You win this round, Muse

So here's the thing: I have a hard time keeping up with new music all the time. I do my best, but every so often something falls through the cracks and suddenly I realize that I'm waaaay behind in listening to it.
This was the case with "Absolution" by Muse. I must have had this album on my iPod for 3 years before I finally got around to listening to it. And I'll be frank, too: I had low expectations. Everything that I had heard from them felt overly grandiose and epicly epic of epic proportions. So, I guess I wasn't being all that fair. All of that said, upon this listen, I got it. Something made sense to me in a way that it hadn't before and I was pleasantly surprised by the album. It still had the epic epic-osity, but it was somehow more enjoyable, especially on an hours-long car ride. Songs like "Sing for Absolution" and "Falling Away with You" have a smooth-trance like feel with lead singer Matthew Bellamy evoking Thom Yorke's vocal delivery, while "Stockholm Syndrome" makes you want to crank the system to 11 (did I mention epic?).
I'll admit that I wasn't sure I would like it and I may not be completely convinced, but you win this round, Muse.

Top Jazz Picks of, Well, Whenever

I wrote this up recently for a friend who asked me for some jazz recommendations. These are pretty much standard listening for any newcomer to jazz. Have a look and a listen and let me know what you think.

Giant Steps and My Favorite Things by John Coltrane: They say that Coltrane ushered in a sort of spirituality to jazz that hadn't existed before. This feeling can certainly be felt in some of his recordings. I enjoy these two albums because, sonically, they are amazing and his technicality is unreal. McCoy Tyner plays piano on both, who is a talented performer in his own right. If you really want to experience the spirituality though, check out A Love Supreme. As Prego would say, it's in there.

Kind of Blue by Miles Davis. I mean, if you don't know this one by heart, well, you should. Could this be considered the birth and death of cool all in one?

Waltz for Debby by Bill Evans. Evans was in Miles' group when they recorded Kind of Blue (along with Coltrane, Adderly, Paul Chambers and Jimmy Cobb). But Evans' contribution was his romantic feeling. In fact, it is believed that he co-wrote 2 of the tracks on Kind of Blue, which Miles didn't give him credit for. So when people talk about that cool/romantic feeling on that album, maybe some of that is due to Evans. Anyway, any trio album with Evans is going to be good. Waltz for Debby is right up there.

Criss Cross by Thelonious Monk. Monk helped develop bebop and Criss Cross is a landmark album. It's an easy album to enjoy because the melodies are both odd yet enjoyable. Also, Charlie Rouse plays a mean sax.

Headhunters by Herbie Hancock. This is where jazz meets funk and gets down. The new version of Watermelon Man takes a song from his established canon and re-imagines it in a matter that is downright funkalicious. It is literally impossible to listen to this track and sit still. Just try it, I dare you.

The Inner Mounting Flame by The Mahavishnu Orchestra. This is where jazz meets rock: fusion. Also Bitches Brew by Miles is another landmark album that sold a ton. I like the one by Mahavishnu better though. This might be a tough album to really listen to, so if you have to pick one track, listen to "Dance of Maya" - it's pretty mind blowing and really shows off fusion at work. It's half jazz, then rock, then both. It's amazing.

Largo by Brad Mehldau. Mehldau seems to run the gamut and can play any style. He often mixes in a lot of current pop but with strong jazz sensibilities. Largo was produced by Jon Brion (Aimee Mann, etc.) and exists as a meeting of the minds between jazz and pop. He covers the Beatles and Radiohead while mixing in his own writing. "When it Rains" is instantly classic.

Raphael Saadiq - Oh Yes

Admittedly, I don’t know too much about Raphael Saadiq’s previous work. I do know that he was (and is, I guess) the lead singer for Tony! Toni! Tone! He has collaborated with several artists throughout his career including D’Angelo, Snoop Dogg, The Roots and more. But based upon an interview on WFUV’s Words and Music from Studio A, I wanted to give “The Way I See It” a listen. I was not disappointed.

The album is homage to 1960’s soul and Motown; genres of music for which Mr. Saadiq has an obvious love, but also mastery. Upon first listen, it wouldn’t have surprised me if I’d found that half of the tracks were written 30-40 years ago. That said, he has a few tricks up his sleeve that add a contemporary flair.

The disc opens with “Sure Hope You Mean It” – a jauntily-paced track that sounds like it could have been recorded by The Temptations 40 years ago, though Saadiq’s lyrical approach is modernized. Rather than a straight profession of love, he’s cautious about letting himself go; as he sings: “Don’t fool me baby/Sure hope you mean it girl.”

Other tricks that Saadiq employs include welcoming guest artists that add verve to several songs. Joss Stone guests on “Just One Kiss” and Stevie Wonder’s harmonica solo on “Never Give You Up” is soulful, fresh and fun. But the finest moment comes in collaboration with Jay-Z on “Oh Girl.” Hidden at the end of the album, this track is worth the price of entry. Between Saadiq’s soulful swoon and Jay’s hip-hop chops, this standout track is a meld of sounds both old and new. The result is a fresh new sound successfully intermingle both worlds.

Overall, the album hangs together well and makes for a laid back groove. There is a distinctly soulful vibe that is palpable, which Saadiq executes superbly. The guests add flavor too, but the main soul is all his own.

No Burritos for a Week

I think I'm beginning to feel the plight of my ancestors. We're now at day 6 of Passover and with 2 boxes of matzah down, I am craving a tasty burrito filled with guac, cheese, beans and the rest of the good stuff. In some ways, this holiday is meant to be celebratory, but I think I'll celebrate most when I can eat tortillas and tacos again! :)

Loose Boots, Tight EP

God bless the indie scene. If it weren’t for the emergence of the internet and subsequently access to independent artists and labels, I may never have come across honeyhoney and their EP “Loose Boots.” Though only 5 tracks long, the disc whets ones appetite for more from the songwriting duo of Suzanne Santo and Ben Jaffe.

Santo’s vocals, at once silken mixed with grit, deliver lyrics of immediacy and absolute directness. This girl’s got no time mess around, she’s straight up blunt and telling it like it is. “Little Toy Gun” (assumedly the single) leads off the disc and gets things moving. Lyrically aggressive, Santo seems to ponder a better means of break-up rather than the normal phone call, “I know you sat all alone so many nights waiting for me/Cold, your face like a stone I hang up the phone when we disagree/Standing there by my side when the fighting is done/Glaring at me in the light is my little toy gun.” The song feels somewhere between a Hawaiian surfing film and a car chase.

This is followed by the wild romp of “Give Yourself to Me.” After which, the duo slows it down for “Bouncing Ball” a track that allows Santo to stretch out and show some range.

But the highlight comes in the form of “Thursday Night” a relaxing charmer of a song. Fed up with the games lovers play, a frustrated Santo lays it on the line. “I’m sitting here with you tonight, you make an awful pretty sight and since it’s just us two tonight, I think that we should screw tonight.” It doesn’t get much more direct than that, but Santo’s delivery is so soft and smooth that unless you’re listening for it, you just might miss it.

Though only 5 tracks long, the EP is certainly worth a listen. The band has been signed to Kiefer Sutherland’s IronWorks label and a full-length album is on the way shortly. I. For one, will be looking forward to it.

Uncle Moe's

So I eat a lot of burritos. Just last week I was serving jury dury and there just so happened to be a Chipotle near the court house. In 6 days of service, I ate 5 burritos. They were all delicious and varied in meat, salsa and guac proportions. (I have yet to finalize a "regular.")

While most were at said Chipotle, one day I snuck off to enjoy a gut-stuffer from Uncle Moe's Burritos, located in the heart of Park Slope, Brooklyn. Uncle Moe's is an independent establishment specializing in gigantic burritos. How large are their burritos, you ask? Well, your average "California" burrito (check their menu for plenty of other option) necessitates not one, but two tortillas to ensure all the fixins and veggies stay in. Last week, I enjoyed a chorizo and portabella mushroom burrito topped with rice, black beans, guac, sour cream, cheese, lettuce and salsa. Dare I say, it was delicious. So delicious, in fact, I considered going back for dinner. I can't remember, now, why I didn't. Must have had an emergency or somethin'.

Hm. I think just writing this is making me jones for another one. I'll catch up with you guys later. I'm gonna go catch the F train. Laters.

No Duffy. I'm begging you for mercy.

So I listen to a lot of music. And while I wouldn’t always admit this (though I am on my blog, so go figure that out) I’m a pretty big fan of poppy/trashy/bubblegummy pop. Every now and then I’ll turn on VH1 to see what the latest trash is on the airwaves. I’ve come to enjoy such nuggets as Estelle’s “American Boy” or Charlotte Something’s “How I Could Just Kill a Man.” So light. So airy. So simple and poppy.

Recently though it brought me to Duffy’s smash hit “Mercy.” And I gotta say, sorry Duffy, I’m not buying it. Go beg someone else. I have no sympathy for overused, tattered lyrics that are just oozing with lame.

Let’s have a look, shall we?

The opening verse begins “I love you/But I gotta stay true.” Sounds like you’ve got some difficult feelings to sort through. You love the guy, but you’ve got to be true to yourself. Phew, that sounds pretty tough. (Yawn.)

A little further on she rasps “You got me good, just like you new you would.” I mean, is Ron Isley coming in for a guest appearance? I half expect him to show up and break into “Twist and Shout.” (Heard it before. Ready to change the station.)

But wait, she’s not quite done yet, she follows with “I don’t know what you do/But you do it well/I’m under your spell.” Really, Duffy? Really? I mean, were you listening to “I Put a Spell on You” before jotting down some lyrics? Besides that, it sounds like a pretty dire situation on your hands. You don’t even know what he’s doing to you, and yet he’s influencing your every move. I’ll bet he even commanded you to write this song. Yeah, that’s it. You didn’t even write this song. It’s him. He knows what you need. But he’s not giving it to you, just letting you complain about it to others while not letting go. Wow, so meta. (Yawn. Stretch. Yawn. Turn the dial.)

Not only have I heard these lyrics a million times before, but their overuse has rendered them lifeless, boring and just plain lame. And I wanted so badly to like this song. It's enjoyably simple. Sadly for Duffy, though, simple turned to lame real quick. I do hope, however, that she gets it all figured out with her man. Then maybe her follow up can start with lyrics like “I’m free to do what I want, any old time.” I mean, they worked before, didn’t they?