A rewarding collaboration, if you give it some time
585109
If you're new to Alela Diane then you probably don't want to start with this album (go chronologically, or at least start with To Be Still). Cold Moon, on many tracks, is an excellent evocation of a Pacific Northwest fall/winter: cool, introspective, with muted colors, thoughts of death, and moments of stunning beauty.
I didn't start to really love this album until I'd listened to it 15 times, so give it a few spins in a nice quiet space.
I would recommend buying the vinyl as it comes with a download card (which I lost) and it sounds gorgeous on a stereo.
1571482
Give it a try, you'll probably like it. . .
119154
Nice album. The song selection is eclectic. The band is obviously having a good time. So, for you "life-long" fans who rate this one or two stars because it isn't what they expected, I have a few simple words, "get over it. A Cd of new material will emerge soon enough and you can be happy again." Really, is life so short that we can't permit a long-lived band an opportunity to record a collection of songs that particularly appeal to it? A couple of reviewers have remarked that is essentially sacrilegious to do a cover of a song that is "owned", that would be musically and not legally, by another artist. I couldn't disagree more. I love a new take on a classic song. Sometimes it'll work and sometimes it won't. Similarly,the re-working might appeal to one person and not another. Whatever, I say, give it a try and we'll give it a listen.
4700616
We are having a great time doing this program! This isn't instant gratification, but if you practice it, it is amazing!
589366
This 80-minute long album is a Morton Feldman-like exploration of time, where quietly over the stretch of time five musicians improvise, adding notes and phrases in harmony or in contrast or in commentary. The instrument that commences the enterprise after 3-minute piano percussive introduction is a Korean haegum, a cousin of the Chinese erhu fiddle, which is played by Soo-Yeon Lyuh. The deeper string sound is from the cello of Danielle DeGruttola. Discordant piano chords arise soon; and they come from Tania Chen. Further percussion is the art of William Winant. Finally, Henry Kaiser plays his various guitars, from 13-string acoustic harp guitar, to several electric guitars, to 6-string acoustic bass, and a 7-string electric. Not much happens that the listener can chew on, which is the point: as the "Chapel" in the album title suggests, this music is the background or focus of a meditation. In Zen meditation, the teacher will tell the student that if she becomes bored, she should continue for another 30 minutes, and if boredom persists, then maintain the practice for another 30 minutes; eventually boredom will depart and everything will become first interesting than finally perceived just as it is. This album may drive the impatient up the wall, but without thinking about it and just letting the sounds flow, the music may become witty and then, about after 1/3 into the single track, somewhat noisy and energetic. Toward the end, with Winant's bells and the guitar's metallic glissando, and the haegum's sirened string slides, the piece becomes wildly interesting and encompassing. There is no plan to this album; it is stream of consciousness and gestaltic interplay. Continuous but numbered sections would have been useful. The cover photos are of a typical Korean temple and the bold psychedelic designs continues within, in coffered ceilings. The wood art on the wall of the recording studio is similar to the works of Joo Carlos Galvo (though not by him). The album title, Megasonic Chapel, is based on the recording studio, Megasonic Sound, Oakland, CA. Musically, the album is a mess of self-indulgence, but in context of a spiritual listener, then function becomes key and reason emerges from madness.
771048
Having only just started listening to Erik Wollo's music a couple of years ago, I have really come to appreciate his creative genius and enjoy listening to his music! His brand new release, "Earth Luminous" produced under the Projekt Records label, a Portland, Oregon-based independent record label, is collaborative effort with Byron Metcalf , an accomplished drummer, percussionist, recording artist and record producer, with over 40 years as a professional musician. Thus far, I feel that Wollo's collaborative efforts have translated well. However, I felt that here on this album, Metcalf's percussion was a little heavy handed. It sounds at times, that Metcalf's work takes the forefront and dominates the compositions.
What would have been a better choice would be to have lighter percussion, just as a backdrop and for punctuation to Erik's music. Perhaps Erik wanted to give more of a chance to let Mecalf's percussion shine, but it does not work very well. Metcalf's percussion overrides and it far too heavy.
But, the album is still enjoyable and is worth a listen to! Just not one of Wollo's better collaborations.
1364876
"Tempest" is quite a good album, but it took me about a year to warm up to it. Usually Bob's music gets through to me right away, but things have changed. I've always defended his singing voice, but he's getting on in years and his voice demonstrates that. I usually would have reviewed this soon after getting it, but the first few times I attempted to listen I just couldn't get through it. So I put it aside and forgot about it until tonight. And my verdict is that it's worth owning, and worth the time it takes to warm up to it. Maybe it's just me. Maybe YOU will love it on the first listen.

The lyrics are still up to snuff. Take your time and enjoy it.
206515
Flower With No Color, a collaboration between Yoshimi P-we from the Boredoms and Yuka Honda from Cibo Matto, represents a triumph of concept over content. In theory the idea of two musicians packing a bunch of gear and some wine into a truck and recording songs as they drive up a mountain holds a lot of promise. In practice, however, the project is little more than an exercise in self-indulgence.
The songs often meander too much like the streams that the pair probably encountered on their way up Mt. Ikoma. There are neat effects here and there (the singing on "Ha Wa ii Na"; treated gongs on "UMEgination"; the twittering birds throughout), but Yoshimi's and Yuka's journey turned out to be more interesting than their musical destination.
They use bells, cymbals, xylophones, pianos, samples, vocals, wood blocks, guitars, drums, trumpets and nature sounds to create a mix of free jazz, electronica, New Age, and traditional Japanese music. But they don't dig into any of these musical styles enough. "SPY said ONE" holds the most promise, starting off with some cool, jazzy interplay of guitar, bass, trumpet and samples. But the song drags on for nearly 10 minutes, devolving into noodling, dogs barking and silly vocal manipulations. The New Age material is disjointed and would never provide the relaxation that so much music in that genre offers.
Listening to this album, I thought back to a two-man project called Bus Full of Witches that I did as a joke nearly 20 years ago (boombox recording with guitars, basses, drums, basketballs, power drills, hammers, etc.). Flower With No Color is better than that effort, but was created out of the same need to satisfy an experimental jones without concern for the experience it would give listeners.
Dave Brigham
Junkmedia.org Review
2888733
This album, recorded in June 1963, was Joe Henderson's (tenor sax) first  recording as a leader for the Blue Note label, and features Kenny Dorham  (trumpet), McCoy Tyner (piano), Butch Warren (bass) and Pete La Roca  (drums).
Half of the material here, although very enjoyable to listen to,  is not as inspired as we might expect considering the personnel at hand.  One of the problems is the relatively short duration of most of many of the  solos herein, denying the improvisor the opportunity to explore and develop  a myriad of moods and dynamics - a crucial element of any purposeful,  emotional offering.
So let's say that none of the performers is  consistently at their best in this session, yet there are at least two  works here of great significance - 'Jinrikisha' and 'Out Of The Night'. The  other stuff is good, but these two are great.
The recording quality is  good.
Blue Bossa - This popular Kenny Dorham jazz standard is heard here  with the original composer present. Unfortunately, the rendition is quite  uninspiring. The solos by Kenny, Joe, McCoy and Butch are straightforward  and less inventive than elsewhere in this album.
La Mesha - Another  Dorham original, this soulful ballad contains some nice harmonies in the  head. Joe solos first, and is rich and colorful in his execution. Kenny  follows with a clean, sensitive yet somewhat unemotional display. McCoy, as  he often does, plays the standards and ballads in an unoriginal, yet  polished fashion, and his work here is no exception.
Homestretch - A  hard-bop number by Joe, this piece swings real hard. The head is sharp and  choppy. Joe goes first, reeling out a brief yet energetic solo. Kenny and  McCoy follow with very brief and uninspired solos. They trade a few fours  with Pete, then out.
Recorda Me - This popular Henderson composition  features a catchy head in a medium tempo straight 4 feel. Joe takes honors,  and besides a few bright spots, is rather uninspired. Kenny and McCoy,  although pleasant in their solos, don't break any new ground on this one.  Pete and Butch are equally subdued.
Jinrikisha - This medium tempo swing  piece, written by Joe, has a fresh, cool feeling to it. Joe comes out  swinging in his solo, and for the first time is this session, we hear some  of the soulful lines that define Joe's original style, still emerging and  maturing at this date. Kenny seems to struggle with the chord changes a  bit, but swings nicely. McCoy is finally coaxed out his shell a bit - just  enough to allow us to recognize him as the session's pianist.
Out Of The  Night - Another relaxed, cool composition by Joe. The head, shared by Joe  and Kenny, is witty and nice. Kenny has a short, reserved solo, followed by  Joe's most inventive and emotional display of the session. McCoy, too,  performs his most purposeful improvisation of the session here, yet only  hinting at his true identity. Butch gets a solo of his own, and is up to  the task.
Although not consistently rich and pure, this is nonetheless a  very good album, and a pleasure to listen to over and over again. There's  no gimmicks, no clichs, just a very nice jazz album that would fit  comfortably in most collections. If you're looking for some real serious  Henderson, I recommend most highly his fourth, and perhaps his best Blue  Note, 'Inner Urge', as well as 'In 'N Out' and 'Mode For Joe'. (I've never  heard the very rare second Blue Note, 'Our Thing').
1954598
This is an album best experienced a little at a time--like one track per day. The compositions as well as the chord choices, their voicings, and  Marian McPartland's piano touch could of themselves produce a savory, highly satisfying result. It's certainly not hard to understand the genesis of n project like this--Marian's playing is frequently suggestive of a string section playing, for example, the impressionist music of Debussy ir Ravel.  But, if anything, this recording proves that too much of a good thing can be of less interest than too little.

With the exception of the haunting and truly lovely "Time and Time Again" none of the performances resonates with the complex depth and shimmering sublimity that made Shirley Horn's "Here's to Life" a compelling experience from start to finish.  For that early 1990's album, Johnny Mandel drew upon all of his resources to construct an "orchestral screed" that would complement, rather than replicate or obfuscate, the contributions of Horn's piano trio.  That is not the case with "Silent Pool."  As professional as the arrangements are, the strings are simply rich to a fault--thick, omnipresent, inescapable. After the first 10 or 15 minutes, a sense of sameness and boredom is pervasive.  The listener longs for more spaciousness, lighter textures, more of Marian's piano.

This is a project that probably required either a more "baroque," "Third Stream" approach or the rare skills and experience of an orchestrator like Mandel.  On the other hand, when the tracks are attentively listened to one at a time, with a day's space between each, I find that my engagement is more wholly satisfying and even memorable.  Were I to submit 12 reviews--one for each trac-the tabulation of the rating for each track would no doubt raise this ambitious, well-executed project into a zone between 4 and 5 stars.
3901701
There is something utterly mesmerizing about 'the minutes'. A breath of fresh air.
When I got my signed copy I sat and listened intently...it is a great achievement.
I do feel at times it's a tad overdone/heavy handed with Sigsworth's 'signature'.
Don't get me wrong--it's a fantastic collaboration, I just wish a bit more subtle on Guy's end and a bit more Moyet.
It could just be that I have a strong preference toward the less noisy and subtle; although I do love the 'cinematic sweeps' and the different feel of these songs.
There are parts of every song that are pure perfection and some perfect all the way through.
And as always, her voice and lyrics are amazing. Just amazing.

<a data-hook="product-link-linked" class="a-link-normal" href="/the-minutes/dp/B00CFYD682/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">the minutes</a>
3500490
Two very fine guitarists collaborate and are in complete sync with one another.  Without a rhythm section, the overall feel of this CD is reflective and tranquil, even where the playing is very energetic.  This might not be for everyone and certainly isn't for every occasion (for example, if you're trying to pump some energy in a room).  But for some reflective time with some excellent guitar work that's too well composed and played to qualify as "background music", this will hit the spot nicely.
4848733
Once upon a time there was (and, for all I know still is) a rock group called "The Rock Bottom Remainders".
They were either a mediocre band who couldn't hold a candle to groups like Aerosmith or the Stones, etc., or a surprisingly good band considering their make-up which consisted, not of professional musicians, but of the likes of Stephen King, Amy Tan, Ridley Pearson, etc.

In short they were some of our best writers relaxing and having fun.

When they do this with their writing skills, you get books like "Naked Came the Stranger", "The President's Murder Mystery", and many others.

Books with a "gimmick" written to have fun and, not incidentally, raise a little money for some worthy cause.

Sometimes it's a novel wherein each of several authors takes a chapter; sometimes, as Donald Westlake and Brian Garfield did a number of years ago, it's a pair of authors alternating chapters (and trying to put each other in untenable situations).

And, sometimes, it's a collection like this one where two authors "collaborate" on a short story containing one or more of each one's continuing characters

I LOVE these kinds of books.

As one would suspect, none of the authors are at their peak, but, because they ARE pros, and good ones, none disappoint, either.

I suspect every reader will have his/her own favourite story, based on their own taste in writers. Mine is the first because it has "Patrick Kenzie", but I'm also fiercely partial to R.L. Stines collaboration with the team of Preston & Child.

NONE of the tales are less than competent, and a few approach (semi) greatness (in a fun sort of way)

Indeed, the only quibble I have is that, contrary to the claims on the cover, the concept is hardly unique (at one time I had a collection approaching 3 figures). But, that's actually good news, because if you're like me, this volume can be the beginning of a beautiful friendship.
424203
I'm going back and upgrading my rating after three weeks based on having had a little more time to sit with the album. I have enjoyed the recent flood of talented female artists sharing their unique voices from Amy Winehouse to Sara Bareilles to Colbie Calliat. I agree with one of the recent reviewers that this album suffers badly from overproduction and perhaps doesn't compliment the talent of the amazing vocal talents of Alison Sudol. At times it still seems as if she's struggling against the background tracks to hear herself in the recording studio making it hard to really get into it. However, on a few tracks especially "Lifesize" and "Ashes and Wine" her sultry and slightly bruised vocal style really comes through. This is still a welcome addition to the genre. Hopefully the next attempt will really let her obvious talent come through.
800637
If you're into experimental, atmospheric, soundtrack-to-a-movie like music, you'll probably enjoy this CD. With a little bit more musical direction, this band could be really good (not that they're not talented by any means). It just seems that some of their songs, oddly enough, could be longer or the ideas in the songs could be fuller. I dunno, somethings just missing. But these three guys really illustrate an environment with their music which is pretty cool because its ONLY three guys switching between multiple instruments mid song. Slide guitars, harmonica, native american like drum beating. You can almost see the cacti and tumble weed.

I would venture to guess that these guys are influenced by Godspeed You Black Emperor, and F#A# infinity might have been inspiration for this album, what with the western style instrumentation (Dead Flag Blues). But I don't want to make a definite connection between the two, aside from both of them being instrumental and their music being very soundtrack-like.

Curiosity got me to buy this CD. And for what it's worth its a good album. Not ground breaking, not a must have, but it is enjoyable.
3330614
Bartolome Mesa Gil has said much of what I was going to write about this album, so I won't repeat it all. The essence is this: Bartoli is brilliant, singing with wonderful technique, exceptional beauty of tone and true engagement with the text and music, and the disc is worth getting for this alone, I think. The music itself is variable in quality, though, and I find the disc as a whole begins to pall after a while. This means that this isn't in the same class as Mission, for example, simply because the composers here generally aren't as inventive and skilful as Steffani.

I won't be playing this nearly as often as some of her other discs, but if you like Bartoli's work (as I do) then this is still very recommendable.
4935031
Metropolis Records has a lot of great acts and they sometimes fall through the proverbial cracks in the new and improved market. This sometimes means missing out on one or two songs or, in a worse way, missing out on the career of a stellar band. I personally find that a horrific idea, and moreso when it comes to a band like Mesh or someone else I might not have heard of. Regardless, you might find something good here and, if you are one of those who does not like parting with a lot of change because you want to sample, this is a way to do it. You see what they have and what they represent.

In the past, the samplers had some new stuff but the stuff here is more of a remix quality than anything new that you get. Still, you do get the newest albums to try out, and that can be nice. I personally like a lot of these bands to begin with, and the beat and the change-up is something you cannot argue with. You have the vocal bands, the bands with beats, the EBM bands, the ones with harder motions, and the bands that live on the outside. You do not go overboard, thank goodness, but you still get a lot to see and to sample - and that works out well. I have listened to this a lot and, well, it is nice.

This is a digital only pick-up, which is interesting considering that this is one of the first times in a long time i have seen a pure sampler from Metropolis Records. Informatik's song, Something to Believe In is a new track here, if you are a fan looking to complete to get something new, too. Other tracks have remixes nto available here and there, making it nice, but i mainly got this for the one song. The rest was just a bonus, preparing the new albums. IF you want to sample, this is perfect. If you know the bands, pick and choose a few to get complete sets.