A Mortician's Tale

 A Mortician's Tale - Indie Game

Source: https://laundrybear.com/

    My journey back into indie games continues. I just completed A Mortician's Tale, a delightful, inspirational, and positive experience. It was developed by Laundry Bear Games who describe themselves as "a small, independent game studio based in Toronto, Canada. We love collaborating with friends to make colourful and emotionally-impactful video games. In 2017, we released our critically-acclaimed debut title A Mortician's Tale. We are currently working on our second game."

Source: https://laundrybear.com/a-morticians-tale

    Listing 6 different awards on their presskit, I want to celebrate the death positive message of this game and the way it pulls the veil back on the funeral industry; how it's beautiful, and also some of the less ideal aspects. Having completed the game and researching its inspiration, The Order of the Good Death, I found my own beliefs and stances challenged, and in some ways changed. 

    In A Mortician's Tale you play Charlie, a recent funeral direction graduate as she starts working in the industry at Rose & Daughter's Funeral Home. Throughout the 1 hour gameplay, you prepare bodies according to the wishes of the family and/or the person. Sometimes this means cremating them, other times it means cleaning the body and prepping it for an open or closed casket. You interact with the folks mourning and pay respects to the dead. 

    I won't share more of the story, as it is short. But I do want to end by saying it gave me some chuckles, it made me experience anger, and it brought me to tears. What it lacks in complexity, it makes up in quality. I wholly suggest you take the opportunity to share in this experience, I know I'm glad I did. 

A change of pace - An Idie Game!

 Anodyne - 2013

Photo source: https://www.facebook.com/photo/?fbid=517649480360146&set=pb.100063452959824.-2207520000 

    I recently started getting my feet wet in the realm of game development. It was a childhood dream of mine, and a YouTuber showed up in my feed from Pirate Software who, thankfully, is opening the gates to game development for people who are curious in a friendly and encouraging manner. While I haven't gotten a chance to dig deeper into their main offering Heartbound, the game dev live streams have been inspirational and enjoyable. 

Source: https://www.indiedb.com/games/anodyne/images/entering-an-area#imagebox

    While I started to experiment with Godot for giggles, I dug through my library of games I've collected over the years and stumbled onto Anodyne. Seemed perfect to reintroduce me to indie games and nurture my creative muscles. It was developed and produced by Analgesic Productions using the Flixel engine, under the hands of Melos Han-Tani and Marina Kittaka. I purchased it through a Humble Bundle distribution. 

    What immediately struck me was its inspiration from The Legend of Zelda: Link's Awakening, which is a game near and dear to the hearts of many gamers, including my own. There are also flavors of Chrono Trigger and other rogue adventures out there. You journey through a series of forests, deserts, an unsettling settlement, and many more utilizing the two main tools of the journey: a broom for a weapon and shoes for jumping. 

Source: https://www.indiedb.com/games/anodyne/images/gate#imagebox

    To my delighted surprise, the puzzles were clever, and the narrative wasn't afraid to play fast and loose with the thematic vibe brushing up against horror themes, and societal criticism. At the same time, it celebrates many things that make humans weird, wonderful, and at times existential. My only criticism is that I wanted more from the ending, to rationalize the whole journey. But, sometimes that's what you get with an indie game: beauty, fun, enigma, and a reflection of someone's human experience. Humanity is messy sometimes, but there is beauty in that, just like Anodyne. 

Definitely give it a shot!

Source: https://www.indiedb.com/games/anodyne/images/anodyne-title-screen-1#imagebox

A review: Comatose - "A Way Back"

Comatose - A Way Back

1. "Circles": Starts with a crescendo of noise before coming in crushing with some fat tones. Reminds me a little of a heavier Balance And Composure. The melody in the background is minimal but pleasant. The vocals join in and they fill in the middle of the mix quite well. It's like prog meets Deftones, and I'm enjoying the blend. I wish there was more to the lyrics than one verse and one chorus. When the band drops out at 3:54 and the guitars have a harmony moment as the song fades out, that was a great choice. Overall, solid track.
   
   
2. "Gone": Part of this feels like early aughts hard rock, with a heavy helping of doom or shoegaze, with just a hint of weird indie rock. It's heavy yet catchy, dark yet pop. The lyrics won't blow you away with their complexity, but the vocals sit well in the mix and work with the music. The chorus segues from early aughts hard rock to early aughts pop-punk mixed with doom, and it also is shockingly catchy. My only complaint is I want more lyrics to carry me over the four-minute length. If not, this song could have been two and a half to three minutes and held the punchy factor. Great music, weak lyrics. Buyer beware. 
   
   
3. "Alone": No lyrics posted for this song on Comatose's Bandcamp, but there are some words. I can make out "dear my neighbor, you're not alone" during the chorus, perhaps a song about Covid life? The music is pulsing and has a good groove to it, but I like the pace of the chorus better. The verse/non-chorus section the guitar melodies feel repetitive and I want more from them. This song has a spacey outro that riffs quite well, and it's an aspect of this album that I'm enjoying. Not great, not skip-worthy though. 
   
   
4. "Skin": This track opens with a dissonant lick that I found quite enjoyable. The slow plodding nature of it feels quite grungy. Lyrically light again, but I think stripped down and minimal is the feeling this album is going for. Again, I would like more lyrics to latch on to for a song that runs nearly five minutes. Where it makes up for this is the rich sonic palette the band utilizes. The walls of sound with spacey guitar melodies over the thick rhythm section envelopes the listener. Strong track, enjoy it! 
   
   
5. "Spread": "Spread" features the most non-repeated lyrics on the album so far at three original stanzas. The intro feels like a doom indie-pop intro. The thick sound is so pummeling I had to take a break from listening to this album about a minute in as it is a little overloading on the ears. It sounds good, but there are little-to-no dynamic breaks in the sonic landscape and my ears were feeling some exhaustion. Is this a bad thing? Not necessarily, but it might not be for everyone. Upon returning, I read through the lyrics and they feel like an attempt at creating something deep and pondering, introspective and meaningful. I don't believe it lands that way, at least not for me. The riffs here also don't land with me, the guitar melodies don't feel like they line up with the rhythm section like previous tracks. Perhaps this was too ambitious a song? If that's the case, great! Swing for the moon! Worst case scenario is that it doesn't land. Glad they tried something new, wasn't for me.  
   
   
6. "Inside": I like this intro a lot. The chords are interesting and the rhythm choice is good. The fuzz starts fading in and during the second round through this pattern the wall of sound returns. The melody is back in line with the rhythm. I keep thinking that this sounds like grunge had a weird relationship with pop-punk and their offspring got really into indie. There is a really interesting choice that adds something to this album at 1:55 when the singer stops singing "Self" and starts growling it, and then we go into another pass of the second stanza with this growling/screaming vocal style and it hits quite hard. The guitars also take on a more menacing tone. A great choice that worked extremely well. I wish they had stayed on it because it's over by 2:33. It's hard to believe we still have nearly three minutes left on this track though, we've been through the lyrics at least four times. Near 4:43 it drops out into a spacey jam for the last minute. The spacey jam is nice, and I'd rather live in this moment for two or three minutes than the lyrics jam from before. More of this, please. Strong track, enjoy it. 
   
   
7. "Further": This intro reminds me of another song, but I can't place it. It's a nice change from the previous line up in regards to atmosphere. It has a major tone to it, and sounds like doom emo, like if Brand New had gone on a Sleep binge. About a minute and a half vocals join in. Like the rest of the album, they won't blow your mind, but it sounds good. Not a lot of repeated lyrics here, which is nice. At 3:20 the music takes a bit of a left turn into some dark shoegaze stuff, which while not in line with the general feel is an interesting choice. More screamed vocals here too which also is a refreshing change. It sounds really good, but not cohesive with the first half of the song. Okay, but seems to have identity issues. 
   
   
8. "Sinking": We open with a slower tempo and some crushing chords. It's not long before a rolling drum part joins in which adds fluidity to the sound. The lyrics don't repeat on this song which is a welcomed change from the majority of the album. There's a synth part in the background that is rising and falling, and it's a little jarring from the guitar/bass work. This is the shortest song on the album, but still clocks in at almost 4 minutes. Distortion falls away around 1:40 and we have a nice melodic break with some simple but enjoyable guitar work. It comes crushing in back in at 2:16 with a more pulsating sound. We ride out the lyrics with the repeated refrain of "drowning, living, searching, finding." Again, this feels like an attempt at some deep or mystical lyrics, but it feels rather shallow in reality. Alright, not skip-worthy. 

Overall Thoughts: Sonically, this album is really good. I really enjoyed what was offered up here in the music department. My only criticism is that it lacks dynamic range and can fatigue the listener after a while (especially since I had to take a break). Additionally, each song could have been shorter and felt punchier, especially since the lyrics were sparse and repetitious. If the band wants to continue writing songs of these lengths the lyrics have to have more meat to them to hold my attention for 4-6 minutes a wack. I don't have any favorite tracks, but I don't have least favorite either. This album largely blurs together in doom-shoegaze post-pop punk sounds. If you're more attuned to music over lyrics, this album will be very enjoyable for you.

Grade: 5.5/10 - Give it a wack, you might be surprised. 

The Jazz Project - Album 76: Charles Lloyd - "Dream Weaver"

        To further my understanding of Jazz, I'm listening through Jazzwise Magazine's "The 100 Jazz Albums That Shook The World". Each album is presented with my stream-of-consciousness thoughts for each track, my general thoughts of the album as a whole, and any relevant information I can capture about the album. Also included is my drink of choice while taking the album in. Thank you for joining me on my journey to [partial] Jazz enlightenment.

Album 76

Charles Lloyd - Dream Weaver

Drinking: Water

Photo credit: https://light-in-the-attic.s3.amazonaws.com/uploads/release_image/23873/image/tmp_2F1563567851036-dscbw78yxuc-d4067f4efbbfa440f1c796d800b23d49_2FScreen%2BShot%2B2019-07-19%2Bat%2B1.21.38%2BPM.png

1. "Autumn Sequence": The title intrigues me, as do the flutes that begin this piece. It provokes feelings of delicateness and serenity. With slight hints of woe, or sorrow. The flute performance is excellent. I see sweeping brushstrokes of white, and light grey, followed by dark purples and black. At around 1:20 we swing into a mellow jazz moment with some skillful drum playing backboned by the walking bass and piano. The flute continues to riff over this combo, and it feels quite refreshing to listen to. I'm quite invested in this moment as I've always loved the flute, as I grew up on a steady diet of Jethro Tull. While it's not Prog Rock, the flute and experimental nature of Jazz, specifically this piece, feel more similar than dissimilar to my taste. Near the three-minute mark, we enter a different piece that brings back the colder feeling of the intro, tying it nicely to the title. Near the fourth minute, we segue into a piano solo that is equally as enjoyable as the flute solo. The mixing job on this track is excellent, nothing is too lost in the mix, everything can be heard without having to look very heard. Well done! The drums under this section as it passes the five-minute mark are adding some excellent flavor to the mix as well as play with the dynamic range of the instrument. As we come around the six-minute mark the piano escalates into some loud notes and clears the way for a sliding bass solo backboned by a single cymbal. I have to admit, it's not my favorite bass solo on the planet, especially since it loses the flowing nature of the previous soloists. Pulling it out of the context of the track, it's alright. The band joins back in around the 7:50 mark, although at a much lower volume of playing. The structure of the song destabilizes around the eight-minute mark, as each instrument seems to be living inside its own pocket. An interesting choice to make. At 9:20 everything drops out and the flute takes a true solo. Hearing the performer's breath whispering behind the notes is fascinating. The piano chimes in with eerie notes and this tension develops that stews for a while and brings the listener back to a moment similar to the intro before coming to a crashing end. What a delightful journey this has been. 
   
   
2. "Dream Weaver: Meditation, Dervish Dance": This begins with an equally unique intro, but instead of starting with a flute it's a saxophone. Behind that is a bowed bass, and flighty piano moments. The chords the piano is playing around are beautiful. It's hard to describe the music outside of describing an artist painting on a canvas while observing a cold sunrise. It's beautiful. The note the sax plays at 2:04 is heart-wrenching in its emotion. This whole passage gives my skin tingles. Meditation is a perfect way to title this song. At 3:12 we enter a more traditional sound of a full band. I don't want to say it's a welcomed respite from the emotions of the earlier part of the track, but it does embrace me with something comforting. The layers of sound this part works with are huge, and it fills the air with colorful playing. The saxophone player does a great job of soloing without needing to shred. While I enjoy a good shred session, it can be quite refreshing to hear someone speak through a few notes and some choice presentation. The piano takes a solo near 5:50, and it's equally good. There's a swing to it, while also feeling free-floating. This passage is so beautiful. Around the seven-minute mark, the song loses structure and enters something more like free-playing over a riffing drum and bass loop. It captivates me more than other free-playing moments though. The sax returns at 8:34 and is playing over these swirling piano chords. It's dreamlike, dare I even psychedelic. The sax returns to riffs similar to the passages near the three-minute mark. It sounds like a dream starting to fade in the early morning fog as the mind begins to wake up. At 10:40 we finish out the album on this fun funky moment. Again, quite an enjoyable journey. 
   
   
3. "Bird Flight": The song begins with a sax solo over what sounds like a drum solo. Much less dreamlike than the previous two songs, but the chops are  taken for a walk. Impressive playing to say the least. The bass joins in at 0:55 and it takes off like a runaway vehicle. It's not very high in the mix, but it's there. The piano joins in around 1:18 and fills out the room. The pace reduces to something less frenetic around 1:38, and the saxophone comes up in the mix as it solos. "Bird Flight" is a good name for this song, but I can't imagine what kind of bird this would mimic. The piano takes a solo at 2:39, and it's a wobbly, noodling solo, but I like it. This continues through 5:08 when the bass starts taking over for its solo. Again, this player has skills and can play much better than I can, but there are aspects of his solo choices that don't speak to me at all. The bass continues until 6:50 where the drums take over. The ramp-up over the next few bars are excellent, and he holds us there in this repeating drum roll before rolling around the drum set for a while. The band rejoins the mix in full at 8:01 and the playout through the end. 
   
   
4. "Love Ship": We're back to a more sensitive side of music. Big slow piano arpeggios while the drums splash around the cymbals over choice bass notes while the sax speaks its words. This segues into a luscious piano solo that utilizes the sustain pedal just enough. For lack of better words, it's just nice to listen to. It gets a little spicier around 3:15 and then it runs right back into frantic sustained arpeggios. The sax returns around 4:10 with some soulful playing. Luscious comes back to my brain as the best word for what this sounds like. Parts of these performances feel like they were just released yesterday, not 1966, they're so fresh sounding. The end of this song echoes out into a cymbal crash. 
   
   
5. "Sombrero Sam": This track takes a big turn as it takes on a more Latin flavored turn. It's a lot of fun to listen to, and I bet it's even more fun to dance to. The piano playing is pretty sharp, holding the rhythm while throwing in little samples here and there. The bass playing redeems itself by holding onto this tight groove while the drums go absolutely ape. I can't help to think that this song was fun to perform. The flute comes back for a solo at 2:30, and it fits right in strangely enough. The energy level drops a bit around the 3:15 mark, and we stew in this quiet moment for a bit. It's nice because you can hear the bass a little better and the flute can really sit in the mix and tie it all together. It begins to ramp back up in energy at 3:40 as the flute starts going a little crazy. The song returns to the original jam from the beginning and we ride it out to the end of the song. 

Overall Thoughts: I was enchanted by this album. Shockingly, I found that my favorite song was "Sombrero Sam", which I wasn't expecting. Next up was the title track followed by "Autumn Sequence". Love ship was nice to listen to, but it didn't pique my interest all that much. "Bird Flight" left me feeling flat. The mixing on this album was enchanting, and the flute solos were a welcome change from the last few albums. This was a solid album and I'm glad I've added it to my experience. 

Info: This album was recorded in March of 1966, and released via the Atlantic label in the same year. It was produced by Arif Mardin and George Avakian. It features Charles Lloyd on tenor saxophone and flute, Keith Jarrett on piano, Cecil McBee on bass, and Jack DeJohnette on drums. 

The Jazz Project - Album 77: Art Tatum - "The Genius of Art Tatum"

             To further my understanding of Jazz, I'm listening through Jazzwise Magazine's "The 100 Jazz Albums That Shook The World". Each album is presented with my stream-of-consciousness thoughts for each track, my general thoughts of the album as a whole, and any relevant information I can capture about the album. Also included is my drink of choice while taking the album in. Thank you for joining me on my journey to [partial] Jazz enlightenment.

Album 77

Art Tatum - The Genius Of Tatum
No beverage. 

Photo credit: https://img.discogs.com/iqGnXrpTjzQvwlFXP84om9AX6Qo=/fit-in/600x604/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-5802476-1549828321-3592.jpeg.jpg

1.  "The Man I Love": A lovely intro of solo piano work. The runs on notes are delightful and employed often. At 0:40 the complexity dials up and the track turns into a whirlwind of notes. The skill level is clear, and it's very high. It feels like the perfect blend of Classical music and traditional Jazz. About 2 minutes in it takes on this swaggering swing, and it just feels good to listen to. To be honest, I was expecting a band, but the solo piano work is fun to listen to. 
   
   
2. "Over The Rainbow": This track walks the line of being true to the song and true to the art form. Each measure seems to alternate between the traditional melody and a jazzier version. It's an incredible cover. 
   
   
3. "Memories Of You": Very reminiscent of the first track. There are some excellent moments of piano work, but it could benefit from a band. I think it's calming to listen to, and the skills demonstrated are impressive. 
   
   
4. "Body And Soul" A jazz standard. Tatum's performance of it feels true to form based on my experience with this song. His control over the dynamic range of his instrument is masterful, as his sense of rhythm. If you're a fan of this jazz standard, this performance should do good things for you. This version does add little flecks of classical into the mix adding a refreshing take on this piece. 
   
   
5. "Makin' Whoopie": While the shortest song on the album, this one was the punchiest. It's tempo and Tatum's fury as he punched his way up and down the whole keyboard makes this a memorable song. Arguably my favorite track on this collection. 
   
   
6. "Mighty Like A Rose": This intro is beautiful and textured. Masterful isn't a strong enough word for Tatum's skills. The places this song goes makes it arguably my favorite track. It's just fun to listen to. The piano playing is manic at times but feels wholly intentional. 

Overall Thoughts: With a runtime of 28 minutes, it didn't take long to get through. Honestly, I was a little underwhelmed with the experience. Acknowledging that Art Tatum is one of the greats in the world of Jazz, I would have enjoyed my time more if there was a full band playing around Tatum. All that being said, if you're into Jazz piano playing, this guy's skills are bar-none and worth your attention. 

Info: I couldn't track down much on this release beyond that the artist is Art Tatum, and it was recorded by Norman Granz. 

The Jazz Project - 78: Betty Carter - "The Audience With Betty Carter"

             To further my understanding of Jazz, I'm listening through Jazzwise Magazine's "The 100 Jazz Albums That Shook The World". Each album is presented with my stream-of-consciousness thoughts for each track, my general thoughts of the album as a whole, and any relevant information I can capture about the album. Also included is my drink of choice while taking the album in. Thank you for joining me on my journey to [partial] Jazz enlightenment.

Album 78

Betty Carter - The Audience With Betty Carter

Drinking: Black Tea, and a glass of water with lime juice and a pinch of salt. 

Photo credit: https://images-na.ssl-images-amazon.com/images/I/61cKVPdK7lL._SL1200_.jpg

1.  It's pretty exciting to have a live album on the list. It begins with a pulsing piano part and Betty's vocals. The piano playing is dynamic. The idea of sing about the sounds of life and the idea of sounds overall is cool. I can feel the energy of the room through this recording, it's incredible. The scat Carter employs is excellent, it feels in the moment, as her soul flows through her. The drummer rides the line of flashy and holding this explosion of sound at bay, Thankfully it has this solid bass acting as the grounding giving a montage of what's to come for the rest of the show. All that being said, it's hard to believe that this song will continue for 25 minutes. The tempo is slowly increasing as does the intensity of the music around +5:30 mark. Having grown up in the time of this song called "Scatman (Ski-Ba-Bop-Ba-Dop-Bop", I grew to be burnt out on scat singing. This doesn't create that vibe at all. In fact, it's quite refreshing to hear a vocalist shred over a hurtling walking bass-line and a whirlwind of piano and drums. At 8:53 we get the line "we're moving on again", and the pace drops down to a much calmer moment, elegant adjacent. It's a nice respite from the intensity of before. These moments also showcase Carter's range, which is impressive. Additionally, it makes for a good stylistic flex as far as the band's skills. The tone changes on a dime at 10:58, and the piano crashes into a much higher volume and the listener is thrown back into the rocketing speeds of before. The bass seems to rise higher into the mix, and my god does that walking bass-line fly! Impressive isn't a strong enough word. I'm excited to see where this song continues to go as it's got 13 minutes left on the shot clock. I only wish I could see Carter work the stage, as in my mind she's bouncing around the stage working the crowd as the music takes over their bodies. At 13:31 we move on to a more mid-tempo jazz groove. The phrase "we're moving on again" seems to be the band's queue to segue to the next moment. Moving from moment to moment, tempo to tempo helps keep this particular vocal style feeling fresh. Part of the power of scat is it allows the singer to become an instrument and gives the rest of the band room to work with and share the spotlight. My mind moves away from this performance to wonder what rehearsals for this song were like. Did they jam this song for 25 minutes a shot? Or is this merely a prolonged jam because they were caught up in the moment? Both are possible, especially if they're skilled. Around 18 minutes in the crowd starts clapping along, which is nice. I wish more crowds would organically clap to live music, they're as much a part of the energy as the band is. The tempo almost totally drops out at 20:10. We're crawling along letting the tension build in this beautiful moment. It wanders towards delicate, while the bass holds the groove tight. This moment holds for quite a while, and it feels like the band settling into the stage for the rest of the show, much like squirming in a big comfy chair while the opening credits roll before a movie. A just like that, at 23:03 we're punched in the gut as the song blasts back into the hyperactive speeding tempos of before as Carter sings in a long-held "we're moving on!" The crowd loses their mind and cheer the band on as they go careening to the end of the song in the final minute and a half. Truly a magic piece, and that's speaking as someone who isn't super into scat style vocals. An odyssey of sound! 
   
   
2. "I think I Got It Now": After getting the crowd whipped up with "Sounds (Movin On), we enter this slow love song. It's sultry and decadent in sound. Carter's vocal control when holding on a single note is truly magical. The piano work on this is free-flowing and gorgeous, while the bass is holding the moment together. A beautiful piece. 
   
   
3. "Caribbean Sun": This picks up the pace from before with a samba like feeling. It feels sunny and bright. Carter solos between phrases to keep the jubilant feeling flowing. The rhythm section holds the energy tight, not letting it get too frenzied. The bass work really shines here. These songs feel short after the intro, comparatively. 
   
   
4. "The Trolley Song": I wonder if this was an homage to San Francisco, where this was recorded. It seems too on the nose to be otherwise. The drums and piano paint this frenetic picture of a trolley firing up. Then the bass hurtles in and Carter fires off words with startling precision over this tempo. It's amazing how much they pack into the first 26 seconds, as at 27 the tempo slows and we have a classic jazz moment. Walking bass-line, over symbols and piano while Carter talks about getting on and riding a trolley. It's fun, with humorous moments tossed in. This band's control of tempo is astounding. At 2:38 the band hits on a trolley/city sounding moment that would best belong in a musical, as it captures the feeling of urban travel shocking well. 
   
   
5. "Everything I Have Is Yours": Another serene, slow tempo song. This group commands the energy of a show in a great way, letting it rise and fall. Carter employs her lower registers here and lets them shine. It's hard to pull myself away from this song to write, it's captivating. The piano plays with its dynamic range quite well, employing the delicate high notes, while filling space with the extreme low keys as well. The bass is fat and expansive, and the drums are just barely there holding the tempo. It's quite a picturesque moment. 
   
   
6. "I'll Buy You A Star": The tempo picks up to an upper mid-paced feeling. Carter climbs and descends her vocal range while the band swings hard underneath her. The piano gets plenty of moments to shred over the bass and drums between vocal performances. There are some odd yet functional choices Carter makes in her vocal performances. It fits the feeling of the song well. 
   
   
7. "I Could Write A Book": Opens with a swinging bass-line, and the band hops in moments later. Carter joins the procession with some scat licks and introduces the band to the crowd. The bass keeps this track in the land of head bobbing. While it's not show-stopping, it's an enjoyable moment and sometimes that's enough. I feel like these lyrics were riffed on the spot, though I have no evidence of this, my gut just thinks that's what's going on. 
   
   
8. "Can't We Talk It Over/Either It's Love Or It Isn't": This song gets an introduction from Carter, and it's a nice moment, a nice change of pace. Musically this is slow, delicate, but I wouldn't say fragile. It's like watching the sunrise try to break through clouds. The music frames Carter's voice really well, almost like it's draping itself around her to keep her warm from the cold. The piano work is excellent. This song segues into a mellower, more fragile song. Again, the music embraces Carter while she croons out the lyrics creating this somber moment. It's quite beautiful. 
   
   
9. "Deep Night": This track opens with a bounce, a classical piece in feeling. Then moments later it takes on this deep swing on the drums and we enter this swaying Jazz. Moments late we're back in that bouncing classic moment before the band once again bounces us back into that deep swinging jazz. Carter and the band seem to enjoy these quick change moments. There's a blistering solo at 0:53. It recaptures moments from "Sounds (Movin On)". I'm not in love with this track, but I'm quite intrigued by it. It fades out on the close, as much as you can fade on a live track. 
   
   
10. "Spring Can Really Hang You Up The Most": We open with these big bright chords on the piano. It almost sounds like colors being splashed on canvas. The atmosphere the music creates is delicate and enchanting. Conjures up memories of drizzly weather on a spring day, where the sun is trying to break free of clouds. At 2:56 there's a transition to a more traditional Jazz sound, with stirred snares and bigger "jazzier" chords. The bass player's tone is excellent. The daylight breaks through around 5:28 as the tempo picks up as does the dynamic range of Carter's voice. Those final piano chords are damn fine. 
    
    
11. "Tight": Snaps count off this intro, and we enter a mid-paced song. Another song to get your head moving. There are these nice percussive moments where each instrument (and singer) play on these beats. A third of the way in the audience so wrapped up in the moment they're clapping along with the band. I'm a big fan of the piano solo. I know it's the title of the song, but this track is tight man, it's so good. Definitely take this one in.
     
12. "Fake": The bass work here is great, and while it's not the usual walking bass, it backbones the sweeping piano shockingly well. This isn't my favorite vocal performance on the album, but it's far from bad. I'm surprised I've never heard of Betty Carter before this album, she's so talented, such a great singer. Her range is, well, I don't have the words to say beyond amazing. There's an excellent bass solo starting at 1:51. It wanders off the path for a moment there, but it quickly finds its way back. I'm glad this excellent instrument got to be in the spotlight. There are not enough bass solos out there in the land of music. 
    
    
13. "So.....": Another intro from Carter where she interacts with the audience, and it's an honest moment. I'm glad it's not peppered through the album, because it makes these moments special. It begins much like a feature film would, big, sweeping, trilling, and grandiose. It segues in and out of this with a slow samba-like piece. It makes for a bit of an odd song, but Carter's vocal performance keeps me enraptured in these moments. The piano solo in this song is excellent, as most of the solos on this album have been. 
    
    
14. "My Favorite Things": Man, what an opening! It's like listening to lightning being caught in a bottle. I'm interested in how Jazz has latched on to this song. It's left me near speechless. Like "Sounds (Movin On)" they play with the tempo, including throwing you into a jet stream at 0:56 that's rocketing towards a shooting star of favorite things ripping through the cosmos. The bass-line at 1:26 hooked me. Something about those few notes were magic. The tempo drops out again for a few bars and we return to the original tempo from the intro. The music crescendos up in volume before kicking us back into the blistering moments. I can't go further without giving the drummer some serious credit, this playing is astronomically good. What a performance! Do not miss this track. 
    
    
15. "Open The Door": This song bossa novas hard. It's hard not to get wrapped up in that bassline and miss the elegant piano playing or Carter's singing. The change at around 1:59 spices up the number even more. This is an interesting song to close on, I think I would have swapped this with "My Favorite Things" and finish the album as hot as you opened it. Perhaps there was a good reason for the order, who knows? What a delightful track! 

Overall Thoughts: This was a memorable album, and one that I want to track down for my collection. It stands up whether you look at it as a regular album and even more so when you look at it as a live album. In a live setting, there are so many variables, and it makes for an amazing product when it all happens. I feel speechless when taking in my thoughts on this album because it truly was a humbling and enjoyable experience. Check it out ASAP! 

Info: This album was recorded over between December 6th and December 8th, 1979 in San Francisco at the Great American Music Hall. It was released on Betty Carter's own record label Bet-Car and produced by Betty Carter. It features Betty Carter on vocals, John Hicks on piano, Curtis Lundy on double bass, Kenny Washington on drums. 

If you loved this album you can pick it up here! 

The Jazz Project - Album 79: Oliver Nelson - "Blues And The Abstract Truth"

             To further my understanding of Jazz, I'm listening through Jazzwise Magazine's "The 100 Jazz Albums That Shook The World". Each album is presented with my stream-of-consciousness thoughts for each track, my general thoughts of the album as a whole, and any relevant information I can capture about the album. Also included is my drink of choice while taking the album in. Thank you for joining me on my journey to [partial] Jazz enlightenment.

Album 79

Oliver Nelson - Blues And The Abstract Truth

Drinking: Amaretto Sour

Photo credit: https://www.amazon.com/Blues-Abstract-Truth-LP/dp/B07NMKFMZ2/ref=sr_1_1?crid=2VIII945TRYNR&dchild=1&keywords=blues+and+the+abstract+truth&qid=1611267822&sprefix=blues+and+the+abstr%2Caps%2C-1&sr=8-1

1.  "Stolen Moments": There's something very familiar about this piece. Whatever it is, I can't put my place on it, but this is the Jazz I live for. It's both stripped down and simple, while still being textured and complex. The trumpet solo at 1:25 is timeless. Every piece of this puzzle feels like it's exactly as it should be. If someone asked me for a quintessential jazz moment, I'd give them one of Paul Desmond's solos in "Blue Rondo A La Turk" and I'd give them this track. Given the 8:45 run time on this song, I'm interested to see where it goes. A flute solo joins in at around the three minute mark, and it's also an excellent offering. This transitions into a saxophone solo, and it feels effortless. The performance reminds me of Desmond, even though I know there isn't. There's a hint of an echo behind the saxophone, and I feel like it's ringing off the piano strings. Regardless of how it's achieved, it's a great sound. We segue to a piano solo at around 5:55. The piano feels like it's further back in the mix compared to where the saxophone just was, which does take away from the experience, but it's still a classic solo. The moment changes briefly at around 7:05 with this cool swelling piece between the horns and saxes, with the drums rolling fiercely underneath. This transitions immediately into a great little passage where the instruments toy with the dynamic ranges of their respective volume. This track raced passed, it's hard to believe 8 minutes has already gone by. A beautiful chord to end on. 
   
   
2. "Hoe Down": This piece opens with a great, pointed intro. The instruments are panned in to each side excellently, and it creates this excellent call and response moment. the trumpet takes off into a solo over an excellent walking bass line. The drums are tight, and the piano is quietly filling in the space between the instruments. I still wish the piano was mixed a little louder. A tenor sax solo takes the stage at ~1:48 and it comes in swinging. It's mixed quite loud and hard right in the mix. It's an interesting choice, and I think bigger speakers it would make for a concert like experience in my living room. Baritone sax takes over around the 2:50 mark. It's got a swing to it, and this one is panned hard left. The piano can barely make it over the baritone, which too bad because the chords they're playing are excellent. And finally! A quick drum solo at 3:50 before we return to the riffing from the beginning, which is quite catchy. This was a fun piece to be sure! 
   
   
3. "Cascades": Drums open this piece and clear the stage for a pretty tight saxophone riff. Again, this is some classic jazz sounds. The winds/brass playing under the solo is tight. Bass and drums are in the pocket. This train is rambling down the rail in the best way possible. We segue into a trumpet solo, and things continue to cook as this player has chops! We get a piano solo near 2:48. I'm going to sound like a broken record but I wish it was louder. Everyone else gets a respectable level of noise, this feels like it's being recorded several feet away, and it suffers for it. Truly a loss too, because it's a great solo. The band starts playing again as a whole and play out the song to a long form fade out. 
   
   
4. "Yearnin'": The tempo is slowed down for this sound. It opens with that classic trio sound of piano, drums, and upright bass. The feeling is cool, calm, collected, and classy. The riff work in this song is excellent, especially the harmony work utilized. This is followed by a saxophone solo. There's something very Bop about this album, without feeling like it's ripping anything off. The rhythm work works extremely well, the solos are free yet so very tight, it's all happening. It's hard to keep focus on sharing the feelings and experience of listening to it because I keep getting sucked into the moments created by these musicians. Don't skip this song. 
   
   
5. "Butch And Butch": This harmonized duet is excellent, and gives me Dean Martin/Frank Sinatra vibes, but I couldn't tell you why. I see what the sax solo at roughly 0:38 is trying to do, but it isn't working for me. It moves away from this meditation and on to other things, but still fails to wow me. Thankfully I'm not struggling to hear the piano as much as previously, though it can still use a bump in volume. These moments segue to a trumpet solo. Again, I see where it's going and trying to do, and it's not doing it for me. It's not bad, per say, but it's not for me. The sax cuts back in for another go at soloing, and it's alright. A piano solo takes over around 3:15, and it's my favorite solo so far. This track has been my least favorite on the album so far. Make it in the back half of an album before hitting one that doesn't land with you is pretty excellent though, well done! The end is a revisitation of the intro with some slight tweaks, and was quite enjoyable. 
   
   
6. "Teenie's Blues": Opens with an excellent bass line over a single hi-hat and the occasional snare work. It's so classy, so true to the moment. Some excellent bluesy brass and sax join in over this walking bass-line. To say it's so good would be an understatement. A tenor saxophone tears into the moment and shreds its bell off. Unlike the previous track (in my humble opinion), each choice seems to fit into the moment in a strange but meaningful way. This segues to a different sax, and they play a much cooler, softer solo. There's some good runs, but it doesn't present nearly as in your face. Part of me feels like these solos are weird flexes of skill, but I don't get that vibe from this piece. It's a reinterpretation of what blues and jazz can mean to each other. The piano is back for another solo, and again could be higher in the mix, but the playing is skillful. It's truly excellent. This is quickly followed by a bass solo that is quite punctuated. I do wonder why more bass solos aren't bowed. After the solo we're taken back to the brass and sax riffs from the intro, and we ride this moment to the end of the album. 

Overall Thoughts: If you didn't pick up the trend, I wish Bill Evans' piano playing was mixed higher. It was excellent playing but it was hard to pick out over the saxophones and trumpets. This felt like a quintessential jazz album that had truly missed my radar. Looking at various articles and reviews, "Stolen Moments" quickly became a jazz standard after this performance, and it is totally clear to me as to why. Definitely check this album out! 

Info: This album was released in August of 1961 through the Impulse! record label. It was recorded at Van Gelder Studio in New Jersey, and features Freddie Hubbard on trumpet, Eric Dolphy on alto saxophone, Oliver Nelson on tenor saxophone, George Barrow on baritone saxophone, Bill Evans on piano, Paul Chambers on bass, and Roy Haynes on drums. 

If you'd like to pick up this album, you can find it here!