Friday, December 09, 2016

It Was 36 Years Ago Today..... and Today

Playing right now: Ravi Shankar - In Hollywood, 1971 (Northern Spy)

[Written as Thursday night became Friday morning, which explains the use of words like "tonight" and "today."]

As if this hasn't already been a year when a huge number of influential musicians have died, I read this morning that Greg Lake has joined the list. My initial reaction was to curse to the heavens: NOT ANOTHER ONE. Yeah, I was never the biggest Greg Lake fan. He seemed like he was the one member of Emerson, Lake and Palmer who was still on a high horse after all the years of excess have fallen by the wayside. But, damn, that doesn't mean you have to take him too. And so soon after Keith Emerson's death.

And what about poor Carl Palmer? Is anyone rushing to his side to offer solace?

When Keith Emerson took his life earlier this year, I posted an appreciation of him and of the way that ELP's music impacted me. Greg Lake was part of that, of course. He was the voice of the band. He provided some levity after all the heaviness. Plus he was the voice of King Crimson, roaring through distorted speakers in "21st Century Schizoid Man," a thunderous debut if there ever was one. Not to mention "In the Court of the Crimson King," with its majestic chorus and sea of voices. I played that album earlier this evening (even the meandering "Moonchild") and it felt really good. You can feel the intensity of this young band, finding their sea legs and channeling their excitement into the music. You step back from the music, away from everything that followed it, all the stigma that's attached to it, and try to imagine the band itself. What comes through is that first-time energy.

That's why, despite the pompous quotes that I've read over the years from Mr. Lake, that I feel the loss. The way that music hits you - encapsulating that certain time that you remember really discovering it, coupled with that feeling of what it must've been like to play it - means you'll never completely forsake it. It's almost like the feeling you may have for a sibling: You might go through periods where you don't see each other. You might really dislike them. They might have said something to you decades ago that still burns you to this day. But you'll always come back to them because of that connection you have.

On top of all that, I was reminded that 36 years ago tonight, John Lennon was killed. A friend commented that it might not exactly be a "Where were you when Kennedy was shot" moment, but I think that it is INDEED that moment for people my age. At least those who are really into music. Sure, Jimi Hendrix, Janis Joplin, Jim Morrison and even Elvis had already died. But none of them were shot by a deranged fan. THAT was the game changer, even if it took several years to realize what it meant.

I was in bed on Monday, December 8, 1980. I can't remember if I had fallen asleep yet or not, but my brother Tom came into my room. Being a somewhat jerky/wiseguy of a 13-year old, I got mad at him for bothering me. Then he told me why: they had just announced on tv that Lennon had been shot. Tom said they hadn't confirmed his death yet. Or maybe he soft-pedaled it, saying things were up in the air. But I recall laying there in bed, thinking, What if he is dead?

The next morning, I remembering hearing the phone ring while I was still in bed. It was my CCD teacher who was fairly young (at least younger than my folks) and pretty hip with us kids. She wanted to make sure I knew. Before long, I came down for breakfast (it would be a couple more months before I became part of the alleged Dawn Patrol and started delivering the Post-Gazette and had to wake up early) and got the word. Yes, John was dead. All day WDVE, the only station I listened to back then, was playing Beatles and solo Lennon music.

I had a reputation for being a Beatles fanatic at school, although by that time, my enthusiasm for them had waned a bit, replaced by the adolescent obsession with the Doors, which would die down in a few months as I discovered weirder strains of psychedelic rock, and eventually headed into punk rock. But years later, a woman who had ridden the school bus with me, recalled in a complimentary way that on that school day, December 9, I wrote "Lennon Forever" in the condensation of the bus windows. The respect was a bit too late to boost my insecure ego, but in retrospect, it was nice that someone noticed.

Because when you're in 8th grade - surrounded by kids who act like assholes because they're too afraid to admit that they're just as confused about life changes as you are - writing a name on a window is sometimes the only way you know how to express your gratitude to a musician who will never get to hear it from you directly.

Thanks, Greg. Thanks, John.

Thursday, December 08, 2016

CD Review: Mark Dresser Seven - Sedimental You


Mark Dresser Seven
Sedimental You
(Clean Feed) www.cleanfeed-records.com

The title of bassist Mark Dresser's latest album refers to the layers of musical qualities inherent in the compositions. In seven pieces, he strikes a balance between elements like bitonal harmony, microtonality, timbre and harmonics, along with "traditional" building blocks like melody, harmony, rhythm, etc. The instrumentation guarantees that the sound will tug at the ear, with an unconventional blend of flutes (Nicole Mitchell), clarinets (Marty Ehrlich), violin (David Morales Boroff), trombone (Michael Dessen), piano (Joshua White), bass (Dresser) and drums (Jim Black). With inspiration coming from a variety of remote subjects - all detailed in Dresser's liner notes - the album likewise straddles feelings of complexity and immediate emotion, freedom and deep structure, with some subtle humor sprinkled in for good measure.

Dresser doesn't seem like the type to corny wordplay into his music, but the title track does in fact use the Tommy Dorsey classic "I"m Getting Sentimental Over You" as its basis. A new melody is written to a structure where every measure has a different length. The original feeling of the song might exist a few layers beneath the group, with Boroff handling the part of the music. But on top of it, White stabs at the piano and and Dessen blows his horn more like Roswell Rudd than Dorsey. The overall feeling sounds more a jazz combo that might play at Tom Waits' house, where they manage to spill over each other but still feel cohesive.

Speaking of Roswell Rudd, that trombonist receives homage with "Will Well." Before the piece takes off in a truly lopsided 9/4 ostinato (4+3+2), Dresser to bow a rich, jawdropping bass solo with grace in the upper range that almost sounds like a cello. Throughout the album, he and violinist Boroff create an exquisite blend that creates the feeling of a third string instrument, as if their ranges meet on middle ground. Later in "Will Well," Boroff's solo sounds like a less shambolic version of the Dirty Three.

While tracks "Hobby Lobby Horse" and "Trumpinputinstoopin" reveal Dresser's awareness and feelings regarding certain social issues (how will the latter go over now?), "Newtown Char" is one of three tracks that deal with loss. In this case, he addresses the shootings in Newtown, Connecticut and Charleston, South Carolina. Ehrlich's bass clarinet solo sets the tone with a wide range of colors, including some rather violent outbursts. The group, who all take part in the solos, captures on the tragedy of the events. At first meditative, the piece switches to a groove one-third of the way in. Mitchell's solo gets very vocal, as she virtually makes her flute growl and yell.

Dresser dedicates "I Can Hear Smell You Listening" to the late vocalist Alexandra Montano, with whom he collaborated on stage and in the studio. The title refers to a comment Dresser made to her at a post-9/11 concert they performed together, taking into account her improvisational skills and fondness for wearing Patchouli. Like many moments on the disc, the septet begins like a chamber group, only to shift into free swing when Mitchell's warm flute and Ehrlich's clarinet stretch out.

This year has seen a lot of really great jazz albums, which creates a challenge when trying to narrow things down to 10 favorites of the year. In listening to Sedimental You once more before committing it to text, I wondered why the hell it didn't end up on my list. There's no good answer to that question. As usual, Dresser's choice of musicians is astounding and his writing sounds utterly enthralling. Maybe the rest of the musical cognoscenti will give it kudos. But at least I didn't miss out on it.


Sunday, December 04, 2016

CD Review: Wadada Leo Smith - America's National Parks


Wadada Leo Smith
America's National Parks
(Cuneiform) cuneiformrecords.com

"The parks are really something fantastic. The idea is purely American. It came out of American ideals. Preservation. But right now those right are being violated by Congress because Congress controls it and they use it as political hay to raise money. They sign out huge areas of it underneath to companies for wheat and all kinds of food growing things. So it’s a commercialization that we can’t really afford to have...It belongs to all Americans, living and dead and those that have come before."

Wadada Leo Smith told me all of that last spring, prior to his appearance at the Pittsburgh JazzLive International Festival. He was in the midst of recording America's National Parks, a two-disc set that features his latest suite, in six parts. It continues in a line of large scale compositions like Ten Freedom Summers (2012) and The Great Lakes (2014)  The current one pays tribute to three of the country's actual national parks along with three places or people that Smith considers to have merit equal to the parks themselves. 

His Golden Quintet for the session includes longtime bandmates Anthony Davis (piano), John Lindberg (bass) and Pheeroan akLaff (drums), along with newcomer Ashley Walters (cello), who adds a dynamic color to the music, working together with Smith's clarion trumpet work. While the concept of the music relating directly the subjects could be scrutinized and detailed, even without the titles and/or a background of each subject, America's National Parks maintains Smith's stature as a composer of powerful music that blurs the line between modern chamber music and free improvisation.

"New Orleans The National Culture Park USA 1718" opens the album with a multi-sectioned 20-minute opus. A rigid groove eventually gets more steady as Smith's muted trumpet solos over it, followed by cello and piano. His crisp horn work could keep going, but just past the half-way mark, following a Lindberg solo, the groove break into free time, which Davis, Lindberg and Walter all use with vitality, before restating the opening theme. 

"Eileen Jackson Southern, 1920-2002: A Literary National Park" takes its inspiration from the African-American musicologist who founded the journal The Black Perspective in Music, from which Smith has written. While not as long as the preceding track, its nine minutes still arrive with great detail, with beginning with rich long tones that are Smith's calling card. 

"The Mississippi River: Dark and Deep Dreams Flow the River - a National Memorial Park c. 5000 BC," which begins the second disc, is the longest section, with over 30 minutes of ruminations. The first half of the track feels slow and contemplative with steady drum crashes, droning and then searing cello and bass, then spareness. Midway in, the band sets up a vamp, and Smith jumps on top of it, blowing powerfully. 

The three other tracks take their names from actual parks: Yellowstone, Kings Canyon and Yosemite. Of these, the closing "Yosemite: The Glaciers, the Falls, the Wells and the Valley of Goodwill 1890" (all the titles are a mouthful and must frustrate writers who have to abide by a word count) has some of the most exciting moments of the whole disc. Smith stands alone following the opening theme, playing what almost sounds like an elegy, asking listeners to take his beliefs to heart, like the ones stated in the quote above. After some ringing piano chords and droning cello, akLaff takes an extended solo that also feels thunderous and joyous. The visceral and complex solo can make you want to hear more of the drummer's work.

Wadada Leo Smith's work asks quite a bit from listeners: time, open ears, understanding of, and empathy for, the inspiration for the material. But by following this lead, he not only delivers music heavy with a message and content, he shows how his compositions connect to things beyond the performance stage or the CD player. "Music is like air, you know. It pervades the whole space around the earth," he said in our interview. 

America's National Parks is proof positive of that deep connection between air and music. While that might sound like flaky idealism to a cynic, it rings true in light of the way our environment is treated these days too.



Thursday, December 01, 2016

When A Plan Comes Together

When the payoff is good, that's all that matters.

I realized that this morning as I was finishing a quick preview article on saxophonist David Murray. I had been trying to get in touch with him for a couple weeks. Well, I started putting in a sincere effort maybe about a week ago. Murray had been on tour with Terri Lyne Carrington and Geri Allen in Europe and the only number I had for him was an overseas cell number. I'm always reticent to do interviews on people's cell phones as it is. The sound quality can be hit or miss and that can make me miss some subtleties of the conversation, which normally can deepen the discussion when they're heard. Then there's the time change difference, coupled with not knowing when someone might be asleep or not.

After a few attempts to leave texts at the international number, and a voicemail left on the same number (at least I think it was his, but I'm unsure since the outgoing message was a French female voice), I got Murray's domestic cell number from Kahil El'Zabar, with whom Murray will be playing next weekend. At the start of this week, Murray was back in the states. No luck. My deadline was already stretched and I was starting to pull something together last night, based on my knowledge of Murray's career.

Then, at 10:00 pm, the phone rang. There he was!

We wound up talking for half an hour, him being very candid about his partner El'Zabar (bassist Harrison Bankhead will be with them too, on Sunday, Dec. 11), about being a musician with an original voice and massive discography, among other things. So I scrapped the whole article I had started and began fresh. It was much better as a result. It'll run in Pittsburgh City Paper next Wednesday. Check it out, and check out the group that weekend. No one had to pay to see the World Saxophone Quartet back in September, so it shouldn't hurt to pay to see Murray, El'Zabar and Bankhead. 

Sunday, November 27, 2016

CD Review: Charlie Haden/Liberation Music Orchestra - Time/Life (Song for the Whales and Other Beings)


Charlie Haden/Liberation Music Orchestra
Time/Life (Song for the Whales and Other Beings)
(Impulse/Verve)

"The whales represent all living creatures. They're so precious and so wonderful. Just like this universe is, like this planet is, and like you are. You have to never forget that. You're a part of it. We're here for a reason. And that's to make sure this universe stays beautiful. And wonderful. And brilliant. And it's so important to remember how precious this life is. Thank you so much."

Those words conclude Time/Life (Song for the Whales and Other Beings). They come from Charlie Haden himself, at a performance of "Song for the Whales," recorded in 2011. The message has weighed heavy on my mind over this past month, when considering the turn of political events in this country, not to mention the attitudes towards people and land in North Dakota. It's left me wondering, what would Charlie Haden think of all this?

Haden, who passed away in 2014, was not only an amazing bass player and composer, he was a guy with a big heart, who had a genuine care for humanity. Actually, he cared for all living creatures, as his words prove. I found this out first hand when I talked to him in 2003 prior to a Pittsburgh appearance. (You can find that here, along with some other thoughts about Haden and Ornette.) When he speaks on the recording, his voice sounds a little frail, but his thoughts are so strong and determined, it's easy to be moved by them.

Of course the Liberation Music Orchestra has always been about such things. In the notes to their debut (recorded in 1969) Haden dedicated the album "to creating a better world; a world without war and killing; without poverty and exploitation; a world where men of all governments realize the vital importance of life and strive to protect rather than to destroy it.We hope to see a new society of enlightenment and wisdom where creative thought becomes the most dominant force in all people's lives."

On the record there were moments of joy, humor and honor. They were also dark moments, the biggest being "Circus '68 '69" where the group recreated the chaos of the 1968 Democratic Convention, dividing into two sections which each blew like crazy. At the height of the noise, an organ starts playing "We Shall Overcome." After it all fades, the group reconvenes for a short ending theme, which sounds bleak. The closing track follows it: a one-chorus reading of "We Shall Overcome," as if to remind us that there is hope for a better future, if we follow what Haden said in his notes.

While that album - which no jazz collection should be without - had its darker moments, the LMO albums that followed it in 1982, 1990 and 2005 were more somber and thoughtful - ultimately hopeful. It felt as if Haden, his musical partner in crime and arrangements Carla Bley and all the members of the group, were done reminding of us of bleakness or hostility and they decided to move forward with the part about making the world a better place.

Which now leads us to Time/Life. Haden only appears on two tracks, "Song for the Whales" and its bookend at the start of the album, a version of the Miles Davis/Bill Evans classic "Blue in Green." Both come from the same concert at the Middelheim Festival in Belgium, recorded for Belgian Public Radio. Three lengthy studio pieces between the two live ones, recorded a day after a memorial for Haden last year. Steve Swallow takes over the bass duties on these tracks. Although they all have a pensive quality, they're also woven with the powerful lyrical quality that Haden projected in his work with his quartet with David Sanchez and Gonzalo Rubalcalba.

"Blue in Green," which was immortalized by its appearance on Kind of Blue, gets some strong ensemble coloring from Bley, who makes sure the group sounds lush but not lightweight. It features a Haden solo that sounds thoughtful and conversational, followed by lithe solo by Chris Cheek.

The three post-Haden pieces that follow all have a somber feeling to them, but it's never mournful, even in "Time/Life," which Bley wrote as a requiem to her friend. Tenor saxophonist Tony Malaby takes the spotlight for half of the piece, opening with the melody (which has faint traces of some old standard that I can't recall by name) and soloing for seven minutes. He builds slowly, moving into double time, as the Orchestra builds up under him. Drummer Matt Wilson takes over with a spare solo that almost feels like a chant or invocation. From there, 10 of the players each take an eight-bar solo, with the mood getting brighter and louder around the time of Seneca Black's trumpet solo. It may be a requiem but it concludes by sounding joyful.

"Silent Spring,"  a Bley piece that dates back to the '60s, opens with acoustic guitar solo by Steve Cardenas, then goes into minor dirge like something out of Sketches of Spain. That comparison is heightened by the way Michael Rodriguez's trumpet has a slow burning quality, much like Miles Davis used on that album.

"Ùtviklingssang" - "development song" according to an online translation - features trombonist Curtis Fowlkes and alto saxophonist Loren Stillman each playing the folk-like theme separately, with the Orchestra easing their way in with Stillman. Both of them solo over another minor vamp, creating some stunning performances, especially Stillman who gets a little more space.

Any free jazz enthusiast who yearned to hear Charlie Haden really cut loose will relish "Song for the Whales." It begins with the bassist bowing and scraping out a song that evokes whale noises, not in a ham-fisted or ridiculous way but in a manner that brings gravity to subject. He then starts the group on a rubato theme which recreates the spirit of Liberation Music Orchestra's original version of Haden's "Song for Che." This is due in no small part to a wild tenor solo from Malaby, who adds gruffness and shrieks to heighten the intensity. After Haden's final spoken words, Time/Life might leaves the listener missing the bassist even more, but the album also provides a celebration of his spirit, ultimately making it an uplifting experience.

Which can only be concluded with the word Haden used to show his enthusiasm: Solid.

Tuesday, November 08, 2016

CD Review: Barry Guy - The Blue Shroud & Guy/Crispell/Lytton - Deep Memory

Barry Guy
The Blue Shroud

Barry Guy/Marilyn Crispell/Paul Lytton
Deep Memory


Bassist Barry Guy's two new albums for Intakt both take inspiration from works of art. In the case of the first one, it also incorporates the way a work of art can be presented and the resulting way in which the work is interpreted, with possible political motives coming out in the process. Vastly different in structure and instrumentation, both mine the visual medium to create strong, enduring works. 


When Colin Powell went on t.v. from the United Nations to present a case for the U.S. invasion of Iraq in 2003, he stood near a reproduction of Pablo Picasso's Guernica. The painting was inspired by the 1937 bombing of that city, and due to the nature of it, Picasso's work was draped in a blue shroud prior to Powell's talk. Presumably the images of war were too much for the public to see as a declaration of a new war was being made.

When writing The Blue Shroud, a 71-minute piece presented in 11 sections on disc, Guy was inspired by all of the acts - the bombing itself, Guernica and the act of shrouding it before Powell's speech. To bring it to life he assembled a 14-piece band, including a vocalist, strings, reeds, low and high brass and two drummers. Along with his original score, he incorporates pieces by classical composers H.I.F. Biber and J.S. Bach.

The work gets wild and there are moments of full blown chaos, but those are fleeting sections amidst bigger pieces. Ben Dwyer's guitar evokes flamenco as he strums furiously over a droning, bowed bass. Saxophones pop furiously, leading to vocals, quickly followed by piano clatter and low chattering strings. The overall feeling is minor, although hope feels like it could be on the horizon. This is especially true when the ensemble plays the Biber's pieces (which refer to Stations of the Cross) and Bach's "Agnus Dei."

Irish poet Kerry Hardie composed "Symbols of Guernica" which vocalist Savina Yannatou recites in sections throughout the piece. The use of voice and intense imagery never makes the work polemic or bombastic. Rather it elevates the feeling of the work. Since the liner notes, like all Intakt releases, appear in both German and English, it was hard to tell at first if Yannatou's recitation was in English or not, since it, wisely, was not pushed to far forward in the mix. This added to the overall impact of The Blue Shroud, making this element just one piece of a stronger whole.


The seven tracks on Deep Memory all derive titles from works by British painter Hughie O'Donoghue, from a 2007 Berlin exhibition titled Lost Poems. Though Guy didn't attempt to transform each canvas into music there can be parallels drawn between the vast, sometimes dark, swaths of color and Guy's performance with longtime collaborators Marilyn Crispell (piano) and Paul Lytton (percussion).

More than anything else, this collection reveals that wide array of moods this trio can create. After the opening "Spirit" - a tranquil rubato piece that unfolds slowly with gentle piano and a plucked bass solo - the group explodes, quite literally, in the opening seconds of "Fallen Angel," with furious bowing and crashes on the keys. The mood of the track also turns calm, but builds up to a climax a few more times, sustaining energy all along.

"Return of Ulysses" proves why Crispell is so highly regarded as a post-Cecil Taylor proponent of energy and technique. She unleashes blocks of sound over some furious bass scrapes that might have put the future of Guy's bow in jeopardy. "Dark Days" begins with her firing repeatedly on one note before taking off across the whole keyboard.

Yet for all of the wildness, Crispell draws on her deeply meditative side as well, which is felt in "Silenced Music" as well as the aforementioned opening track. Lytton colors the music perfectly, whether he's sitting back or adding some hard rolls to the stop-start theme of "Sleeper." And Guy, who composed everything, sounds great, especially in his "Spirit" solo which made my car's speakers vibrate wonderfully during a recent listen. Which proves that the best way to listen is by sitting right in front of two strong speakers.

Wednesday, November 02, 2016

CD Review: Don Friedman - Strength and Sanity


Don Friedman
Strength and Sanity
(Newvelle) www.newvelle-records.com

Last summer I found a used copy of Out Front by Booker Little. I knew the trumpeter largely for the three albums that collected a performances at the Five Spot in Eric Dolphy's quintet, as well as Max Roach's Percussion Bitter Sweet. On all of these recordings, Little displays a voice unlike any other in the hard bop era. He had the technique of Lee Morgan or Freddie Hubbard, but his sense of melodic possibilities was closer to the avant-garde, or really to Dolphy. Like his reed playing partner, he wasn't blowing free. He was bringing a new perspective to chordal music and making it work powerfully.

Little died in 1961 of complications from uremia, at the age of 23. The potential he had, coupled with the death at such a young age, puts him in a rarefied league of jazz musicians that should have been, right up there with fellow trumpeter Clifford Brown, bassist Scott LaFaro and pianist Richard Twardzik. Dolphy could also be lumped in with this group, although he managed to release a vast number of albums before passing away in 1964. Booker Little only recorded a couple.

For Out Front, Little essentially recruited his bandmates from the Roach group: Dolphy, Roach (who plays tympani and vibes as well as traps), Julian Priester (trombone) and Art Davis, alternating with Ron Carter (bass). A 25-year old pianist named Don Friedman completed the group. That name will pop up again in a moment.

Upon listening to the seven original pieces on Out Front, I wondered how I had lived this long without it. The originality and power of this music is comparable to hard-to-describe classics like Dolphy's Out to Lunch or Andrew Hill's Point of Departure. You can hear new ground being broken as the music proceeds. While Hill's album had "Dedication," a mournful but powerful dirge (which changed the mood of the session from happy to pensive), Out Front has two pieces like that: "Moods in Free Time" and "Man of Words," which appear back to back. Throughout the album, these musicians dig into Little's ideas, which involve not only melodic jumps but leaps in time signatures, never once making them sound heavy handed. 


Friedman, the pianist on Out Front, passed away in June of this year, at the age of 81. (For an overview of his life, check out Nate Chinen's column in the November issue of JazzTimes.) Last fall he went into the studio and recorded Strength and Sanity, eight Little compositions, five of them from the album on which he originally played. Rather than trying to recreate the sonorous blend of Little, Dolphy and Priester with other musicians, he does it all on the piano. Bassist Phil Palombi and drummer Shinnosuke Takahasi accompany him.

The impact of these performances makes you wonder if Friedman had been waiting his whole life to revisit the material. While a side-by-side comparison is an exercise in futility, it's nonetheless interesting to listen to the way the pianist brings them to life. "Moods In Free Time," the first of the dark pieces from the original album, kicks off the album with a slow bass ostinato, over which Friedman spills out bursts of notes, in a pensive but more celebratory manner. Takahashi cues the tempo change which goes from a bright 5/4 to 4/4, both swinging wildly.

"Man of Words," perhaps tellingly, closes the album. Palombi slowly bows the trombone melody from the original, making it sound like the bridge of Ornette Coleman's "Peace" in the process. Gentler than the 1961 version, but still moving.

In between those two, the trio succeeds and recreating Little's melodies. Rich chords drive "Looking Ahead"
with its walking bass line. "Quiet Please" straddles full piano voicings in the theme with single-note lines in Friedman's solo. Throughout the album, Palombi's bass has the bright, fat sound of a vintage instrument, which could be attributed to an acoustic being miked at the strings, rather than recorded via a pickup and amp. The sound and tenor of this session create a joyful feeling, like a rediscovery of lost art.


Which brings us to the label that released Strength and Sanity. Don't expect to find it on CD or at your friendly neighborhood download site. The French Newville imprint releases vinyl only, via subscriptions at that. They launched earlier this year, with a discography that includes a Frank Kimbrough session and Jack DeJohnette's first album of solo piano.

Undertaking a subscription to their series costs a pretty penny, but the product is nothing short of astounding, justifying the expense (especially when considering it includes overseas shipping). The day the record arrived on my porch took me back to the magic morning when my first Mosaic set fell into my sweaty 17-year-old hands (The Complete Blue Note Thelonious Monk, in case you were wondering.) Newvelle Records evoke the same feelings in music lovers. Housed in a heavy, smooth cover, with a gatefold, the record comes in a sleeve printed with a poem by Tracy K. Smith. And if you haven't noticed by the picture yet, the record itself is pressed on clear vinyl.

This is music produced by people who care about music and want to present it in a way that expresses their love for it. It presents a modern take on music from a golden era, and it recalls a time when discovering new musical adventures was as much of a tactile experience as it was an aural one.