What Are You Listening To Right Now?
Luckychris777
New Head-Fier
Luckychris777
New Head-Fier
mystaiced
1000+ Head-Fier
Mate,
Welcome to head-fi. Try to keep it to 1 post per day with music. Just edit a previous post to add more music throughout the day. No need to spam multiple posts. A few posts a day for responses. Cheers
Man, I'll back you as designated spokesperson, hahaha
Luckyleo
Headphoneus Supremus
Hi all,
Asking an honest question. I'm not clear why we are asked to post once/day and add multiple listenings to the original post. Really what's the difference between one post with 5 listings, vs. 5 posts with 1 listing each? Again, I'm truly interested. No "shade" intended.
Thanks!
Leo
Asking an honest question. I'm not clear why we are asked to post once/day and add multiple listenings to the original post. Really what's the difference between one post with 5 listings, vs. 5 posts with 1 listing each? Again, I'm truly interested. No "shade" intended.
Thanks!
Leo
Thanks. Yeah, I'm familiar with the Air Force Band as I've seen them perform before.
Anyway, symphonic music has never been my cup of tea.
Thanks for the honor though. Much appreciated
finbad
500+ Head-Fier
Wes Montgomery 1962/2023 Remastered and Expanded (with exceptional sound quality)
Although Wes Montgomery found the most commercial success with his Creed Taylor-produced albums for Verve and A&M Records, the nine-albums-in-four-years run that he had on Riverside from 1959 to 1963 was where he established himself as one of the preeminent jazz guitarists of the hard bop and soul-jazz era. The clarity and energy of those Riverside albums, along with his unique picking style, helped Montgomery carve out a new lane for funky improvisation that was accessible but also technically satisfying.
Montgomery's music during this period—sprightly, melodic, and built upon the interplay of the musicians in his group—seems tailor-made for a concert environment, so it's surprising that only one live album was released during his Riverside era. But oh, what a live album it is. First released in November 1962 (his fifth album as a leader on Riverside), Full House was recorded just a few months earlier at the Tsubo Coffee House in Berkeley, California, and captures Montgomery leading a talent-packed quintet featuring Johnny Griffin, Wynton Kelly, Paul Chambers, and Jimmy Cobb. In the intimate environment of a club gig, this group is positively electric, and, given that Riverside boss Orrin Keepnews encouraged the band to perform multiple takes to construct a live album, the documentation here is exceptional. Although Full House was delivered as a concise, all-killer, no-filler, six-track album, over the years it has been expanded to include many of those alternate takes.
A 2007 reissue doubled the initial length and seemed to be comprehensive, but this 2023 Complete Full House edition tacks on a previously unreleased and unedited version of the title cut that restores Montgomery's original solo.
Wisely, the original album—in beautifully remastered form—is the foundation of this edition, and presented with its running order intact.
Highlights abound throughout the remainder of the set, however, whether it's Paul Chambers' stunning bass solo on an alternate take of Dizzy Gillespie's "Blue 'n' Boogie" or that previously unreleased master take of "Full House." Although a few tracks are here in two or three different versions, the pacing and sequencing of the record never feels weedy or redundant, even when these alternate takes are presented back to back, making a strong testament to the versatility and vitality of Montgomery and his band. © Jason Ferguson/Qobuz
Although Wes Montgomery found the most commercial success with his Creed Taylor-produced albums for Verve and A&M Records, the nine-albums-in-four-years run that he had on Riverside from 1959 to 1963 was where he established himself as one of the preeminent jazz guitarists of the hard bop and soul-jazz era. The clarity and energy of those Riverside albums, along with his unique picking style, helped Montgomery carve out a new lane for funky improvisation that was accessible but also technically satisfying.
Montgomery's music during this period—sprightly, melodic, and built upon the interplay of the musicians in his group—seems tailor-made for a concert environment, so it's surprising that only one live album was released during his Riverside era. But oh, what a live album it is. First released in November 1962 (his fifth album as a leader on Riverside), Full House was recorded just a few months earlier at the Tsubo Coffee House in Berkeley, California, and captures Montgomery leading a talent-packed quintet featuring Johnny Griffin, Wynton Kelly, Paul Chambers, and Jimmy Cobb. In the intimate environment of a club gig, this group is positively electric, and, given that Riverside boss Orrin Keepnews encouraged the band to perform multiple takes to construct a live album, the documentation here is exceptional. Although Full House was delivered as a concise, all-killer, no-filler, six-track album, over the years it has been expanded to include many of those alternate takes.
A 2007 reissue doubled the initial length and seemed to be comprehensive, but this 2023 Complete Full House edition tacks on a previously unreleased and unedited version of the title cut that restores Montgomery's original solo.
Wisely, the original album—in beautifully remastered form—is the foundation of this edition, and presented with its running order intact.
Highlights abound throughout the remainder of the set, however, whether it's Paul Chambers' stunning bass solo on an alternate take of Dizzy Gillespie's "Blue 'n' Boogie" or that previously unreleased master take of "Full House." Although a few tracks are here in two or three different versions, the pacing and sequencing of the record never feels weedy or redundant, even when these alternate takes are presented back to back, making a strong testament to the versatility and vitality of Montgomery and his band. © Jason Ferguson/Qobuz
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Pet Shop Boys fan here, having a few of their albums including the one with I Want A Dog as that's one of my favorite Pet Shop Boys songs that I still play to this day. My now adult kids even know that one having come up hearing me play it all the time. Listening to it now per your video
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LarsMan
Headphoneus Supremus
Saw the original Montrose many a time in San Francisco when I moved out here in '73.
Here are a few snapshots from Winterland, in either '73 or '74. They opened a 3-band bill, and I'd never heard of them, but that was one of the best gigs I'd ever seen. They blew the roof off the sucka....
LarsMan
Headphoneus Supremus
In my opinion, it's because multiple posts instead of multiple selections on one post come across feeling like spam.
If somebody wants to post 20 things, if it's on one post, I can quickly move to the end; otherwise, I don't know how many individual posts from the same person I'll have to scroll through if I don't want to read them all.
