LATEST ADDITIONS

Filed under
Michael Fremer Posted: Sep 01, 2011 1 comments

Don’t let the October 16th 1956 mono recording date fool you: this Jean-Baptiste “Illinois” Jacquet session was recorded in Los Angeles, probably at legendary Radio Recorders, and the sound will knock you down.

Filed under
Michael Fremer Posted: Sep 01, 2011 1 comments

Few jazz musicians attain pop star status while retaining credibility with their "base." Louis Armstrong managed and of course so did Miles Davis. Stan Getz was another.

Filed under
Michael Fremer Posted: Sep 01, 2011 1 comments

Still raw from 9/11? It's difficult to believe a decade has passed. So imagine this Louis Armstrong concert from 1956. For most of the audience, and for much of America, except for the "Baby Boomer" youngsters too young to remember, World War Two and the enormous human toll it took on families across the country was still a current event.

Filed under
Michael Fremer Posted: Sep 01, 2011 1 comments

Anyone who thinks exploitation/commercialization is a recent development wasn’t around in the aftermath of George Harrison’s discovery of Indian music and his use of a sitar on “Norwegian Wood.”

Filed under
Michael Fremer Posted: Sep 01, 2011 0 comments

After a series of albums that tried too hard to advance the cause and so seemed self-consciously so, Paul Simon has produced his best since Graceland. The album title explains how he's managed. It celebrates the significant but demolishes it at the same time.

Filed under
Michael Fremer Posted: Sep 01, 2011 0 comments

Well after this SACD review had been posted, the double 180g LP arrived. It takes the sound up a significant number of notches, producing greater imaging and staging three dimensionality. The hall reflection is more distinct, King's voice projects further forward and the sometimes rough vocal textures are enhanced in a way that makes it sound more "live.". The string section sounds richer and fuller when it's added and the "you are there" sensation is greatly enhanced overall. If you've not picked this up on SACD, I'd say it's worth spending the extra to get it on LP. A great sounding time capsule for sure!

Filed under
Michael Fremer Posted: Sep 01, 2011 0 comments

There's no mystery about why this seventh Foo Fighters album succeeds artistically and commercially. Dave Grohl tempers his scream fest tendencies with focus, clarity and discipline. Producer Butch Vig, who worked with Nirvana tightens it all up and doesn't leave any loose ends hanging in a recording done in Grohl's garage. Grohl brings back Nirvana and Germs guitarist Pat Smear as well as Krist Novoselic on bass and accordian on "I Should Have Known." It's almost a reunion.

Filed under
Michael Fremer Posted: Sep 01, 2011 1 comments

Alto sax bop legend Art Pepper (1925-1982) had accrued a lot of mileage but few OnePass points when he blew into London with his trio in June of 1980 to play a fortnight gig at the famous Ronnie Scott’s Club.

Filed under
Michael Fremer Posted: Sep 01, 2011 0 comments

Mose Alison meets Steely Dan meets Gary Wilson is the best I can do to describe this hipster member of Hollywood's famous Dragon family's recent CD. 

Filed under
Michael Fremer Posted: Sep 01, 2011 1 comments

In 1975, with complete artistic control written into his new Columbia Records contract, Willie Nelson entered Autumn Sound, a small Garland, Texas studio, to record a sparely arranged concept album based upon the semi-obscure song "The Red Haired Stranger," written by Carl Stutz, a Richmond, Virginia based radio announcer  and Edith Lindeman Calisch, the amusement critic for the Richmond Times-Dispatch newspaper. The pair was best known for writing "Little Things Mean A Lot," which was a hit single for the pop star Kitty Kallen back in 1954 and featured on the wildly popular TV show "Your Hit Parade." Stutz went on to become a high-school math teacher.  

Pages

X
Enter your Analog Planet username.
Enter the password that accompanies your username.
Loading