teabowl

Wrecking Ball

Emmylou Harris. Asylum Records 1995, Audio CD, $7.50

A towering achievement and also an immensely likeable record. Emmylou Harris, after spending the first half of the 90s playing and recording solid if traditionally-oriented country albums, in 1995 teams up with Daniel Lanois and engineer Malcolm Burn to make a surprisingly experimental, electronica-influenced, slow-burning gem of a modern country record that sounds nothing - absolutely nothing - like country music sounds in 1995 (or since, for that matter). She forges a completely unique path here, presenting material in a way that boldly proposes an alternate universe: one where country music does not sound like 80s mainstream rock (or bluegrass nostalgia). Instead of commercial sheen, the music here has grit, tape hiss, low and odd keyboard pads, loops and samples… and yet, there’s Emmylou Harris’ voice, invoking a true country idiom with every line she sings. There’s much pain and sadness on this record, all of it worth hearing any number of times. A true artist statement, even though she only co-wrote one of the songs (”Waltz Across Texas Tonight,” with Rodney Crowell), Wrecking Ball is a must-have, even if you don’t like country as a rule. (As someone who was always a performer and never a writer, this album also marks the beginning of Emmylou Harris’ journey into songwriting, culminating in later records that have a similar sound but songs mostly penned by her, which are also worth listening to.)

Mozart

Wolfgang Amadeus Mozart (Composer). Nonesuch 1996, Audio CD, $10.94

This is a beautiful performance of Mozart’s 20th and 18th piano concertos, one of those records that changed my perception of how Mozart concertos could be played. I had grown up listening to Barenboim and Gulda playing these works (my mom’s record collection), and this is entirely in a different league. Well, ‘different league’ makes it sounds as if it somehow invalidates the other, older versions. That’s not really it. But the playing and recording quality are delightfully superior in this modern version. Goode, an American pianist, plays these concertos energetically, and with a very Viennese ‘lightness’ that seems wholly appropriate to the material. The Orpheus Chamber Orchestra, the famous ‘conductor-less’ group from New York, seems an ideal pairing for this material. I love their complete Mozart Wind Concertos, and this seems to confirm their knack for Mozart concertos. I believe this disc could get anyone excited about Mozart’s piano works. Maybe that’s a bit of wishful thinking, but do give it a try :)

The Lady Sings

Billie Holiday. Proper Box UK 2001, Audio CD, $14.98

Billie Holiday changed how we hear women sing. In recorded music, she essentially redefined vocal pop music by introducing a more personal and immediate singing style. She also changed how we think about phrasing, basing hers on instrumental music rather than the rhythms and cadences of pronunciation. But quite apart from all that, Billie Holiday is just an absolute joy to listen to - one of those timeless artists whose music can be enjoyed in any situation, surroundings and at any time of day. Everybody should have some Billie Holiday in their CD collection. Hers is an instantly recognizable and likable sound, so deeply embedded in the fabric of popular music that pop itself is no longer imaginable without Billie Holiday. All subsequent jazz singers, and most subsequent blues and r&b vocalists, owe her a tremendous debt of gratitude. This four-disc box set is dirt cheap and contains all the seminal early records from the 1930s and 40s - the decades when she was at the peak of her vocal power and invention. Everything has been restored impeccably from the best copies available. (Subsequent recordings sound better because recording technology had improved considerably, but Billie’s voice began to reflect her drug and alcohol consumption, and her performances were no longer as elastic or accomplished.)

The Bride Stripped Bare

Bryan Ferry. Virgin Records Us 2000, Audio CD, $7.50

Bryan Ferry is a classic crooner in the same sense that Frank Sinatra was - he can sing anything and imbue it with his own style, interpreting it meaningfully and casting it in a new light. Starting in the 70s, Ferry established a long tradition of occasionally releasing solo albums that featured cover versions. The Bride Stripped Bare is, in my opinion, the best example of this: filled with ‘The Same Old Blues,’ ‘Carrickfergus’ and ‘Take Me to the River,’ it can’t fail. The arrangements are tasteful and accomplished, and Ferry’s own compositions (almost) keep up with the covers. His version of ‘That’s How Strong My Love Is’ has to be heard to be believed - it’s completely over the top to the point of being camp, and emotionally touching and sincere at the same time… quite an accomplishment. Most people would think of this as a ‘minor’ record at best, a footnote made by someone who was famous for something else; I think it deserves to be loved for being fearless and really showcasing Bryan Ferry’s unique and sensuous voice.

Upstairs at Eric’s

Yaz. Emd Int’l 2008, Audio CD, $12.79

What powerful music this was, and remains. Vince Clarke, the original composer/arranger behind Depeche Mode, teams up with blue-eyed soul singer Alison Moyet, and together they create some of the most memorable, path-breaking electronic pop music ever recorded. What makes this so powerful is that it’s two consummate professionals fully bringing themselves to this project - each contributing powerful material, performing as equals. Clarke’s arrangements are flawless and brilliant throughout; perfectly minimalist, hard and shiny electronica that makes the absolute most of the technology at his disposal in 1982. His isn’t an accidental genius - in the sense that we might only recognize it today, since these analogue synth sounds have become so popular once again - but someone completely in charge of both music and technology. His arrangements are the pinnacle of economy and simplicity - just enough, never too much. Moyet’s voice is an instrument of power, clarity and beauty. ‘Only You,’ ‘Midnight’ and ‘In My Room’ ought to be heard by everybody who has even a passing love of pop music. This brand new remaster casts it all in a sheen of extra clarity.

Come Away with Me

Norah Jones. Blue Note Records 2002, Audio CD, $7.86

I know people say “Snorah Jones.” But I like her music - I think it’s mature in a good way: music that begs to be listened to, music that’s firmly based in craft (she’s a very fine pianist) and sung with a clear, expressive voice. Yes, it’s subdued and acoustic and, as such, has been embraced by dinner party hosts and easy listening FM stations everywhere. I also like her selections; it’s music that occupies the space vacated by Aretha Franklin (when Aretha lost her bluesy grit sometime in the mid 1970s) as much as it addresses the listening public’s need for a less austere, horsy (dare I say, less ‘white’?) Diana Krall. And all of it is delivered with more than a small helping of country twang because - despite the fact that her dad’s an Indian classical music superstar and world music hero - Norah’s really from Texas.

Live at the River East Art Center

Kahil El’Zabar’s Ritual Trio. Delmark 2005, Audio CD, $11.80

Sometimes, the music you don’t understand is the music that touches you most deeply. I’ve never been much of a jazz listener; I’ve skirted around it for years, essentially avoiding bebop in its myriad permutations, and enjoying traditional jazz, some fusion and a lot of the more postmodern artists influenced by hip hop or country, such as Medeski Martin & Wood and Bill Frisell - music that’s technically jazz, but also, in some fundamental way, not. Kahil El’Zabar’s Ritual Trio falls into this category. Originally a trio but consisting of four musicians for a decade or so, the Ritual Trio features amazing, African, tribal-sounding percussion, a deep, rumbling and melodic double bass, a tenor saxophone and an electric violin. The music has lots of space and passion. It’s very spiritual and soulful, develops slowly and unfolds into moments of extreme beauty and power, similar in impact to Fela Kuti maybe, or the spirit of Miles Davis when he played an improvised sort of ‘voodoo funk’ on 1970s live records like Dark Magus and Live-Evil.

Chopin

Frederic Chopin (Composer). Hyperion UK 2005, Audio CD, $40.78

This is romantic piano music of the highest order: Chopin’s Nocturnes should have a place in every record collection. Perhaps the finest example of virtuoso classical piano composition, this is deeply involving and emotional material. Canadian pianist Angela Hewitt brings out the bel canto aspects of this music beautifully, and the audio quality is first class. I prefer Hewitt’s playing to other versions I’ve heard (Pollini, for example) whose intensity and sheer sound volume can conceal the fine textures of Chopin’s night-time pieces for me.

Dreamland

Madeleine Peyroux. Atlantic / Wea 1996, Audio CD, $7.67

The wonderful first album from Madeleine Peyroux, a jazz singer whose music and voice sound somewhat like Billie Holiday. This is very well-recorded and engaging music. Her two subsequent albums are also good. I like this for dinner parties, in the car and on long, sunny summer weekends (which we’re currently experiencing).

The Hot Fives & Sevens

Louis Armstrong. Jsp Records 1999, Audio CD, $21.98

This is simply incredible music. I dearly love really old, pre-bebop jazz, and Louis Armstrong invented much of it. More than a trend-setter, he was an inspiration to generations of musicians (of any genre). These British remasters of the early recordings are flawlessly done (an example of how Europe’s ‘lax’ copyright laws drive technical innovation foward and prices down, but let’s not get into politics here :)