Hvalfugl "Bag vore øjne strømmer drømme sagte forbi" (2025)

Bag vore øjne strømmer drømme sagte forbi

udgivet: 24. jan. 2025

format: 2lp vinyl (gatefold)

[vurdering: 3,5 / 5] [3,64]

producer: Hvalfugl

selskab: Hvalfugl Music (selvudgivet) - nationalitet: Danmark

Studiealbum fra den Aarhus-baserede trio Hvalfugl, bestående af guitarist Jeppe Lavsen, basist Anders Juel Bomholt og tangentspiller Jonathan Fjord Bredholt, er en selvudgivet dobbeltvinyl. Albummet er både en regulær studieudgivelse og en form for opsamling, da albummet bygger på en kombination af fire individuelle EP-udgivelser: Bag vore øjne (nov. 2022), Strømmer (sep. 2023), Drømme (jan. 2024) og Sagte forbi (sep. 2024). Det er dog ikke en direkte summering af disse fire udgivelser. Albummet her tæller 25 numre, og summen af de fire EP’er er 26 – men 'kun' 16 numre er hentet fra EP’erne og spredt med løs hånd ud over albummet. Det betyder, at der er 9 nye kompositioner på dette album sammenlignet med EP-udgivelserne, og det kan derfor med rette karakteriseres som et studiealbum. En anden interessant detalje er, at trioen gør stor brug af improvisationer. På tre af de fire EP’er finder man kompositionen "Kaskader af glemsel" efterfulgt af et nummer, der indikerer tre forskellige variationer af samme nummer. Men netop denne komposition findes ikke på albummet i nogen af variationerne, og det illustrerer måske i virkeligheden, hvordan trioen arbejder med improvisation som en måde at skabe nye, unikke øjeblikke på, hvilket på mange måder også vidner om en naturlig sammenhængskraft gennem hele albummet.

Stilmæssigt bevæger Hvalfugl sig i moderne instrumental nordisk jazz med stærk indflydelse fra traditionel folkemusik og folklore – og man burde måske kalde det 'jazz-folk'. Jeg kendte absolut intet til bandet, før jeg overværede en koncert i min hjemby i det tidlige efterår, hvor jeg mødte op helt uden forventninger. Det stod dog klart fra starten, at disse tre herrer er mere end blot kompetente instrumentalister - de mestrer kunsten at interagere musikalsk og den svære balance i at komplementere hinanden og samtidig formå at skabe sjælden synergi.

Stor anbefaling.

[ Gaffa.dk 5 / 6, Allaboutjazz 4,5 / 5 stjerner ]

Cassandra Jenkins "My Light, My Destroyer" (2024)

My Light, My Destroyer

release date: Jul. 12, 2024

format: vinyl / digital (18 x File, FLAC) (Deluxe Edition)

[album rate: 4 / 5] [4,06]

producer: Andrew Lappin, Cassandra Jenkins

label: Dead Oceans - nationality: USA

Track highlights: 1. "Devotion" (4 / 5) - 2. "Clams Casino" - 3. "Delphinium Blue" (4 / 5) - 5. "Aurora, IL" - 6. "Betelgeuse" (4 / 5) - 7. "Omakase" (4 / 5) - 9. "Petco" - 11. "Tape and Tissue" - 12. "Only One" - *15. "Hailey / Hayley (Only One)" - *17. "Stardust"

* Bonus track on Deluxe Edition

3rd studio album by Cassandra Jenkins following the acclaimed An Overview on Phenomenal Nature (Feb. 2021) and more recently the following release of demos and outtakes released as (An Overview on) An Overview on Phenomenal Nature (Nov. 2021). The standard vinyl and cd issues of the album contains 13 tracks with a total running time of just under 37 minutes. The digital Deluxe Edition (and the 2-disc cd issue) extends the running time to 52 minutes [ find it on bandcamp ]. The title of the album comes from the song "Omakase" and its chorus lines: "My lover - My light - My destroyer - My meteorite".

The album is held in the same original style and tone as her 2021 album. It's therefore made with a distinct sense for sophistication. It's a perfect blend of new age, jazz, indie rock, sophisti-pop, and with delicate use of field recordings. A couple of the bonus tracks are more experimental with bold use of field recordings and less focus on coherency - especially track #17, "Stardust" appears as one long experimental. The album is, however, no less than yet another amazing release. The whole album is meant for attentive listening and it works as a complete work - and more so than a collection of individual songs.

My Light, My Destroyer is one of this year's absolute best albums. For now, it's in my top-3, but I only suspect it to go higher.

Highly recommended.

[ allmusic.com, Uncut 4,5 / 5, 👍Pitchfork 8,0 / 10, 👍Mojo, The Guardian, Slant 4 / 5 stars ]

2024 Favourite releases: 1. Adrienne Lenker Bright Future - 2. Hurray for the Riff-Raff The Past Is Still Alive - 3. Cassandra Jenkins My Light, My Destroyer

Jan Johansson "Jazz på svenska" (1964)

Jazz på svenska

release date: 1964

format: vinyl (2013 reissue) (HELP-030)

[album rate: 4 / 5] [4,16]

producer: (rec. by Oluf Swembel)

label: Heptagon Records - nationality: Sweden

Studio album by Jan Johansson originally released on Swedish label Megafon is Johansson's third album and it's no less than the best sold Swedish jazz album ever. The album consists Johansson's arrangements of Swedish folk songs, which are characterised by minimalist instrumentation with Johansson on piano accompanied by Georg Ridel on double bass. The abum count twelve compositions with a total playing time of approx. 34 minutes. The 2013 vinyl reissue is based on remastering of the original tape recordings and have been made by Jens and Anders Johansson, who are also founders of Heptagon Records and sons of legendary Jan Johansson.

This album is a must-have in any collection of jazz, and if you think Getz / Gilberto is one of the best jazz albums from '64, you really need to know this one.

Highly recommended.

Kalaha "Hahaha" (2014) (live)

Hahaha (live) [debut]

release date: Sep. 1, 2014

format: digital (9 x File, FLAC) (RUMPLP016)

[album rate: 3,5 / 5] [3,52]

producer: Troels Bech Jessen (sound engineer)

label: Rump Recordings - nationality: Denmark

Tracklist: 1. "Spejderrobot" - 2. "Allahabad" - 3. "Assymetriader" - 4. "K-Sounds" - 5. "Ellas Drager" - 6. "Amar" - 7. "Klap" - 8. "Amnesia" - 9. "Atacama"

Debut album by Danish electronic experimental quartet Kalaha is the live recordings stemming from Red Roof Jam, at the rooftop of DGI Byen, Copenhagen at STRØM [Festival], on Aug. 15, 2013. Kalaha is a colourful act made up by the two, primarily, jazz instrumentalists, drummer Emil De Waal and guitarist Niclas Knudsen [here nicknamed 'Ibrahim Electric') together with the two electronic musicians Rumpistol (aka Jens Berent Cristiansen) and Spejderrobot (aka Michael Elkjær). Together, they explore a combo of jazz and electronica with obvious inspiration from world music and afro beat, and on this debut, they showcase their talent for improvs based on music stemming from each of the members own back catalogue.

Giving the musicians' various starting points and the fact that these compositions are all improvs, Hahaha works surprisingly well - basically showcasing how musical talent will perservere regardless the form, and then of course: both jazz and electronica are genres that include an experimental approach per se.

Kalaha would later release the actual studio album debut Masala in 2016 and the band is definitely worth checking out with Hahaha standing as a promising start that later would be consolidated with a series of studio releases. Mystafa (Mar. 2021) appears to be their most recent album.

[ Purchase the album here ]

Sun Kil Moon "I Also Want to Die in New Orleans" (2019)

I Also Want to Die in New Orleans

release date Mar. 1, 2019

format: digital (7 x File, FLAC)

[album rate: 3,5 / 5] [3,55]

producer: Mark Kozelek

label: Caldo Verde Records - nationality: USA

Track highlights: 1. "Coyote" - 2. "Day in America" - 4. "Cows" - 6. "Couch Potato" - 7. "Bay of Kotor"

10th studio album by Sun Kil Moon following only 4 months after This Is My Dinner (Nov. 2018) may only consist of seven compositions but it has also been issued as a double CD album (not yet on vinyl) with a total running time of 1½ hours (89 mins).

The album features music written by Kozelek with music composed by Kozelek with jazz saxophonist Donny McCaslin and drummer Jim White - Kozelek himself is credited on guitar and bass.

At a first listen, the album may seem like a second chapter to his most recent album from Nov. 2018 but this one comes out as a simpler specimen - I guess, naturally, given the fewer musicians - and more coherently sticking to a particular theme or idea, which I think, lifts this in terms of listening quality. I like the stronger jazz-feel that sweeps through all compositions and add colour and tone to Kozelek's narratives, which here is executed with more focus on sound, as yet another instrument, and as opposed to his more recent releases where you'll likely find it easier to follow the narrative. Regardless the fact that there are also improvisations involved, it doesn't spins off, as I sometimes felt it did on the predecessor. On the other hand, the music here often takes form as repetitive patterns that succeed as a kind of meditative state.

The album was generally met by negative and luke-warm response, and my guess is that many wish he would make music as he did a decade earlier.

Recommended.

[ 👎allmusic.com 2,5 / 5, 😞Pitchfork 3,2 / 10, 👍Needledrop 7 / 10, New Noise 4 / 5 stars ]

Bill Frisell "Guitar in the Space Age!" (2014)

Guitar in the Space Age!

release date: Oct. 6, 2014

format: digital (14 x File, FLAC)

[album rate: 3,5 / 5] [3,52]

producer: Lee Townsend

label: Okeh Records - nationality: USA

Studio album by Bill Frisell - his 29th, 30th, 31st, or 32nd, give or take - is in the category of cover albums. It follows the strings-album (violin, viola, cello) Big Sur (Jun. 2013) and it contains fourteen instrumentals, two original Frisell compositions (tracks #6 & #13) and twelve interpretations of popular compositions stemming from the late 1950s to the mid-60s. Several of these were originally surf rock, rock & roll, folk rock, or pop / rock tunes but in Frisell's rearranged versions they have all become jazz-influenced modern standards.

The album is almost naturally critically acclaimed - that's just the way a new Frisell album is met - and it's hard not to understand why Frisell is one of the most valued instrumentalists over the most recent four decades or so. He plays his instrument with an original voice, so to speak. That said, I immediately thought of The Raybeats, who released the album Guitar Beat back in '81, an almost peculiar release at the time with its modernised surf rock instrumentals, completely out of sync with contemporary stylistic waves but at the same time: extremely timeless. And with a selection of popular tunes, Frisell almost replicates that effort. The tunes are very much intact - perhaps a bit too much to my liking, but they still uphold a freshness and universality that cannot be denied. I only wish Frisell would've improvised more on the originals - something that works nicely on his rendition of Ray Davies' "Tired of Waiting for You" - where he gives us that extra layer he often adds to other people's songs 'cause here they mostly shine in their own rights. On the one hand, it makes it perfectly uncomplicated and then it reminds us of what great tunes the originals are. I'm not always in the mood to fully appreciate this collection, but I still find that Frisell just show us, not only what an exquisite instrumentalist he is but also what a fabulous interpretor he also is. I know most of the originals and mostly just think Frisell wants to remind us about these wonders - it's his tribute to that forgotten era of his own youth.

[ allmusic.com, The Guardian 4 / 5, 👍PopMatters 3 / 5 stars ]

Chet Baker "My Funny Valentine [Essential Jazz Masters]" (2006)

My Funny Valentine [Essential Jazz Masters] (compilation)

release date: 2006

format: digital

[album rate: 3 / 5]

Compilation album by Chet Baker, which seems like a reissue but is filed as a 2006 album release, however, all tracks must have been recorded in the 1950s and/or 1960s, which is quite evident from the mono recordings. It features live sessions, hard bop jazz, as well as his romantic cool jazz ballads including one vocal jazz track, which sort of comprises all his styles but also makes it a very uneven compilation of songs.

Michael Olatuja "Lagos Pepper Soup" (2020)

Lagos Pepper Soup

release date: Jul. 31, 2020
format: cd
[album rate: 3,5 / 5] [3,52]
producer: Michael Olatuja
label: Whirlwind Recordings - nationality: Nigeria

Track highlights: 2. "Lagos Pepper Soup" (feat. Angélique Kidjo) - 4. "Soki" (feat. Dianne Reeves & Lionel Loueke) - 5. "Ma Foya" (feat. Brandee Younger) - 6. "Brighter Day" (feat. Laura Mvula) - 7. "Shadows Fade" (feat. Onaje Jefferson) - 9. "Home True" (feat. Becca Stevens & Robert Mitchell)

2nd album by London-born, Lagos, Nigeria-raised, New York-based electric and acoustic bassist / composer / bandleader Michael Olatuja.
Musically, this is one big blend of genres and styles, although, the overall sensation is one of jazz. It contains instrumental parts that are primarily jazz-founded, it contains vocal jazz and soul pop compositions and it's full of afrobeats (popular African rhythms), but also reveals a strong bond to traditional jazz composers of a you could call a New York tradition.
Aside from well-known studio musicians the album feature a bunch of starring musicians, which include Angélique Kidjo, Dianne Reeves, Laura Mvula, Onaje Jefferson, Becca Stevens, Lionel Loueke, Robert Mitchell, Grégoire Maret, Brandee Younger, Joe Lovano, and Regina Carter.
Production-wise it's a warm and solid collection of beautiful compositions that also showcase the instrumental virtuosity of Olatuja.
The cover illustration seem a bit out of sync with the content as you might expect more traditional African folk music. I guess, Olatuja only hints at his roots, because it might as well have been entirely displaying Autumn leaves in his hometown of New York.
Anyway, I really enjoy this, it's gooood.

Best of 1988:Chet Baker "Memories: Chet Baker in Tokyo" (1988) (live)

'My' lp version

Memories: Chet Baker in Tokyo (live)
Release date: 1988
format: vinyl (K28P 6491) / digital
[album rate: 5 / 5] [4,80]
producer: Shigeyuki Kawashima
label: Paddle Wheel - nationality: USA

*Tracklist: 1. "Stella by Starlight" - 2. "For Minors Only" - 3. "Almost Blue" [Elvis Costello cover] - 4. "Portrait in Black and White" - 5. "My Funny Valentine"
*[original vinyl version]

alternate cover

This album is sooo cool and... absolutely wonderful.
I always found that tiny bit more pleasure from Chet than Miles Davis - no bad feelings about Miles but I think it has to do with some inner feel and slow sincerity that is ever present in Chet's sound. And also, he's not a bad singer. He's not a great vocalist in terms of ability to articulate and produce clean clear notes but there's something extremely authentic and fragile in his voice that you also find in his instrumentation. The only real down side to this album is the short playing time, of course having it on cd as well, the repeat function really comes handy.

1988 Favourite releases: 1. Chet Baker Memories: Chet Baker in Tokyo - 2. R.E.M. Green - 3. Talk Talk Spirit of Eden

[ collectors' item ]

Chet Baker Quartet "No Problem" (1979)

No Problem
Release date: Oct. 2, 1979
format: digital
[album rate: 3,5 / 5]

Released as 'The Chet Baker Quartet'. Another album that was recorded and released in Denmark by SteepleChase Records, and it features Chet Baker (trumpet), Duke Jordan (piano), who composed all tracks, Niels-Henning Ørsted Pedersen (bass), Norman Fearrington (drums). The album was produced by Niels Winther. The style is typical for Chet's later career with much focus on cool jazz and vocal jazz.

Bill Frisell "The Sweetest Punch" (1999)

The Sweetest Punch
release date: Sep. 21, 1999
format: cd
[album rate: 4 / 5] [3,96]
producer: Lee Townsend
label: Decca - nationality: USA

Studio album by American jazz fusion guitarist Bill Frisell is actually fully titled: The Sweetest Punch - The New Songs of Elvis Costello and Burt Bacharach Arranged by Bill Frisell, and as the title suggests all songs (but one) are the songs released by Elvis Costello & Burt Bacharach on their '98 collaboration album Painted From Memory. The Costello / Bacharach collaboration work included Costello sending Bacharach his demo takes of his half-finished compositions upon which Bacaharach would contribute with ideas for a music score and the two would then elaborate on the songs, however, Frisell was already introduced to the Costello demos, sent to him by Costello, and Frisell would then use these early sketches to compose / re-arrange them to his very own interpretations, and this albums is the result of that process and therefore not Frisell's arrangements of the finished album.

Costello is featuring vocalist on two tracks (#2 and 10) and Cassandra Wilson also on two (#5 and 10), and apart from these three vocal jazz arrangements all other compositions are held in a subtle big band jazz fusion-style.

Costello / Bacharach harvested critical acclaim for their collaboration album, which is a fine piece of work. This, however, is something entirely different, and I also think it comes out as the slightly better and essentially more well-founded whole. I really enjoyed the live album Deep Dead End (1995) by Costello and Frisell, which is why I was eager to check this one out, and I'm glad that I did 'cause I think that Frisell has made an even stronger album than the original Costello / Bacharach release. And then this release only follows four months after Frisell's fine Good Dog, Happy Man (May 1999).

These compositions are beautifully arranged and Frisell shines with his drops of elegant dozes of subtle jazz notes here and there. As a consequence of the recording process, where Frisell didn't know of the final Costello / Bacharach compositions before finishing his own recordings this album delivers on a different scale, and what a gem it truly is.

Highly recommended.

[ allmusic.com 3,5 / 5 stars ]

Chet Baker "The Touch of Your Lips" (1979)

The Touch of Your Lips
release date: Jun. 1979
format: digital
[album rate: 3,5 / 5]

An album recorded and released in Denmark by SteepleChase Records. The album is a beautiful collection of Chet's typical tracklist when performing live, at this point of his career. It's his trademark of cool jazz and vocal jazz, and it features Niels-Henning Ørsted Pedersen on bass.

Bill Frisell "Ghost Town" (2000)

Ghost Town

release date: Mar. 7, 2000

format: Digital (16 x File, FLAC)

[album rate: 4 / 5] [3,81]

producer: Lee Townsend

label: Elektra Nonesuch - nationality: USA

Track highlights: 1. "Tell Your Ma, Tell Your Pa" - 2. "Ghost Town / Poem for Eva)" - 3. "Wildwood Flower" - 5. "Variation on a Theme" - 9. "My Man's Gone Now" - 10. "Outlaw" - 13. "Winter Always Turns to Spring" - 14. "Justice and Honor"

Studio album by Bill Frisell following his fine interpretations The Sweetest Punch (Sep. 1999) with songs by Costello and Bacharach is almost as rule of thumb with producer Lee Townsend, but the album differs from many other Frisell releases by being a solo album with Frisell as only instrumentalist. It's not recorded live but it contains multi-layered tracks with the artist playing a diversity of string instruments and using overdubs. Alas, the album has only been issued in digital formats for cd or download.

Stylewise, it's in the quiet and introspective section of his releases, which in many ways guarantees great compositions. The 16 tracks are mainly by Frisell himself - 5 are covers - with an overall genre touching country, folk, standards, and instrumental jazz as the repertoire, and with a total tunning time beyond 70 minutes it never feels too long.

Ghost Town was met by positive reviews, which I perfectly understand. On this, Frisell excells with great emotional strength, and although he masters all sorts of styles and genres, I really enjoy it when he incorporates americana with a gentle approach. This is the closest I've so far found Frisell approaching the sound of Ry Cooder making a made up soundtrack to a fine forgotten film by Wenders.

Highly recommended.

[ 👍allmusic.com 4 / 5, The Penguin Guide to Jazz Recordings 3,5 / 4 stars ]

Chet Baker Quintet "Groovin' " (1966)

Groovin'
Release date: 1966
format: digital
[album rate: 3,5 / 5]

This is released as The Chet Baker Quintet featuring Chet Baker (trumpet), George Coleman (tenor sax), Kirk Lightsey (piano), Herman Wright (bass), Roy Brooks (drums). The album is another mighty fine Chet collection in his heydays, and again a late hard bop jazz album.

Elvis Costello & Bill Frisell "Deep Dead Blue" (1995) (live)

Deep Dead Blue (Live 25 June 95) (live)
release date: Aug. 14, 1995
format: cd
[album rate: 3,5 / 5] [3,66]
producer: ?
label: Warner Bros. / Nonesuch - nationality: England, UK

Collaboration live album by Elvis Costello and Bill Frisell recorded live at the Meltdown Festival, Queen Elizabeth Hall RFH2, London, Jun. 25, 1995.

The album may be regarded as a Mini-album with its relatively short running time at just less than 27 minutes. It consists of seven tracks of which two are covers and only the title track is credited the duo (track #7).

Stylistically, it's primarily ballads of vocal jazz and jazz fusion, and Costello is alone credited his vocal and Frisell is alone credited his guitar work with no other musicians contributing. The American guitarist is very likely to be capable of playing anything but his primary domain is jazz fusion, and on this it's his touch with bolder melodic instrumental jazz.

Despite being really stripped down arrangements this concept works surprisingly well. Costello 'plays around' with his most intimate vocal with Frisell adding that swirling and appropriate foundation that makes it all sparkle.

[ allmusic.com 3 / 5 stars ]

Gregory Porter "Take Me to the Alley" (2016)

Take Me to the Alley
release date: May 6, 2016
format: 2 lp vinyl (gatefold) / cd
[album rate: 4 / 5] [3,92]
producer: Gregory Porter and Kamau Kenyatta
label: Blue Note Records - nationality: USA

Track highlights: A) 1. "Holding On" - 2. "Don’t Lose Your Steam" - 3. "Take Me to the Alley" - - B) 2. "Consequence of Love" - - C) 2. "In Heaven" - 3. "Insanity" - - D) 1. "Don't Be a Fool" - 2. "Fan the Flames"

4th studio album by Gregory Porter is released as a double gatefold vinyl lp containing 12 tracks with three compositions on each side and a total running time at just above 51 mins. The cd release comes in various issues where most contain 13 or 14 tracks. Porter has already established himself as a shining star and a renewer of jazz, and he obviously likes to work with familiar collaborators. Producer Kenyatta has taken part as either producer, engineer or studio musician on all his albums and many others are old friends found on his previous albums, including Chip Crawford, Aaron James, Emanuel Harrold, Keyon Harrold, Yosuke Sato, Tivon Pennicott and Ondrej Pivec.
Porter has successfully relaunched the jazz genre into popular music by combining it with soul and rhythm & blues and this is also what he does on this with the continued style found on his two previous fine albums, Liquid Spirit from 2013 and Be Good from 2012.
The album has, like Porter's other albums, been met by international acclaim, and it's really no big surprise. You may argue that the album doesn't provide much new other than repeat the formula he delivered on his 2013 album, where he brought his jazz and pop soul combo into popular music territory, but it's not a mere reproduction of the blueprint to success rather than a display of musical ingenuity. He sings like a prodigy and he has written and composed the majority of the tracks - why shouldn't he be allowed to dwell on what he does better than anyone else. Porter is a gift - and not just to jazz, but to the world of popular music.
A highly recommended album.
[ allmusic.com 3,5 / 5, 👍The Guardian, The Telegraph 4 / 5, AllAboutJazz, PopMatters 4,5 / 5 stars ]

Chet Baker "Chet Is Back!" (1962)

Chet Is Back!
release date: Jan. 1962
format: digital
[album rate: 4 / 5]

Studio album by Chet Baker. It's one of his most well-renowned albums, and I think it's more than good, only, it's not the style that first comes to my mind when I'm thinking of Chet Baker. This is great jazz bop, which is a style much more in a field of John Coltrane, Charlie Parker, Miles Davis, Stan Getz, and Charlie Mingus. Here, Chet shows how he's more than capable of that style as well. And well, I guess all great jazz artists just had to play music according to that style at some point from the mid 50s to mid 60s. It also contains one or two tracks in his real trademark: cool jazz but no vocal jazz or that fine combo of easy listening and standards that I love when played by Chet. The album's title refers to the fact that Chet had spent almost a year and a half in prison in Italy because of possession of drugs.

Chet Baker "Chet Baker Sings" (1954)

Chet Baker Sings
release date: Apr. / May 1954
format: vinyl (2018 reissue, yellow vinyl) / digital
[album rate: 4 / 5] [3,94]
producer: Richard Bock
label: WaxTime In Color

A very young (23 years old) Chet sings vocal jazz and standards of the time. He is often mentioned as the jazz world's first pop star, or at least a kind of role model celebrity. Photos of him from the 1950s show how he was promoted almost in the same manner as Sinatra, and later stars like James Dean and Cliff Richard - a pop star with a message to all teenagers.

The album came out at the time when Elvis and Sinatra were top of the pop, and Chet was launched accordingly to that tradition, although his music was very different. His singing voice isn't all that fantastic but it has its very own beauty. The album is the first where Baker sings, as he had previously been promoted exclusively as an instrumentalist. The original issue of the album was released by Pacific Jazz in 10'' and 2 x 7'' formats only and contained eight tracks. In 1956 the label reissued the album for 12'' format with 14 tracks - the same songs appear on the 2018 remaster on WaxTime In Color. The original album contained the following songs: "But Not for Me", "Time After Time", "My Funny Valentine", "I Fall in Love Too Easily", "There Will Never Be Another You", "I Get Along Without You Very Well", "The Thrill Is Gone", "Look for the Silver Lining".

The album originally came out to luke-warm reviews, and some critics found Baker's vocal unsuited for commercial releases, to put it mildly 'cause he was also publicly mocked; however, the album was a commercial success and led in 1956 led to the expanded version and earlier it was followed by Chet Baker Sings and Plays (1955).

Highly recommended.

[ allmusic.com 4,5 / 5, The Penguin Guide to Jazz Recordings 3,5 / 4 stars ]

1954 original issue
on Pacific Jazz

Bill Frisell "Good Dog, Happy Man" (1999)

Good Dog, Happy Man

release date: May 18, 1999

format: cd

[album rate: 4 / 5] [3,92]

producer: Lee Townsend

label: Nonesuch - nationality: USA

Track highlights: 1. "Rain, Rain" - 2. "Roscoe" - 4. "My Buffalo Girl" - 5. "Shenandoah (For Johnny Smith)" - 7. "The Pioneers" - 8. "Cold, Cold Ground" - 11. "Good Dog, Happy Man" - 12. "Poem for Eva"

14th studio album by Bill Frisell following Gone, Just Like a Train (Jan. '98) is Frisell's second of eight consecutive albums with long-time producer Lee Townsend.

Stylewise, Frisell has been on a long and twining progression in shaping that highly personal sound of his, and for me, this is when he first comes out the cleanest. He combines and bonds with other genres and styles and you'll notice elements from jazz, blues, americana, country and folk, and what appeals the most to me, is the absence of jazz fusion or the bold traits of rock fusion of the 1970s and 80s. Many will probably associate Frisell with artists like Pat Metheny, Dave Brubeck, Chick Corea and others belonging to, and keeping alive, the heritage of the innovative Miles Davis and the ingenuity of Thelonius Monk. Exactly that may also be a starting point to his own orginal blend, but what I really enjoy, lies more in his ability to combine roots music - be it blues, jazz, or country folk with bits of americana and a tad more gentle approach that flows into something highly original - and that's basically all found on this one.

Highly recommended.

[ allmusic.com 4 / 5, The Penguin Guide to Jazz Recordings 3,5 / 4 stars ]

Edmundo Ros "Patricia / Little Serenade" (1958) (single)

Patricia / Little Serenade, 7'' single

release date: 1958

format: vinyl (reissue)

[single rate: 2 / 5] [2,08]

producer: ?

label: Decca - nationality: England, UK

Tracklist: A) "Patricia" - - B) "Little Serenade"

Single release by Edmundo Ros (aka Edmund William Ross) in a Danish-versioned single credited 'Edmundo Ros Og Hans Orkester'.

This single was part of my parents' record collection, and it's a song I don't remember all too well. In addition, the cover has gone missing many years ago.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.