Posts Tagged ‘live

27
Apr
19

Dave Brubeck and Paul Desmond “At Wilshire-Ebell”

I didn’t even know I had this record, and I don’t have very many records, but then I regularly lose notebooks, and it took me months to find a particular pair of socks once, and then it turned out they didn’t grant me the gift of invisibility anyway. You can pick up Dave Brubeck albums in cheap bins, I suppose, because they made a lot, and he doesn’t have the collector appeal of certain jazz legends whose records you never see, like Coltrane and Miles Davis. I mean, you see those at record shops where you have to pay for them. Sometimes I question my cheapie approach to cheap records—why not just spend the money on ones I really, really like? But if I start questioning that, I have to question my whole life, like why can’t I figure out how to make above poverty level wages. And just, generally, why do I suck so much? This thinking is a vicious cycle. It’s much better to just try to keep moving.

I picked a random card, Ace of Spades, lined it up to my random record picking system, and this one came up. It’s got a glossy cartoon cover, a drawing of a proscenium, presumably the Wilshire Ebell theater in Los Angeles, with some little cartoon musicians, white guys with glasses, Dave Brubeck at piano and Paul Desmond with an alto sax. The drawing is small enough to fit full-size on a cassette, without the theater that dwarfs them, of course, but then you’d lose the effect. The back cover is covered with words, not one but two sets of anonymously written liner notes. It’s a delight, if not particularly entertaining or weird. This 1957 record is on Fantasy, who seemed often to favor the red vinyl, so if nothing else, when you’re having a guest over, the visual of putting the records on will mix well with a well-mixed cocktail and mood lighting. This record, in spite of its live recording format, could function well in that setting. All good songs on here, standards that don’t sound enough like classic versions to put them in the forefront of your evening’s activities. The massive but polite applause at the end of each number sounds like someone briefly turning on a water faucet full blast.

For me, I’ll always associate Brubeck with his most famous composition, “Take Five,” (written by Paul Desmond) which, if you’re a certain age, you’ll not be able to disconnect from its use commercially here and there, now and then. I seem to remember some really corny TV stuff from my childhood that used either Dave Brubeck music or very similar stuff, but I can’t remember what exactly—nor do I particularly want to return to it, as I consider the bulk of my TV watching as a mild version of childhood trauma. Not to be negative—I love Dave Brubeck. Maybe I should just have a Brubeck marathon someday, with all my thrift-store vinyl, to try to shake overplayed associations. Really, I could spend weeks, or even a season, listening to nothing but scratchy old “Cool Jazz” records—though it would be best in hot weather, preferably while staying at a beach house, overlooking the vast Pacific.

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21
Aug
17

Lionel Hampton “Apollo Hall Concert 1954”

If you believe the title of this record, and why not, it’s a live recording of Lionel Hampton and His Orchestra from 1954 at Apollo Hall. There are some audience noises, but not so much that it’s annoying. I find live rock records almost unlistenable (except maybe in a ironic, comic way) due to the crowd noise, dumb shit said between songs, and the sped-up, adrenaline (or coke) fueled versions of songs. Maybe I’m kinder to live  jazz because I know less about it; I can’t confidently tell a good performance from a bad one, but I guess I definitely like some much more than others—performances, musicians, and songs. My dad had a lot of Lionel Hampton records (not this one, but it inspires nostalgia, nonetheless) and my parents played them, so did I, so I kind of grew up listening to him. For whatever reason, vibraphone is my favorite instrument, or second to piano. In some extensive liner notes on the back of this album cover, the anonymous author goes on and on about how popular Lionel Hampton was at this time. As familiar as I am with his music, I know little about him, so maybe I’ll read more—but some other time. The liner notes just about put me under, just now. I’m still reading, actually. It’s a good record, though the last number kind of bums me out—too loud, fast, energetic, crowd-pleasing—though I’m sure if I was seeing it live in 1954, I’d be into it. The liner notes didn’t do much for me either, though I did like this line, when talking about the importance of rhythm: “Rhythm, which exercises a similar intoxicating effect to a glass of good, heady wine, but which leaves no unpleasant hangover.”

14
May
08

Alcatrazz “Live Sentence”

Was Alcatrazz (TM) the first band to put the trademark symbol by their name? Who cares! This record, from the culturally bottomed out year of 1984, is a LIVE record, of course, but not particularly any worse for that reason (as is usually the case with live records). In fact, it makes a lot of sense, in that when you have an exceptionally wanky guitar player, why not just take it to the Nth extreme, live? And he does! This is pretty much a wankster classic! I’m sure it would be a badge of honor for most guitar players to make someone’s ears bleed, but this is not good. My ears are bleeding, literally BLEEDING from listing to guitar excess on a record player! It would almost be something to behold if it wasn’t so painful.




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