Miles Davis - In Person at the Blackhawk, San Francisco (Friday Night, Volume 1)

If you ever took the time to check out all of Miles Davis’ recordings and looked into how vast it is, you’d be stunned. Wikipedia has it broken down into studio recordings, live recordings, compilations, by record label and so much more and on Allmusic’s site, when you click on either Albums or Compilations, the page takes a good while to load. So it goes without saying that Davis' catalog is deep and still, so much of it is considered essential to this day.

His 1961 performances at the Black Hawk nightclub in San Francisco must have been something special to watch. He performed on a Friday and Saturday on April 21 & 22 with his quintet which consisted of him on trumpet, Hank Mobley on sax, Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums – tremendous musicians for sure. Not only was this groundbreaking for a jazz musician to take his combo to a club but the music was a brilliantly rendered thing of beauty. Check out “Bye Bye Blackbird” and its amazing rendition:


The entire set was re-issued on what appears to be an excellent release and recording back in 2003 but sadly, I only own the Friday performance on vinyl. I was fortunate to even find just that first volume because even at just six compositions, you can really sense the unity and cohesiveness in the band. Davis was THE master at surrounding himself with talented musicians that were sometimes, better than him (check out all his stuff with John Coltrane) but in a live setting, he never held back. His rhythm section creates memorable patterns and the type of jazz he was playing at the time (straight ahead and fierce) is truly felt on this live recording. Probably the most important musician in the 20th century, here is another song off the Friday set, “Love, I’ve Found You” – Bryan

Future Islands - In Evening Air

I caught these guys a few weeks back to hear the last two or so songs from their set in Las Cruces. While I was disappointed in not hearing more, it provided me the opportunity to buy some music and I have really loved this album for quite some time now.

Imagining a re-creation of Sunset Rubdown and maybe combining it with Frog Eyes, the poppier side of the synths is what resonates with you. And the melodies and words are both killer here because of this trio’s ability in turning everything into something much more than it really is. Their scope is grand and it’s expansive; each song on In Evening Air is awesome but please check out these two: - Bryan

LCD Soundsystem - This Is Happening

"But honestly, and be honest with yourself, how much time do you waste? How much time do you blow every day?"

I know it’s lame to post about an album that everyone has either heard or at least heard of already. But LCD Soundsystem’s latest album, This Is Happening, has been my most played album for the last three weeks and it’s been growing on me more and more. Not only do I think it just might be James Murphy’s best album to date but its sounds are so effectively superb that it sounds like it was crafted through years and years of delivery. It’s shocking to find out that its recording process was rather quick and all done in The Mansion, the famous ten-bedroom mansion owned by Rick Rubin.

The opening song, “Dance Yrself Clean” is easily, one of my favorite songs of the year. It’s stunning because sure, Murphy is mostly an electronic artist but the sounds he’s created are so brilliantly amazing that it’s almost like classical music in a modern setting. And by the time that explosion hits, you’re left in awe:


But as I’ve slowly gotten to get into, each song on This Is Happening is simply astounding. There’s the incredible growth of the closer and how it ties in the musical theme presented on the aforementioned opener, there is also the way “One Touch” continues to add more and more drums before offering its own change of pace, the beautifully developed sounds on “You Wanted a Hit,” and also the startlingly great indie rock of “All I Want.” But what has had me really addicted lately is “Pow Pow” and its memorable one-liners. Not only do the sounds and rhythms recall Talking Heads but Murphy’s casual delivery and his ability at creating those one-liners ("I'm paralyzed and looking through you. But if nothing's right, we try anyway") is unmatched, check it out here. – Bryan

Blake – CMYK EP

Don’t you hate it when you remember that you wanted to mention something to someone or anybody for that matter but way after it’s too late? For the longest time, I wanted to come here and post about this EP by 21-year old super electronic producer James Blake and I never got around to it. Whether it was trying to mix up the diversity or trying to make other solid posts, I completely missed recommending CMYK and its four awesome songs.

Nonetheless, this is a short and direct EP that needs to be picked up by a lot of people. Somewhat dubstep, somewhat techno, somewhat IDM, and all electronic, these four songs push forward with tremendous results. Blake does a great job of keeping his beats heavy and at the front, while always carrying gorgeous sounds all over. And while I wanted to post all four songs on here, here are the two that I found.

Many will love the Burial similarities on this title-track but please, listen to those strings in the background and with just how melodic this all is. And once the snare kicks in and it explodes, wow.


And here is “I’ll Stay,” which reminds me more of Madlib and Flying Lotus than it does of Burial; especially with the almost worldly-sounding beats and its tempered groove. – Bryan

Buddy Rich and Max Roach – Rich versus Roach

When you talk about two of the greatest drummers of all time, getting together to combine their quintets to deliver fierce solos back and forth then you’re talking about something special. Regarded by some as “The world’s greatest drummer,” Buddy Rich proved just that with his ear for melody, his impeccable technique and unmatched style. And though Roach was seven years younger and still coming onto his own, Rich versus Roach finds the both of them stopping at nothing to present an impressive collaborative album.

Back in 1959, the two bands took breaks from their touring schedules to hit the studio for a two-day session of music. Each drummer would lead his band and they would play the same song, with different musicians from each band taking turns at solos. But make no qualms about it, this was the drummers’ album and they showcase that on “Figure Eights” very nicely. At first supposed to be just a brief solo battle, each drummer would rip off alternate eight bar solos back and forth and it made for some magnificent music. Hear it here:


And before that, the two bands would gel into “The Casbah,” a smooth samba-pace that suited the outstanding sax players well. This one features Roach on mallets and he decorates the space with splendid touches; Rich would be on cymbals and each band allows their trumpets to take solos. It’s probably the most laid-back song on the album with Roach leading the four-bar drum breaks and it provides a nice change of pace from the intensity that is on every other song. You can hear it below (both songs have the same title and they are surprisingly the same length, crazy) but in all, it’s an amazing piece of history in that it features two of the best drummers of all time going head to head in a friendly battle of skills and honestly, you can’t go wrong with that – Bryan.

Joanna Newsom

My goodness, that is one beautiful woman. And as stunningly gorgeous as she is to the eyes, she’s the musical equivalent to the ears: magical bliss. As a classically-trained harpist, she experienced first-hand the difficulty in playing one of the most testing string instruments and it provided a firm backdrop in classical music and its sweeping arrangements. But as an aspiring writer, her stories are woven in a manner that it not only surpasses others' stories but clearly eclipses them. And when you combine such astounding aspects, it fuses a wonderful blend of skill, artistry, brilliance and sheer remarkable talent.Please take a small part of your day to listen to “Emily,” and please, just allow it to fill your ears, minds and heads with the ideas that she is presenting. Those strings are by Van Dyke Parks and the mixer of this album, Ys, is Jim O’Rourke. But still, it’s Newsom’s singing (her varying cadence that adds dimension,) her fantastic ability at her instrument and her songwriting and crafting that makes her music so compelling. If nothing else, you can hear something different and witness terrific art (visually and aurally.) - Bryan

LCD Soundsystem - Sound of Silver

We’ve all been on the major high that This Is Happening has us in but man, I couldn’t help going back to this previous album, Sound of Silver and was amazed at how good it is. Back on their first album, James Murphy and Co. made an awesome self-titled album that featured them being playful, creative and entirely mesmerizing. It was the kind of album that you could bliss out too, as well as just jam out to. And when Sound of Silver came out, I was a bit shocked at how different the whole sound was.

It took and it’s taken a helluva long time for me to really like it, but this is one awesome album. The opener (heard below) is built upon layers and layers of sounds, before everyone is heard singing the title and later on, in the heart of the album, you have arguably, the two best songs sandwiched in between each other, “Someone Great” and “All My Friends. (heard below)” At the end, Murphy is belting out about his struggles in the city and yet, he realizes just how much he loves it. If you even remotely like the new one, check this one out too, soon – Bryan.

Marvin Gaye & Tammi Terrell – United

This is one of those lovely special albums that found two lovers gelling and flowing together. Back in 1967, Marvin Gaye and Tammi Terrell were head-over-heels in love with each other and it was elegantly portrayed on United. Most of the songs on this album are covers, except for the one I find to be the best one, which is a Gaye original, “If This World Were Mine.” On that song, Gaye and Terrell sing to each other of all the wonderful things they would present each other, if the world were theirs. Such simple, yet sweet thoughts, “You’re my constellation, there’s no hesitation.”


But what makes this album even more special and even more significant was that it was the first of three collaborative efforts by the duo. Gaye loved Terrell with all of his heart and when she collapsed in his arms at a concert, he was devastated. Terrell would pass away in 1970 and this caused Gaye to become severely depressed and he left music for almost two years before returning for his masterpiece, What’s Going On. At her funeral, Gaye was so distraught that he lay at her side, speaking to her as if she was going to respond; she was truly his soul mate and one can only hope they are together now. Here is another song, “Hold Me My Darling.” – Bryan

Nas and Damian Marley - Distant Relatives

It’s been a freakishly good year for music this year, simply crazy. And every new month has brought out amazing release after amazing release. This Tuesday featured one of the better days with all of these albums coming out:

LCD Soundsystem – This Is Happening
The Black Keys – Brothers
Jamie Lidell – Compass
Janelle Monáe – The ArchAndroid (Suites II and III of IV)
Band of Horses – Infinite Arms
The Depreciation Guild – Spirit Youth
Harvey Milk – A Small Turn of Human Kindness

Most of those, I can surely say are awesome, especially the first four albums I listed; with the LCD Soundsystem one growing on me more and more each day. And also, there is Nas and Damian Marley’s album, Distant Relatives. This last one wasn’t even an album on my radar until I was barely put onto it by some other people. I went out and picked out and really loved what I heard. The strong influence of Africa is on here, with everything from the culture, to the music, to the people referenced on here. The album’s tied in by a theme celebrating humanity and showcasing how we are all related. And each artist brings their A-game with a solid mix of hip-hop with a smooth Reggae touch and creativity to boost.

This first song off the album, “As We Enter,” features a sample of a song by the legendary Mulatu Astatke. Here is the original one by Astatke, “Yegelle Tezeta,” which is more than 30 years old! Check out the awesome sax sound and the major chops the player has:


Here is Nas and Marley’s song that features some of the rhythms and sounds of Astatke’s brilliant gem:


And here is another song off the album that is filled with jazz influences, R&B and a great message, “Count Your Blessings.” – Bryan. (P.S. This is our 50th post on this blog, woo-hoo!)

Steely Dan - Pretzel Logic

We talk a lot about samples here because it’s something that we definitely love and revealing an untouched gem is always redeeming. I mean, I know Kanye West is filthy rich but look at all the samples he used on Graduation: everyone from Elton John to Michael Jackson to Steely Dan. And speaking of the latter, their album Pretzel Logic is one of those magical ones that captures you and never let’s go.

It starts with the band’s biggest hit, “Rikki Don’t Lose that Number,” but it also shows just how varied and multi-dimensional Steely Dan was. They would go on to win Album of the Year at the Grammys decades after their best material was released (in a year where Kid A is easily the best album of that year) but this album is one of the best of the 70s. And speaking of samples, how about covering an awesome jazz tune like they do with Duke Ellington’s “East St. Louis Toodle-Oo,” with superb musicianship.

Wanna talk about funk? Just check out every bass lick on this album and you wanna study what jazz specialists create when they want to make good solid rock? This is the album. But mostly, if you just want something with awesome sounds spread all over that are in turn, amazingly demonstrated, this is the album you want. – Bryan

Ellington's original:


Steely Dan version:


One more awesome song:

Hermanos

This Tuesday the 8th studio album by Akron, Ohio natives THE BLACK KEYS will drop, and I'll be waiting. In an era where you download the new album as opposed to picking up the hard copy at your local record store, it's refreshing to have guys making music that you just gotta go out and pick up. The album is entitled "Brothers" and sounds like it's gonna be another memorable journey through the Bluesy, Southern Rock world of THE BLACK KEYS. The 2 big singles so far have been on repeat all day, no joke. Both tracks speak to complicated relationship issues, something another artist i featured earlier in the year did with her entire album. And who doesn't love some complicated LOVE issues. Isn't that what most music is about??
"Next Girl"--- Not your typical "ex" song. THE BLACK KEYS channel a little more Hendrix then usual on this tune. The guitars are dripping wet in reverb and I swear i hear "Foxy Lady" somewhere in there at the end. Instead of moaning about the past, this song is about the next chapter in someone's "relationship" life, you know, the next girl. Sure, we're still torn up about that last reltionshit we were in, with lyrics like "Oh, a beautiful face, And a wicked way. And I'm paying for her beautiful face Everyday. All that work Over so much time If I think too hard I might lose my mind". But the Blues don't last forever, and someone's come along so, "Oh my next girl Will be nothing like my ex-girl I made mistakes back then I'll never do it again With my next girl She'll be nothing like my ex-girl It was a painful dance And I got a second chance Oh my next girl My next girl!"
"Tighten Up" ---The complicated love song. A very poppy sound the boys make on this one, very reminiscent to some Peter Bjorn and John with the whistling at the beginning. The song gets grittier though as situations complicate.
"Take my badge, but my heart remains Loving you, baby child..Tighten up on your reigns, you're running wild..Running wild, it's true." The beat breaks down, tension builds and the guitar starts to moan louder; and our statement goes a little like this, "When I was young, and moving fast, Nothing slowed me down, ooh slowed me down. Now I let the others pass I've come around, oh come around. Cause I found." -nick

Stevie Wonder - Hotter Than July

The time is a-changin’ huh? The summer is starting to hit us with its sun and heat and it’s making for some gorgeous days. I was called out the other day for not posting or even playing, enough hip-hop, R&B and soul music. To be politically incorrect for a second, as some call it, “Black Music.” It sounds bad but trust me; I mean no harm in it at all. So I’ve decided to bring out my collection of other music in the aforementioned genres in hopes that I can showcase some diversity. Nick usually plays different music than I’m posting but hey, I’ve got a lot of that same music too so why not?

The history behind Stevie Wonder’s Hotter Than July is sweeping with illustrious imagery. The album, itself, is a beautiful creation because of its soulful presence and its amazing energy, all fueled by Wonder. He starts things off with a wondrous explosion of love with “Didn’t I Hear You Say You Love Me” (the chorus is a succinctly put, “Well if you love me, honey let me hear you say…I love you.”) and then switches to a funky, hi-hat grooving, “All I Do” (again, here, Wonder is in blunt with, “All I do is think about you baby.”) All of the songs segue so smoothly into each other, that by the time you get to “Happy Birthday” (which Wonder wrote for Martin Luther King Jr. in hopes of creating a national holiday for the significant reverend) you are lost in Wonder’s stunning scope of genius.

Speaking of “Happy Birthday,” Wonder would go on to have a significant impact on the making of Martin Luther King Jr. Day. I’m so happy that the vinyl insert I have is the original one as it features a picture of King and a small paragraph Wonder wrote to his fans dictating, “It is time for our country to adopt legislation that will make January, 15…a national holiday.” And he even signed it with a fingerprint – awesome stuff. Reagan would go on to sign the holiday into law in 1983 and it was first observed in 1986 and yet, many states gave the holiday alternate names and titles to avoid having it just be “Martin Luther King Jr. Day” – because, that would be such a horrible thing right? It was finally observed by all 50 states in 2000.

I could say so much about this album other than I love it and it truly cements Stevie as one of my favorite artists of all time but the influence and impact is paramount – I always play this in July, which also happens to be when my birthday is. This came out in 1980, four long years after his double-record masterpiece Songs in the Key of Life and its every bit as good as it predecessor. And on top of that, you can hear where Michael Jackson and Prince were getting their sounds from: those basses, those drums, his cadence, his delivery, his musicianship. There’s just too much.

And FYI, regarding the passing of King’s birthday as a national holiday, John McCain rejected the holiday for the longest time before finally pushing his state, Arizona, to honor it as a national holiday too – republicans suck. And here’s the two songs that lead each side of the record, the aforementioned “Didn’t I Hear You Say You Love Me” and the Bob Marley-influenced “Master Blaster (Jammin’)” – Bryan

Bonobo – Black Sands

Usually, you have those albums that are recommended from side to side by variously different people. Sometimes, it might be getting some relatively good reviews, sometimes you can continue to hear it mentioned by different circles of people. But most of the time, it takes something peculiar to really get you to listen to what’s going on. And that’s the case with this fantastic album, Black Sands, by Bonobo.

In this scenario, I finally had to see it on a trusted source’s “Top 20 list of 2010…so far” list to finally check it out. It’s weird because its styles (electronic, jazz, world) already stood out to me, as well as the awesome cover art and the fact that it’s only one guy making the music. But I needed to see it on someone else’s list – someone that I trusted – to finally check out Simon Green’s music.

I’m glad I did because this is awesomely chill, comfortably smooth music that is very compelling. The sounds are definitely electronic but it’s also an album that has jazz influences and world touches all around. Even when you least expect it, the groove leads into something even more moving and it leaves you strongly affected. Just another fantastic electronic album to add to the mix. - Bryan

“Eyesdown” by Bonobo


"We Could Forever" by Bonobo

Beirut – “On a Bayonet,” The Mars Volta – “Asilos Magdalena,” Interpol – “Direction”

I had some haunting dreams last night so I was eager to wake up and blast some music. And sometimes you have to mix things up, so for this post I will be posting three songs found at random on my music player. Well, not entirely random; I’d stop in a random spot and then purposely pick out a song that might be a bit lesser known but every bit as good as anything else out there. Check them out and let us know what you think by leaving a comment or message in chat box, please!

Beirut – “On a Bayonet”
This would, at first, appear to be nothing more than the horn and sax section warming up before “The Shrew”’s terrific Tuba comes in. However, this is a growing, swelling and sweltering collection of trumpets, saxes, trombones and more blowing away towards a fantastic manifestation of sounds. To be succinct, it’s a warm up, sure, but it climaxes and grows into a vicious crescendo that is both stunning and gripping.



The Mars Volta – “Asilos Magdalena”
When Nick or I talk about local music, it’s funny how we don’t mention (and I didn’t check but I’m almost positive they’ve never been brought up before) El Paso’s darlings, The Mars Volta. Two high school friends who grew up being teased ended up making one of the best psychedelic, heavy rock groups of our time and their music is beautifully composed. So much so, that you forget about a gem like this and yet, it always pops up; sung in Spanish with a quiet acoustic guitar and glorious vocals, my favorite line is this chillingly deep one:

“En mi vida, el oscuro me mantiene.
Cuando yo te vi, en la lluvia, me prometistes tu sangre…yo no me quedo”

“Which translates to, “In my life, the darkness will comfort me. When I saw you, in the rain, you promised me your blood…I won’t stay.” Yikes, that’s good.



Interpol – “Direction”
Six Feet Under was a truly great show; it was dynamic, poignant and stirring. But I didn’t hear about this Interpol song from watching the actual show but rather, while over-hearing Arcade Fire’s “Cold Wind” one day. Not on any proper Interpol album, this song expands and grows with the addition of new rhythms and instruments. While at the same time, getting louder, once the climax hits the band is heard singing “Direction,” in repetition, until the decreasing sound dies out. Simply bad-ass. – Bryan

The Human Recording

Few local bands here in El Paso have had the same undeniable street cred MEXICANS AT NIGHT had over the past few years. Maybe it was their logo, maybe they came around at the right time in the local scene, but probably, it was the unique Chuco sound that came from 2 mexican dudes. A sound that blends the rhythms of latin soul with a post punk aesthetic. Think MALO and THE JOY DIVISIONS love child. For reasons unknown, the duo, headed by one of most unique and intriguing individuals I've met, a one,Rafa Pistola, disbanded at some point in 2009. Seeing the sheer awesomeness that was MEXICANS, I knew Rafa would be back making his unique brand of music as soon as humanly possible. Luckily the wait wasn't long. THE HUMAN RECORDING, who are made up of Rafa on vocals and guitar, along with a drummer and a bassist, have only been performing together for a short time but the output is of a band who's been playing for years. Here's some more back story on MEXICANS...

They filmed an amazing video for the song "All Day Long".

Now for 2 live tracks from THE HUMAN RECORDING taken this past Saturday the 8th at The Garage Tequila Bar.

The melancholy vibe in Rafa's voice and lyrics along with the Nirvana-esque sound is flat out beautiful. The few moments of minor tension make this song all the more memorable.
Now for a total switch with this track entitled "Washalo".

If the Chuco sound I believe exits were to have an anthem, "Washalo" would surely be it's Star Spangled Banner. Okay, those are lofty words when thinking of all the homegrown acts like, now this is for my real Chuco heads, Fuga, Radio la Chusma, Border Roots, Frontera Bugalu..that's a lot of great music. Stay tuned for more info about the Human Recording and their performances

The National - High Violet

This is easily one of my favorite bands currently making music and I’m amazed at their ability at combining so many relative, topical and poignant themes into one amazing ball of superb musicianship. And their music is the kind of music that just grows on you, like moss on a tree. Before you know it, you love the album and songs far more than you did a few months ago. Though I’ve been living with this one for a good month now, it didn’t connect until most recently.

The band is clearly highlighting how our lives are these black and white pictures with some gray sprinkled in and in the end, we’re fortunate if any color can find a way to break on through. Again, themes about dealing with life’s transitions – whether from high school to college, from adolescence to adulthood, from party animal to hard-worker driving the morning commute – are all delivered through the best possible music. But it’s those songs about love loss, where you find out that the one you love doesn’t love you in the same manner and how in the end, you “don’t want anybody else,” that hit the hardest.

Here is “Bloodbuzz Ohio,” about returning home but focusing on the negatives, instead of the love that is there and realizing that you’re way too far in debt to be pulled out of the water. And being carried home in “a swarm of bees”:


And here is the gorgeous “Anyone’s Ghost” (the song that I described about loving someone and they not returning the love, or being incapable):


Best album of the year? Well maybe so far…then again, Flying Lotus’ album is downright astounding. – Bryan

Peanut

I had to bury the first dog I've ever had tonight. She was fourteen years old and was the family dog, Peanut. She had been sick for a while now and we were actually planning on taking her in to be put down tomorrow. Different people kept asking me what I was going to do after work (my new schedule is from 230-11, which is much later than my previous one) and something kept telling me to just head home.

So I walked in and I swear, I looked down at her and saw her take her last breath. Who knows how much she had struggled or what she was feeling but I do know that something was trying to tell us (my mom and I) that she wasn't going to be left at some hospital to be creameated. I immediately began digging a hole in the back and I buried her. I said a prayer for her and we shared some stories about her and that was that. She was a good dog, she was loyal and she lived a pretty long life but I can't help feeling guilty because she was sick for a while and perhaps I should've taken the initiative to bring her to the vet. I take full blame on that.

I didn't realize how hard it would hit me and how much it would affect me. I felt helpless and somewhat angry that she passed, as if I was in some delusional state assuming she was never going to die. I'm an animal lover, I'm a freaking sensitive loser and I'm a weak-ass dude so I felt it best to honor her in some way. I mean, animals have zero control over what happens to them once they've been domesticated; they are literally ours and somehow, they don't judge and love you as the selfish, stupid person you are.

I went to my room and looked for music and I did the math: Peanut was born and given to us when I just entered the 5th grade, that means she was born in 1995. I wanted to play an album from her birth year as a sort of going away gift, to share in the music that was playing at that time - even if this then ten-year old punk kid had no idea the magic music possessed.

So I grabbed Radiohead's The Bends, an album that is deeply rooted in memories and nostalgia. It was the first album by theirs I heard, after I stole it from my sister. It's still the album I feel is their second best and it's the one that mostly, brought Amber and I together. I remember having my discman with me and my cheap headphones as a dorky freshman and there, in front of me, was this hot sophomore taking it from me. She said she only wanted to borrow the discman and gave me my CD case and said "don't worry, your cd is in there." And I left home for the weekend only to realize she purposely left with my cd to listen to because naturally, she fell in love with it too. It was cute and sure, sweet and later on, we'd hear the band play "Black Star" in 2006 in Berkeley and yes, it was awesome. But in all, it is an album that is still, very very good.

I played it all and sat outside in the dark through it all. Nostalgia is horrible and those ghosts seem to still haunt me, even when I lay down and close my eyes at night. I hope that somehow Peanut could feel what I was going for and she will be missed. I'm sorry for those that read this spiel and wish they could've had those five minutes of their lives back. "Street Spirit (Fade Out)" is still my favorite Radiohead song, its the closing song off the aforementioned album and it follows, below, R.I.P. Peanut - Bryan.

Tchaikovsky: Symphony No. 5 in Em

I had a hard time sleeping last night so I went over to my sister’s old room (where all my records are now) and picked up the first Tchaikovsky record I could find (I only have his symphonies 4-6 on vinyl) since it was dark and I didn’t want to make too much noise. I put it on the finale for this symphony (Symphony No. 5 in Em) and was astonished at the difference in everything from tone, melody to overall structure in comparison to his final symphony.

While the last movement again as some difficulty with the major coming through the minor, many have depicted this as Tchaikovsky’s way of showing “victory through failure” or “triumph in strife.” Mostly, it’s a propulsive and driving finale that showcases just how strikingly passionate and skillful Tchaikovsky was. And the closing breakthrough, with the melody brought out by different instruments is still very powerful.

But the second movement, especially, has to be one of the most gorgeous representations of what a melodic horn line is supposed to be. Not only is it richly colorful but here, Tchaikovsky has crafted something both illustriously grand and vividly clear. The violins trade off with the horn but in terms of its remarkable scope, it’s still one of my favorite melodies. Videos for each follow below (with the video for the fourth movement a crazy good version conducted by Bernstein,) please check them out and I promise to post some ‘more interesting’ music soon. – Bryan

Movement Two: Andante cantabile, con alcuna licenza (DM)


Movement Four: Andante maestoso – Allegro vivace (EM>Em>EM)

NINA

The past few weeks I've been listening to a lot of Nina Simone, and i realized I have not once come across any of her albums on vinyl. Again, it's not like I'm digging in the most eclectic of places (sorry chuco). I'm not exactly sure why her stuff is so rare but I do know her work is complex and some of the most emotional music I've ever heard.
On a side note, my dream job would be to edit theatrical trailers for films, and one of the most moving trailers I've seen in recent years had Nina's one of a kind voice as it's soundtrack. Sadly enough, never saw the movie.
The song is named "Wild is the Wind" and there are so many things going on with her voice, the way she milks each note, and especially here trademark haunting vibrato. AMAZING
Now the actual reason I decided on Nina post was for 2 reasons. First being that our co contributor Bryan just got a bad ass new phone, which he bought solely for the hip advertising campaign. All kidding aside the commercial for the company is bad ass and uses a sample from a Nina Simone song. Second, Bryan posted about Mr. Kweli, who also uses a sample from the SAME SONG! So of course yours truly had to bring this to your attention. Nina's song who both HTC and Kanye sample is entitled "Sinnerman" and is an epic piece of music.

HTC via production of Felix da Housecat uses the beginning piano from Sinnerman looped over and over.
Kanye on the other hand uses the way back groove section of Nina's "Sinnerman". The very beginning of "Get By", which Bryan posted about a few days ago uses the very end of Simone's version. Sample appears at arround 8:30. The piano part that kanye uses appears at 4:50. DOPE!!!

Tchaikovsky: Symphony No. 6 in B minor, Pathétique

I studied Thcaikovsky’s Symphony No. 6 in B minor, Pathétique extensively so I am sure I am biased but I also can’t help feeling as if it’s wrongly overlooked when it is, very honestly, such a beautiful composition. And, for me at least, it holds such a weighty amount of emotions and passions for Tchaikovsky to go on and title it as his Pathétique symphony, which roughly translates to “passionate” or “emotional.”

He had a hard time writing it, continuously stating that he could not create good music; he had written an earlier version before trashing it and once he got to work on this finished version, he vowed to finish it. Part of the mystery regards what the symphony is actually aiming to achieve. It was dedicated to Tchaikovsky’s nephew, of which he was known to be involved with, though never out in the wide open. Some have speculated that it is about their doomed relationship and others, like me, see it as Tchaikovsky’s suicide note: his last gift of music, which he premiered only nine days before his death.

The symphony’s music is utterly exceptional with every movement being even better than before. The first one marks a sonata-allegro form where Tchaikovsky shifts from Bm to the BM, while always maintaining a dark and gloomy mood. The second movement is interesting because that 5/4 meter easily suggests a waltz but this is much livelier. The third movement is very deceptive because it’s too dissonant to be a march, much too upbeat to be a waltz and it revolves around two themes.

And finally the final movement is an Adagio (entirely different for what symphonies called for). The movement is a moving, rousing one (check out those chords from the bassoon around the first quarter mark) that always stays in the original Bm before ending on a solemn, quiet ending. Here is that Finale from the sixth symphony, with Charles Dutoit conducting the impeccable NHK Symphony Orchestra from Tokyo, Japan. – Bryan

Talib Kweli

The Brooklyn MC has announced a new album coming out with Hi-Tek sometime this year which looks to replicate the magic they captured on Reflection Eternal. But Talib Kweli has always been one of those rare MCs that is able to powerfully intertwine his words to turn otherwise simple lines into mesmerizing hooks. This first song, "I Try," is from one of his lesser sought out albums, The Beautiful Struggle, but it features Mary J. Blige singing a killer chorus and a just as strong, Kweli as he repeats the album title, twice, in this song: "Life is a beautiful struggle," and man, he couldn't be more right.


This next one gets my vote as the best song of the entire decade with Kweli's shattering "Get By" off his classic, Quality. It's funny and somewhat ironic that I would choose these two songs because they each share elements dealing with life's struggles: everything from dealing with bad jobs, tough bills to pay, the economy, despair, being dealt a bad hand, tough breaks, love loss and so much more. And while "I Try" finds a Kweli dealing with effort on a level where it never seems enough, "Get By" finds an aggressive Kweli, rapping about the many things we do in our life, "just to get by."


These are only small snippets of his genius (coincidentally each track was produced by Mr. Kanye West) as his albums deserve much more respect. - Bryan

E-V-O-L-V-E

If you've been watching the NBA playoffs the past few weeks, and you have ears, you might have heard an amazing track for Gatorade's new "G" Series products. The track is awesome. I especially love the bluesy style. So, in doing research about who was behind the song, I come to find out it's produced by David Banner and features Kermit Quinn singing. Never heard of Quinn, but he's got some serious talent.

In doing the little research for the commercial, I came across some news about a callabo between Banner and 9th Wonder (of previous post). The work entitled "Death of a Pop Star" has a few tracks already out and let me say, I am hyped this stuff sounds really good!
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Stay Tuned for more info on this project