15 She & Him
8:45-10:00 Spoon
9:40-10:20 Ted Leo and the Pharmicists
10:30-12:00 Flaming Lips
All the other bands are gravy. Hopefully I'll find a new band that I love. This schedule is different from the last time I checked and it might still change. Right now it's pouring and storming, but it should be nice for the rest of the weekend. I'm excited to hear some good music, but I'm also going to have to make some time to cheer on Spain and the Netherlands in the World Cup final.
Thursday, July 8, 2010
Transference - Spoon
As preparation for Forecastle this weekend I thought I'd listen to Spoon's latest album released in January, Transference. They're playing on the West Stage, 8:45pm on Sunday, saving the best for (almost) last. It'll be my first time seeing them and I'm pretty excited even before I hear this album (I'm admittedly long overdue for a so-called fan). They never fail to produce catchy hooks, witty lyrics, and a lot of upbeat energy - all of which promise to deliver a great live performance. Transference is a different kind of album for Spoon, however. It is their first self-produced album, resulting in a rawer sound which in turn is less like their pop tendencies and reveals more of their grittier indie side.
One of my favorite aspects about this band is their elusive rhythms and tempos that seem so simple, but are so hard to actually pin down. It separates them from the rest of the pack in lasting interest and places them higher in compositional proficiency. "Is Love Forever?" begins this way, but as the beat becomes more cemented, the answer to question of the title becomes more evasive. It's an interesting shift.
"The Mystery Zone" is fun, one of my instant favorites for its catchy groove and Britt Daniel's intermittent ventures into his falsetto. "Who Makes Your Money" is another laid back song, this time punctuated with keyboard chords to support Daniel's solo singing of multiple rhetorical questions and perhaps recreate the lyrics "when all is quiet and on your own."
This quiet reflection is immediately broken up by the louder, more emphatic chords of "Written in Reverse." Here again, music and lyrics reinforce each other. Daniel now only sings in absolutes and the result is not uplifting, but it is effectual.
"I Saw the Light" has the swagger and soul of a 60s hit (think The Zombies, The Byrds, etc.) but is filled out with amped electronics and interrupted by an abrupt instrumental section which begins with only a drum set beat, then builds with keyboards and final the electric guitars that gave personality to the vocal section. The ends as abruptly as it begins and after a pause the piano ballad "Goodnight Laura" begins. "Out go the Lights" follows this lullaby theme, however, in a more ambient way.
"Got Nuffin" was released on EP a full six months before the release of the album and was the first released in over a year for the band. Along with "Nobody Gets Me But You" it rounds out the album with a boost of energy.
This album seems to rank up there with some of my favorite Spoon albums, their last three releases. I'll be sure to get a good spot to see them live.
One of my favorite aspects about this band is their elusive rhythms and tempos that seem so simple, but are so hard to actually pin down. It separates them from the rest of the pack in lasting interest and places them higher in compositional proficiency. "Is Love Forever?" begins this way, but as the beat becomes more cemented, the answer to question of the title becomes more evasive. It's an interesting shift.
"The Mystery Zone" is fun, one of my instant favorites for its catchy groove and Britt Daniel's intermittent ventures into his falsetto. "Who Makes Your Money" is another laid back song, this time punctuated with keyboard chords to support Daniel's solo singing of multiple rhetorical questions and perhaps recreate the lyrics "when all is quiet and on your own."
This quiet reflection is immediately broken up by the louder, more emphatic chords of "Written in Reverse." Here again, music and lyrics reinforce each other. Daniel now only sings in absolutes and the result is not uplifting, but it is effectual.
"I Saw the Light" has the swagger and soul of a 60s hit (think The Zombies, The Byrds, etc.) but is filled out with amped electronics and interrupted by an abrupt instrumental section which begins with only a drum set beat, then builds with keyboards and final the electric guitars that gave personality to the vocal section. The ends as abruptly as it begins and after a pause the piano ballad "Goodnight Laura" begins. "Out go the Lights" follows this lullaby theme, however, in a more ambient way.
"Got Nuffin" was released on EP a full six months before the release of the album and was the first released in over a year for the band. Along with "Nobody Gets Me But You" it rounds out the album with a boost of energy.
This album seems to rank up there with some of my favorite Spoon albums, their last three releases. I'll be sure to get a good spot to see them live.
Wednesday, July 7, 2010
This Is Happening - LCD Soundsystem
LCD Soundsystem thrives on repetition. The percussion is understated but absorbing, the lyrics are simple but not dull and recycled, then suddenly the music explodes. There are verses and that large overpowering plastic electronic sound found on the dancefloor. I prefer the former, but music with stark changes somehow always works. The synths are almost comical and his voice almost a mockery of the 80s (maybe David Byrne-esque, A-ha, Duran Duran, something to that effect), but the production is so tight in the first track and the length (8:56) is enough to convince me that he's not out to copy and create a radio ready pop chart hit from that era, but rather bask in the synthetic sounds he enjoys, and admittedly after a certain amount of exposure so do I.
"Drunk Girls" is silly and playful like the title would suggest. "One Touch" is for mindless dancing. The vocals are blunt, spoken brusquely. "All I Want" starts off slowly and is a bit sweeter than the songs so far. It establishes Jame Murphy place in the indie scene and explains why he has such a following there.
"I Can Change" has that Talking Heads vibe I like so much. I've heard this one on the radio a few times and it always manages to find its way into that part of my brain where only another incredibly catchy song can erase it. Here, I think the melody takes center stage, whereas on the rest of the album it seems to be the manufactured dance beats, but rest assured, the vocals are supplemented perfectly and plenty by them here too.
"You Wanted a Hit" is surreal. This is in part due to the pentatonicism in high pitched notes and the long instrumental intro. Don't worry if its not your thing, I enjoyed it and thought it broke up the album well, it soon turns into a basic drum track, easily accessible although the lyrics are caustic towards musical pop culture.
"Somebody's Calling Me" is eerily like a broadway showtune except that its electrified, highly dissonant, and becomes increasingly melancholy instead of uping the tempo and energy like a showtune would. It's one of the more interesting songs.
Get up and dance to "Pow Pow" and "Home" but don't expect to be awed. The hype seems to be over his immediately preceding album, Sound of Silver, and if it's better than this it's worth a listen.
Murphy shows creativity and a penchant for catchy beats without the bubblegum that's definitely worth a listen or two if for nothing else, to tap your feet to.
"Drunk Girls" is silly and playful like the title would suggest. "One Touch" is for mindless dancing. The vocals are blunt, spoken brusquely. "All I Want" starts off slowly and is a bit sweeter than the songs so far. It establishes Jame Murphy place in the indie scene and explains why he has such a following there.
"I Can Change" has that Talking Heads vibe I like so much. I've heard this one on the radio a few times and it always manages to find its way into that part of my brain where only another incredibly catchy song can erase it. Here, I think the melody takes center stage, whereas on the rest of the album it seems to be the manufactured dance beats, but rest assured, the vocals are supplemented perfectly and plenty by them here too.
"You Wanted a Hit" is surreal. This is in part due to the pentatonicism in high pitched notes and the long instrumental intro. Don't worry if its not your thing, I enjoyed it and thought it broke up the album well, it soon turns into a basic drum track, easily accessible although the lyrics are caustic towards musical pop culture.
"Somebody's Calling Me" is eerily like a broadway showtune except that its electrified, highly dissonant, and becomes increasingly melancholy instead of uping the tempo and energy like a showtune would. It's one of the more interesting songs.
Get up and dance to "Pow Pow" and "Home" but don't expect to be awed. The hype seems to be over his immediately preceding album, Sound of Silver, and if it's better than this it's worth a listen.
Murphy shows creativity and a penchant for catchy beats without the bubblegum that's definitely worth a listen or two if for nothing else, to tap your feet to.
I Learned the Hard Way - Sharon Jones & the Dap-Kings
This album opens with authority. The brass is definitive, powerful, overwhelming and Jones' voice is veritable, she brings with her the entire history of this genre and in fact, if I was told this album was from the 1960s I wouldn't be surprised. It's nice to have some of this sound nowadays though and luckily this group is talented enough to account for the lack of similar bands for last few decades. Lyrically the songs display wisdom and age, topics of maturity and growth ("The Game Gets Old," "I Learned the Hard Way," "Better Things," "She Ain't a Child no More"), but its not critical or boastful, its more matter of fact and a celebration of coming out better. The frankness is refreshing, the funk is moving, and the rhythm is mollifying. There is a confidence displayed by Jones backed up by excellent strength in the instrumentals, not on technically, but emotionally. The album is solidly cut it two by the instrumental track "The Reason" - possibly the most upbeat of all the songs. Usually I would be bored by slower laid-back tempos and a lack of immediately catchy hooks, but not here. The music keeps me involved and inspired everything second for its own sake. It's harder to explain, but it's a love more lasting. I will be following this band and appreciate that they can deliver me an old-school soul sound in modern times in a market saturated with everything but.
Tuesday, July 6, 2010
All Rebel Rockers - Michael Franti & Spearhead
I can't get this group out of my head since the show a few days ago. I'm a little jaded on "Say Hey" (only in my head and that ended once I heard it again), but this album has plenty of happy, feel-good numbers to keep my interest peaked. Its a little bit of obvious pop/rock, classic summer sounds, reggae, hip-hop, acoustic guitar, electronics, and plenty of good beats among other things. It was this mix and the fact that AllMusic says "All Rebel Rockers is the first record by Franti's Spearhead that captures the power and goodwill of the band's live shows" that made me pick up this album immediately and made me unable to put it down since. Franti's political penchant is still visible here, but it is given a new voice - one of joy and love despite that which he protests.
If I had one complaint, it would be that the beginning is loaded with the upbeat songs and the album gets progressively more laid-back. A better mix and juxtaposition of tempos and mood might have worked better for the album as a whole. Either way, I can't stop moving to each and every song on this album and I guarantee it'll have the same effect on you.
If I had one complaint, it would be that the beginning is loaded with the upbeat songs and the album gets progressively more laid-back. A better mix and juxtaposition of tempos and mood might have worked better for the album as a whole. Either way, I can't stop moving to each and every song on this album and I guarantee it'll have the same effect on you.
Banjolele
The Banjolele - a musical instrument I've never heard of! I recently finished cataloging a collection of sheet music from the late 19th and early 20th centuries either published in Kentucky or dealing with a subject related to Kentucky. Hopefully they will be digitized and online soon. Anyway, one of the songs had tabs for ukulele or...banjolele. It's exactly what it sounds like - a hybrid between a banjo and a ukulele. It's exciting to find a new sound. Here's a video of Pete Moss playing one. He seems pretty good.
Monday, July 5, 2010
Waterfront Independence Festival
Louisville celebrated the 4th with a free two day festival down by the water (http://www.waterfrontindependencefestival.com/). I made it the second day to see Bettye LaVette, Arrested Development, and Michael Franti & Spearhead.
Bettye LaVette was the big draw for me. I love her track "Joy" originally written by Lucinda Williams from her album I've Got My Own Hell to Raise, and album solely of covers of songs written by women. She didn't perform this song, but I wasn't disappointed. Some of my favorites were "Take Me As I Am," "You Don't Know Me At All," "Don't Let the Sun Go Down on Me," "Reign O'er Me," and, excerpt below, "Why Does Love Got to Be So Sad."
She's a great entertainer with a great voice and a lot of personality. Its modern standards she's creating with her soulful voice and reputation for putting a new personality into new favorites. Unfortunately my camera died in the middle of her set, but here's a shot of the stage and her band during the day.
Arrested Development was a new band for me. They were billed as hip hop, but it was more soulful vocals with a hip hop beat and a few rap solos. I like the song "Tennessee" and that seemed to be a crowd favorite too. It was a little cheesy or trite, but I suppose that is bound to happen with the messages they put forward like peace, love, etc. and the fact that their heyday was the 90s. I may not buy the music, but they put on a good show. It was fun to dance to and an entertaining hour and fifteen minutes.
Michael Franti & Spearhead was a real surprise for me. I think like everyone else I love "Say Hey" so much that it didn't take much to convince me to see them for free, even for just one song. He is an amazing time though. I found my self sad when his set was over despite the fact that he went way over on time. His messages of love and friendship didn't rub me as anything but genuine. He was happy and he wanted to share that too. Each song was catchy, but beware he loves to trick the audience into thinking the song is over...only to start the chorus back up after applause. After two or three songs though, you know its coming, but he still waits for the applause. Franti was also all over the crowd. At one point he set up his guitar way back in the field to perform a song out there, inviting everyone in the back to crowd around him while he did. On other songs he just ran around through the crowd, making a difficult time for the spotlight guy to do his job. Some songs he let some of the audience on stage to dance and play his guitars. Everyone looked like they were having a blast. Then for the grand finale, he called all the little kids on stage to jump, dance, and sing with him while the band played "Say Hey" and the fireworks went off behind the stage.
I highly recommend a Michael Franti show whenever he's in your area. Its just feel good, sunshine and summer music. I couldn't help but dance through the entire set despite the heat and already sitting through 3 hours of the opening bands. Most of the songs I enjoyed are on his latest release All Rebel Rockers, but a few were from his other albums with Spearhead. They might all be worth checking out. I was impressed.
Bettye LaVette was the big draw for me. I love her track "Joy" originally written by Lucinda Williams from her album I've Got My Own Hell to Raise, and album solely of covers of songs written by women. She didn't perform this song, but I wasn't disappointed. Some of my favorites were "Take Me As I Am," "You Don't Know Me At All," "Don't Let the Sun Go Down on Me," "Reign O'er Me," and, excerpt below, "Why Does Love Got to Be So Sad."
She's a great entertainer with a great voice and a lot of personality. Its modern standards she's creating with her soulful voice and reputation for putting a new personality into new favorites. Unfortunately my camera died in the middle of her set, but here's a shot of the stage and her band during the day.
Arrested Development was a new band for me. They were billed as hip hop, but it was more soulful vocals with a hip hop beat and a few rap solos. I like the song "Tennessee" and that seemed to be a crowd favorite too. It was a little cheesy or trite, but I suppose that is bound to happen with the messages they put forward like peace, love, etc. and the fact that their heyday was the 90s. I may not buy the music, but they put on a good show. It was fun to dance to and an entertaining hour and fifteen minutes.
Michael Franti & Spearhead was a real surprise for me. I think like everyone else I love "Say Hey" so much that it didn't take much to convince me to see them for free, even for just one song. He is an amazing time though. I found my self sad when his set was over despite the fact that he went way over on time. His messages of love and friendship didn't rub me as anything but genuine. He was happy and he wanted to share that too. Each song was catchy, but beware he loves to trick the audience into thinking the song is over...only to start the chorus back up after applause. After two or three songs though, you know its coming, but he still waits for the applause. Franti was also all over the crowd. At one point he set up his guitar way back in the field to perform a song out there, inviting everyone in the back to crowd around him while he did. On other songs he just ran around through the crowd, making a difficult time for the spotlight guy to do his job. Some songs he let some of the audience on stage to dance and play his guitars. Everyone looked like they were having a blast. Then for the grand finale, he called all the little kids on stage to jump, dance, and sing with him while the band played "Say Hey" and the fireworks went off behind the stage.
I highly recommend a Michael Franti show whenever he's in your area. Its just feel good, sunshine and summer music. I couldn't help but dance through the entire set despite the heat and already sitting through 3 hours of the opening bands. Most of the songs I enjoyed are on his latest release All Rebel Rockers, but a few were from his other albums with Spearhead. They might all be worth checking out. I was impressed.
Sunday, July 4, 2010
Mount Wittenberg Orca - Dirty Projectors + Bjork
A collaboration between two of my favorite musicians? Yes please. All donations towards the National Geographic Oceans Society Project? Even better. Buy the album here. Its well worth the money for both reasons. There are videos and a letter from David Longstreth about the album too.
Rise Above - Dirty Projectors
Bitte Orca is an amazing album, if you haven't heard it - you need to. This is the album preceding it. I was hoping for the same unique sound and excellent writing and I think I got it. I can't explain this music at all. I've never really heard anything like it. Its odd, but its not creepy. The voices are slippery, slightly manipulated. The sonic landscape is sparse. The tempos, the melody are hard to follow. They are irregular and often don't repeat, but the songs are not disjointed. Each one feels complete and whole like they took each germ of an idea and realized it fully. There is no danger of boredom - you have to listen to the entire song again to hear each part of it that got stuck in your ear. Catchy hooks are not beat to death like a pop song, but they are definitely abounding. The music is upbeat, but not bubble gum. The lyrics are abstract and as stream of consciousness as the music. Catchy stream of consciousness would be the best way to describe it I suppose. I can't think of any other. For those that enjoy music this definitely comes highly recommended, although still not as highly as Bitte Orca. If their next album is that much better, I will be first in line to hear it.
Monitor - Titus Andronicus
I'd never heard of Titus Andronicus, but apparently they have a few releases. This is their latest and only second real album, out just a few months ago. Like most softer punk (I'm thinking Brand New or early Fall Out Boy) the band name, the song titles are references to literature, movies, obscure references in other genres of performance art (this particular band name a reference to Shakespeare's play). This albums is different however in that it is a concept album based loosely on Civil War concepts. Its now\t bad punk. I've not really been listening to this kind of music for awhile and I miss it. The bands I used to listen to in this genre, from this part of the country have put out albums since that don't really interest me anymore. Monitor is the kind of sound I've been looking for, but the Civil War lyrics aren't something I can really grab onto beyond a nod of well done, whats next. That's just me though, I'm not into music to learn about history unrelated to it.
Let's talk about the music. The vocals are raw and gritty. Sometimes I mistook him for Conor Oberst, especially in Desaparecidos. In addition to a mix of underground indie artists contributing to the album in various ways, Titus Andronicus incorporates a lot of instrumentation including some bagpipes, some fiddle, other nonconventionals in this genre. Its really an interesting mix and something this area of music has been missing for awhile.
Let's talk about the music. The vocals are raw and gritty. Sometimes I mistook him for Conor Oberst, especially in Desaparecidos. In addition to a mix of underground indie artists contributing to the album in various ways, Titus Andronicus incorporates a lot of instrumentation including some bagpipes, some fiddle, other nonconventionals in this genre. Its really an interesting mix and something this area of music has been missing for awhile.
Saturday, July 3, 2010
It Is Finished - Nina Simone
I'm excited for Nina Simone to be my latest obsession. After hearing a track from this album on the radio, I'm starting here, but I have at least five of her other albums I'd like to listen to soon. Her body is work is much larger than I expected and after some reading and searching about her best work and best songs, I chose six and I'll go from there. Most people recommend her live albums (Nina Simone at ...), but for some reason I see those as being reserved for her more experienced fans, as I tend to see all artists and their live albums. However, after all that explanation, I'm starting with a live album because I can't get that one track out of my head.
My ideas of Simone up to this point had always been favorable. I'm aware of her versions of "Ooh, Child" and "Here Comes the Sun," but I was in love with "Feelin' Good" for a very long time and may possibly still be. Her voice is striking and powerful and her musicality is obvious. I had no idea she was pianist and initially inspired to be a classical pianist. I grouped her with the great Ella Fitzgerald and Billie Holiday - a powerful woman with a unique voice putting her stamp on standards, but there is much more to it, as I was to only just yesterday find out.
It Is Finished is her last album at RCA, recorded in 1974. It begins with "The Pusher," a song popularized by Steppenwolf! Its hard to find any evidence of this hard rock style in her music. Her soulful performance seems to be influenced only by the severity of the lyrics. After some applause, she launches into a hypnotic descending, single-hand, piano melody. It then becomes chords, while the guitar, or smaller strummed instrument (I'm not sure here) takes up a similar melody. Her vocal melody sounds like "Kumbaya" and strangely the words "come by here" are slurred together to sound like she is singing "kumbaya" as well. Its gospel, but with only Simone's vocals, it is an unusual way to experience the genre. The audience clearly feels the gospel vibe as they begin clapping in rhythm about 2/3 through until the end. I still cannot get that piano hook out of my head.
When I heard "Funkier than a Mosquito's Tweeter" on Louisville's WFPK, I was surprised to find it was Nina Simone. It sounded much newer to me, something like Róisín Murphy meets the Noisettes. The percussion is intricate, I cannot name exactly what instruments are used, but some bongos, drum set, and tambourine for certain. Essentially, this rhythm track carries the entire song, dropping out only at certain times to showcase Simone's voice. It is constantly evolving and changing but still retains the essential seductive initial repetition. Simone's voice is smooth and the lyrics are uncomplicated which blends right into the rhythm track.
"Mr. Bojangles" isn't bad, but I feel that I've heard over versions which interest me more. Simone's version is simple, her vocals straightforward and the instrumentation typical. The audience apparently recognized the next song. They cheer loudly after she iterates the first line of "I Want a Little Sugar in My Bowl." The song is seductive, her piano playing is reminiscent of that in a salon or bar, but in the very best of ways. She dedicates the song to the great Bessie Smith.
"Dambala" is haunting. Simone sings quietly, her voice slinks through each word. I'm pretty sure I hear sitar in this one and there is a lot of Simone's classical piano training here as well. It makes for a unique performance. Its a shame this album is so under represented among Simon's oeuvre. I can find hardly any sources in a cursory search that talk about it or any of the songs on here. As a result, I don't know who sings the duet, "Let It Be Me" with her on this album. The piano is simple, playing chords to back up the straightforward melody with few embellishments. I imagine this song would work well on the soundtrack for a good drama film.
"Obeah Woman" begins with another repetitive percussive track and again I'm not exactly sure on the instrumentation except for the obvious tambourine and bongos. Here she sounds almost like Miriam Makeba. I know the two were close friends, but I'm not sure as to the timeline between their friendship and the recording of this album. The singing in this song seems very loose, she frequently invites the audience to participate. There is an element of call and response, but also slight improvisation.
This album demonstrates the versatility of Nina Simone. I had no idea she was so multifarious and involved in the instrumentation of her music. I had no idea she was such a force when performing live. I had no idea she sang more than standards. Expect to see much more Nina Simone on this blog soon.
My ideas of Simone up to this point had always been favorable. I'm aware of her versions of "Ooh, Child" and "Here Comes the Sun," but I was in love with "Feelin' Good" for a very long time and may possibly still be. Her voice is striking and powerful and her musicality is obvious. I had no idea she was pianist and initially inspired to be a classical pianist. I grouped her with the great Ella Fitzgerald and Billie Holiday - a powerful woman with a unique voice putting her stamp on standards, but there is much more to it, as I was to only just yesterday find out.
It Is Finished is her last album at RCA, recorded in 1974. It begins with "The Pusher," a song popularized by Steppenwolf! Its hard to find any evidence of this hard rock style in her music. Her soulful performance seems to be influenced only by the severity of the lyrics. After some applause, she launches into a hypnotic descending, single-hand, piano melody. It then becomes chords, while the guitar, or smaller strummed instrument (I'm not sure here) takes up a similar melody. Her vocal melody sounds like "Kumbaya" and strangely the words "come by here" are slurred together to sound like she is singing "kumbaya" as well. Its gospel, but with only Simone's vocals, it is an unusual way to experience the genre. The audience clearly feels the gospel vibe as they begin clapping in rhythm about 2/3 through until the end. I still cannot get that piano hook out of my head.
When I heard "Funkier than a Mosquito's Tweeter" on Louisville's WFPK, I was surprised to find it was Nina Simone. It sounded much newer to me, something like Róisín Murphy meets the Noisettes. The percussion is intricate, I cannot name exactly what instruments are used, but some bongos, drum set, and tambourine for certain. Essentially, this rhythm track carries the entire song, dropping out only at certain times to showcase Simone's voice. It is constantly evolving and changing but still retains the essential seductive initial repetition. Simone's voice is smooth and the lyrics are uncomplicated which blends right into the rhythm track.
"Mr. Bojangles" isn't bad, but I feel that I've heard over versions which interest me more. Simone's version is simple, her vocals straightforward and the instrumentation typical. The audience apparently recognized the next song. They cheer loudly after she iterates the first line of "I Want a Little Sugar in My Bowl." The song is seductive, her piano playing is reminiscent of that in a salon or bar, but in the very best of ways. She dedicates the song to the great Bessie Smith.
"Dambala" is haunting. Simone sings quietly, her voice slinks through each word. I'm pretty sure I hear sitar in this one and there is a lot of Simone's classical piano training here as well. It makes for a unique performance. Its a shame this album is so under represented among Simon's oeuvre. I can find hardly any sources in a cursory search that talk about it or any of the songs on here. As a result, I don't know who sings the duet, "Let It Be Me" with her on this album. The piano is simple, playing chords to back up the straightforward melody with few embellishments. I imagine this song would work well on the soundtrack for a good drama film.
"Obeah Woman" begins with another repetitive percussive track and again I'm not exactly sure on the instrumentation except for the obvious tambourine and bongos. Here she sounds almost like Miriam Makeba. I know the two were close friends, but I'm not sure as to the timeline between their friendship and the recording of this album. The singing in this song seems very loose, she frequently invites the audience to participate. There is an element of call and response, but also slight improvisation.
This album demonstrates the versatility of Nina Simone. I had no idea she was so multifarious and involved in the instrumentation of her music. I had no idea she was such a force when performing live. I had no idea she sang more than standards. Expect to see much more Nina Simone on this blog soon.
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