Tracklist:

Liquid Smooth • Wife • Abbey • Brand New City • Eric • Bag of Bones • Door • Pearl Diver

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Katharine McPhee - Night and Day

Someone being like "You must be very into death metal and heavy rock, right ?" To Alucard and Alucard just stares at them and puts on a vocal jazz record and he's just like "Ahh, yeah, that's the stuff."

It's Always You (1954)

Chet Baker

Chet Baker Sings

Renato Carosone - Mo vene Natale

It’s been awhile for a random vinyl shelf pull…

Billie Holiday “Commodore Classics (1939-1944)” 1988

I’m 1939 Billie Holiday had an amazing song in “Strange Fruit” but her label at the time, Columbia, wouldn’t let her record it. They felt it was too controversial so they allowed her to record it for independent label Commodore Records. Turned out to be the most important recording of her career. Probably of anyone’s! The rest of the album is mostly slow standards (but there’s a couple of uptempo tracks in there).

Sarah Vaughan with Count Basie orchestra, but without Count himself. Playful and smoking session!

🎸Magic at your fingers: Guitar is the portable instrument you can take anywhere! Surprise your sweetheart with a new guitar...

www.reverb.com/shop/jamesguitarshoppe

Tracklist:

before • scrapbook • rapid_data_transfer • nightspread • glide & survey • simple geometry • cryptocrystalline • incision • incarnadine • tetractys • unknown • mono • catalyst • the insides of tears • flying • microchip • infirmary • liquid • bloom • icosa • tetrachromacy • monostich • galva • calc acerbia • bumbledom • volatil • zelotypia • dynam • pendant • trifecta

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1957 wife and husband vocal jazz duet (sung by Martha Davis and Calvin Ponder) with piano and backing band, originally composed by George Gershwin and lyrics written by Ira Gershwin in 1933

i’m an unemployed sweetheart, lee morse (1931, 2018).

i’ve got kisses, i’ve got arms still i’m always blue ‘cos my kisses and my arms have no work to do

166: Roberta Flack // First Take

First Take Roberta Flack 1969, Atlantic

I was never fair to Roberta Flack. Up until a few years ago, I dismissed her as a Black Carly Simon, emblem of that blandly textured early ‘70s AM radio singer-songwriter style that has always made me cringe. (Is there some latent sexism in that posture I should be re-examining? Yes, probably, but one thing at a time.) This turns out to have been a clownshoes take, as anyone who has listened to Roberta Flack’s majestic First Take could’ve told me. Flack, it turns out, is a devastating singer and pianist who effortlessly draws together the worlds of hard bop, soul, singer-songwriter folk, and musical theatre. She is certainly a softer touch than Nina Simone or Aretha Franklin, but the power of her voice commands a similar respect from the players around her, who give her all the space she needs to float into the lyrics, which she has a way of singing as though the words have just come to her in a dream. She leads a masterly quartet, with Ron Carter (of Miles Davis’s second Quintet and 2,220 other recordings) in particular really digging in on bass—to the extent this can be considered a soul record, it’s in the dialogue between Flack’s vocal and his deep grooves. All in all, First Take is one of the finest albums of 1969, and I’m an ass for having doubted Flack’s quality—but a world that permits anything as lovely as her “Angelitos Negros” to reside in it is making at least a tacit promise of a great forgiveness to come.

166/365