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What Are You Listening To Right Now? -New thread, new rules. Please read them. - Page 2664

post #39946 of 72158

post #39947 of 72158

Madonna - Like a Prayer

post #39948 of 72158

Loreen's Heal is tremendously addictive played through a pair of Sony XB41EXs.


I tried not to listen to it because it's "not cool", but my heart is refusing me.

(HA! I see what you did there...)

post #39949 of 72158




Makin' Whoopee: Tribute to the King Cole Trio

Hamiet Bluiett’s heartfelt tribute to the Nat King Cole Trio—by far the most original I’ve ever heard. Bluiett describes his inspiration: “I wanted to focus on Nat as a pianist, not as a vocalist. He was a formidable pianist, ‘anointed’ as they say in the church.

He could get to your soul like no other.” Hamiet’s joined here by contrabass giant Keter Betts blending warmly with Rodney Jones’ sweet acoustic guitar—or with Ed Cherry’s bluesy electric guitar. A perfect intro to Bluiett’s stunning, huge baritone sound.


The breathtaking balladry on “These Foolish Things” and “Sweet Lorraine” is leavened by foot-patting swingers like “Walkin’ My Baby Home” or “Gee Baby Ain’t I Good To You”. This is one of my two or three best-sounding studio recordings. A Fi SuperDisc. (#04832)


Hamiet Bluiett, bari sax/contrabass clarinet 
Keter Betts, bass 
Rodney Jones, aqcoustic guitar/synthesizer 
Ed Cherry, electric guitar* 
Gali Sanchez, percussion ** 
Myrrh, narration **



MAKIN' WHOOPEE (G.Kahn & W.Donaldson)* Listen to Sample
ROUTE 66 (B.Troup) * **
WHEN I FALL IN LOVE (E.Heyman &V.Young)
STRAIGHTEN UP AND FLY RIGHT (N.K.Cole & I.Mills) Listen to Sample
THESE FOOLISH THINGS (H.Link, J.Strachey & E.Maschwitz) Listen to Full Song
PAPER MOON (B.Rose, H.Arlen & E.Harvurg)
SWEET LORRAINE (C.Burwell & M.Parish)
WALKIN' MY BABY HOME (F.Ahlert 7 R.Turk)
CHRISTMAS SONG (R.Wells & M.Rorme)*



Positive Feedback:
reviewed by Rick Gardner

I think this is my favorite of the new issues from Mapleshade. Obviously, it is an homage to the Nat King Cole Trio. Tasty it is too. ...The disc is a pure joy from beginning to end. Sax, bass and guitar, intimately recorded. Great sax sound; meaty, big and bouncy, as it were. Sure there is comfort in the old songs, but there is also fresh life infused by this talented group. Nicely done..



reviewed by James Lien

You've got to hand it to Hamiet Bluiett for undertaking a jazz tribute to Nat King Cole without even inviting a piano player. Nevertheless, rather remarkably, the venerable Bluiett ends up offering a heartfelt tribute to Cole's trio, with his robust baritone sax taking the place of the entire 88 keys of the piano. The CD is superb overall, but one cut of particular and immediate note is the version of Route 66, reinterpreted as a cross-country journey set as a jazz poem. (Dig how when they get out west, the percussionist comes in with Indian tom-tom beats, or how Hamiet's sax impersonates car horns to represent the freeway). It's remarkable: The kind of unexpected cut that can make a good jazz show into a truly great one, and one of the main reasons whyMakin' Whoopee is a real keeper.

December 22, 1997



Fi Magazine:
reviewed by Steve Futterman


A skilled virtuoso who revels in outrageously flatulent tones, a balladeer of grace and poetic means whose uptempo flights court incoherence, an exacting formalist with a no less unruly musical temperament, a master of the cavernous tonalities of the baritone saxophone who routinely extracts piercing high-end notes more suited to the soprano saxophone, an avant-gardist with the heart of a traditionalist, Hamiet Bluiett has built a career fraught with contradiction.


Though Bluiett first drew serious attention working with Charles Mingus during the 1970s, he is probably best known for supplying the earthy tones that have rooted the World Saxophone Quartet over the past two decades. Recording prolifically with that trailblazing group, as well as maintaining a high profile as a solo artist, Bluiett has certainly earned his marks as the most acclaimed living baritone saxophonist in jazz. It's a notoriously demanding instrument that attracts few figures from any realm of jazz, traditionalist or free, let alone those who sip deeply from both streams.


Live at the Village Vanguard: Ballads and Blues [Soul Note] and Makin' Whoopee [Mapleshade] catch Bluiett wrapped in traditionalist garb, which in his case shouldn't be confused with formal wear. Both recordings feature well-crafted arrangements, intriguing selection of songs, and plenty of exceptional improvising. Yet both are also crammed with the leader's trademark eccentricities, stylistic quirks that trip you up and jostle your attention just when things are getting a mite too comfortable.


Makin' Whoopee, a tribute to Nat King Cole, may not rattle the rafters like the Vanguard recording, but it's no mellow make-out record, either. Flanked only by bassist Keeter Betts and guitarist Ed Cherry on most tracks, Bluiett gets to flaunt his mighty tone and walloping delivery. More apparent here than on Ballads and Blues, though, is Bluiett's assaultive sense of humor. It turns out our man is a card-carrying post-modernist, every ready to pop the illusionistic balloon of a romantic ballad with a bowel-clearing discharge of a note sure to break anybody's mood. In other words, Bluiett can forget about that invitation to join Natalie Cole on Unforgettable 2. Not that Bluiett's fooling around. It's just that virtuosity without levity is a no-win proposition for him.


There's gorgeous saxophone playing throughout Whoopee, but it's all charged with a knowing wink of the eye that reminds you that a living, breathing, rambunctious personality is behind the horn, making singular interpretive decisions that may not fit — or just plain dash — your tried and true notions. Reverence has its place, but for Bluiett, what's important is saying your piece.

February 1998







Homages 2 
The Mellow Side Of Clifford Jordan

An intimate glimpse at the Chicago tenor sax giant at the height of his earthy, blues-steeped sound. I recorded these historic duo and trio sessions during 1989 and 1990. They feature Clifford jamming with his closest musical friends, including Julian Priester, Larry Willis, Chris Anderson and Carter Jefferson. A warm mixture of instruments including trumpet, trombone, guitar and piano. Include memorable, quiet renditions of “Soul Eyes,” “Embraceable You,” “Daydream” and “Trees”. And this is Fi Magazine’s Best Sounding Jazz Disc of 1998(#05032)

Clifford Jordansoprano & tenor sax 
Carter Jefferson*, tenor sax 
Julian Priester, trombone 
Kenny Reed, trumpet 
Larry Willispiano 
Chris Anderson**, piano 
Mike LeDonne, B-3 organ 
Rudy Turner, electric guitar 
Fred Cook, bari sax 
Edson Machado, drums 
Nasser Abadey, percussion



EMBRACEABLE Listen To Full Song
CJ'S RIFF - Listen To Sample
TREES - Listen To Sample




All About Jazz:
reviewed by Joel Roberts

The jazz world lost one of its great personalities when Clifford Jordan died in 1993. These informal, exceptionally intimate sessions, recorded at Mapleshade's Maryland studio between 1987 and 1991, capture Jordan's big, warm-toned tenor sax in a variety of settings ranging from sax / piano and sax / guitar duos to organ trios and four-horn jams. The album focuses mainly on slow blues and ballads, including Gershwin's “Embraceable You,” Mal Waldron's “Soul Eyes,” and a Jordan original, “Jug's Groove,” dedicated to fellow Chicago sax legend Gene Ammons.

Given that most of these tunes were called and arranged on the spot, including two freely improvised numbers, the performances here are extraordinarily well-developed. Among the talented cast joining Jordan, several of whom just happened to stop by the studio and were invited to sit in, are pianist Larry Willis, organist Mike LeDonne, guitarist Rudy Turner, trombonist Julian Priester, and saxophonist Carter Jefferson. Percussion is provided on a couple of tracks by Nasser Abadey, playing an assortment of pots and vases found around the studio. Of special note are the contributions of Kenny Reed, a little-known Baltimore-area trumpet player, and Chris Anderson, the reclusive pianist and former teacher of Herbie Hancock, who joins Jordan for a haunting take on Ellington and Strayhorn's “Daydream.”

Jordan's playing throughout these sessions is a joy. His rich, bluesy sound evokes a lifetime of jazz experience, yet always remains true to his Chicago roots. This beautifully recorded album is a fitting tribute to a departed master.

January 1998





Norris Turney, alto sax 
Larry Willis, piano 
Walter Booker, bass 
Jimmy Cobb, drums



BLUES FOR EDWARD (N.Turney) - Listen To Full Song
HERE'S THAT RAINY DAY (J.Van Heusen & J.Burke) Listen To Sample
BLUES IN B (N.Turney, L.Willis, W.Booker, J.Cobb)
IN A MELLOW TONE (E.K.Ellington)
BLOOD COUNT (W.Strayhorn)
COME SUNDAY (E.K.Ellington) Listen To Sample








The Tracking Angle:
reviewed by Fred Kaplan

Mapleshade has garnered wide praise for its sonically pure recordings. Pierre Sprey records straight to two-track analogue with never more than a handful of mikes, minimal cable-lengths, no EQ, no echo plates, no mixing board. This disc stands as Sprey's most lifelike disc to date and that's saying a great deal. Norris Turney, who took over Johnny Hodges' seat in the last Duke Ellington band, has as big and sweet and rich a sound on the alto sax as you're likely to hear and, from the first blaring note, Sprey captures it with jaw-dropping fidelity. The traps slam, the cymbals shimmer; the bass plucks, the wood resonates; the piano hammers and glows. You have to go back to some of those Ellington/Hodges LPS, the original six-eye Columbias, to get such a warm, detailed sound.


Check out the rest of the band: pianist Larry Willis, a Mapleshade staple, who tosses off chords as if they were bouquets;Walter Booker, who's played bass for Cannonball Adderley, Sarah Vaughan and Pharaoh Sanders, to name a few; and Jimmy Cobb, the drummer on Miles Davis' Kind of BlueAt The Blackhawk and other gems. (You'll recognize the cymbal style.) They play standards, mainly from the Ellington book. Nothing adventurous but utterly authoritative. Music for that rainy day.

Fall 1995mapleshade_line.jpg



from QuarterNotes by Wes Phillips

Big, Sweet 'N Blue describes Norris Turney's alto sound perfectly. It's huge but sweetly expressive ­ after all, he's the guy who replaced Johnny Hodges in the Ellington band! Hard to believe this is his first record as a leader, but it was worth the wait. Joined by veterans Jimmy Cobb (a member of Cannonball Adderly and Miles Davis's bands, and the only surviving player from Kind of Blue), Walter Booker (Adderly, Monk), and Larry Willis (Adderly, Jackie McLean, Stan Getz, Carmen McRae...), he turns in a masterful date, full of richly nuanced swagger.


I can't believe that Sprey has managed to capture sax sound this big and powerful, while making it sound absolutely real. Turney's tone is breath made flesh: round, warm, solid, and-yes!-sweet. Willis's piano serves as the sax's perfect foil: softer and more liquid, but just as present. The rhythm section is a force of nature; one can hear the wind and running water in Cobb's brush work, and Booker's bass is as deep and solid as bedrock. Don't miss this one.

September 1995

Edited by Hi-Finthen - 3/2/13 at 7:49am
post #39950 of 72158

post #39951 of 72158


Darn, I forgot how good this is  L3000.gif

Edited by Quinto - 3/2/13 at 7:39am
post #39952 of 72158

"Respect The Dead" - Otis Taylor

post #39953 of 72158


post #39954 of 72158

post #39955 of 72158
Originally Posted by philo50 View Post

Ah! That's one of my favorites, great album!


On my part I'm listening to 


post #39956 of 72158




post #39957 of 72158

"the fellowship of the ring"...

"the two towers"...

"the return of the king"


A magnificent musical journey, no more, no less !



post #39958 of 72158


As The Roots Undo by Circle Takes The Square. Discovered this band recently, and this album is pure genious. 5/5



post #39959 of 72158

Andy Stott - Luxury Problems (2012)


Bat For Lashes - The Haunted Man (2012)


Beth Orton - Sugaring Season (2012)


Caravan Palace - Panic (2012)


Carina Round - Tigermending (2012)


Gilmore & Roberts - The Innocent Left (2012)


Walking Papers - Walking Papers (2012)


Rival Sons - Head Down (2012)


The Unthanks - Diversions Vol. 3 (2012)


I Am Kloot - Let It All In (2013)


Ludovico Einaudi - In A Time Lapse - (2013)


Brian Eno - Ambient 1 - Music for Airports


post #39960 of 72158

                              My Bloody Valentine - m b v


My copy of the CD finally came in the mail. I think I'll give it a spin and see what my B&Ws think of it.

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