Archive for July 2017

Brian Eno – Drawn From Life   Leave a comment

The thing that makes a lot of Eno’s best records so great is the organic. The records that you can hear (feel) the people on, that are not simply the well crafted output of machinery running in the background. On “Drawn From Life” it seems like he went back and listened to some of his older, more organic records. This time Eno is working with J. Peter Schwalm. Hopefully, this is the first of more collaborations because the results are excellent.

About the tracks…

“From This Moment” is a very “Discreet”-like introduction that segues beautifully into “Persis,” which sounds like a track that should have been on “Spinner.”

“Like Pictures Part #1” sounds like we came in toward the end of… something. Barely distinguishable voices in the background segue into “Like Pictures Part #2.” Starting with mildly treated drums, backwards tape loops, hand claps, and a violin surface, stretching the time to somewhere between Middle-Eastern and a One-Drop.

And Laurie Anderson, telling us, “Some things are just pictures. They’re scenes before your eyes. Don’t look now. I’m right behind you.” As an aside, I wish Brian and Laurie would stop, er, pussyfooting around and make an entire record together.

“Night Traffic” and “Rising Dust” are mid-tempo and dark, and would fit nicely with Bill Frisell’s “Blues Dream.” “Rising Dust” has some way cool background drum loops, beautiful piano, and heavily processed vocals (the phrasing makes me think it’s Laurie again). “Rising Dust” almost fades out completely before segueing into “Intenser.” This track includes another processed vocal, this time, it sounds like Eno.

“More Dust” fades up, and in a way to suggest that we’ve arrived in the middle of something again. There is an odd sense of closure on this track, having “Night Traffic” through “More Dust” sounding like the soundtrack to a short film that may or may not exist.

“Bloom” takes a page from the Jethro Tull / Pink Floyd School of Culinary Arts, with a slightly buried in the mix “field” recording of The onE and a Younger onE in the kitchen getting something to eat. All of the instrumentation sounds *very* analog, with headphones on you can hear the electronics misbehaving, etc. “Bloom” closes with a request for pineapple, and about two and a half minutes of silence.

Using low volume and headphones, the two processed vocals on “Two Voices” are surprisingly understandable. There is almost four minutes of silence bewteen “Two Voices,” and the instrumental version of “Bloom.”

While there are 11 tracks on this disc, arguably, you are listening to four multi-part works. In the case of “Bloom” through “Bloom (Instrumental)” it’s a good thing Eno didn’t give the two sections of silence their own track numbers, making it easy to discarding an important part of the work: Space (Silence).

Drawn From Life sounds great in a variety of listening contexts: Big speakers at moderate volume, and 4 Ohm A/C Delcos at low volume. Under headphones, it qualifies as one of the best sounding record I’ve heard, from anyone, since “Spinner.” With Drawn From Life, you can work to it, and you can nod off to it. It is truly environmental music.

Fans and long time listeners should be very happy with Drawn From Life. If you are new to Eno’s work, this is a very good place to start.

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Posted 2017/07/26 by MG Nagy in Uncategorized

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Miles Davis – Kind Of Blue   Leave a comment

Considered to be one of the Holy Trinity of Jazz (Armstrong & Ellington, since you asked), Davis had a pretty tough gig to continue inventing and innovating as a musician, in a music form that probably places a higher demand on inventiveness (in the form of improvisation) than any other.

Davis landed at Columbia (now Sony) records in 1955, with Kind of Blue being his sixth record for them. To rewind a bit, Davis dropped out of Juilliard, and started playing professionally at age 18. By 20, he’s recorded as a band leader. At 22, he helps invent Cool Jazz. By the time he’s cutting Kind of Blue, he’s 33 years of age, cut a few dozen LPs for three different labels, and kicked a heroin habit. What, exactly, is there left to do?

Go Modal. Bring in a mix of musicians that have great instincts. And get ready to improvise. Without going into some kind of track-by-track analysis, Kind of Blue is easy on the nerves, and a feast for the ears (more along that line later). If you are new to Jazz, Kind of Blue is The Jazz Record For People Who Don’t Like Jazz. If you are new to Davis’ music, this is the place to start.

While Kind of Blue is a perfect example of the Jazz form, it has taken Sony a few tries to get it right. Originally, the tapes for the first side ran a little fast. So, musicians in general, and trumpet players in particular who tried to play along with the record would get frustrated because while they could match the tempo, but they couldn’t figure out the pitch…

What follows is a very abbreviated history on releases (versions) of this record.

The original CD release (tagged Jazz Masterpieces in the upper right-hand corner of the front cover) sounds like it was mastered using an EQ curve for cassette playback. And they did not make the speed correction for the first side. You don’t want that one.

The next Sony issue was part of the initial release of their Mastersounds titles. Using a gold disc and Super Bit Mapping, there is a sonic improvement, and they did make the speed correction for the first “side.” Even with the improvements, the Mastersounds release is sonically inferior to an LP release of the time, and way more expensive. You don’t want that one either.

In 1997, for the first time, the original 3-track masters were used, and played back on the same kind of tape deck used to track the original sessions. Sound quality on this release blows any previous CD attempts out of the water. The release was speed corrected, and included a bonus track (an alternate take of Flamenco Sketches). The 1997 issue is dated as such, has a catalog number of CK64935, and a “matrix number” of DIDP089266 (found on the disc, near the spindle hole). This is the CD release you want. That said, please continue reading.

The next CD release was for the 50th Anniversary. The sound quality is a big step down from the 1997 release: Lots of compression, and plenty of distortion. You do not want that release. I think Sony is now using the 50th Anniversary Edition master for the regular catalog issue. Sorry, I can’t remember what the year is on this release. In short, if you are going with a CD release, make sure it’s dated 1997 and you will be fine.

About the original Sony SACD release (I only listen to the two channel mix): It is considerably better sounding than the 1997 CD, and crushes all other CD releases into sonic dust. There are two other SACD releases I am aware of: A Japanese Stereo-only (speed-corrected, with the alternate Flamenco Sketches), and the MoFi hybrid disc (not sure about speed correction or multichannel. it does not have any extra tracks). I have not heard either of them, so, no comparison is offered.

If you are set up to do playback from a hard drive, the high-resolution downloads from HDtracks are not a bad way to go. While I think the Sony SACD sounds a little bit better than the stereo 24/192 release from HDtracks, the best sounding version of Kind of Blue I have ever heard is the HDtracks 24/192 transfer of the mono version. Your first listen to Kind of Blue in mono may have you thinking it sounds Kind of Flat. Part of what you are hearing is the absence of a number of phase problems, as you are no longer hearing Coltrane prominent in one channel, with Davis prominent in the other.

Posted 2017/07/26 by MG Nagy in Uncategorized

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