Evanston, Illinois-based Chris Greene’s music always makes great road music, and Boundary Issues is no exception. Greene and his long-term band blend stunning new compositions like “Thunder Snow (written by piano player Damian Espinosa) and “The Crossover Appeal” (written by Greene) with daring and original interpretations of masterworks by Horace Silver (“Nico’s Dream”) and Kenny Kirkland (“Dienda”).
As we’ve covered earlier in the reviews of this album, there are a number of new players and even a new strategy represented by Two Against Nature. Not only do Becker and Fagen take the helm in the production
The best live albums offer something familiar along with something new. Unfortunately a number of live albums give you one or two studio recordings or dress up old ‘B” sides. Steely Dan’s Alive in America falls somewhere in the middle
I’ve always loved the six degrees of separation concept as it relates to my musical discoveries. The career of Joni Mitchell is a perfect example of that I didn’t discover Joni because of her much revered albums, Blue or Hejira.
I mentioned last week in my look back at Joni Mitchell’s album Wild Things Run Fast that it was her first album for Geffen Records and one which left a major impact on me. Mitchell’s subsequent release, 1985’s Dog Eat Dog was not only my first experience with the singer but left an even more lasting impact.
Joni Mitchell ended her tenure with Geffen Records with the lovely and understated Night Ride Home. The album is a stark contrast to its predecessor, 1988’s Caulk Mark In A Rainstorm, in many respects. The album leans heavily on Mitchell’s jazz guitar phrasings intertwine with coproducer Larry Klein’s 5 string bass.
Let me start off but stating the obvious. Vast talent does not equate to popularity. Fortunately in singer, songwriter and keyboardist Kiki Ebsen’s case, her vast talent has led to a string on elegant albums and respect of her musical contemporaries.
Did Fagen hit his high watermark with track number 4 on Morph The Cat? The song “Brite Nitegown” beats the listener over the head with Fagen’s rhythm stick. The writer producer/finally gets his drummer and bassist to work up a steamy sweat.
I love when a “new” Neil Young album comes out. Neil Young’s Live at The Cellar Door harkens me back to a time when Young was a the height of his power. No I’m not talking about the 1970 period Live at Cellar Door represents, I’m talking about Neil Young’s Geffen Records years from 1982-1987.
I have a deep love for Walter Becker’s second solo effort, 2008’s Circus Money. It’s a love that far surpasses any other solo effort to date by Donald Fagen or Becker himself. Yes, a love even bigger than the highest charter of the lot, Kamakiriad, or the solo debut by Fagen, The Nightfly? Heresy? I […]
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