Moby – Play (1999): Moby’s overexposure at the turn of the decade gave us some Moby fatigue, but go back to the album that made his music so ubiquitous in the first place and you will find a bold, lovely record full of electronica moods and textures.
Modern Jazz Quartet – The European Concert (live) (1960): John Lewis’s European/third stream influences plus Milt Jackson’s unparalleled lyrical jazz improvisations make MJQ one of the most sophisticated and subtle groups in jazz which rewards close and attentive listening; this live set captures them at a peak and features a set list full of their most beloved tunes, making it a good introduction.
Modern Jazz Quartet – The Complete Last Concert (live) (1974): While the selection above is more the crowd pleaser with its generous fan favorites-heavy setlist, this show offers a deeper and richer experience in the long run. NOTE: This turned out not to be their last show, they reunited later and continued to perform and record for some years afterward.
Thelonious Monk – The Thelonious Monk Orchestra at Town Hall (live) (1959): Idiosyncratic jazz genius Thelonious Monk is not the easiest artist to warm to, but his always fascinating, off kilter compositions and playing reward the patient listener, and this live recording is a particularly adventurous and lively show featuring Monk backed by a big, swinging band.
Wes Montgomery – The Incredible Jazz Guitar of Wes Montgomery (1960): Indeed. This was before he watered down his sound with strings and tried to gain an audience beyond jazz, it is one of the great jazz guitar albums.
Enio Morricone – ‘The Good, the Bad & the Ugly’ motion picture soundtrack (1966): Morricone’s unique compositional style is as much a part of Sergio Leone’s epic western films as Clint Eastwood’s squint or Leone’s signature cinematography.
Van Morrison – Astral Weeks (1968): Guaranteed to start an argument amongst music fans (as it did recently with some friends in Vegas), this is either a brilliant jazz influenced (Connie Kay from Modern Jazz Quartet is the drummer for these sessions) stream of consciousness exploration unlike any in rock or it is an excessive bore (I obviously put it in the former category).
Van Morrison – Moondance (1970): After the impenetrable Astral Weeks, Van shifted course and delivered the most crowd pleasing, joyful (and successful) pop record of his career.
Van Morrison – It’s Too Late To Stop Now (live) (1974): Van is notoriously hit and miss live, but this live set catches him on several of those nights where he is fully invested and captures the muse.
Morrissey – Your Arsenal (1992): Morrissey’s third solo outing is his best, his wit is sharp as ever, but what makes this record pop is the gritty glammy production by Mick Ronson and the killer band Morrissey assembled for these sessions; a record that can stand side by side with The Smiths’ glory days.
Motorhead – No Sleep ‘Til Hammersmith (live) (1981): It’s Lemmy and it is relentless. ‘Nuff said.
Charlie Musselwhite – The Harmonica According To Charlie Musselwhite (1978): As advertised, Musselwhite gives a clinic in blues harp, traversing multiple styles, grooves and moods to wonderful effect.
ABOVE: Thelonious Monk was considered one of the greatest jazz composers, along with Duke Ellington. Whereas Ellington was responsible for over 1000 compositions, Monk's tally is less than 100. But he made them count, as many are now jazz standards. In his later years, his erratic behavior suggested to many mental illness, perhaps some form of schizophrenia.
9 comments:
You know my love for MJQ and Wes Montgomery. Good list.
MJQ is fantastic. I have really enjoyed them in recent years. Wes is more problematic. His guitar playing is outstanding, but much of his material is mired in too much accompaniment and attempts at smooth pop music.
"It’s Lemmy and it is relentless. ‘Nuff said." I don't think you understand what 'nuff said means.
Love that you have Morrissey (but no Bona Drag?) and Van on here, of course. I was part of that Vegas discussion, and I think I fall somewhere in between your Astral Weeks dichotomy. I like it a lot, but I often prefer some of his more lively stuff.
I have a hard time believing that the Moby album sounds like a 5-star album now, but I'll take your word for it. God knows I'm not going to go back and listen to it.
Meaning you need more explanation of Lemmy's greatness? Not enough was said?
Bona Drag is technically a compilation, so off limits. It is singles, b-sides, and a few album tracks repeated from Viva Hate. Even so, Your Arsenal still sounds better to me, and then I would go with Vauxhall and I, which came very close to making the list too.
I thought you were more on the anti-Astral Weeks side. I know you are a big Van fan, but I seem to remember you arguing against it, or perhaps that was just to counter ANCIANT. I know you are also a big Into the Music fan, and I love about half of that, but the other half I don't love so much (which is what you could say for most of Van's records with me).
I know Moby comes across as a little weasil, but he is a talented guy. Play was a great record.
Yeah, Bona Drag is very in between. A compilation of singles plus some album tracks. Fair enough. And I love all the records you name -- Your Arsenal, Vauxhall, etc.
I'm definitely not anti-Astral Weeks! You're right, I was probably just trying to get a rise out of ANCIANT. Or rather, I think ANCIANT was arguing that A.W. was his only work worth anything, which I find patently insane. (He might want to chime in if I'm misrepresenting things.)
Into the Music is not uniformly excellent, but the first few tracks are terrific and then it ends on a few strong notes, too (especially "And the Healing Has Begun," which is so, so good).
Lemmy's greatness is not self-explanatory, indeed.
Ah yes, the Astral Weeks conversation. In which, if I recall, I was labeled as a pseudo-intellectual poseur. For liking Astral Weeks!
I was listing my three favorite albums, if I remember correctly. I wasn't saying the rest of Van was worth nothing; only that they aren't as great to me. "Astral Weeks" actually stands out of me as a great album of joy and love songs. "Sweet Thing" always makes me happy. Always. Despite the criticism it brings on from certain bearded Simon and Garfunkel fans.
Also: not that it matters, but I've been thinking about my three albums. I've decided that "Heroes" or "Station to Station" would be my Bowie album, not "Low." I love Low, but I rarely listen to it anymore. So, take note!
Nothing Moby has ever done is worth five stars. I say that without any knowledge of the music in question.
The only thing I love more than my beard is Simon & Garfunkel, it's true. But I also love Astral Weeks! Sweet Thing makes ME happy, too. Clearly something was not communicated well in Vegas. I blame the gin. And my tens of thousands in gambling losses. I wasn't myself.
ANCIANT, I am sorry, but I cannot allow it. One of the few constants left in this world was the fact that ANCIANT believes that 'Low' contains the secrets of the universe. Now, you don't want it in your Top 3? Now, you might place two other records by the same artists in front of it? And one of them is 'Heroes?' No. You cannot do that.
Moby is hard to defend, and most of his material is forgettable. But that one record, Play, really is a great record.
Heroes wins. I know this because it's the only Bowie album in my collection.
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