Here is another $1 find that has blown me away. I purchased this because it was a buck, it was Art Blakey and it had kind of cool cover. Even though this is a fair to poor condition record with lots of light crackle, you can still tell this is a sonically superb recording. The power of the music completely overshadows the poor condition of this LP. The monophonic mix really pops out of the speakers. I would love to have a mint version of this.
This 1956 recording has two distinct sides. Side 1 is an amazing Afro-Cuban, Latin, jazz suite with a heavy emphasis on percussion. Side 2 is conventional bop leftovers from an early session – good stuff, but it is side 1 that makes this an amazing recording. Side 1 is not really Art Blakey and the Jazz Messengers, but a unique group called the Art Blakey Percussion Ensemble featuring: drummers Jo Jones, Charles Wright and Art Blakey, bassist Oscar Pettiford, pianist Ray Bryant, and Cuban percussionists Candido and Sabu.
My favorite cut is Oscalypso composed by the legendary jazz bass player Oscar Pettiford. Pettiford starts and the song with cello. If the linear notes had identified this a cello I am not sure I would have figured out what it was. Kind of sounding like a bass, but also drum like in its tone – it is otherworldly. That cello tone would make an awesome sample in the right person’s hands. The whole song is pretty amazing. If you see this album in a crate and if is in playable condition – grab it!
I am not sure how I first stumbled upon the Merl Saunders and Jerry Garcia collaboration Live at the Keystone (the original release was as a double LP in 1973). I think it might have been one of my early emusic discoveries. It was love at first sight. I have never been much of a Grateful Dead fan, but I became Jerry Garcia fan in 1991 based on a double live CD simply titled: The Jerry Garcia Band.
What I loved about that 1991 release was the absolutely inspired covers. The origin of that band goes back to a July 10-11, 1973 Garcia/Saunders set of shows in the intimate confines of Keystone Korners in Berkeley CA. When I first found Live at the Keystone I had to have more. Sure enough there was a messy collection of tracks spread across several albums. This Keystone Companions is the definitive collection.
I have been living off crappy emusic MP3 – so this set of CDs is major sonic upgrade. It also includes some nice packaging (coaster, poster and button are the extras).
This is a sensational set. Merl Sunders (keyboards) had a jazz and R&B background and he provided the perfect mentor to a curious and adventurous Garcia. This was the foundation of a very productive Garcia side career to the Grateful Dead. It includes originals and covers (which are all over the board: Dylan, Motown, reggae, jazz standards, etc.) all played in a space-jazz style.
Garcia’s marimba sounding guitar is the most original voice on these disks, but Saunders and his band provide an inspiration that pointed Garcia in the right direction. So although Garcia’s voice (both on guitar and vocals) dominates, it could have never happened without the Saunders’ band.
Live at the Keystone has been on my all time top 100 albums for several years, now I have the definitive edition. Thanks Fantasy for putting out this edition at a reasonable price. Finally the collection also presents 7 tracks that are previously unreleased in any format:
- Keepers (CD 1)
- It Takes A Lot To Laugh, It Takes A Train To Cry (CD 1)
- My Funny Valentine (CD 1)
- How Sweet It Is (CD 2)
- The Harder They Come (CD 3)
- Someday Baby (CD 4)
- Merl’s Tune (CD 4)
This is a Jimi Hendrix eulogy by the jazz guitar great Larry Coryell. Recorded live at the legendary Village Gate jazz club in NYC in 1971, just 4 months after the death of Jimi. Coryell quotes Hendrix in his own words; his playing is an inspiration and not an impersonation.
This is one of my crate dig finds of the year – a mere two bucks – this piece of vinyl is in good to very good condition and is exactly why I crate dig – finding a piece of gold in the mud. I knew nothing about this album beyond that I was vaguely familiar with Coryell. The album cover was hokey as hell, which almost scared me off. But this is a wonderful album of face melting jams. If you are a Hendrix fan and a jazz fan this is LP was made for you. Turn down the lights, light up the patchouli stick, drop the needle and let this album lick your ears.
Alicia Keys is probably the most all-around talented of the contemporary soul divas of the past decade. She burst on to the scene in 2001 with a phenomenally successful debut album (Songs in A Minor) that has sold over 6 million albums. It has been a tough act to follow – subsequent albums had some hits, but nothing like that album.
Her new album is wonderful ear candy. Although she has lots of collaborators on this album (writing, production, and performances), there is a nice unity to the album. Mostly slow jams with positive uplifting lyrics. For my old ears this is nice mix of classic soul and contemporary hip hop influenced soul. There is not a bad cut on the album.
Highlights for me are “Fire We Make” which is a duet with Maxwell and has very tasty slow burning guitar solo from Gary Clark Jr. “Not Even the King” with it heart on the sleeve lyrics. The penultimate cut, “One Thing” – a Frank Ocean ballad. And the finale, “101,” which is a nice little pop symphony. The closest thing to a misfire is the Nicki Minaj collaboration on the titular song. Nicki’s rap just seems tacked on and does not add anything but a distraction to perfectly good song. Overall this a very strong album that should give Rihanna and Mrs. Jay Z a run for their money.
I was pleased to see a shout out to Dave’s Records in Chicago in the November edition of American Way (the American Airlines inflight magazine – see page 34). Dave’s Records is one of my favorite record stores. I try to stop by every time I pass through Chicago. Dave’s is a vinyl only shop that has managed to survive through the CD era. Although a small store they have an outstanding selection of new and used vinyl. Located on Clark Street in Lincoln Park, it was one of the biggest dividends of my son’s DePaul education.
This 1974 release is by two key members of Mahavishnu Orchestra. If you like the early 70’s incarnation of that band you will like this. It is an easier listen than those early MO albums. The music alternates between contemplative pieces (foreshadowing New Age) and funky jazz rock fusion.
Goodman was noted for his violin playing and Hammer for his keyboards, but on this album both guys stretch out on several instruments. Most songs sound like a full band, but it is just the two guys and the power of overdubbing.
I recognized a couple of tunes on my first listen, but could not quite place them – turns out they would show up 3 years later on the album “Jeff Beck and the Jan Hammer Group Live” (also a recent crate digging find that I have been savoring). Coincidentally the other day I had been listening to Mahavishnu Orchestra’ Birds of Fire and remarked that there is not enough violin in rock music. This album helps fill that gap!
I knew nothing about this album before picking it up other that I knew the guys where from Mahavishnu Orchestra, the year (1974) suggested a good vintage, a very cool cover, the album was in good condition and it was a reasonable price ($4). But you can’t discover new music without taking a risk on your intuition – this risk had a fine payout. Highly recommended.
My daughter and I made our Black Friday first stop Minneapolis’ Electric Fetus. We were not too extreme, arriving at 8:00 for a 9:00 opening and were rewarded with queue holder numbers #22 and #23. That was early enough to catch our limit of Record Store Day special editions. Thank goodness for sub-freezing conditions.
We continued the family tradition, originated by my wife, of giving away our extra number.
The Fetus is well-organized for this event. An employee gave us our number right away so we did not have to wait in the cold. Black Friday Record Store Day is the little brother of Record Store Day – there are not nearly as many releases, but still plenty of ways to blow a hundred bucks. The Fetus augmented the national releases with a bunch of Secret Stash 7 inch singles related to the recent Twin Cities Funk and Soul release (I had to restrain myself on those since I had purchased the limited edition purple vinyl edition earlier this fall).
Now that I have taken care of myself, I guess it is time to get into the Christmas spirit and think about others.
I have been so busy at work that I missed the first couple of Audio Society of Minnesota meetings this season. 
But fortunately I did not miss the November meeting with Minnesota audiophile legend Frank Van Alstine. Before the meeting I did not know Frank, but just 90 minutes in his presence has me sold. This is a no-nonsense audiophile manufacture who has a great product at a reasonable price.
Frank demoed his Audio by Van Alstine products through the Society’s Magnepan speakers. Last year I got to hear those speakers several times and I have to say I was not really that impressed. But wan Van Alstine’s product drove those speakers in a way that they sounded like sonic gems. Van Alstine proudly noted that the Magies were not augmented by a sub-woofer, stating that if you want great bass you need great electronics not a sub-woofer. And he spoke the truth, the Magies rocked all by themselves!
Frank is no gimmicks – just a pure audiophile and great engineering. I am not technical enough to understand his engineering, but I have ears to hear a great product. His amp, preamp and DAC sounded fantastic.
Well I now know who is behind blue eyes. Just finished Pete Townsend’s autobiography. This is a very intimate reveal. Pete tells all. I have always been connected to the music of The Who and to Pete’s solo work, so this was very special to get to know the man.
What did I learn? Pete has amazing notions and anticipated the music industry as we know it now in the early 70s. Pete is delightfully twisted and that insanity has been his muse. Pete defines the notion of being a musical genus vs. being merely talented. Pete is a Rock Star.
Pete has bold ideas about what rock music is capable of doing. He is not afraid to swing for the fences and striking out is not a failure, but a noble attempt to win the game. Pete’s failures (Who’s Next) are masterpieces. His successes (Tommy) are timeless.
Overall Pete is incomprehensible and that is his charm – he demands to be pondered. Like any great writer, Pete cuts open a vein and bleeds on to the page. This is book is like a great Who song – it kisses your soul.
My wife and daughter “dragged” me to Minneapolis Craft’za, but I was the winner! Not only was this a male friendly show at an amazing venue, but I got an exclusive test print of an amazing Adam Turman poster. I have been a fan of Adam’s work for a while, so it was a blast that I got to meet him and chat him up. He is a great guy and his work is so Minneapolis. It emphasizes babes, bikes and beer. I have long been an admirer of his Vinyl Girl (AKA Electric Fetus Girl).
The awesome print I picked is my home town on a turntable backed by Minnesota themes. Rock on Mr. Turman. PS Sweet Pea – thanks for the drag – it was not! See below:
Axl's Catch Groove 