What are you listening to tonight

[JemHadar]

Trent Reznor & Atticus Ross + Gustavo Santaolalla + Mogwai | Before The Flood

[PierreB]

Andrew Bird : break it yourself

[Still-One]

The Paper Kites - On The Train Ride Home

[crwilli]

Eric & Ulrika Bibb - Pray Sing Love

(Very beautiful music I stumbled on via ROON radio)

[PierreB]

Dan Mangan : More or Less

[audioguy3107]

David Bowie/space Oddity Parlophone LP

[PHC1]

[sandecker]

Emmylou Harris Wrecking Ball

https://m.bigdipper.no/vinyl/country...79-p0000071526

[PHC1]

This time, with tenor saxophonist Ernie Watts, pianist/arranger Alan Broadbent (both mainstays of the quartet), and drummer Rodney Green, Haden goes for a lush, all-embracing sound that suggests a warm, cozy mood that reflects a time -- which may or may not ever have existed -- when life was much less hectic. The recording largely pays tribute to the romantic balladry of the mid-20th century, and Haden's choices of both material and guest artists allow him to bring that concept to fruition gloriously. Diana Krall, leading the back-to-back "Goodbye" and "Wahoo," closes out the album: the first is a whispery take on the Gordon Jenkins number that served as Benny Goodman's theme song, and the latter an uptempo swinger written by Benny Harris. Norah Jones was a natural pick for a set that values classiness and sensuality, and her "Ill Wind," penned by Harold Arlen and Ted Koehler and arranged by Haden, exudes a smoky nightclub ambience, Broadbent's piano lending a blues touch to Jones' soothing delivery. Cassandra Wilson is another inspired pick, and her interpretation of Johnny Mercer's "My Love and I," bathed in strings and elegance, is a highlight of the set. The album's other vocal performances -- by Melody Gardot, Renée Fleming, and Ruth Cameron -- are also memorable, but not to be overlooked are the non-vocal tracks. Hank Jones' bluesy "Angel Face" is simultaneously sweet and melancholy, while Steve Khun's fiery "Today I Am a Man" is the swingingest number here. And of course, Haden couldn't very well title his album Sophisticated Ladies without including Duke Ellington's "Sophisticated Lady," which matches Watts' bold saxophone licks to another luxuriant orchestration. Sophisticated Ladies does fall just short at times of mimicking a brand of saccharine faux-post-big-band jazz that flourished in the '50s and early '60s, but Haden and his team are too masterful to allow their tribute to lose its stylishness and, of course, its sophistication.

[PHC1]

Increasingly mired in nostalgia, Charlie Haden's Quartet West plunges further into the dream world of old movies and postwar domesticity in this down-tempo album of ballads, this time with the vocal help of Shirley Horn and Bill Henderson on four numbers apiece. But if you must find a focal point, this album is mainly a showcase for the string chamber orchestra arrangements of Haden's pianist Alan Broadbent, who has turned in far more imaginative charts for this group than the velvety muzak heard here. Even classical piano pieces are fair game as Broadbent produces mournful orchestrations of Rachmaninoff's Moment Musical Op. 16, No. 3 in B Minor and Ravel's Prelude in A Minor.