Album Reviews

I discovered New York’s Grizzly Bear in a most typical way, for me — over the in-store PA system at Amoeba Music here in San Francisco. When their in-store play got to the band’s then-big hit — “Two Weeks,” from their May 2009 album Veckatimest — I realized I had indeed previously heard the song’s distinctive, earworm-inducing, millennial-whoop-flavored signature hook. Soon enough, I started collecting the Grizzly Bear catalog on vinyl. While I’ve enjoyed my 180g Veckatimest reissue, I’ve long suspected there might be more depth tucked away in the recording. Thus, I was excited to learn the good folks at Vinyl Me Please were re-releasing Veckatimest in a half-speed mastered, 45rpm colored vinyl edition.

Between the excessive sprawl of 2013's James Murphy-produced Reflektor and the failed experimentation of 2017's punchable Everything Now, it might seem as if Arcade Fire spent the last decade actively trying to lose people's interest. Now, however, they're back; at least, that's what their Nigel Godrich-produced new LP WE wants you to think. Split into more introspective "I" (A) and outward-facing "WE" (B) sides, WE is a concise 40-minute summation of the band's previous work. Every Arcade Fire record finds them striving for epic heights and always falling short, though you can't say they're not trying really hard.

In my previous review of the Korppoo Trio by the Sibelius Piano Trio and Yarlung Records, I spoke a great deal about the recording philosophy of this boutique classical outfit and their AAA, 45rpm chamber music records. From the same recording sessions that brought us that exquisite romantic delight, we have another outing with musicians Petteri Iivonen, Juho Pohjonen, and Samuli Peltonen, this time with a decidedly different program.

What seemed like an unlikely pairing in 1962 of “jazz elder” 63 year old Duke Ellington with John Coltrane, who had just assembled his ”classic quartet” destined to explore uncharted musical (and spiritual) territory, produced a surprisingly cohesive and satisfying album.

Jazz historian, Resonance Records Co-President and tireless searcher for unreleased jazz treasures Zev Feldman in 2015 was searching the French Institut National de la audiovisual (INA) archives when he came upon the complete, never before released in their entirety, Albert Ayler’s 1970 ORTF 1970 Fondation Maeght Recordings, recorded by Radio France, using professional recording equipment—a completely different STEREO source for this material than the radio broadcast, parts of which had previously been issued.

Chasing The Dragon, a British audiophile label that has been around for about ten years now, has distinguished itself with digital and analog releases that can fairly be said to have pushed the state of the art in recorded sound. As is not the case with many audiophile labels, the founders Mike and Françoise Valentine have paid equal attention to the musical contents of their label, notably with classical music and jazz, for which oftener than not they eschew studios in favor of venues where acoustic music is typically performed, such as concert halls or other places with appropriately sympathetic acoustics (e.g., churches). One of the best concert recordings I own is CTD’s 45-RPM album with the Interpreti Veneziani Chamber Orchestra in marvelously stylish, spirted performances of pieces by Vivaldi, Marais, and Sarasate, so beautifully captured—London’s St. John’s Smith Square the venue—that if you set the level right and close your eyes, you easily imagine yourself transported to the best seat in the house (VAL45001). Even their studio recordings are so carefully miked they don’t sound studio bound: the singer Clare Teal’s A Tribute to Ella Fitzgerald, with Chris Dean leading The Syd Lawrence Orchestra, is sonically of reference caliber and musically so stylistically on point as an example of Swing that but for the sonics you’d swear it was made in the 1940s. These are but two albums from a pretty impressive catalog. For a small label to concentrate its repertoire on classical and vintage jazz is not without risk in this day and age, and it is testament to the Valentines’ expertise, taste, commitment, and courage that they have maintained such high sonic and musical standards.

When the CD of this release arrived months ago, I looked at it and figured it was an Armstrong compilation and so put it aside. Nothing on the "jewel" case gave any indication that it was anything but and there was no accompanying press blurb.