Context? CCLXXXI

This morning, a radio talk show host said he doesn't "have Halloween music per se, but (will) have the hi-fi going" during his Halloween gathering tonight with friends.

Most people, if they're honest, probably don't have true Halloween music.  Nevertheless, here's hoping they all have safe, enjoyable Halloween fun tonight.

As someone who played nearly-Halloween LPs by Tangerine Dream and Tony Banks yesterday, I also like the host's decadent use of the term hi-fi.  Here's hoping others put their record players to similar use today.

Wise rationing? Perhaps.

While listening to Holiday Hits selections on Stingray Music over the past week, I was puzzled.  Initially, I thought, "It's close enough to Halloween.  Why aren't they playing continuous Halloween music?  Why are they just sprinkling it in here and there between pop hits from various decades?"

The more I thought about it, though, I saw the logic.  Halloween isn't like Christmas.  There aren't a wealth of Halloween-themed songs from which to choose, and there are only so many truly good Halloween tracks to play.  If they'd played a four-hour loop of the same Halloween songs repeatedly, listeners might have tired of the repetition quickly.  By dropping a Halloween song in every now and then, listeners are kept guessing--and they might listen longer than they would have otherwise.

When it comes to Halloween-appropriate music, though, I still think these are some of the best choices.

Context? CCLXXX

A radio personality clarified Friday that if listeners wanted to text the station, they could; however, polite texts are preferred over vitriolic ones.

"Your anger and hatred are well documented," he told the audience.  "If you have anything nice to say, though..."

Unfortunately, it isn't surprising that a talk show host would have to plead for civility.

Stingray Music highlights CXIV

Most of the standout selections I heard this morning were instrumentals.  Among the highlights:

Chamber Music

• Alexander Scriabin: Three Preludes, Op.35 (Piers Lane, piano) (Intriguing contrasting examples of Scriabin's range.  The first prelude suggests a sensation of floating.  The second one sounds downcast and apprehensive.  The third displays a sense of whimsy and a definitive closing.)
  

Cool Jazz 

• Since I Fell For You-Vince Guaraldi Trio (Thanks to its universal lyrics and easily digested melody, I've never heard a bad version of this.  Lenny Welch, Al Jarreau, and Bonnie Raitt all sing it compellingly.  Guaraldi proves how well the melody translates to the piano, which shouldn't surprise anyone.)

Folk Roots

• Every Time You Say Goodbye-Alison Krauss (Krauss always emotes convincingly when singing about painful partings.  Also recommended: "Stay.")
  

Holiday Hits 

• Theme From "Children Of The Corn"-Robert J. Walsh (Appropriately foreboding underscoring.)
• The Phantom Of The Opera-Original London Cast (What fear one can strike in the hearts of listeners with the right sinister-sounding descending scale followed by an equally eerie ascending scale.)

New Age

• Berceuse-Suzanne Ciani (Mannheim Steamroller's version of "Stille Nacht (Silent Night)" would flow well into this endearing piano melody.)
  

Retro R&B

• Sophisticated Cissy-The Meters (Effectively held organ notes and a solid rhythm section, as usual.  The Meters maintain a strong consistency from track to track.)

The Spa

• The Stargazer-Rebecca Reads (A haunting, ambient instrumental, fit for Halloween.  If I were walking at night with this accompaniment, I'd second guess most of my steps.)

Context? CCLXXIX

A reminder from a radio talk show host yesterday: "The way to get the person you want (in office) is to vote.  It's really the only way."

You also have to hope, though, that a majority of voters also vote your way--and that if your preferred candidate wins, the opposition won't challenge the results despite having no credible evidence for objecting.

One person isn't completely powerless.  It's discomforting sometimes to realize, however, that one person is often relatively powerless.

Stingray Music highlights CXIII

Six Thursday morning standouts and two recommended tunes heard yesterday:

Classic R&B And Soul

• My Bucket's Got A Hole In It-Ramsey Lewis Trio (This is typical of Lewis's hip, infectious piano playing in the '60s.  Also recommended: "The In Crowd," "Hang On Sloopy, " and "Wade In The Water.")

Easy Listening

• Waiting For Sunshine-FLOW (Pleasant new age-style melodies featuring these types of guitar and piano arrangements don't usually include a trumpet part.  This one does, however, and an already solid melody is even more compelling, as a result.)
  

Folk Roots

• Stranded-Shawn Colvin (A thoughtful way to say, "Our paths were meant to cross, but we weren't meant to be together forever.")
• Undertow-Suzanne Vega (Vega's lyrics here are intriguingly cryptic.  It reads as though the person about whom she's singing really wants to know everything about someone to whom she's committed or can't stand an adversary and wants to shake some sense into her foe.)

Jazz Masters

• Embraceable You-Jimmy Smith (Showy saxophone and understated organ playing mesh compellingly here.)
  

Jazz Now

• Night Song-Harold Mabern (An invitingly uptempo melody, with strong synergy between piano and saxophone, sustained for over seven minutes.)
  

Popular Classical

• Franz Joseph Haydn: String Quartet No. 62, Op. 76, No. 3, "Emperor" (Kodaly Quartet)  (This continues my streak of never hearing a Haydn piece I've disliked.  I enjoy the energetic, lighthearted first movement, the quiet delicacy of the second movement, and the tasteful, waltz-like third movement.)

The Spa

• As The Foyle Gently Flows-Eamonn Karran (This gentle piano melody sounds at least partially inspired by George Winston's "Autumn" album.)

Stingray Music highlights CXII

Tuesday and Wednesday highlights:

Alt Country-Americana 

• So Much Fun-A.J. Croce (The vocals remind me of Van Morrison, and I never tire of such self-assured piano accompaniment.)

Chamber Music

• Antonio Soler: Sonata No. 87 in G minor (Alicia de Larrocha, piano) (The abundance of trills makes this piece all the more endearing.)
  

Folk Roots

• Passengers-Aoife O'Donovan (A well-written lyrical reminder of how vast the universe is and how comparatively small humans are in the scheme of things.)

Holiday Hits

• What's He Building In There?-Tom Waits (Justification for feeling paranoid?  It's an unsettling spoken word piece, to say the least.)

Indie Classics

• Can't Be Sure-The Sundays ("Reading, Writing, And Arithmetic" was one of my favorite albums in college.  Its lyrical, vocal, and instrumental consistency still resonates with me decades later.  Harriet Wheeler's unique voice commands more attention than a more conventional singing typically would; this is equally true on slower, quieter tracks or more energetic ones, such as "Can't Be Sure."  Also recommended: "Here's Where The Story Ends.")
  

Latin Lounge

• Canoeiro (Pescaria)-Cris Delanno (Fun, carefree vocals when the tempo picks up.)

Soul Storm

• Spend The Night-BJ The Chicago Kid & Coco Jones (One of 2023's more rhythmically appealing releases.) 

World Carnival

• Aaj Ki Raat-The Bollywood Brass Band & Pest (This instrumental blends jazz and international styles compellingly.  It's unusual to hear a tuba featured so prominently, and it wouldn't be out of place if one used a shofar to play one of the recurring riffs.)

Morning Jazz, Evening Jazz, Jazz For Cobblers, Jazz For Gila Monsters...

It speaks well of Stingray Music's array of jazz channels that I have to keep that format from overtaking every Stingray Music post I write.  When you have Cool Jazz, Jazz Latino, Jazz Masters, Jazz Now, and Smooth Jazz from which to choose, there's a wide range of vocalists and instrumentalists to sample.  Big Band and Swinging Standards also encompass the jazz world, so those channels capture my ears, as well.

I've always liked jazz, but in the interest of balance, I'll attempt to scale back my jazz recommendations in my next Stingray Music highlights post.  Note that I said I'd attempt to do that.  I might not be able to resist the allure of the Contemplative Jazz, Mysterious Jazz, Jazz For Falling Leaves, Jazz For Snowfalls, and Jazz With A Side Of Toast channels.  Granted, those aren't real channels--yet.

Stingray Music highlights CXI

Monday morning standouts:

Adult Alternative

• Royals-Lorde (Lyrically, this is a fun reminder not to let being dealt a less than great hand of cards compromise your life more than necessary.  A recommended cover: Monika Herzig and Jane Bunnett convert "Royals" to a credible jazz instrumental, making the tune shine on piano and saxophone, respectively.)

Cool Jazz

• No Moon At All-Diana Krall (Breathy vocals with just the right amount of enunciation, augmented by a strong rhythm section.) 

Jazz Now

• Spare Change-Adam Shulman (The bounce in this instrumental's step would make virtually any version of "Straighten Up And Fly Right" or "That'll Just About Knock Me Out" flow well after it.) 

Jukebox Oldies

• My Heart Cries For You-Ray Charles (The vocals are in keeping with the heartfelt, melancholy consistency of the "Sweet & Sour Tears" album.)

Motown

• Love Hangover-Diana Ross (This smash hit's transition from slow ballad to energetic romp has held up since 1976.)

Smooth Jazz

• Sunkiss-Michael Garvin (This relaxing uptempo guitar melody would segue smoothly into "One 2 One" by Brian Hughes.)
  

The Spa

• Some Things Never Change-Christian Anderson (Pleasant midtempo folk guitar.  I wish businesses would use this as their on-hold music, as the melody repeats itself but doesn't wear out its welcome.)

World Carnival

• Generations-Youssou N'Dour (A strong undercurrent of bass supports the vocals.)

Stingray Music highlights CX

Sunday morning U-verse highlights:

Alt Country-Americana

• Green River-Eilen Jewell (If I'd just read "Green River"'s lyrics before hearing the song, I would have expected this to have a slow tempo and for the vocals to be accompanied by an acoustic guitar.  This is a Creedence Clearwater Revival song, though, so I knew it would be upbeat.  Jewell's voice fits the song well, and she nails the feeling of the original version.) 

Canadian Indie

• Settle & Fly-Jesse Mac Cormack featuring Gabrielle Shonk (The steady, pulsating rhythm of this July release drew me in, and the empowering lyrics about not letting a relationship define you made me listen a second time.)

The Chill Lounge

• Walker-Guardner (Haunting instrumental underscoring, fit for wandering in a graveyard at night.)

Cool Jazz

• Noche de ronda-Charlie Haden (Haden anchors a classy, elegant rendition of this waltz on bass. His fellow rhythm players contribute equally well to the tune's atmosphere.)
  

Folk Roots

• Silver Lining-The Black Feathers (Endearing vocal harmonies.  I can imagine I'm With Her or Nickel Creek covering this.)

Jazz Masters

• How Deep Is The Ocean?-Miles Davis (What other trumpeter would you turn to for such a melodic, resonant take on this Irving Berlin standard?)
  

New Age

• The Room Of Ancillary Dreams-Harold Budd (This piano-based instrumental alternates compellingly between fanciful and foreboding.)
  

Retro R&B

• Walk Tall-Esther Marrow (These aren't the easiest lyrics to hear when you're tempted to wallow in your sorrows, but they're a powerful springboard for snapping out of a "What's the use?" mindset.)
  

Context? CCLXXVIII

I was pleased to hear a listener go against the grain this morning.  He called a radio station, trying to sell an item.  The show/s host asked him for a phone number so interested buyers could call him.  As an afterthought, he added, "Or could they text you?"  The caller shut that possibility down quickly, saying, "No texting."

I'm glad I'm not the only person who is ambivalent, at best, about texting.  Call me a dinosaur, but I prefer not to have text alerts jolt me out of a sound sleep.

SiriusXM highlights CXXXIX

Friday morning standouts:

'70s/'80s Instrumentals

• The Groove-Rodney Franklin (A cool 1980 piano groove that could slide right into a playlist of today's smooth jazz.)

Bluegrass Junction

• Wildflower Too-Darin & Brooke Aldridge (Endearing lyrics with vocals similar to those of Nanci Griffith.)

Deep Tracks 

• Everyone-Van Morrison (The Baroque-style harpsichord backing with piping gives the tune a fun, carefree vibe.)

Outlaw Country

• God's Gonna Cut You Down-Johnny Cash (Who hasn't wanted to say this to an enemy, at least occasionally?)

Piano Instrumentals

• A Morning Meditation-Bob Yonker (Pleasant midtempo piano playing that could segue with Richard Dworsky's "A Morning With The Roses.")

Real Jazz

• Darn That Dream-Nancy Wilson (The mellow guitar and piano backing underscore Wilson's vocals perfectly...)
• Love Locked Out-Dexter Gordon (...and "Darn That Dream" segues smoothly with Gordon's graceful saxophone playing here.)

Soul Town

• A Real Mother For Ya-Johnny "Guitar" Watson (When something petty irks me, I sometimes think of  these lyrics.  Watson's attitude here is similar to one of his other standout tunes, "Ain't That A B&*$h.")

Symphony Hall

• Gabriel Faure: Pavane, Op.50 (Rupert Boyd, guitar; Laura Metcalf, cello) (Sometimes, I wish I'd stuck with the cello so I could play as lyrically as this.)

Online radio sampler highlights CCXX

Intriguing tunes I've heard today:

KTRU (Houston, TX)

• Kaluhyanu: Wes-Joanne Shenandoah (A welcoming vocal refrain, with flute and percussion.)
• This Chain Won't Break-Wild Nothing (A reminder that you can't just will yourself to forget about someone.)

KUAA (Salt Lake City, UT)

• Take Me With You-The Rugged Nuggets (I'm surprised I haven't heard this appealing midtempo guitar groove on any smooth jazz station yet.)
• Pray For Rain-Marisa Anderson & William Tyler (Downcast guitar for a gloomy day; it's haunting enough to fit into a Halloween playlist.)
  

WBRH (Baton Rouge, LA) 

• Portrait Of Jennie-Wynton Kelly Trio (An elegant, sublime piano ballad.)

WIUX (Bloomington, IN)

• Fantastic Man-William Onyeabor (While fishing for compliments is generally ill-advised, the man in this tune sets a smart template for asking his girlfriend--or wife?--to reassure him.  He crafts a melody that draws from jazz, dance, funk, and 1979 pop music.  Once the catchy beat is well-established, he tells his beloved that he has complimented her many times and would love it if she'd reciprocate.)

WTJN (Troy, OH)

• Give Me Love (Give Me Peace On Earth)-George Harrison (Sadly, as recent world events have illustrated, peace on Earth is essentially impossible.  There's nothing wrong with wishing for it, though.)

Persistent earworm alert CCCIX

Even though a mediocre test grade from decades ago has no bearing on my life now, I still dream occasionally about how it felt to receive a grade that wasn't as good as I'd expected.  My mind softens the blow by reminding me of the only optimistic lyric in "Think For Yourself" by The Beatles.  The general vibe of that George Harrison-penned tune is that it's too late to make amends.  He offered one ray of hope, however, when he sang, "The future still looks good, and you've got time to rectify all the things that you should."

If you're a student, cling to that outlook--but study harder if you can.

Can't hurt to try, but...

It didn't happen often, but sometimes, a listener would call the radio stations at which I worked long after a contest ended and ask if we had a winner yet.

I would never tell a caller outright, "The contest was two hours ago, and the tenth caller got through within one minute of my announcing the contest."  I would just say, "Yes, we have a winner, but thank you for listening."

Even if you work for a low power station that only averages five listeners at a time, it's human nature to want to win cash, concert tickets, gift certificates, or free music.  Almost always, the phone would start ringing immediately when I announced a giveaway.  Some of the same callers probably got through more than once.  There might have been a contest or two in which someone won by being the only caller.

One repeat caller is all it takes, however.  Even if you don't know any music by the artist whose recording you could win, haven't eaten at the restaurant where you could score a free meal, or have no idea what gifts you would buy with a certificate to a sponsor's shop, it feels satisfying to be a winner.  Those victories seldom go to procrastinators.

An overlooked cover tune CXXIX

Granted, it was a minor hit in the Summer of 1983, and KYKY played it frequently for at least two months.  Still, I thought The Hollies deserved more credit for covering "Stop In The Name Of Love" by The Supremes.  By upping the tempo and supporting the vocals with steady piano and percussion, The Hollies made a well-known oldie more contemporary.  While this approach undoubtedly doesn't appeal to everyone, it was right for its time--and still warrants a listen today. 

FM dial scan highlights CCXXV

Six of the more appealing tunes I've heard this morning:

WSIE 88.7 FM

• Millie-Blue Mitchell (Mitchell's strong, melodic trumpet playing deserves more recognition than it usually gets, so I'm glad that WSIE plays multiple tracks of his.  This track, released in 1967, is a well-sustained, hip-for-its-time melody.  If you think the bop style isn't for you, perhaps this will change your mind.)
• Undulation-Kayla Waters (A pleasant, uptempo smooth jazz release from June, which Waters propels on piano.)

KSHE 94.7 FM

• Night By Night-Steely Dan (An overlooked album track.  Lyrically, this is an effective way of underscoring that someone takes too many risks...)
• Pandora's Box-Procol Harum (...and it segues appropriately with these lyrics about taking risks that affect the world.  Lyrically and instrumentally, this sounds appropriate for Halloween.)

WFUN 96.3 FM

• Your World-Jonathan McReynolds (Reassuring lyrics about enjoying the wonders of a world none of us created.)
• Feel Alright (Blessed)-Erica Campbell (Feeling thankful for the great day you're having?  This is a sound way to proclaim it.)
  

An unexpected coda (In memory of Rudolph Isley)

During my years as a sports statistics gatherer, I'd usually call or hear from a newspaper staffer at least once per night.  One staffer, while checking to see if he'd received a schedule or box score, would sometimes sing to himself.  "Strangers In The Night" was the default tune he'd hum.

Once, I asked offhandedly, "May I make a request?  Do you know 'It's Your Thing' by The Isley Brothers?"

He obliged by singing a verse.  He segued it unexpectedly however, by quoting part of Archie Bell's spoken intro to "Tighten Up," "And we dance just as good as we walk."

I hope that recently departed Isley Brothers founding member Rudolph Isley approves of that segue.  I trust that many stations have been playing "It's Your Thing" these last few days; rhythmically and vocally, that song holds up decades later.  Fewer stations have likely played my favorite Isley Brothers song, "If You Were There," or the group's solid cover of the Seals & Crofts hit, "Summer Breeze," but I trust that some DJs, at least on noncommercial stations, have had the freedom to air those tracks.

Context? CCLXXVII

Two radio show co-hosts offered differing opinions Tuesday on whether executions should be televised.  Before going to a commercial break, one co-host said to the other, "We disagree.  I still love you, though, for the most part."

While that qualifier isn't a Hallmark card sentiment, it's nice to know that people can still disagree on something in today's world and not hate each other.

Context? CCLXXVI

In a KYKY promo from October 1983, a contest entrant couldn't believe he'd won $980 in the station's Great Variety Giveaway.  He kept repeating, "You're kidding me."  The promo used the caller's disbelief as a segue for declaring, "We're not kidding when we say 98, 980, or 10,000 dollars could be yours..."

According to the inflation calculator I consulted...Wow...Forty years ago, $980 was equivalent to more than $3,000 in today's dollars.

If I'd won that kind of money then, I'd have wondered if the DJ was kidding, too.

Online radio sampler highlights CCXIX

Six of the better tunes I've heard today:

KDRP (Dripping Springs, TX)

• Follow Your Arrow-Kacey Musgraves (Lyrically, this is an encouraging way to say, "Just be yourself, and don't fret about what others think.")
• Hypotheticals-Lake Street Dive (This is a determined way of saying, "Let's be together."  Also, when the tempo picks up, the vocals and instrumentation have an appealing '70s pop/R&B feel.  This could segue with Lenny Kravitz's "It Ain't Over 'Til It's Over.")

KUAK (Bismarck, ND)

• Gallop's Gallop (Live)-Thelonious Monk (Monk keeps the tune grounded on piano, and Charlie Rouse shines on tenor sax.  The tune's dollop of dissonance kept me listening.)
• Blue Genius-Ray Charles & Milt Jackson (Self-assured, cool piano and vibraphone harmony.  Who would expect anything less from two such giants?)

WJVX (Chicago, IL)

• Tear It Down-Blue Magic (Slow, smooth R&B from 1974.  The falsetto vocals and optimistic lyrics remind me of The Stylistics.  Just as I thought this, the station followed this up with a Stylistics track, "You'll Never Get To Heaven (If You Break My Heart.)"  Smart programming.)

WXCS (Cambridge Springs, PA)

• The Spirit Of Radio (Live)-Rush (It can't be easy for Geddy Lee to replicate his studio vocal acrobatics live, but he pulls it off impressively.  My favorite Rush tune is "Entre Nous," but this isn't far behind it.)
  

A petty fixation XXVII

Recently, a radio talk show host assembled a montage of songs and asked listeners to guess what year they all had in common.  Almost immediately, I shouted at the radio, "1971!  1971!!  That's 'It's Too Late' by Carole King! Isaac Hayes, 'The Theme From 'Shaft'!  James Taylor, 'You've Got A Friend!'  1971!  1971!!  1971!!!"

There was no reason for me to react so maniacally.  I didn't win anything by shouting and the radio, and I didn't have to prove anything to my cat, who already knows my music credentials.  As I've written previously, however, 1971 was a strong year for music, and I wanted to reinforce that, even though no other humans heard me.

The power of suggestion V

Whenever Fairport Convention's instrumental, "Tokyo," comes to mind, I speed up whatever task I'm doing.  It doesn't matter if I have a deadline in one minute or the rest of my life to complete whatever I'm working on.  Something about the urgency of the Celtic-style fiddling and modern-for-1973 guitar playing makes me start typing as though the keyboard is about to sink into quicksand.

I need to publish this quickly before the power goes out. Admittedly, there's no sign of rain, but the rush-rush-rush nature of "Tokyo" has me thinking that could change at any second.

Context? CCLXXV

Friday morning, after playing J.S. Bach's fifth Brandenburg Concerto, a Classical announcer read Bach's dedication to the royalty for whom the six Brandenburg concertos were presented.  The dedication illustrated how careful and obsequious one has to be around those with great power.  Bach refers to "Your Royal Highness" multiple times and begs his forgiveness for the concertos' supposed imperfections.

The announcer mused about how much more music Bach might have composed if he hadn't had to write such dedications.  I second that and add that I'm thankful not to live under a monarchy.

Context? CCLXXIV

I was surprised to hear a Classical radio station announcer say Wednesday, "Traditional wisdom is that people don't care much for organ music, but I've never really believed it."

Is it true that most people don't like music played on the organ?  Organ music ranges from reverential when played in church to cool and swingin' on jazz recordings by Jimmy Smith and Joey DeFrancesco.  It can also rally fans at the ballpark.  Considering that versatility, it puzzles me that many listeners supposedly aren't crazy about it.

Priorities in the right place IX

During a "Saturday Night Live" sketch in 1981,  a Studio 54 bouncer didn't let host George Kennedy into the club.  Lamenting his fate, Kennedy sang, "It's No Fun To Be 53 At Studio 54," while attempting occasional dance moves.

Although I've never had any desire to get into any dance club, I got the message.  After a certain age, aspects of your younger days aren't accessible to you, and certain tasks become more labored.  It reassures me, though, that my passion for music and radio will always be there at any age.  On this day 40 years ago, I recorded part of Phillips & Wall's morning show on KYKY and part of WMRY's evening jazz show with Leo Chears.  I wanted to preserve what was on the radio as a souvenir of my 13th birthday.

My first act of my 53rd birthday today was to record an FM dial scan commemorating what was on the radio.

Actually, that was my first music-related act today.  My first act was giving my Iams-seeking cat, Collette, a snack.  Collette is resting contentedly on the sofa now.  That's a lesson I learned years ago: Regardless of what music you're craving, feed your cat first.

That's sound advice--at any age.

SiriusXM highlights CXXXVIII

Eight ear-catching tunes heard this morning:

'80s Deep Cuts

• Don't Tell Me Lies-Breathe (For a time in 1989, soft rock stations were all over this hit.  In retrospect, it's easy to hear why; the uptempo hook doesn't leave your mind easily.  I should dig this out of my collection and play it again.)

'80s On 8

• The Salt In My Tears-Martin Briley (Cathartic lyrics for getting over a breakup.  I still hear this every once in a while on album rock stations, but it should have been a bigger hit.)
  

Acoustic Guitar Instrumentals

• Fall Leaves-Karl Backstrom (A contemplative, bittersweet, appropriately titled guitar piece.)

The Coffee House

• Simply The Best-Billianne (Although I don't dislike the arena rock approach Bonnie Tyler and Tina Turner take on their versions, I think Billianne's quieter approach to the vocals is more appealing.  The acoustic guitar adds appropriate shading, as well.)
  

The Coffee House Discovery

• Losing Time-Mia Giovina (These are poignant lyrics to hear on the eve of my 53rd birthday.  Giovina is right; when you get older, you aren't the person you were at eighteen.  That isn't a bad thing, though.  You might not be as energetic or idealistic when you're older, but you learn an awful lot as you age.  This is a good new track by a promising, relatively young artist.)

Luna

• Vanilla Extract-Eddie Palmieri (A steady, percolating rhythm for piano.)

Real Jazz

• Night Train-Christian McBride (This is one of the most covered jazz tunes, for good reason.  With just the acoustic bass, McBride achieves what it usually takes a full ensemble to pull off.)

Soothe

• Camille-Ana Roxanne (Grim, haunting, ambient vocals and instrumentation.)

Online radio sampler highlights CCXVIII

Six recommended selections heard this morning:

KNTU (Denton, TX)

• Three Day Weekend-Kait Dunton (This steady, loping melody, released last month, shows that sometimes, a rhythm section is all you need.  Dunton anchors this trio on piano compellingly.)
• For All We Know (Live At Yoshi's)-McCoy Tyner (This is a strong example of staying true to a classic's melody while putting one's own stamp on it.  Tyner's embellishments on the piano serve the tune well.)

KZFR (Chico, CA)

• Little Drop Of Poison-Tom Waits (With eerie lyrics and gravelly vocals, "Little Drop Of Poison" makes a strong case for inclusion on my next Halloween mix CD.)
• Eat For Two-10,000 Maniacs (Effective lyrics about the immense responsibilities that accompany pregnancy and raising a child.  Natalie Merchant's voice is ideal for underscoring the weight of an overwhelming obligation.)

WLPN (Chicago, IL)

• Chains Of Love-Erasure (Of its time, i.e. 1988, synth-pop with an energy and committed vocals that still hold up.)

WSMC (Collegedale, TN)

• Camille Saint-Saens: The Carnival Of The Animals: The Swan (Steven Isserlis, cello; Pascal Devoyon, piano) (Appropriately graceful and lyrical, befitting a swan.)
  

Context? CCLXXIII

A guest on an NPR show spoke today about someone who tries to look fierce and intimidating "despite not weighing much more than a quarter."

Although that attitude reminds me of a few cats I've known, the guest was actually referring to a tarantula.

A petty fixation XXVI

I'm thankful for my years as a DJ and music programmer, but there's one thing I wish I could have done: I wish I could have read a weather forecast during the instrumental portion of a weather jingle.  Perfectly ordinary information, such as a prediction of partly cloudy skies and a high of 60 degrees, sounds all the more important against energetic, '80s pop-style backing.  A DJ also has the satisfaction of proclaiming the current temperature before the jingle singers conclude with "Hitradio K-H-T-R!"

This isn't at the top of my wish list, but it would have made a good air check--and would have prompted me to sound revved up but not manic.

An overlooked cover tune CXXVIII

As "Cast Your Fate To The Wind," numerous "Peanuts" scores, and scores of albums show, Vince Guaraldi was an exceptional composer and piano player.  I admonished myself recently as I looked at the track listings of a Guaraldi compilation.  I exclaimed, "How did I forget that he did a version of 'Autumn Leaves?'  An expansive one, at that?"

I've got 10 minutes and change of seasonal listening I have to do now.