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NEW VAN MORRISON!!


jazzkrow

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Well the wait is over-and am I pleased with Van's new cd- "What's Wrong with This Picture"-just out today.

It's got the classic Morrison recipe mix- some blue eyed soul, bluesy horn riffs, his "leave me in peace" biting social commentary-I've always loved Van and this cd does not disappoint-at least to this Van fan!

The formula may be repetitive-but it always reachs me happy, refreshed, and eagerly awaiting the next one. He just does it for me-hopefully for all you Van the Man fans, it will fit the bill as well.

And without Norah's $ filling the Blue Note coffers, Van and Al Green would be scraping for decent recording contracts. Thanks, Norah... :D

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Haven't heard it, may never, and it may turn out to be a mini-Van, but the cover is more like an old Prestige (strangely I'm reminded of MGM - could be an old movie poster [maybe Man with the Golden Arm]) regardless of the Swing and Soul ref.

At least that's the way I see it.

Could I have used more punctuation in the first sentence?

Edited by Chuck Nessa
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One star review in Mojo, a magazine that normally errs on the side of generosity in its reviews.

Just read the review, and they're not far off the mark IMO. When I first heard a few snippets it didn't sound bad, but the more I heard the less I liked it.

Edited by J.A.W.
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  • I gave it a listen and I'll tell you what's wrong with this picture, it's an insult to Blue Note's illustrious past (but, of course, not the first one). A very uneventful (i.e., boring) release, IMO. If it is any indication of the new, Norah Jones-ed BN direction, I think there will be a lot of disappointed old devotees out there--and, I'm sure, some new ones with less demanding ears.

    At best, some of the blues/r&b tracks are ok--that is to say, pleasant enough, but this is, basically, shallow commercial faux music.

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Haven't heard it, may never, and it may turn out to be a mini-Van, but the cover is more like an old Prestige (strangely I'm reminded of MGM - could be an old movie poster [maybe Man with the Golden Arm]) regardless of the Swing and Soul ref.

At least that's the way I see it.

Could I have used more punctuation in the first sentence?

Let's see...

Haven't heard (it), may never (hear it, that is...), and, it - this album - may, MAY (and I stress "may", with good reason, in my opinion) turn out to be (a) mini-Van, but it (the cover) is more like an old Prestige (strangely I'm reminded of MGM - (could be an old movie poster) [maybe Man with the Golden Arm]), regardless of the Swing, and Soul, ref.

At least, that's the way I see it.

If you don't try, you'll never know...

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I GUESS I AM IN THE MINORITY HERE, BUT...

I DO like this new release-Van's lyrics for me are not the attraction-it's his music, the blend of horns, strings, the feeling his voice gives off. The "soulfullness" I pick up. For me it is "comfort food." I need that in these stressful times.

Maybe that is why I've never been a big fan of vocal jazz-give me the music! I'm always waiting for the vocalist to step aside, and let Johnny, Ben, Brownie, etc. step up to the plate!

Van has become predictible to some extent-but for his music, which I find that few others in the blues/soul field, bring to the table, I am appreciative.

Maybe he is like your favorite uncle you grew up with-in that he is predictible, but DAMN, you sure like having him around and would be so sad to see him gone!

Any other Van fanatics around here-that feel the same way? Or are we holding him to a stronger standard now that the venerable Blue Note has signed him up??

Just can't imagine Van doing a big band BN production. Then I would have to wait till he shuts up so the next soloist can kick in... :g

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The formula may be repetitive-but it always reachs me happy, refreshed, and eagerly awaiting the next one. He just does it for me-hopefully for all you Van the Man fans, it will fit the bill as well.

Have you heard his 70's stuff? He didn't used to be repetitive. I can't listen to anything since the late 80's. Do yourself a favour, listen to Astral Weeks, Moondance, St Dominic's Preview, Too Late To Stop Now, Veedon Fleece, A Period Of Transition, Into The Music, No Guru, then give everything after Poetic Champions to the charity shop.

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David:

As a Van fanatic, I have all the old Morrison material as well-and frankly, a lot of the older material was similar in content to each other-Van's search for spirituality.

The uniting factor to me in most all of his stages/material is the soulfulness of his music and arrangements.

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Well, I got it and I like it a whole lot. No, it doesn't compare with 1966 through 1980 (Them through "Common One"), but Van has generally been on the comeback trail since "Back On Top" in the 90s. I really enjoyed his last album ("Down the Road") as well, and I think "What's Wrong With This Picture" is even better. It got four stars on the AMG. I know that doesn't carry a lot of weight around here, but I'd give it four stars myself. Here's the AMG review:

While 2002's Down the Road was the best Van Morrison release in ages — with its autobiographical allusions, cultural critiques, and new band — it could not have prepared listeners for the jolt of this, his Blue Note Records debut What's Wrong With This Picture? While the album is hardly a straight jazz record, it does take the territory he explored on Down the Road another step further into the classic pop music of the 20th century filtered through his own Celtic swing, R&B, vocal jazz, and blue-eyed soul. The title track that opens the album is as close to an anthem as Morrison's ever written; he states with an easy, swinging, jazzy soul groove that he is not the same person he once was and wonders why that was so difficult for others to accept. There is no bitterness or bite in his assertions. If anything, the question is asked with warm humor and amusement. If anything, the question is asked with warm humor and amusement as if it is indeed the listener's hangup if he/she can't accept Morrison "living in the present time." He asks, "Why don't we take it down and forget about it/'Cause that ain't me at all," as the song whispers to a close. Morrison's employment of a large horn section — actually a pair of them as the disc was recorded in different sessions — is full of teeth and big, bad soul. "Whinin Boy Moan" is a direct cue from Mose Allison as read by Big Joe Turner. Hard-swinging R&B horn lines (including his own alto saxophone) combine with killer solos by tenorman Martin Winning and trumpet boss Matt Holland as Morrison does his most inspired blues shouting since Wavelength. Celtic soul is never far behind, either, as it displays itself on the stunningly beautiful "Evening in June." The way Morrison employs brass, woodwind, and reed textures is unique for him as clarinets, alto and bass, flügelhorns, and loads of saxophones gradually build as the emotion in a tune imparts itself. Acker Bilk makes a return appearance here co-writing and performing on the elegant, bluesy swing of "Somerset." Other than this collaboration and stellar covers of "St James Infirmary" and Lightnin' Hopkins' "Stop Drinking" — the most unique and timely interpretation of the nugget since Louis Armstrong's, and it contains the greatest horn solo interplay on any Morrison record ever — Morrison's songwriting is more expansive, more intricate, and more luxuriant in its use of grooves, vamps, and riffs as they intertwine with beautiful horn charts, sophisticated melodies ,and the always-present blues feel. There are 13 tracks here, and virtually all of them would be standouts on any of his other records. But the aforementioned tracks, along with "Meaning of Loneliness" and "Once in a Blue Moon," are among the finest tunes he's ever written, let alone recorded. This is the sound of an artist who is comfortable making a break with his past because it is not a break; he understands it as the next part of a continuum that goes deeper and wider than anyone else ever expected. This is the sound of self-assurance as it articulates itself with grace and aplomb. — Thom Jurek

I would agree with this review, in general. Quite good. I don't think Van disgraces the Blue Note name one bit, and I love the cover art.

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As a Van fanatic, I have all the old Morrison material as well-and frankly, a lot of the older material was similar in content to each other-Van's search for spirituality.

The uniting factor to me in most all of his stages/material is the soulfulness of his music and arrangements.

I see what you mean. I've never been able to connect particularly with his actual 'message' though: it was the music and voice that did it for me. I don't really feel the soul in anything since Poetic Champions, and I don't much like what his voice has become. Oh! for the days when he could really let go....

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I guess I'm a casual fan of Van Morrison. I only own 4 of his releases, including this one - Moondance, Poetic Champions Compose, How Long Has This Been Goin' On plus the new one. I've heard some other stuff by him and liked it but never bothered to pick anything up.

Maybe then I've got a different perspective on this one, but I rather like it. Enough to go out and get a couple more Morrison releases I'd say. I've only listened to it twice and have now turned it over to my wife and probably won't see it again for a few weeks.

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Was at the gym, running on the threadmill, watching CNN, commercial comes on...for the new Van Morrison. A clever, attractive commercial, working off the cover graphics of the CD. First time, except for Norah, that I recall seeing a commercial for BN on TV. Van is definitely getting the big push from BN. Up until now, Elling was probably their first-team male vocalist, but he never got this type of promotion. Definitely a new phase for BN.

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