Category: Jazz (Page 7 of 12)

Bullz-Eye’s Favorite Albums of 2008: Staff Writer Jason Thompson’s picks

Another year in music has come and gone. As I compiled this annual list of my favorite albums, I felt the cynicism creeping over me. Man, the music industry has really gone down the crapper but good. I don’t feel as bad for artists waxing nostalgic about the “good old days” as I might have a few short years back. I’m turning into one of those dudes who “can’t relate” to all the music the kids are digging these days, though I suspect that has more to do with my not being a Jonas Brothers or Hannah Montana fan than anything else. In the meantime, Metallica released a new one whose regular CD mix apparently sounded shitty compared to the “Guitar Hero” edition of the same album, and Axl Rose finally got around to releasing Chinese Democracy, which may have been overshadowed more by Dr. Pepper making good on their promise to give everyone a free bottle of their product if the album was released this year. Yeah, things are a bit of a mess. But here are a nice batch of albums to keep you entertained in this day and age of music biz misery,

Top 10 albums of 2008

1. Kingen: Ride with Me
As soon as I had played this album straight through for the tenth time after shortly receiving it, I figured there wouldn’t be anything else to change my mind about what album would be topping my list this year, and there wasn’t. Sweden’s Kingen created a great brew of real R&B, soul, and rock and roll with a little Louisiana swagger thrown in. The best thing about this album is it isn’t a tribute or nostalgia trip for the artist, but the real deal. Where else are you gonna find that these days?

2. Starfucker: Starfucker
This odd and wondrous pop gem blends strange vocals, goofy synth hooks, and a whole lot of catchy melodies. Their randy name aside, Starfucker have already made some great headway on the indie circuit thanks to this fun and engaging release. Listen to “German Love” once and you’ll never get it out of your head. Sort of like a great Air track, only not so full of itself. The rest of the album goes off in all sorts of directions but never gets too weird for its own good. Pure sugary fun.

3. Earlimart: Hymn and Her
Now stripped down to its two original and essential members, Earlimart continue forth with this hypnotic collection of tunes that goes down the street of the Velvet Underground’s third album, mixing the blissful with the melancholic. Yet it’s all very much more uplifting than downbeat, furthering the proof that this group is still one of the best around. When you’re doing your own thing this well, you never have to look back.

4. Eivind Opsvik: Overseas III
What do you get when you make an album that mixes jazz with a bit of rock and it doesn’t suck? Why, you get this album, of course. Over the course of its extended tracks, Eivind Opsvik throws down the jazz-whathaveyou lead in New York City and lets everyone else follow. This is highly enjoyable stuff without getting too cerebral for those who don’t like too much math in their jazz, or without just sucking all over the place (Spyro Gyra, Kenny G., the rest of the gang). This is almost tranquil listening, with a good groove underneath to keep the heads bobbing.

5.XX Teens: Welcome to Goon Island
If you like your rock to sound like it’s coming straight out of that late ‘70s CBGB’s atmosphere without sounding like wannabes such as the Strokes, then you’ve come to the right place. XX Teens have all the attitude and the musical prowess to put them over with the caffeinated, pilled-up crowd. Razor-thin guitar riffs, crunchy rhythms, and semi-scary lyrics make this a fun trip for everyone who’s sick of the whole doldrums that modern rock has become.

6. Charlatans: You Cross My Path
I honestly hadn’t listened to a Charlatans album in a long time – at least, not a new one. But these guys were one of the very few Manchester groups of the early ‘90s to keep things going, and usually at a critically acclaimed pace. This album can only continue that trend as there’s hardly a miss to be heard in it. For those still spinning the grooves out of Some Friendly from all those years ago and promptly forgot about them, you’d find a lot to like out of this new Charlatans disc as it’s all of that plus a whole lot more, and a whole lot better, stuff.

7. Tal M. Klein: Plastic Starfish
I’ve been grooving to Tal M. Klein since he was calling himself “Trancenden” (a name that he finally shed as he was sick of people assuming that he was a trance music artist). On his latest nautically-themed release, Klein keeps up the good funk and danceable grooves mixing live instruments with sampled vinyl and whatever else he likes. Basically, it’s another slam dunk for Tal. I dunno how the guy finds the time, seeing as how he’s always grooving up some party and writing up restaurant reviews on Facebook, but he’s the man with the master plan and I am but his adoring fan.

8. Feed The Need: Feed The Need
This album was pitched to me by the group’s manager and turned out to be a very enjoyable listen. This group of teenage musicians has pretty much done the impossible. That is, they created an album of mostly original tunes whose lyrics didn’t sound whiny or tried to come off as “older.” These guys sing what they know about, and do it in a way that at times sounds like groups such as Steely Dan in its earlier years. Now what other teenage group is gonna give you that?

9. Heap: Oddball
Heap came back from a little break after their great debut On the Cheap with this second studio set (a live album occurred in there as well) that pretty much continues the fun grooves of the first album. They’re a rockin’ bar band with a love for the Replacements and they mix their strengths well. One can almost imagine them being the band the ‘Mats would have become if perhaps Bob Stinson had got his shit together and Paul Westerberg didn’t get so sentimental. If you love straight-up rock, this is the band for you.

10. Hills Rolling: Something Delicious
To put it simply, Hill Rolling does a great less-is-more thing, mixing Beatles pop sensibilities with Lou Reed-style guitar playing and arranging. Two of my favorite acts rolled out as one new one. I can’t argue with that, and neither should you.

Best Reissues of 2008

1. Nick Lowe: Jesus of Cool
One of the greatest albums ever finally gets the deluxe treatment and everyone can once again hear what the fuss was all about. This is exactly how a great pop rock album should be made. It’s important yet disposable, witty yet touching, sarcastic and trashy. Okay, Nick, it’s time to finally make the proper sequel to this. I know you have to have a few more tunes as great as “So it Goes” up your sleeve these days.

2. Billy Joel: The Stranger 30th Anniversary Edition
This was the album that made me a music lover back in 1977 when I was five years old and my older brother brought it home. This new edition features a superior remastered sound by original producer Phil Ramone, a live CD, and a DVD, not to mention the token booklet and other goodies. It’s till the music that matters, though, and anyone who can’t instantly get into the first few bars of “Movin’ Out” has no soul. And on “Vienna,” Billy created one of his greatest album tracks of all time.

3. The Jacksons: Triumph
A far more enjoyable album (to my ears) than Michael Jackson’s breakthrough Off the Wall, this was the last stop before Thriller and found the Jackson boys grooving all over the damn place. “Can You Feel It?” is still great disco, while “Lovely One” funks harder than anything any of thse guys did before or since. The newly remastered edition sounds fantastic, though its three bonus tracks are complete throwaways. Still, if you truly want to hear a moment in time when Michael and his siblings were unstoppable, then check this out.

Bullz-Eye’s Favorite Albums of 2008: Staff Writer Jeff Giles’ picks

Hey, you know that death spiral the music industry has been in for the last eight years or so? Yeah, it isn’t going away. (Matter of fact, it turns out that the record biz – ever the trendsetters – started its collapse a few years before the financial sector and the automakers.) But even if album sales aren’t what they used to be, and stars aren’t as super as they once were, more great music than ever is waiting to be heard. Here are 10 top-to-bottom winners from the scores of new albums I listened to this year.

Top 10 Albums of 2008

1. Randy Newman: Harps & Angels
He only releases an album of new songs about once every 10 years, so his fans have grown accustomed to pinning a lot of pent-up hope on Randy Newman – and fortunately, his latest is among his best. That isn’t just late-career grade inflation, either; Harps and Angels contains the sharpest, most acerbic pop tunes you’ll hear all year, mocking everyone from Korean stereotypes to Jackson Browne. Nobody bought it, of course, but that’s our problem, not his.

2. Dr. John: City That Care Forgot
Two years after the rest of the world moved on, the Night Tripper is still pissed off about what happened to New Orleans when Hurricane Katrina hit, and this stank-eyed song suite proves you can be filled with rage and still be funky. If you haven’t kept up with the good Doctor since his “Iko Iko” days, you may be surprised – in a good way, of course.

3. The Felice Brothers: The Felice Brothers
If you’ve spent the last 30 years wishing Robbie Robertson hadn’t left the Band, well, The Felice Brothers won’t really make you stop pining for a bygone era, but it will reinforce your belief in the continued existence of wonderfully authentic (and just plain wonderful) roots rock. None of the Felice Brothers have ever walked within a mile of a vocal coach, and this record is so much the better for it.

4. Matthew Ryan: Matthew Ryan vs. The Silver State
After the quieter, machine-assisted Notes from a Late Night High Rise, Ryan was ready to reconnect with a band and dial up the amps – and that’s just what he did on this album. The results are typically searing, but they have an added rawness, a spark that hums between Ryan and his bandmates. It sounds like what it is: A terrific album that was recorded in a garage. Open a cold one and play it loud.

5. Lindsey Buckingham: Gift of Screws
The once-and-again Fleetwood Mac guitarist isn’t known for recording quickly, but after taking 14 years to release the follow-up to Out of the Cradle, he’s been atypically busy, issuing a live album and the long-awaited Gift of Screws in ’08. It isn’t the double album fans were grabbing off the Web ten years ago, but that might be a good thing – it rocks harder and more cohesively than any of his other solo records.

6. Q-Tip: The Renaissance
After a lost decade spent entering and exiting five different label rosters, Q-Tip finally returns with his second solo album – and rather than sounding like something that was labored over for years, The Renaissance succeeds in providing some of the smartest, catchiest, most dance-friendly hip-hop of the year. Hopefully, it’ll be enough to keep him from another extended absence.

7. Steve Poltz: Traveling
In which the erstwhile Rugburn follows up his excellent Chinese Vacation with an even more excellent collection of hook-filled pop songs that gently run the gamut from sweet to funny to sad and back again. Poltz is a songwriter with an uncommonly deft touch, but he’s occasionally had his tongue stuck too deeply in his cheek to speak clearly; here, he plays to nothing but his strengths.

8. The Roots: Rising Down
Not the most user-friendly rap record of the year, Rising Down makes up in uncompromising toughness what it lacks in radio-polished hooks – something you wouldn’t have known if you only listened to “Birthday Girl,” the Fall Out Boy-assisted novelty track that Geffen shipped to radio before the album’s release. Here, “Girl” is relegated to bonus-track status – which is where it belongs on an album as dark and wily as this one. You’ve got to admire their commitment to artistic integrity, but if the Roots are going to keep from going the way of Jurassic 5, their next release needs to be smart and radio-friendly.

9. Vampire Weekend: Vampire Weekend
Take the bug-eyed skittishness of mid ‘80s Talking Heads, cross it with the assuredly smooth globetrotting of Paul Simon’s Graceland, and you’ve got yourself Vampire Weekend, and one of the most instantly addictive indie releases of the spring. The post-rock landscape is littered with baby bands who tried too hard to have fun, but any band that can name-check Peter Gabriel and ask “who gives a fuck about an Oxford comma?” on the same album has to have its priorities in order. Can’t wait for the next one.

10. Pete Seeger: At 89
Like the title says, Seeger turned 89 this year – and he’s still doing what he does best: Taking his message to the people, armed with nothing but a banjo and a voice that, while not as strong as it used to be, is still capable of leading a good old-fashioned sing-along. Hands-down the most inspirational record of the year, despite the occasional corny line.

Anders Holst: Romantika

Dubbed as the “crown prince of contemporary romantic music,” it would seem Swedish import Anders Holst’s publicist and label are reaching a bit. Reading about him and listening to Holst’s debut album, Romantika, you get the feeling that this is a guy who has always had aspirations to have his music played on light rock stations. And in that lies a problem – the fact that most light rock artists didn’t get there by wanting to get there. They arrived there because they were aging rockers who mellowed over time like wine or cheese, and because their fans mellowed in parallel fashion (think Eric Clapton or the Eagles). Others, like Daniel Powter, wound up on light rock stations by default. But Anders Holst is being marketed that way, and while his songs aren’t bad and are arranged and produced like a cross between light rock and smooth jazz fare, there is something here that sounds forced. Adding a bit of insult is the fact that Holst, while being touted as a songwriter, leads off the record with Billy Joel’s “All About Soul,” proof that even his label doesn’t have enough confidence in Holst’s songwriting. Again, Holst could do much worse than this, and he’s going to find an audience with his nice brand of light romantic pop. But as a whole, this batch of songs will help listeners relax—relax to the point of putting them to sleep. (LABEL: Unheard of Music)

Anders Holst MySpace Page

Steal This Song: Medeski, Martin & Wood, “Free Go Lily”

It’s embarrassing to admit this as the senior editor and supposed leader of Bullz-Eye’s music section, but this is the first song by Medeski, Martin and Wood that I have ever heard. You’d think that I would have accidentally heard one by now – and who knows, maybe I have – but once you take a position like this, and the publicist emails start coming in, it’s very easy to lose track of what you should be listening to, as opposed to what you are listening to. Heck, I still haven’t listened to Supergrass’ new album, and I love Supergrass. Right now, I have to focus on the new Jack’s Mannequin to get a review ready for next week, and man, am I disappointed with it so far. So sterile, and way too whiny. But that’s another story for another day.

So a rep asks if we’d post a new track from Medeski, Martin and Wood, and I say “Hell yes,” because it’s about time I heard something from them. They were lumped in with the HORDE tribe early in their career, and since I don’t listen to many (ahem, any) of those bands, I just tended to avoid them. This song, “Free Go Lily,” though, is pretty fun, like something Vince Guaraldi would come up with while jamming with some friends and a case of scotch. The band’s new album, Radiolarians I, hits shelves September 30. I, for one, am looking forward to hearing more.

Medeski, Martin & Wood – Free Go Lily

Shirley Horn: Live at the 1994 Monterey Jazz Festival

Listening with 2008 ears that have spent plenty of time with music of today’s standard bearer for female jazz vocals – Diana Krall, who else? – it becomes abundantly clear just how much a debt Ms. Krall owes to her forebear, husky-voiced singer/pianist Shirley Horn. Riding a wave of renewed interest that began in the late ‘80s, Horn came out swinging at her only Monterey Jazz Festival appearance. “Foolin’ Myself” and “Nice n’ Easy” are highlights, as is her rendition of “I’ve Got the World on a String,” which sounds awfully close to how Krall would approach it the following year on her second album. Best of all, though, is her total ownership of “The Look of Love” – she dips and swoons her way through a wonderfully elastic take on the Bacharach classic, with great sympathy from her rhythm section, bassist Charles Ables and drummer Steve Williams. (Monterey Jazz Festival 2008)


Monterey Jazz Festival Records Myspace page

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