Talk Talk - "Spirit of Eden" Vinyl, LP, Album, Reissue, 1988/2012

My favorite music these days are the ones that I missed when they were initially released. Talk Talk is such a band that I ignored for decades, even though I did see them at the Reseda Country Club in the early 1980s when their first big hit "Talk Talk" (not to be confused with the band's name) hit the KROQ airwaves. They had no lasting impression on me whatsoever. Still, as the years go on, people have told me that this band is excellent. "Spirit of Eden" is a unique album and a perfect one at that.

It's natural to compare something you haven't heard, with other artists. Listening to "Spirit of Eden," it reminds me a bit of early David Sylvian, with a touch of classic "John Barleycorn Must Die" Traffic, and then a presence of Miles Davis "Silent Way." Of course, that is just the entrance to the world of Talk Talk. For a band that started with a very 80s production style, ends with all acoustic or un-machine-like instrumentation, such as Double Bass (the great Danny Thompson), Guitarrón, Oboe, violin (Nigel Kennedy), and various horns. Mark Hollis is the figurehead and is very much in the style of a minimalist, who makes maximum music. One never knows what's around the corner, because something unusual and adventuresome comes out of nowhere. In that sense, there is the late Scott Walker approach to arrangements.

The sound is dense, murky, and then almost silence. For, however, many minutes this album is, it doesn't allow the listener to remove themselves from the speakers. "Inheritance" has a classical oboe and strings interlude that comes in like a wave hitting the beach. There are sonic surprises that are borderline ambient, but the mixing is brilliant. Not an album to categorize but to accept on its worth by the superb sounds and touches of melody that is haunting. The silence is just as important as the instrumentation. It should be its instrumental credit: silence — a beautiful piece of delicate work.

Miles Davis - "Ascender pour l'Échafaud" 3 × Vinyl, LP, 10", Album, Deluxe Edition, Limited Edition, Reissue, Remastered (2018/1958 (Fontana)

According to my current bank statement, I'm broke, yet, I couldn't help myself purchasing this three-10" disk set of the Miles Davis' definition of perfection "Ascenseur pour l'échafaud."  The Louis Malle film is fantastic of course, but the soundtrack music is one of those series of perfect aural moments.  With incredible backing from French Jazz musicians Pierre Michelot, René Urtreger, Barney Wilen, and the great American drummer Kenny Clarke.   The mood is consistent, which has traces of sadness and reflection.  The ultimate 'Modal' sounding album, it reflects the sound of a moody sea or a sense of moisture on a Parisian pavement.  

I have at least four versions of this soundtrack album.  It is consistently reissued in various formats, but my favorite is the 10" record.   Last year, they released a 10" original version, but this package includes all the outtakes throughout three discs.  For the new listener, I would suggest this above package because it sounds phenomenal, and there is not a bad or wasted cut on this album, including the extra bonus cuts.   Economically you can find a more inexpensive version, but then again, why do you want a discount of vinyl greatness?  

The album works in the early morning as well as late in the evening.  It has a purity or a sense of place that is meditative, but not background music.  Choosing a favorite Miles album is almost pointless, due to his vast recorded history.  Although, on a very subjective level, this is my favorite Miles album.  It never fails in supplying me the food I need to move on, and although I don't feel it's a spiritual work, but perhaps more of a sexual experience.   Sensuality that is the forefront, and therefore the ultimate sound of lovemaking that enters the brain.  

Brian Eno - "My Squelchy Life" 2 x Vinyl, Limited Edition, Album, 2015 (Opal Records)

Keeping up with Brian Eno stopped around "Discreet Music" and "Before and After Science."  At the time I figured I got all the Eno I need.   And when he went on the route to U2 and Coldplay, I pretty much played his older recordings as a memory of his greatness.   And over the years, after those two solo albums, I have found traces of his music that I like a lot, but not essential to my budget or grand interest.  Recently I re-discovered Eno through his recent album "The Ship."  That album seemed to be the brother or sister to Gavin Bryars' fantastic "Sinking of the Titanic" album, which was released through Eno's label at the time, Obscure Records.  "My Squelchy Life" was supposed to be released in the early 1990s, but he pulled the album before its official release date.  In 2015, for Record Store Day, the vinyl edition of 4,000 copies was released.  It's a great Eno album.

In theory what happened is that Eno wanted his album to release the September of that year, but the record label insisted that they wanted to put "My Squelchy Life" early next year.  Eno's thought is that he would want to put something different out at that time, so in the artistic sense, it's very logical.  On the business level, the record label was also being logical.  So logically this album disappeared and showed up as a bootleg once in a while.  Now, it's officially released.   "My Squelchy Life" is the last great pop orientated Eno album.  Beautiful songs, great recordings & performances, and touches of genius throughout the album.  

"Not To Fail in the Harness" is the song with the killer riff, which is either guitar or a keyboard.  Like the other Eno recordings, all instruments are treated through his magic tricks in the recording studio.  A lot of the songs are dreamy, but some are funk workouts that are not far from the Miles Davis electric era.  The strong bass playing, and with traces of African beats, also reminds one of the David Byrne match-ups or traces of The Talking Heads.   Still, I like this album much more than "Before and After Science."   Robert Fripp appears here and there, as well as the underrated fantastic guitarist Robert Quine. 

When Eno does pop, he's a great melodist.  His wishful vocals bring sunshine to his material.  "Little Apricot" is Eno playing piano and it's a sweet piece.  "My Squelchy Life (especially on vinyl) is a sonic delight full of little surprises.  It's an excellent way to be re-introduced into Eno's world.  

King Crimson - "Islands" Vinyl, LP, Album, Reissue, 2014/1971 (Discipline Global Mobile)

"Islands" I feel is the forgotten King Crimson album, perhaps due that its mood is very different from the first three Crimson albums.  Also, it's an album that strikes me as an arranger's album.  It's more somber except for the sexual pull of "Ladies of the Road" which is horny and suggests a slight funk edge, but still in the King Crimson format.  

Side two does it for me because there is a beautiful string orchestration piece "Prelude: Song of the Gulls" that's exquisite.   Not a classical prog piece, or classic rock work, but an actual string orchestration of beautiful music.  Four minutes of pure bliss. "Islands" reminds me of a cousin to perhaps Robert Wyatt's "Rock Bottom." It's not absurd as Wyatt, but there is a dreamy jazz feel that reminds me of that album as well as some of Miles Davis's orchestrated works with Gil Evans.  There are reflections of the previous King Crimson album "Lizard" but more sophisticated if that's the proper word.  One of my favorite Crimson albums, because it flows from cut-to-cut. 

Bruce Palmer - "The Cycle is Complete" Vinyl, LP, Album, 1970/2010 (Verve Forecast)

With respect to the Buffalo Springfield, there are those who greatly admired Neil Young, and his solo recording career and others liked Steve Stills, or if you are a connoisseur, Richie Furay.  For me, I prefer Bruce Palmer, the bassist in Buffalo Springfield, who in most cases refused to be photographed with the Springfield, and was on live TV with his back to the camera facing the band.  To me, that was punk rock before punk rock.   Palmer had a mystique that the others in the band didn't have.  When he left the band, I think due to a pot bust, one would think he disappears into the mist.  And he did. Except in 1970, he released a solo album.  "The Cycle is Complete" is very much an improvised work, with soulful singing from Rick James.   Stong congas playing by Big Black, who at the time was considered to be the king of Congas and played with Thelonious Monk and Sun Ra.  Palmer handles the bass and guitar, also a violinist Templeton Parcely who played with the band Kaleidoscope.   Four songs that are more mood pieces made for late night listening.  There's an Indian or Eastern influence, which is not uncommon for music made in the late 60s or early 70s. In actuality, the Bruce Palmer album is my favorite Buffalo Springfield solo album. 

In parts, it reminds me of Miles Davis "In a Silent Way" in that there is a quiet groove that goes through the album.  It is also interesting that the record was engineered by the legendary Dave Hassinger who did the classic Stones cuts at the RCA building in Hollywood.  For those who have a taste of adventure, this is a good album for you.  I'm not sure if Buffalo Springfield fans will like it, but they should.  It is really the best solo album from that group. 

Miles Davis - "Miles Davis and the Modern Jazz Giants" CD, Album, 1989/1959 (Prestige)

One of my favorite all-time recordings is "The Man I Love," the Gershwin song here performed by Miles Davis, Kenny Clarke, Percy Heath, Milt Jackson, and the incredible Thelonious Monk.  There are two versions of it on the CD release from 1989.  Both are sonic perfection.  The solos are fascinating.  Miles' solo is slow and soulful, and Jackson's vibes bring it up to a faster pace, but Monk's solo is abstract painting as music.  His piano sketches the beautiful melody like he's tracing something on paper on the sand on a windy day.  I believe its take two where Monk even goes slower and plays with the melody as if having liquid slowly disappear between the fingers.   I get the impression that Miles probably wanted to throw his trumpet at Monk for going so slow, and playing with the melody as if a cat is is batting a toy mouse.   The whole album is terrific, but to have the two versions of "The Man I Love" opening and closing this album is just perfection being practiced by these giants of music (jazz). 

Miles Davis - "Sketches of Spain" Vinyl, Album, Mono, LP, 1960 (Columbia)

This album was a big presence in my childhood, but not in my parent's house.  This is the one Miles album that they didn't like.  On the other hand,  the Preppy-set and architects adored Miles Davis' "Sketches of Spain."  The album feels like a mid-century home.  Hi-fi world loves "Sketches of Spain."  For a Jazzier, the idea of the string section with Jazz is a no-no.  Which in theory is totally correct.  Then there is this album, which is not really a jazz or classical album  Maybe it's the combination of the two "Classjazz."  

The album is arranged and conducted by Gil Evans, and this is very much his album as well as Miles'.   The music is based on the Spanish composer Joaquin Rodrigo's "Concierto de Aranjuez."  I never heard the original so I can't comment on it, except that it's a score for guitar and orchestra.  Miles, of course,  removed the guitar for his trumpet.  Beyond that, it is a magnificent Gil Evans album.  In truth, both of them collaborated on the album.  Hand-in-hand they made this album.  Two sessions: first on November 20, 1959, and the other on March 10, 1960.  I wasn't kidding that this is an album made for and by the influence of mid-century design.  

The modernist approach is someone who keeps the eye on the present and stays alive for the future. The past is the past unless you can somehow control the imagery and power of the former.  Like the music of the late 1950s, "Sketches of Spain" has traces of exotica.  To my ears, it's not far off from Martin Denny's take on exotic islands.  Spain is a romantic image, especially for those who never visited that country.  "Sketches of Spain" by its very title admits that it is a work that doesn't go into Spain, but the observation of an outsider looking within a culture. 

Miles doing "Porgy and Bess" with Gil Evans was another trip through a different landscape. Most of the Miles' recordings are all placed in a location that is totally Milesville.  I think Paris, Manhattan, San Francisco as not as a foreign destination, but a home to Miles and his aesthetic. "Sketches of Spain" is a tourist visiting with a map in place, but then through the eyes of Miles/Evans, it becomes an adventure of sorts.  

The music is gorgeous and the arrangements strike me as perfection.  It's an album that is easy on the ears and the heart.  What is important to know is that once this music is done, Miles is going to travel without a map.  And that is what he did.  

Erik Satie/Michel Legrand - "Piano Works" CD, Album, 1997 (Erato)

Some years ago I found this collection of music by Erik Satie in the budget bin at Tower Records. What surprised me when I found it, was that Michel Legrand is the pianist.  Why this surprised me is a foolish response on my behalf.  For one, most pianists who do Satie's piano music are usually from the classical world.  Legrand is well-known for his compositions in the soundtrack and pop world.  And is a noted jazz player, who made recordings with Miles Davis and others in the 1950s.  Still, it makes perfect sense that Legrand would do an album of Satie's piano music.  They do share a common ground besides that they are both French of course.  What the bridge is between the two composers is a love of melody that is full of air and a certain amount of lightness.  I also suspect that they share a sense of humor as well.

And even beyond that, both Satie and Legrand have collaborated with other artists.  Legrand with his soundtrack work, specifically with Jacques Demy, and Satie's work with Picasso, Rene Clair, and Picabia.  Legrand's playing of Satie's music is actually a perfect fit.  For those who don't know Satie's work, this album in a pretty good introduction.  Although through my past, it's the Aldo Ciccolini recordings for Angel Records that I think are the essential recordings. 

Tracklist 

1	Gymnopédies - 1. Lent Et Douloureux
	Sonatine Bureaucratique
2	1. Allegro
3	2. Andante
4	3. Vivace
	-
5	Gymnopédies - 2. Lent Et Triste
	Sports Et Divertissements
6	Choral Inappétissant
7	La Balancoire
8	La Chasse
9	La Comedie Italienne
10	Le Reveil De La Mariée
11	Colin-Maillard
12	La Peche
13	Le Yachting
14	Le Bain De Mer
15	Le Carnaval
16	Le Golf
17	La Pieuvre
18	Les Courses
19	Les Quatre-Coins
20	Le Pique-Nique
21	Le Water-Chute
22	Le Tango
23	Le Traineau
24	Le Flirt
25	Le Feu D'Artifice
26	Le Tennis
	-
27	Gymnopédies - 3. Lent Et Grave
	4 Préludes Flasques (Pour Un Chien)
28	1. Voix D'Interieur
29	2. Idylle Cynique
30	3. Chanson Canine
31	4. Avec Camaraderie
	6 Pièces De La Période 1906-1913
32	1. Désespoir Agréable
33	2. Effronterie
34	3. Poésie
35	4. Prélude Canin
36	5. Profondeur
37	6. Songe Creux
	2 Rêveries Nocturnes
38	1. Pas Vite
39	2. Très Modérément
	Chapitres Tournés En Tous Sens
40	1. Celle Qui Parle Trop
41	2. Le Porteur De Grosses Pierres
42	3. Regrets Des Enfermes
	-
43	Caresse
	Avant-Dernières Pensées
44	1. Idylle: Modere, Je Vous Prie, à Debussy
45	2. Aubade, à Paul Dukas
46	3. Meditation, à Albert Roussel
	Jack In The Box, Pantomime For Piano
47	1. Prélude
48	2. Entr'Acte
49	3. Finale

Miles Davis - "Asceseur Pour L'Échafaud" Vinyl 10" album, Limited Edition, Mono (Sam Records)

My favorite Miles Davis music.  Recorded in 1958, in Paris, with the great French musicians Pierre Michelot, René Urtreger, Barney Wilen, and the legendary American drummer Kenny Clarke.  This album has been re-released numerous times.  But I think Sam Records version is the best.  For one, they went back to the original analog tape to make this disc as well as the original negatives of the front and back cover.   Sam Records is a one-man operation, and he focuses on jazz that was recorded in France, mostly from the 1950s.  

Limited edition of 1,000 copies, is not the easiest find, but once you do, you'll love it.  For one, the sound is incredible.  The music for me is like if someone turned the lights off by a switch.  A mood changer that works like no other music.   A beautiful smokey aural experience. 

The other item of interest for me is that they have the original liner notes including the one by Boris Vian.   Long-time readers of my blog and my work know that I have an intense passion for Vian's writing and his social world.    It's a great reminder of his presence and importance in the French and American Jazz world. 

Miles Davis - “Get Up With It” (2 x Vinyl LP, CBS)

For the longest time, I avoided Miles Davis electric albums for reasons I truly don’t understand.   I think my mind-set was perhaps that his work was the best from the 1950s and the rest …was, not that important.  I’m clearly an idiot.  For example, just by chance, I purchased “Get Up With It, ” which seems by the packaging as an album of loose-ends and recordings.  Stuff that didn’t make it to the final album.  Therefore, probably not that interesting.  As I mentioned a few sentences ago, I’m an idiot.

“Get Up With It,” is in many ways, a wrong title for this collection of moody reflective and kind of down orientated music.  What it is, and clearly so, even after the first listening experience - a masterpiece.  “He Loved Him Madly” a song dedicated to Duke Ellington, is just like floating on a dark moist cloud.   Miles plays organ (pretty much through the album) with block minimal notes, that adds a certain intensity to the whole sound landscape.   As an homage, it’s a dark piece of music.   It’s an odd track to launch off an album.  The next track on the other side, “Maiysha” is more upbeat.  At this point and time, I don’t think Miles was thinking jazz, but just ‘music.' Or to be straight forward ‘funk.’  

I have read that Brian Eno’s favorite Miles album is this one - and I can clearly hear the Miles influence on some of Eno’s work as a solo artist as well as a producer - for instance Talking Heads.  For me, the track that makes me go ga-ga is “Calypso Frelimo.” Miles’ playing the organ on this one is such a sweet melody that comes in and out of the mix.  “Billy Preston” is another standout track for me.  The mixture of Miles’ version of funk, with the addition of sitar and Tabla is just the right combination.  Superb album.