Sunday, February 1, 2009

The Pearl, by Brian Eno and Harold Budd


Of late Mr Pinky's has been in search of a more soothing style of music. In my piglet youth I was quite a fan of the Ambient music of Brian Eno. This is a term he created himself by the way. There is an excellent album in an early series of so-called Ambient records released by Brian Eno called The Plateaux of Mirror. This was done in collaboration with American musician Harold Budd. (The album is reviewed on this site.)

In 1986 Eno teamed up again with Harold Budd to create what I guess you could call a follow up album. The Pearl is very much in the style of The Plateaux of Mirror, but much more polished. The production is faultless and the album hasn't dated either.

As in the first collaboration, this album is full of moody piano chords and Brian Eno's electronic treatments and atmospherics. I find it's an excellent album when you want some 'private time' or need to unwind from the world.

This is a really, really beautiful and somewhat haunting album that will help you to forget life's trials and challenges. The Pearl is indeed a real pearl!

Sunday, November 9, 2008

Hurricane (2008), by Grace Jones


After some 19 years Grace Jones is back with an album of new material. So seamless is this new collection of songs that you'd never know Jones has been away for so long. In the mid-eighties, after Jones's Slave To The Rhythm album, the singer took a more pop influenced direction on albums like Inside Story (1986) and Bulletproof Heart (1989). That last album was a bit of a fizzer.

Interestingly, Wikipedia says that Grace Jones made two albums, Black Marilyn in 1994 (what a title) and Force Of Nature (1998). Perhaps Jones is continuing the theme of that album with Hurricane.

Style wise, Hurricane is like being thrust back into Grace Jones's great period between 1980-1982, those three great albums Warm Leatherette, Nightclubbing and Living My Life.

Those albums featured sparse, muscular Jamaican rhythms coupled with Jones's austere vocals. Hurricane continues on in that arresting vein, and it's a relief to see Grace Jones back to 'being herself'. Indeed, there's nothing in the album's tone to suggest that she's even been away for so long from making music.

This album is probably even darker than the 1980-1982 period I cited above. Especially tracks like Corporate Cannibal and the eponymous Hurricane. This is however offset by more reflective and personal tracks.

If you grew up in the eighties like Mr Pinky did, worshipping the rich and strange goddess like Grace Jones, then this new album will not disappoint.

P:)

Saturday, July 19, 2008

Tutu, by Miles Davis


When Mr Pinky was young, one of the first jazz artists he got into was Miles Davis. Not the good stuff though. I started with one of his comeback albums, Star People. This was his return to music after having dropped out between 1974-1980.

In my youthful naivety, I thought the eighties Miles – the decade in which I grew up – really cool. I had no idea that his eighties work was held in such low esteem when compared the great Miles Davis work of before his semi-retirement. Later on I would come to Miles’ great albums and realise how tinny and ephemeral some of these albums were.

Oh well. Nonetheless, I still have a soft spot for some of these records, especially 1986’s Tutu. The album was basically put together by bassist Marcus Miller, and it has a solid, chunky sound that you’d expect from a bassist. Miles basically plays along, so the album is really more of a collaboration.

Yes, the sound has probably dated. Some of that drum programming you wouldn’t hear today, that’s for sure. Nevertheless the tunes are pretty nifty – exotic, unusual even. Despite its rich and strange sound, Tutu is also quite accessible.

Miles also does a cover of Scritti Politti’s Perfect Way, which is the closest the album gets to sweet sounding aural confectionary.

If you do get a copy of this album, make sure it’s a good quality copy. The sounds are big and chunky.

This is one of Miles Davis’s more pop orientated albums, yet it’s also quite innovative in its own way. If you’re looking for a fun, more modern Hip Hop way to start listening to Miles Davis, this would be a good place to start.

The album art work is fan-dabi-doozi by the way.

Thursday, July 10, 2008

Ladies and Gentlemen, hereeeeee's Grace!

It's been almost 20 years since Grace Jones's last album release but that will thankfully change with "Hurricane" due to hit us later this year. Better batten down the hatches cos it looks as though Ms Jones has lost none of her power to shock and awe. Check out the first single "Corporate Cannibal" with it's Massive Attack-like production and freaky black & white clip. It's as though Grace Jones has landed in the twilight zone. Spooky stuff indeed. Can't wait to hear more!

Wednesday, July 9, 2008

Relaxed Piano Moods, by Hazel Scott


Debut records was a label started up by Charles Mingus, his then wife Celia and Max Roach. I have one other Debut records release, by Miles Davis, called Blue Moods. It’s a nifty four track album that has a wonderfully intimate, after-hours tone.

Debut records only lasted for about 24 releases, and Mr Mingus gave the complete Debut records catalogue away as a wedding gift!

Recently this album by Hazel Scott, Relaxed Piano Moods, was given to Mr Pinky, a Debut records release from 1955. Like the Miles Davis record, it plays for under half an hour. This re-release however features two alternative takes and an extra track (Mountain Greenery, by Rodgers and Hart), one presumes from the same sessions as the rest of the album.

Ms Scott, for those like myself who didn’t know about her until recently, was a jazz and classical pianist. She appeared in films and had her own television show.


Here’s an interesting cut-and-paste from Wikipedia:

‘She was known for improvising on classical themes and also played bebop, blues, and ballads. She was the first African American woman to have her own television show, The Hazel Scott Show, which premiered on the DuMont Television Network on 3 July 1950. However, she publicly opposed McCarthyism and racial segregation, and the show was canceled in 1950 when she was accused of being a Communist sympathizer. The last broadcast was 29 September 1950.’

Ms Scott also appeared in the Mae West film The Heat’s On, in which you can see her work her stuff, playing two pianos at the one time and even singing (no vocals appear on this album).

Mr Pinky confesses to having a soft spot for nice piano playing, and Ms Scott provides the perfect tonic with her Relaxed Piano Moods.

Especial favourites are her thoughtful interpretation of Like Someone In Love and her gently swinging A Foggy Day.

The album also features two of Ms Scott’s own worthy compositions. The track Peace Of Mind is just what it says, a contemplative four minute piece, and Git Up From There showcases Scott’s utterly dazzling technique.

It’s a cliché to say it, but they don’t make them like this anymore. Are there any musicians in pop music today, or is everyone in the business of cutting and pasting (sampling)?

My understanding is that this album was originally released in a ten inch format. Oh, how I’d love to own a copy of the original.

If you can’t get the original, you can re-live the days when there were musicians by getting a copy of this CD.

Thankyou so much to the Mr Pinky fan who brought this artist to my attention.

:)p

Sunday, June 22, 2008

Boys In The Trees, by Carly Simon


Many years ago Mr Pinky bought a copy of Carly Simon's 1972 album No Secrets. Like many others I just loved the song You're So Vain ('I had some dreams they were clouds in my coffee...'). Alas, the rest of the album didn't really resonate with me and the disc soon disappeared into my CD shelf.


Recently I heard Chaka Khan's new version of You Belong To Me and, being a purist, I decided to dig up the original Simon album from which the hit came. The Madonna film Desperately Seeking Susan first brought this song to Mr Pinky's attention, but I'd never got around to getting a copy of it.


There are only really two songs in the groovy, soulful Doobie Brothers style of You Belong To Me (which was written with Michael McDonald), the other being Tranquillo (co-written with producer Arif Mardin and husband James Taylor).


Otherwise this the album is more in the acoustic, folk style that you'd attribute to Carly Simon. Most of the tracks were written by Simon herself.


I've been listening to this album quite a bit and enjoy the well crafted, ponderous yet not navel-gazing songs. Simon's melodies and her modest yet engaging vocal abilities Mr Pinky finds a tonic to life's frenetic, thoughtless pace.


It's refreshing to hear a singer / songwriter who also plays the guitar on her own albums. (The only mystery here is the Arif Mardin producing credit. Chaka Khan this aint.)


Saturday, June 14, 2008

Nina At The Village Gate, by Nina Simone (1962)

Mr Pinky recently dug this little gem out of his collection for a listen. When I first got hold of this 1962 live set from Nina’s Colpix years, I only gave it one or two spins before putting it aside.

I don’t know why, but for some reason I pulled it out again recently. Wow! This is such a nice, classy record.

As Nina’s music progressed into the 1970s, she became angrier, her politics tough-as-nails, and her rhythms complex and challenging.

Nina At The Village Gate catches Nina when she was a sophisticated live act and a delicate, thoughtful pianist. She sings quietly and sensitively, making sure her phrasing is carefully balanced. This gives the album a nice intimate feel.

Side one kicks off with Just In Time (lyrics by Comden and Green, by the way), with Simone giving a leisurely piano introduction.

The highlight of side one must be her version of House of the Rising Sun (apparently it inspired The Animals to record it two years later). Nina’s version is a masterpiece of understatement. She makes you think about what she’s singing.

The last track is a superb instrumental, Bye Bye Blackbird. You hear all of Nina’s aspirations to be a classical pianist in this song.

Most of side two is fairly mellow in tone, until the last track, Children Go Where I send You, which is a happy, rousing spiritual.

This, unfortunately, is a lesser known Nina Simone album. If you revere here first album Jazz As Played in an Exclusive Side Street Club, then I think you will be quite taken with Nina At The Village Gate.

Nina really excelled at the live album. She was an awesome performer who could make stand out live records. Miss this one at your own peril.

:)P