The Supper Table

From the inner jacket: The Liquid Crystal Project is a figment of J. Rawls imagination. For a long time, I have had this vision of a different type of jazz and hip-hop fusion.  I like to call this version, Jazz-hop, because it is jazzy with all the elements of hip-hop inside it.  It's most evident in the drums!  The boom-bap of hip-hop from (sic) is present.  Put those two together and it's so right! This is something for the thirty-something cats that yearn for a more mature music. We grew up on hip-hop and live for the boom-bap, but we don't really have any tolerance for the nonsense most rappers are talking about today.  This is for the hip-hop connoisseur that can appreciate good hip-hop merged with a touch of jazz. I would like to welcome you to my imagination, jazzhop; THE LIQUID CRYSTAL PROJECT! This is an album made for the cd format.  It's a great listen from beginning to end, mature hip-hop, spring music that makes the need for gett...

I borrowed this CD from the Seattle Public Library and became obsessed.  I listened to it repeatedly until it was due, rechecked it and listened until I had no choice but to return it.  I then went in search of it on vinyl.  I searched for a year and a half, and finally found it for $75 through a mail order record shop.  Just as I had convinced myself it was worth it, I found it for $15.  I love this album.  It's soulful, jazzy, touching and sweet with just the right amount of schmaltz.  It's Betty Carter's recording debut, and her voice with Ray's is amazing. Ray Charles and Betty Carter side 1 1 Ev'ry Time We Say Goodbye 2 You and I 3 Intro: Goodbye/ We'll Be Together Again 4 People Will Say We're in Love 5 Cocktails for Two 6 Side By Side

Roberta Flack's "First Time I Ever Saw Your Face" was a ubiquitous part of my childhood.  One of those songs that played so constantly, in so many random places, that it had become part of the background, like muzak.  I had stopped hearing it, I'm not sure if I had ever listened to it.  And then I did.  It's so much better than I ever realized.  The entire album is a collection of beautiful and subtle work.  Roberta's voice is wielded like an instrument, both brass and string, woven into the fabric of the music instead of rising above it.  Ron Carter's bass work is amazing, huge and spacious.  His work on "I Told Jesus' along with the strings and horns make the traditional number timeless. Roberta Flack First Take Side 1 Compared to What Angelitos Negros Our Ages or Our Hearts I Told Jesus

The first radio show I had in college was a jazz show. At the time I really knew nothing about the music, just a few names. Every week I would pull records for a few hours, mostly based on familiar names and album covers, and then I would spend a few hours listening to tracks. As my knowledge and the show evolved, Charles Mingus' Better Git it in Your Soul became my opening song, my theme song in a sense. It feels like church gospel, on your feet hands clapping, head dipping to the beat. This song was my door way to Mingus' work, and through him to people like Eric Dolphy and Booker Ervin. It is because of a growing love of Mingus that I sought out Money Jungle, and took a deeper look at the life and work of Duke Ellington. It all started with the first track in this entry. Charles Mingus Ah Um side 1 1 Better Git It In Your Soul 2 Goodbye Porkpie Hat 3 Boogie Step Shuffle 4 Self-Portrait In Three Colors 5 Open Letter to Duke

I am generally ambivalent about live albums. They don't often offer enough to distinguish them from their studio antecedents, beyond audience applause, and lack the energy of being present. Nina at Newport is one of those exceptions. Little Liza Jane is infectiously energetic. I can't listen without imagining women catching the holy ghost around me, and You'd Be So Nice to Come Home To is a career making song, that almost no one has heard. I'm not sure if she ever recorded this in the studio, but her performance makes it feel like a Nina standard. I was single the first time I heard this song, it was winter, and this song made me wish I was in love and had someone for whom to play it. The long piano intro giving way to "you'd be so nice to come home to," and all I could think was, 'that's what I want.' So straight-forward, so simple, love is always so much easier in song. Nina Simone at Newport side1 Trouble in Mind Porgy Little...

I was hanging out with my niece recently, talking about music. She has a thing for what she calls 'old music' which basically means soul music from the late 80's early 90's-- which makes me feel dated since that's music from my high school and college days. There had been a time when my niece and nephews were young and I tried to influence their tastes in music and literature--mostly the graphic literary form known as comics-- and then I gave up. It's difficult to fight against the sludge tide of popular, trite top 40 pop. Although comics finally took a hold of my youngest nephew's imagination, music was always a more difficult sell. In our conversation I realized that perhaps, as one does with a beloved but slightly addled older family member, they just simply ignored my suggestions as the crap old people sometimes say. It's possible that she could listen to some of my suggestions with something like an open mind now. I remember discovering m...

Continuing in the vein of Duke albums that proved his relevance, beauty, and power to me after I had long considered him an irrelevant quaint musical relic, I present Duke and Trane. There's something about the Duke in these small band settings that makes his power immediately apparent, in ways that are somewhat masked in the big band setting. Bon provecho. Duke Ellington & John Coltrane side 2 My Little Brown Book Angelica The Feeling of Jazz