Man, I take a short break from updating the site and, just like that, I'm buried under a pile of new music releases. Not to mention, of course, the Beatles remasters. So with no big preamble, let's get right into it... Ace Frehley - Anomaly (Brooklyn Born Records) Peter Criss couldn't do it, Paul Stanley almost did it, and who the hell knows what Gene Simmons was trying to do. I'm speaking, of course, about original Kiss members putting out a solo album this decade that even approached their best work from previous decades. So how does the Spaceman fare on his first release since George Bush Sr. was president? Pretty decently, by and large. Sure the album art is...well, it sucks. It's just bad. But who even notices such things anymore? The music's the thing, and Ace acqu
Patrick Jarenwattananon over at NPR's A Blog Supreme posits a most interesting challenge - name five albums I'd recommend to someone looking to get into jazz. The twist is that the list needs to made up of recording from the last decade or so, in order to showcase what jazz is about today rather than in its heyday. In other words, no Kind of Blue or Time Out (even 50th anniversary reissues). Hmmmmm.... So here's my list in no particular order, in case anyone reading this is looking for one collection of high-quality, contemporary jazz. 1. Robert Glasper, In My Element (Blue Note, 2007) - As much as I do like Glasper's latest offering I think it would be too jarring for someone just getting into jazz. In My Element showcases Glasper's ability to meld his muscular yet cerebral styl
Yes that's right, that Britney Spears. I scoff at just about every recorded utterance her name's ever been attached to, but damn if this isn't one of the most infectious pop songs of the decade. Of course Britney's vocals are hardly what sells the song - that accolade goes to the crack production job by the Swedish duo of Bloodshy & Avant. Whoever the hell they are. So yeah, here's the first and last really good song from Britney Spears, 2004's "Toxic".
It is tempting and easy to interpret the meaning behind the track order and title of Robert Glasper's latest album, Double Booked, as being a presentation of the artist's two separate sides - jazz and hip hop/R&B. Certainly, given that the first half of the record is billed to the Robert Glasper Trio while the second is credited to the Robert Glasper Experiment, that conclusion seems inescapable. But to look at it this way would be to miss the statement that Glasper has been making with his music since his 2003 recorded debut, Mood - jazz, R&B, and hip hop are not disparate elements to be combined or mixed by Glasper for mere novelty or effect; they are both integral and inseparable parts of his artistic vision. It's that vision, combined with his prodigious talent, that mak