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Sympathy for Life
Parquet Courts
Alternative & Indie - Released October 22, 2021 | Rough Trade
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With Wide Awake! (2018) produced by Danger Mouse, Parquet Courts moved further than ever down the chaotic path of postpunk revival, inspired by the ghosts of Jonathan Richman, The Fall, The Feelies, Velvet Undergound and a bit of Pavement. Andrew Savage's band also had fun changing its vibe with salutary pop sparks and hip-swinging grooves... Produced by Rodaidh McDonald and John Parish (PJ Harvey), Sympathy For Life pushes the envelope ever further, taking in some Talking Heads-style mixes along the way (such as the groovy Plant Life). To concoct this seventh album, the Brooklynites first set about playing some long, long jams before pruning them, creating some finely calibrated songs. This record takes inspiration from the New York club scene of the seventies, notably the Loft, David Mancuso's cult informal club where Larry Levan, Frankie Knuckles and Louie Vega made their names. Parquet Courts also bears the imprint of Primal Scream's Screamadelica. In the end, there are some strong dance markers, but they never shift the band from a visceral rock vibe. On the contrary: Parquet Courts sets up its 100% garage rock philosophy right in the middle of the dancefloor. It's invigorating. © Marc Zisman/Qobuz
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Forever Blue
Chris Isaak
Rock - Released May 23, 1995 | Chris Isaak
Without identifying who it was, Isaak made his mood clear with Forever Blue by including a farewell letter in the liner notes to the lover who had dumped him. Kicking things off with the snaky, almost guttural "Baby Did a Bad Bad Thing," later made a theme song for Stanley Kubrick's Eyes Wide Shut, Isaak lives up to the confused, fractured message in that letter, turning Forever Blue into his own exorcism. On the one hand, he doesn't sound any less impassioned than before, but on the other, those who have criticized him for seeming to concentrate on the surface of his influences rather than the depths would probably find themselves outfoxed here. There's a stronger energy and fiercer edge to the music, as moodily beautiful as ever, to be sure, but cutting just a little more close to the bone, with even the quiet moments -- check the heartbreaking title track -- sounding truly lost and forlorn. Kenney Dale Johnson's drums hit with a harder energy in the louder moments, the more upbeat melodies have that much more of an incongruously jaunty feeling when set against the often-eviscerating lyrics, as directed as much against himself as the lost love in question. Still, the mysterious departed figure is clearly the main target, and songs like "Don't Leave Me on My Own" and "There She Goes" leave little doubt where things are headed, while "Go Walking Down There" practically explodes with bitterness, Isaak's lyrics lashing out against "the happy people" around him. The instrumental range on San Francisco Days carries over here, but with a newer emphasis on rougher edges mixed with quieter deliveries and arrangements -- a seemingly odd balance, but one that punctuates the sheen of Isaak's earlier work with aplomb, as well as forecasting ahead toward Baja Sessions. Erik Jacobsen again is the production ear behind it all, and credit to him for helping make sure those chances get taken.© Ned Raggett /TiVo
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Walking Shadows (Édition Studio Masters)
Joshua Redman
Bebop - Released May 3, 2013 | Nonesuch
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Joshua Redman's 2013 album, Walking Shadows, is a lush orchestral album featuring the saxophonist backed by a large symphonic ensemble. From Charlie Parker's string recordings in the '50s, to Miles Davis' large-ensemble recordings with Gil Evans in the '60s, to Wynton Marsalis' 1984 album Hot House Flowers, there is a long tradition of jazz musicians framing themselves in the warm, classical tones of a string orchestra. Here, Redman positions himself within this continuum with an album that frames his articulate, harmonically sophisticated saxophone style with immaculately produced arrangements from Dan Coleman, Patrick Zimmerli, and pianist Brad Mehldau. Mehldau also appears here as a member of Redman's quartet alongside bassist Larry Grenadier and drummer Brian Blade. These are some of the most nuanced, lyrical, and romantic recordings Redman has ever produced. Tracks like his opening take on Jerome Kern and Oscar Hammerstein's "The Folks Who Live on the Hill" and Leo Robin and Ralph Rainger's "Easy Living" have a sweeping, cinematic quality that one could easily imagine as the soundtrack to classic film noir. Redman also includes a few of his compositions, including the ruminative "Final Hour" and the torchy "Let Me Down Easy," which perfectly balance his vocal-like saxophone melodies and roiling John Coltrane-influenced improvisations. While most of the album centers around the orchestral arrangements, some tracks -- like Redman's cover of John Mayer's "Stop This Train" and the Beatles' "Let It Be" -- are ruminative small-group tracks that should appeal to listeners who enjoyed his quartet side project James Farm. Ultimately, Walking Shadows is a mature, sophisticated album that can stand head to head with the best orchestral jazz albums of any decade.© Matt Collar /TiVo
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The Sting Variations
The Tierney Sutton Band
Vocal Jazz - Released September 9, 2016 | BFM Jazz
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Polarity
Dan Rosenboom
Jazz - Released April 28, 2023 | Orenda Records
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Blues Alive
Gary Moore
Rock - Released July 1, 1992 | Virgin Records
4 Stars - Excellent - "...You get from Moore what you crave in vain from Clapton--melody, power, flash, that fluid, smoking guitar sound, and the permanent grimace of a revved-up virtuoso with one foot on earth and the other on the live rail..."© TiVo
The Night Visitor
Anna Ternheim
Pop - Released May 15, 2011 | Universal Music AB
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To say that Swedish singer/songwriter Anna Ternheim found a sympathetic figure for collaboration in Matt Sweeney turned out to be an understatement, given that their resulting effort, The Night Visitor, with Sweeney handling production and arrangements at a series of Nashville sessions, is one strikingly enjoyable listen. The realm of stately country/Americana productions, from Lee Hazlewood and the Band to the Walkabouts and beyond, is a pretty long and storied one, and The Night Visitor fits well within that tradition, but Ternheim's enjoyable singing and the appropriately moody though by no means constantly downbeat music result in a series of strong, well-sequenced songs. "Solitary Move" kicks things off with hushed, stark chamber pop with steady acoustic guitar and swirling textures, down to lovely filigrees on the concluding break, a sense of cryptic melodrama that rarely leaves the record. A song like "All Shadows" is almost all cryptic melodrama, doing the combination of stinging feedback, distant drums, and string parts very well. Some other notably strong moments include the excellent "Bow Your Head," which takes a statelier, lofty folk stance, sweetly moving the chorus along before a bit of a quieter rock snarl breaks in a further verse, and the gentle "Walking Aimlessly," quicker and a little more freewheeling, reflecting the title just enough. "Ghost of a Man" is much more hushed and focused in contrast, with swift but still genteel acoustic guitar leading the way, while the fiddle on "Lorelie-Marie" and the accordion on "What Remains?" add to the sense of place and history being invoked throughout without feeling like museum pieces of authenticity as fetish.© Ned Raggett /TiVo
To say that Swedish singer/songwriter Anna Ternheim found a sympathetic figure for collaboration in Matt Sweeney turned out to be an understatement, given that their resulting effort, The Night Visitor, with Sweeney handling production and arrangements at a series of Nashville sessions, is one strikingly enjoyable listen. The realm of stately country/Americana productions, from Lee Hazlewood and the Band to the Walkabouts and beyond, is a pretty long and storied one, and The Night Visitor fits well within that tradition, but Ternheim's enjoyable singing and the appropriately moody though by no means constantly downbeat music result in a series of strong, well-sequenced songs. "Solitary Move" kicks things off with hushed, stark chamber pop with steady acoustic guitar and swirling textures, down to lovely filigrees on the concluding break, a sense of cryptic melodrama that rarely leaves the record. A song like "All Shadows" is almost all cryptic melodrama, doing the combination of stinging feedback, distant drums, and string parts very well. Some other notably strong moments include the excellent "Bow Your Head," which takes a statelier, lofty folk stance, sweetly moving the chorus along before a bit of a quieter rock snarl breaks in a further verse, and the gentle "Walking Aimlessly," quicker and a little more freewheeling, reflecting the title just enough. "Ghost of a Man" is much more hushed and focused in contrast, with swift but still genteel acoustic guitar leading the way, while the fiddle on "Lorelie-Marie" and the accordion on "What Remains?" add to the sense of place and history being invoked throughout without feeling like museum pieces of authenticity as fetish.© Ned Raggett /TiVo
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Nouveau Flamenco
Ottmar Liebert
New Age - Released January 1, 1990 | Higher Octave
Almost overnight, the success of Ottmar Liebert's groundbreaking 1990 debut Nouveau Flamenco catapulted Higher Octave Music into one of the industry's top indie labels and introduced the instrumental world to a fresh, exotic sound unlike any other. Quickly hitting the pole position on Billboard's new age chart, the album took the world by storm. In the U.S. it was certified gold in 1993 and platinum in 1997, while achieving gold status in Canada and Mexico and platinum status in New Zealand and Australia. More than a simple repackaging of its best-selling release of all time, Higher Octave's re-release of the Nouveau Flamenco 1990-2000 Special Edition is a true treasure featuring vibrant new mixes of all the original tracks as well as six previously unreleased songs recorded before or during the original sessions. Though he has gone on to build an amazing catalog with Epic Records, Liebert's love for Nouveau Flamenco ensured his personal involvement in the new release. Gary Lyons, who engineered the guitarist's previous three albums, was hired to remix the old tracks and copy the songs from the original primitive 1/2" tapes they were on to 2" tapes. Liebert also got great joy out of rediscovering three songs that didn't make the original release, and three more that he recorded just prior to the Nouveau Flamenco project. These include the contemplative "Lonely Hours," the clap-along fun of "Morning Sky," the contemplative "La Memoria/Shadows," the gentle "Sudden Shadows," and the contemplative closer "Under Blue Moon" -- all fine, of course, but not quite on the melodic and rhythmic-hypnotic level of classics like "Barcelona Nights." The Nouveau Flamenco 1990-2000 Special Edition is nonetheless a great opportunity for both longtime and new fans to rediscover the magic of when Ottmar Liebert began his extraordinary journey.© Jonathan Widran /TiVo
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Walking Shadows
Joshua Redman
Bebop - Released May 3, 2013 | Nonesuch
Joshua Redman's 2013 album, Walking Shadows, is a lush orchestral album featuring the saxophonist backed by a large symphonic ensemble. From Charlie Parker's string recordings in the '50s, to Miles Davis' large-ensemble recordings with Gil Evans in the '60s, to Wynton Marsalis' 1984 album Hot House Flowers, there is a long tradition of jazz musicians framing themselves in the warm, classical tones of a string orchestra. Here, Redman positions himself within this continuum with an album that frames his articulate, harmonically sophisticated saxophone style with immaculately produced arrangements from Dan Coleman, Patrick Zimmerli, and pianist Brad Mehldau. Mehldau also appears here as a member of Redman's quartet alongside bassist Larry Grenadier and drummer Brian Blade. These are some of the most nuanced, lyrical, and romantic recordings Redman has ever produced. Tracks like his opening take on Jerome Kern and Oscar Hammerstein's "The Folks Who Live on the Hill" and Leo Robin and Ralph Rainger's "Easy Living" have a sweeping, cinematic quality that one could easily imagine as the soundtrack to classic film noir. Redman also includes a few of his compositions, including the ruminative "Final Hour" and the torchy "Let Me Down Easy," which perfectly balance his vocal-like saxophone melodies and roiling John Coltrane-influenced improvisations. While most of the album centers around the orchestral arrangements, some tracks -- like Redman's cover of John Mayer's "Stop This Train" and the Beatles' "Let It Be" -- are ruminative small-group tracks that should appeal to listeners who enjoyed his quartet side project James Farm. Ultimately, Walking Shadows is a mature, sophisticated album that can stand head to head with the best orchestral jazz albums of any decade.© Matt Collar /TiVo
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Young and Fine
Trio Sud
Jazz - Released March 3, 2008 | Dreyfus Jazz
3 stars out of 5 -- "[G]uitarist Sylvain Luc holds center stage. His playing combines a resonant tone with sometimes percussive attacks...that invest even ballads with a subtly aggressive character."© TiVo
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Walking in the Shadows
Steve Grimmett's Grim Reaper
Metal - Released September 23, 2016 | Dissonance Productions
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Walking in the Shadows of Tomorrow
Cellcyst
Miscellaneous - Released January 1, 2007 | Cellcyst
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