Robert Baird

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Robert Baird Posted: Feb 12, 2013 5 comments
So it’s Fat Tuesday, or mardi gras and while I have not had a Hurricane cocktail quite yet—old men need to keep pacing in the forefront of their thoughts—I have been listening to many of the gems of NOLA's glorious musical history.
Robert Baird Posted: Jan 30, 2013 Published: Feb 01, 2013 2 comments
Clifford Brown/Max Roach: The Clifford Brown/Max Roach Emarcy Albums
Clifford Brown, trumpet; Max Roach, drums; Harold Land, Sonny Rollins, tenor saxophone; Richie Powell, piano; George Morrow, bass
Mosaic MRLP 3004 (4 LPs). 1954–56/2012. Bob Shad, orig. prod.; Michael Cuscuna, reissue prod.; Ryan Smith, remastering. ADA.
Performance *****
Sonics *****

Trumpeter Clifford Brown's death in a car accident on the Pennsylvania Turnpike on June 26, 1956—his second wedding anniversary—set up an eternity of unanswerables headed by the belief, among many, that had Brownie lived, his star would now be as high as or higher than that of Miles Davis.

Robert Baird Posted: Jan 04, 2013 Published: Jan 01, 2013 1 comments
In a discussion about what their music is—and is not—Dave King, drummer for the Bad Plus, remembers opening a show for free-jazz patriarch Ornette Coleman at the New Jersey Performing Arts Center. After their set, the band joined the audience to watch Coleman.

"After the first couple tunes—and this was in a seated theater—I swear, half the audience had left. Fifty years into your career, and he's still making people want to check it out and then decide if they can take it. And that's every night, I bet.

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Robert Baird Posted: Dec 21, 2012 13 comments
Here in the age when rock stars like Jagger and Richards are not only still breathing, but are now turning 70—“I’d rather be dead than sing “Satisfaction” when I’m 45," Mick once said with a straight face
Robert Baird Posted: Nov 29, 2012 Published: Dec 01, 2012 4 comments
David Byrne & St. Vincent: Love This Giant
4AD CAD3231 (LP). 2012. David Byrne, Annie Clark, prods.; Patrick Dillett, John Congleton, asst. prods., engs.; Yuki Takahashi, Jon Altschuler, asst. engs. DDA? TT: 44:23
Performance *****
Sonics ****

The world's Web-based culture has progressed to the point that you don't need to be in the same room, or even the same general region, to be inspired by or collaborate with someone else. Ideas can fly back and forth for years across time and distance. By all accounts, the Internet played a key role in the creation of this sparkling and unexpected bit of funky world pop. This pair of wonderfully hard-to-define talents, who over a three-year gestation period seem to have found a glorious common ground for songwriting and harmonizing, has succeeded in fashioning an utterly original shard of brass-band-meets-layers-of-drum-programming, all of it overflown by the delicate voice of Annie Clark, aka St. Vincent, and the recognizable keen of the Talking Heads' former big-suited frontman, David Byrne.

Robert Baird Posted: Nov 13, 2012 0 comments
Humble, unprepossessing, modest are not words normally associated with lead guitarists, or lead singers, or lead anything. But Albert Lee, the Fender Telecaster devotee, has, by all accounts, always been refreshingly down to earth. The other unusual quality about Lee is that he's an English guitarist who, in country music, can hold his own against any American player.
Robert Baird Posted: Nov 02, 2012 0 comments
Albert Lee: Tearing It Up
AIX Records AIX 85054 (BD). Mark Waldrep, prod.; Mona Waldrep, exec. prod.; Dominic Robelotto, assoc. prod., eng., BD authoring. DDD. TT: 100:00
Performance *****
Sonics *****

"From a layman's perspective, I'd listen to the 'Audience' mix on my first bourbon and the 'Stage' mix on my second."

Ahh, yes, out of the mouths of . . . audiophiles . . . who like good booze!

Lacking a 5.1-channel surround-sound rig at home, I enlisted the able assistance of "Music in the Round" columnist Kalman Rubinson, who then convinced his son-in-law, Michael Schechter, source of the above quote, to host us for an evening of listening to and watching the Blu-ray disc Tearing It Up, a new set by the incomparable English country-rock guitarist Albert Lee, recently released by AIX Records.

Robert Baird Posted: Oct 10, 2012 Published: Oct 01, 2012 9 comments
It's the first rule of being a stereophile: sound quality is serious business. Simon Gibson, one of the engineers at Abbey Road Studios who worked on EMI's new Signature Collection of hybrid SACD/CDs, knows the drill: remaster and change the sound of a much-loved classical recording from the label's glorious back catalog and you risk becoming a target of blogs and forums. Gibson's aware that the more hallowed the recording, the more quickly knives come out at the mention of remastering.
Robert Baird Kalman Rubinson Posted: Sep 25, 2012 Published: Oct 01, 2012 1 comments
Patricia Barber: Nightclub & Modern Cool
Nightclub
Premonition 90763-1 (2 LPs). Patricia Barber, prod.; Michael Friedman, exec. prod.; Jim Anderson, eng.; Bob Ludwig, mastering; Doug Sax, mastering (LP). AAA? TT: 51:20
Performance ****
Sonics *****

Modern Cool
Premonition 90761-4 (BD-A). Patricia Barber, prod.; Michael Friedman, exec. & surround prod.; Jim Anderson, eng. & surround eng. Robert Gatley, asst. surround eng. ADD? TT: 67:49
Performance ****
Sonics *****

Much as the music world at large supremely values so-called original compositions (as if . . . but then that's a discussion for another day), it takes a special talent to make a song written by someone else—in common parlance, a cover—your very own. Take Burt Bacharach and Hal David's "Alfie," from the 1966 film with Michael Caine in the title role. Recorded for the soundtrack by Cilla Black, and later cut by everyone from Babs and Bill Evans to the Delfonics and Sarah Vaughan—not to mention a pair of laughably bad versions from Cher—the song is nothing if not overexposed. Bacharach's own soaring arrangement for the film sticks in the world's collective head. For lesser performers, that alone would be more than enough to keep them well clear of trying to cover it.

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Robert Baird Posted: Sep 19, 2012 5 comments
First, let’s talk about that voice.

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