Oliver Nelson Plays “Stolen Moments”

Oliver Nelson Blues and the Abstract TruthListen to this track by jazz saxphonist, arranger, and latter day TV soundtrack composer Oliver Nelson. It’s “Stolen Moments”, an established jazz standard covered by many since, and the centerpiece to his celebrated 1961 album The Blues And The Abstract Truth.

Nelson is joined on this song by a selection of some of the greatest musicians in jazz at the time; Paul Chambers on bass, Roy Haynes on drums, Eric Dolphy on flute, Freddie Hubbard on trumpet, and Bill Evans on piano. Nelson’s septet is rounded out by George Barrow, who holds down the low end on baritone sax, even if he doesn’t take a solo. With this tune, it’s the voices of the horns working together to bring out the harmonic beauty found in the theme of the song that makes it such a work of note.

Much in the same way horns would be tightly arranged later in the decade on significant jazz releases like Lee Morgan’s “The Sidewinder”, and Horace Silver’s “Song For My Father”, the horns here on this piece are interlocked in the same way they are on a lot of R&B tunes. Perhaps this sheds some light on where Nelson had come from as a musician, and perhaps pointed to where he was going, too.  (more…)

The Sea & Cake Play “The Colony Room”

Oui The Sea and CakeListen to this track by pop and jazz-inflected concern from Chicago The Sea & Cake. It’s “The Colony Room” as taken from their fifth record Oui released in 2000.

The Sea & Cake is something of a supergroup of sorts with each member stemming from local bands on the Chicago scene, including Archer Prewitt of the Coctails (guitar, vocals), Sam Prekop (vocals, guitar) and Eric Claridge (bass and synths) of Shrimp Boat, and John McIntire (drums) from Tortoise. The album was something of a comeback for the band, since all of the members had side projects to pursue after their last one from 1997, The Fawn. 

But, what did all of those projects bring to this song once The Sea & Cake reconvened?
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The Delete Bin: 10 Highlights After 1000 Posts

I can’t believe it. But, you are reading the 1000th post of this blog.

The Delete Bin started in its first incarnation in 2003, and petered out. Then I revived it and relaunched it on December 18 2007. It’s been going strong since with at least two posts a week. For those of you who have been around for that long, thanks for still following along. This blog wasn’t always in the format that it’s in now. It actually wasn’t always a music blog, exclusively. But, as things sometimes unfold as they need to, this blog became what it is pretty naturally anyway. And there have been some highlights.

1000 posts

Not all of them have equalled to worldwide recognition. Actually, no one post has done that just yet. But, there have been little events that stand out in my mind that have helped inspire me to continue to pilot it, beyond my need to write about the music I love for just the sheer joy of it, of course. As is my custom here, I’ve chosen 10 such highlights that stand out for me as being milestones in the life of this blog, The Delete Bin. Here they are!

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Radiohead Play “Paranoid Android”

Radiohead Paranoid AndroidListen to this track by game-changing rock quintet from Oxford, Radiohead. It’s “Paranoid Android”, their epic-scale and time and tempo shifting song as taken from 1997’s OK Computer.

The band had its work cut out for it after having put out their preceding record, The Bends. That album had them finally finding their voice after a debut that showed promise, if not polish. The trick with following up an identity-solidifying record is that there’s not a lot of room left to go, other than reproducing it for that difficult third album. But instead of playing it safe and making The Bends 2, Radiohead did one better with OK Computer. In addition to sounding as cohesive as its predecessor,  it served as a post-Brit pop statement that stood as something of a challenge to their peers.

And “Paranoid Android” helped to lead the way into a sound that fit with that sound they’d established, and yet showed something of an evolution, too. This is something of an irony when you consider the sources of musical inspiration that helped to shape it. (more…)

Boards of Canada Play “Dayvan Cowboy”

Listen to this track by Scottish downtempo post-rock duo, and National Film Board obsessives Boards of Canada. It’s “Dayvan Cowboy”, a track that appears on their 2005 album The Campfire Headphase as well as the follow-up EP that appeared the next year, Trans-Canada Highway.

Boards of Canada The Campfire Headphase This track was the lead song of the whole record, released a few weeks before to give listeners a taste of what was to be the band’s third release. With their previous releases, they’d become known for heavily treated instrumentation that obscured the original sounds of the instruments used to create the parts.

The result was pure analogue electronic texture that translates into warm atmospheres with a sense of spaciousness, and an ineffable nostalgia for the hazy memories of childhood. That’s their genius.

But, on this track and on many of the others, they changed their tack a bit.
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Sandy Denny Sings “It’ll Take A Long Time”

Sandy Denny Sandy 1972Listen to this track by former Fairport Convention front and paragon of British folk-rock Sandy Denny. It’s “It’ll Take A Long Time”, the opening track to her 1972 album, Sandy, her second solo album.

This record would feature a few of her former bandmates in the Fairports and in Denny’s follow-up band Fotheringay, including her soon-to-be husband Trevor Lucas in the production chair, violinist Dave Swarbrick, and Richard Thompson (who you can hear very prominently on this track) on guitar. All of the mojo that everyone brought to those classic Fairports records of the late 1960s can be found here. Further still, we get Sneaky Pete Kleinow on pedal steel, adding mellifluous texture to this song in particular, and Allen Toussaint who served as an horn arranger elsewhere on the album. That’s quite a supporting cast!

But, no one outdoes Sandy Denny herself on this record which is quoted in many places as being her solo masterpiece. This is particularly true on this song, which has always been one of my favourites. Beyond Denny’s undeniable voice that seems to hold an ocean of feeling under each note as she sings it , there is a lot going on thematically in this song that reveals another of her skill sets.
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Interview With Craig Northey of Odds: Someone Who’s Cool

Listen to this track by Vancouverite power-pop poobahs Odds. It’s their arguably best-known hit song among other well-known radio favourites, “Someone Who’s Cool” as it appears on their 1996 album Nest.

That record marked the end of an era for the band, the last of their releases that included guitarist-singer and songwriter Steven Drake. After this, the band went on hiatus for a period, with solo careers, collaborations, and other projects with each other, and with members of other bands .

But always being hard-working and fiercely local in their emphasis, they came together again at the end of the 2000s, sans Drake, but with a seemingly undiminished capacity for  writing and performing hook-laden songs that sound joyous yet are laced with bitter acrimony and black humour.

Odds_0512 (credit-Cole_Northey)

Odds today (image: Cole Northey)

Singer and guitarist Craig Northey takes lead vocals on the lion’s share of the band’s material these days, although this one was always a highlight for his voice, and a great example of his ability to make self-deprecating humour and subtly tragic overtones into something to which everyone can sing along with gusto. It helps that he is part of a band that is still as passionate about live playing as they ever were, giving audiences that very opportunity.

Their love of playing for crowds stretches back to the time when they played hard nearly every night on the local scene to hone their craft and fund their ambitions to continue to record their own original material, which they’d written even before they served as house band under a different name at Vancouver’s The Roxy. And it’s good that they did, considering that many of their songs, including this one, has become such a vital part of the Canadian pop music continuum.

I had the tremendous pleasure to speak to Craig Northey through the magic of email about this song, about their roots as a west coast band, and about karaoke, too. Here’s what he said.

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