What's Spinning

NathanRicaud said:
Why did you actually spin this album in the morning though! 🤔🤦‍♂️

I feel like it’s a crime to spin Deathgrips on the turntable in the morning...........😂😂😂
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Mornings are the time of the day I spin my records more regularly, so I'm doing my "Collection challenge" thing on the morning,because that's the way I can be more consistent. It wasn't the most pleasant morning.
 
Art Blakey and the Jazz Messengers - Kyoto
This is my first time listening to this and I'm blown away by how different it is from normal Messengers fare, yet how well it is pulled off. There's just so many really great Messengers albums. Side 1 features some nice grooves starting with Curtis Fuller's The High Priest (in which Hubbard I think throws in some minor Salt Peanuts quotes, of all things). Side 2 is where this album stands up to just about any side of Blakey's career with the frenetic, and slightly avant garde take on Nihon Bash. Shorter is in Coltrane mode here in a long solo whereBlakey can be heard yelling for him to "Go, go, go!" and Hubbard equals his feel and intensity in his solo towards the end. Everyone else in the band is on fire as well. Blakey takes no solos on the whole album, but his presence is not lacking. Spun this twice in a row.
Edit: make that three times in a row for side 2.
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Art Blakey's Jazz Messengers with Barney Wilen - Les Liaisons Dangereuses
Although labeled as a Messengers record, this has French saxophonist Barney Wilen in Benny Golsen's place along with Morgan (who plays cornet here), Timmons, Merritt, and Blakey. Duke Jordan subs in on a track and additional percussionists join in for the second side. None of this info is anywhere on the record, though, beyond the title mention of Barney and then a brief mention of him and Morgan in the liner notes. Not listing personnel must have driven some people nuts before the internet.
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Lee Newman said:
Although this one is growing on me (and I in no way want want anyone to think that this album is bad), it is still my least favorite album by him.
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Yeah, it’s still growing on me as well. I really like 3 tracks that are among his best so far: Make Art Not Friends, All Said and Done, and Mercury in Retrograde. I’m still hearing new things each time I listen, which is a good sign.
 
agutierrezb said:
The agutierrezb 2019 record collection challenge

So I've decided to embark on my own personal challenge, which consists of listening every record in my collection before the end of the year. My record collection is not that big -only ~250-, but I still feel like there are a bunch of records I don't give enough attention to, while still adding more titles to my shelves.

For this reason I've set a couple of rules in order to play every record at least once before December 31st: I'll play at least one record a day, going from front to back in the way I have them sorted in my shelf. I can play a different record (i.e. Not the next one in alphabetical order) if I feel like listening to something else in any given moment, but at least one of the records I spin in the day has to be the LP in turn.

I didn't take pictures for the first two days, but I'll try to document the process from here on, so I'll be posting daily on this thread. Wish me luck!
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#72: Al Di Meola, John Mclaughlin and Paco De Lucia - Friday night in San Francisco

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I bought this record because of Paco de Lucía, since I was interested in hearing how he performed in a context different to flamenco. When I first played this, I was sort of disappointed, as it didn't really sounded like Paco when performing the compositions of others. Upon a closer listen, I realized he adapted to the different styles played throughout the album, but brought to those performances some elements that neither Mclaughlin nor Di Meola could bring, and that were unmistakably his own. I enjoy this album when placed in the context of his discography and artistic development, as it captures him outside of his comfort zone, trying to adapt to other genres, but bringing his distinctive way of playing to the table. What is most interesting is to observe how he later brought back to flamenco elements of jazz, proving how important this trio was in his artistic growth.
 
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Coven ‎– Witchcraft Destroys Minds & Reaps Souls
Real Gone Music ‎– RGM-0764, 1969/2019

Cut by Kevin Gray at Cohearent Audio (side 1 only)
Cut by Richard Simpson (side 2 is a re-cut)
Pressed at Erika or RTI ??

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