{"id":3557,"date":"2012-04-21T17:18:43","date_gmt":"2012-04-22T00:18:43","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=3557"},"modified":"2012-04-25T21:41:42","modified_gmt":"2012-04-26T04:41:42","slug":"readers-choices-2012-4","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2012\/04\/readers-choices-2012-4\/","title":{"rendered":"Readers Choices 2012 (4)"},"content":{"rendered":"

Here is the final round of Rifftides<\/em> readers\u00e2\u20ac\u2122 listening choices. Thanks to all who responded for introducing me—and many others, I\u00e2\u20ac\u2122m \"\"<\/a>sure—to music or musicians that I would not have known otherwise. Without this exercise, among other recordings The Mars Volta, cellist Claire Gastinel and the marvelous O Grande Circo Mistico<\/em> by Edu Lobo and Chico Buarque, would have escaped me. <\/p>\n

Looking over the playlists of recommended albums by young jazz musicians and sampling their wares, I wondered again<\/a> why budding composers in their late teens or early twenties think that 10 or 12 of their original compositions can sustain interest through an entire CD. Yes, I know about works of youthful genius by, say, Mozart, Schubert and Charlie Parker. I\u00e2\u20ac\u2122ve heard no recent evidence that there is another like them among us. A leavening of songbook and jazz standards would help most albums of originals by musicians in their salad days. It\u00e2\u20ac\u2122s amazing how a dose of Porter, Ellington, Gershwin, Shorter, Mandel or Dameron can break the monotony and give the listener a familiar handle. <\/p>\n

If there is enough interest, we may do this again some day when the staff has forgotten the hours of finding and inserting html code for links. For those new to this sort of thing, the links are the album titles in blue. They are clickable.<\/p>\n

Please use the \u00e2\u20ac\u0153Speak Your Mind\u00e2\u20ac\u009d box at the end of this post to comment on Readers Choices or anything else——well, just about anything else. <\/p>\n

The Mars Volta, Noctourniquet<\/em><\/a>.
\nStarlicker, Double Demon<\/em><\/a>.
\nWilliam Parker, I Plan To Stay A Believer<\/em><\/a>.
\nJohn Zorn, The Gnostic Preludes<\/em><\/a>.
\nMichael Sentkewitz<\/strong><\/p><\/blockquote>\n

This is just today:
\nMilt Jackson, To Bags With Love<\/em><\/a>, Memorial Album, Pablo.
\nAndy Bey, Ballads Blues & Bey<\/em><\/a>, Evidence Music.
\nCarmen McRae, Carmen Sings Monk<\/em><\/a>.
\nBill Charlap<\/a>: He’s played throughout the day.
\nGerry Mulligan Meets Ben Webster<\/em><\/a>, Verve.
\nOther frequently heard singers: Joe Williams, Pinky Winters, Joe Mooney and Frank Sinatra.
\nLots of classical music stored on my Media Player and also available at YouTube.
\nCarol Sloane
\nStoneham, Massachusetts
\nUSA<\/strong><\/p><\/blockquote>\n

Dave Brubeck, Moscow Night<\/em><\/a>— includes my all time favourite version
\nof \u00e2\u20ac\u0153Take Five\u00e2\u20ac\u009d—Dave’s playing is superb.
\nPaul Desmond, The Paul Desmond Quartet Live<\/em><\/a>.
\nGerry Mulligan, Midas Touch<\/em><\/a>.
\nAl Cohn & Zoot Sims, Body & Soul<\/em><\/a>.
\nBruce Babad, A Tribute To Paul Desmond<\/em><\/a>.
\nJohn Bolger
\nGreystones, Ireland
\nUK<\/strong><\/p><\/blockquote>\n

Ben Allison, Little Things Run The World<\/em><\/a>.
\nRobert Glasper, In My Element<\/em><\/a>.
\nBranford Marsalis, Braggtown<\/em><\/a>.
\nArt Ensemble of Chicago, A Jackson in Your House\/A Message to Our Folks<\/em><\/a>.
\nMusic By Ry Cooder<\/em><\/a> (Selections from films he has scored).
\nJason Moran, Same Mother<\/em><\/a>.
\nBarry K. Schmidt
\nYakima, WA
\nUSA<\/strong><\/p><\/blockquote>\n

Joe Henderson, Double Rainbow<\/em><\/a>.
\nNorah Jones, Little Broken Hearts<\/em><\/a>.
\nEnrico Rava\/Stefano Bollani, The Third Man<\/em><\/a>
\nKate Bush, 50 Words For Snow<\/a>.
\nChuck Mitchell
\nNew York, NY
\nUSA<\/strong><\/p><\/blockquote>\n

Chick Corea, Eddie Gomez & Paul Motian, Further Explorations<\/em><\/a>.
\nDorian Ford Trio, The Bill Game<\/em><\/a> (The music of Bill Evans)\u00e2\u20ac\u00a8
\nJulian Lage Group, Gladwell<\/em><\/a>\u00e2\u20ac\u00a8.
\nPhil Palombi, Re: Person I Knew<\/em><\/a>.\u00e2\u20ac\u00a8
\nCraig Urquhart, Songs Without Words<\/em><\/a>.
\nJeff Lorber Fusion, Galaxy<\/a>.
\nJake Shimabukro, Peace, Love, Ukelele<\/em><\/a>.
\nKenny Burrell, Tenderly<\/em><\/a>.
\nMark Mohr,
\nSpokane, WA
\nUSA<\/strong><\/p><\/blockquote>\n

Tom Warrington, Nelson<\/a>.
\nJeff Hamilton, Red Sparkle<\/em><\/a>.
\nDave Tull, I Just Want To Get Paid<\/em><\/a>.
\nBob Curnow, Pat Metheny<\/em><\/a>.
\nLarry Hathaway
\nLA Jazz Society<\/strong><\/p><\/blockquote>\n

(Curnow recently released a followup big band album, Plays The Music Of Pat Metheny And Lyle Mays, Vol. 2<\/em><\/a>—DR)<\/p>\n

Clark Terry & Bob Brookmeyer, The Power of Positive Swinging<\/em><\/a>.
\nJoe Lovano, Hank Jones, Joyous Encounter<\/em><\/a>.
\nBonnie Raitt, Slipstream<\/em><\/a>.
\nDuke Ellington At Fargo, N.D., 1940<\/em><\/a>.
\nArt Pepper, Winter Moon<\/a>.
\nJames Bruce
\nNorth Carolina
\nUSA<\/strong><\/p><\/blockquote>\n

Fleet Foxes, Helplessness Blues<\/em><\/a>.
\nDave Brubeck Quartet, Brubeck Time<\/em><\/a>.
\nShelly Manne, Yesterdays<\/em><\/a>.
\nBen Johnston, String Quartets 2,3,4,& 9<\/a>.
\nKeith Jarrett, Live at the Blue Note<\/em><\/a>.
\nPeter Straub
\nNew York City
\nUSA<\/strong><\/p><\/blockquote>\n

Music in the house with Bose speakers upstairs and down. In the car, I favor a heavy sound such as big bands. Count Basie Encounters Oscar Peterson<\/em><\/a> is onboard today. Because of Jack Brownlow<\/a>, I have every Bill Evans CD, but Evans is too subtle for car listening.
\nLee Kilburn
\nKirkland, WA
\nUSA<\/strong><\/p><\/blockquote>\n

Lars Jansson Trio, Worship of Self<\/em><\/a>.
\nClare Fischer Orchestra, Continuum<\/em><\/a>.
\nAmina Figarova, Sketches<\/a>.
\nGrant Stewart, Estate<\/em><\/a>.
\nWarren Vache\/Alan Barnes, The London Sessions<\/a>.
\nChick Corea\/Gary Burton, Hot House<\/em><\/a>.
\nPaolo Fresu Quintet, Songlines<\/em><\/a>.
\nDon Emanuel
\nGillingham, Kent
\nEngland<\/strong><\/p><\/blockquote>\n

Brad Mehldau, Ode<\/em><\/a>.
\nMatt Wilson, An Attitude for Gratitude<\/em><\/a>.
\nAnne Gastinel \/ Claire D\u00c3\u00a9sert: Cello Sonatas<\/em><\/a>.
\nChick Corea, Further Explorations<\/em><\/a>.
\nAnd because there was a discussion of the BBC series Sailing<\/em> on a blog
\nI regularly read, Rod Stewart’s “Sailing” has been my most recent
\nearworm.(It’s in this album<\/a>—DR)
\nStan Jones
\nYarmouth, Nova Scotia
\nCanada<\/strong><\/p><\/blockquote>\n

Cassandra Wilson — Loverly<\/a><\/em>
\nMark Murphy — Memories of You<\/a><\/em> (dedicated to Joe Williams)
\nBrubeck\/Desmond — Dave Digs Disney<\/a><\/em>
\nBird — Live Recordings on Savoy<\/a>
\nBrookmeyer\/Evans — The Ivory Hunters<\/a><\/em>
\nBarry Harris — Plays Tadd Dameron<\/a><\/em>
\nJim Brown
\nSanta Cruz, CA
\nUSA<\/strong>\n<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"

Here is the final round of Rifftides readers\u00e2\u20ac\u2122 listening choices. Thanks to all who responded for introducing me—and many others, I\u00e2\u20ac\u2122m sure—to music or musicians that I would not have known otherwise. Without this exercise, among other recordings The Mars Volta, cellist Claire Gastinel and the marvelous O Grande Circo Mistico by Edu Lobo and […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-3557","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/3557","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=3557"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/3557\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=3557"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=3557"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=3557"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}