dcl

Nice to hear songs from the back catalogue.

" The album title signifies the union between the incredibly complex Arabic modal and harmonic system and the "blue" so often evoked in jazz improvisation. Throughout, Brahem seamlessly combines the uncommon time signatures, sonic timbres, and whole-tone textures of Arabic music with the dynamic adventure of jazz improv."

Tough call, Ray. I'm agnostic (embarrassed) on The Chairman, so steering way from there. Dean Martin is my selection. What's the story?

"Listening to Pictures is subtitled "Pentimento, Vol. 1." The first word in the term refers to an Italian visual art technique that signifies the reappearance of earlier altered and covered-over images inside a primary work. On these eight tracks, Hassell uses his own performance fragments and samples, then overdubs and samples them ad nauseum onto other manipulated sounds and rhythms, ultimately creating new forms."

As the list narrows, Ambrosia is my guess. @dcl I'll have you know I can't get that "Would I lie to you" earworm out of my head, thanks to you! The only thing that makes it tolerable are the visions of Anne Lennox that accompany it. Happy to oblige, Brian. ?

Nancy Wilson, the jazz singer or Nancy Wilson, guitarist for Heart? Oh well, I'm in with Jason Aldean.

Grand Funk Railroad @ Hampton Colesium . 1974 (Icepick-in-the-ear LOUD) Black Sabbath @ The Virginia Beach Dome. 1971 Mahavishnu Orchestra @ Hampton Colesium . 1973 Elton John @ Hampton Colesium , opening act Steely Dan. 1972 Evelyn Glennie @ The Kennedy Center. The Rolling Stones...nope, that's a lie. ? Take it away, Andrew John. ?

This is a fun game. List six bands/artists that you have seen at a gig/concert and one lie, who you have not seen. Leave a reply: which is the lie? The correct guess takes up the next six bands Would I Lie To You? challenge. I'll start the challenge: 1. Grand Funk Railroad 2. Rolling Stones 3. Black Sabbath 4. Mahavishnu Orchestra 5. Elton John 6. Evelyn Glennie Good luck!

This song always makes me misty-eyed. When my wife is nearby we dance; if not, the nearest kitty is swept up for a swirl around the room. ??

"Jaco Pastorius wrote the classic Barbary Coast, which begins with a train passing by, sounds that inspire the bone-crushing funk of his bass line.”

Will one of the nation's greatest violinists be noticed in a D.C. Metro stop during rush hour? Joshua Bell experimented for a story in The Washington Post: The rush & self-absorption of commuters, in this instance in the Washington, D.C. Metro. Not too many years ago I cruised in from the out-lying regions to the heart of the Capitol. Stepping off at various stations to walk to my destination Metro buskers were not unusual in the sheltered underground station entrances or at the above ground entrances. Planning for unexpected delays by generously padding the commute time allowed for lingering to listen , a cordial chat & appreciation. In this video, the heads-down commuters rush past Joshua Bell, good enough sport to stage the experiment.

We are big fans of Bill Frisell, this is his latest: "...opening with "All in Fun" from the 1939 musical Very Warm for May. The loose, relaxed intro showcases the guitarist's abundant gift for lyricism and inventive rhythmic notions. The bassist answers and embellishes with a gentle swing before the tune becomes a more open-ended improvisational device. The Carter Family's "Wildwood Flower" also appeared on Small Town, but here it's part of a melody that concludes with a heartbreakingly beautiful reading of Doc Pomus & Mort Shuman's Drifters' classic "Save the Last Dance for Me." The interplay on the latter, with its in-the-moment harmonic and rhythmic exchanges, is truly remarkable. They resurrect Motian's lovely yet slightly angular "Mumbo Jumbo" with Frisell extrapolating on the melody and chord voicings that open onto Morgan's suggestions via harmonic counterpoint in the knottier passages. Where the earlier album boasted John Barry's theme from Goldfinger, "You Only Live Twice" appears here, with Frisell articulating some of his loveliest rubato playing, languidly quoting from Ferrante & Teicher's Midnight Cowboy theme. Morgan responds to the guitarist's lines in tango rhythms. Billy Strayhorn's "Lush Life" is revealed in all of its Debussy-ian glory and stands in sharp -- but wonderful -- contrast to the approach on the two Thelonious Monk tunes in the title track and "Pannonica," where angles, knots, and subtle humor are offered as holistic harmonic devices. These tunes, with their good-natured inquisitiveness and mischief, are both set highlights. "Red River Valley" (Frisell first cut it with Gary Peacock on 1994’s Just So Happens) is sprightly, swinging, and full of subtle grooves in its lyrical articulation, before the closer: a read of the standard "In the Wee Small Hours of the Morning" that echoes Frank Sinatra's immortal vocal reading from the mid-'50s. Its economical approach whispers with bittersweet tenderness and delivers gorgeous soloing from Morgan and Frisell. Epistrophy is a companion to Small Town, but it is also an extension of the intimate, communicative union shared by this duo in near symbiosis. Together they create a gold standard for live performance."

Horses ...