|
An occasional blog about populist politics and popular music, not necessarily at the same time. LinksLocal Links My Other Websites Music Politics Others Networking Music DatabaseArtist Search: Website SearchGoogle: Recent Reading
Music DatabaseArtist Search: Website SearchGoogle: |
Music Week [10 - 19]Monday, February 26, 2024 Music Week
Music: Current count 41900 [41864] rated (+36), 22 [20] unrated (+2). Running late this week, but managed to get most things done that had to be done. Still, I'm a frazzled, nervous wreck as I try to wrap up this introduction, so don't expect much. I didn't get done with Speaking of Which by bedtime Sunday, so (once again) posted what I had, with the promise of a Monday update. But I've made very little progress on that today, so I don't know where that leaves us. I still expect to post this by bedtime Monday evening, even if it's in a similar state of disarray. There is some chance of further updates on Tuesday, but right now I'm growing sick of all of it. [PS: Updated Tuesday.] I did wrap up the February Streamnotes file (except for the last Music Week, which I may still manage to add, and the indexing, which I certainly won't get done in time). At least the empty March Streamnotes file is opened. I also managed to save off my frozen year 2023 list. Subsequent additions to the active one will be flagged in a distinctive color. It looks like I added 91 such post-freeze records to the year 2022 file. I added a few more lists to the EOY aggregate, most notably the long Aquarium Drunkard list, which pointed me to a few items and suggested many more. I had trouble focusing on things last week, so rated count was down, but A-list exploded from 2 last week to 9 this week (plus two upgrades from revisits -- I've been meaning to return to Bryan and Crowell; also, but not yet, Brandy Clark and Tyler Childers. That helped the Non-Jazz A-list catch up with the Jazz, now 84-83. New records reviewed this week: Acceleration Due to Gravity: Jonesville: Music by and for Sam Jones (2023 [2024], Hot Cup, EP): Nonet led by bassist Moppa Elliott, best known for his "bebop terrorist" group Mostly Other People Do the Killing. Similar swagger here, ripping through seven pieces (22:01) by or for the esteemed bebop bassist (1924-81). B+(***) [cd] Advancing on a Wild Pitch: Disasters, Vol. 2 (2023 [2024], Hot Cup): Bassist Moppa Elliott again, the highly recommended 2022 release of Disasters, Vol. 1 credited to his old band, Mostly Other People Do the Killing. Back to a quintet here, with Sam Kulik (trombone), Charles Evans (baritone sax), Danny Fox (piano), and Christian Coleman (drums). Title reflects on his heritage, with seven songs (36:01) each "named after towns in Pennsylvania that experienced historical disasters." Sounds like unfinished bebop from the 1950s, riffing over barely-controlled swing. [PS: Not clear why I got the PR sheet but no CD, as I did with Jonesville. Release so far seems limited to digital and LP.] A- [bc] Tanner Adell: Buckle Bunny (2023, Columbia, EP): Debut mixtape, eight songs, 23:59, slotted country but hip-hop to the core, or maybe that should be vice versa? B+(***) [sp] Eric Alexander: A New Beginning: Alto Saxophone With Strings (2021 [2023], HighNote): Mainstream saxophonist, always played tenor (as far as I recall), usually in conventional quartets (although he's done a lot of work on the side, including the larger One for All group), but tried his hand with strings in 2019, arranged this time by Bill Dobbins. Still, this seems much like his typical quartet outing, with his usual group: David Hazeltine (piano), John Webber (bass), Joe Farnsworth (drums). B+(**) [sp] Aunty Rayzor: Viral Wreckage (2023, Hakuna Kulala): Bisola Olungbenga, from Nigeria, first album, working with producers Titi Bakorta (from Congo), Ill Gee (Uganda), Scotch Rolex (Japan), DJ Chris Fontedofunk (Brazil), Debmaster (France), Slimcase (Nigeria), and Kabeaushe (Kenya), rapping in Yoruba (and some English) over razor-sharp electrobeats. Last cut (feat. Bakorta) adds a delightful bit of soukous guitar to the mix. B+(***) [sp] Annie Chen: Guardians (2022-23 [2024], JZ Music): Jazz singer-songwriter, originally from Beijing, based in New York since 2013, third album since 2014, eight pieces, the latter four fashioned as "Guardians Suite." Backed by a sextet, including alto sax/flute/bass clarinet, guitar, drums, violin/viola, bass/meh, and accordion/piano. Way too operatic for me. B [cd] Daggerboard: Escapement (2022 [2024], Wide Hive): Group led by Gregory Howe (percussion) and Erik Jekabson (trumpet), third album, previous group Throttle Elevator Music, Howe was the label founder in 1996. Cover also notes as "featuring" -- Henry Franklin (bass), Matt Clark (piano), and Mike Clark (drums) -- but eleven more musicians are pictured, including three violins, cello, and perhaps the most famous, Babatunde Lea (congos). B+(**) [cd] [03-08] DJ Finale: Mille Morceau (2023, Nyege Nyege Tapes): From Kinshasa, Congo, solo debut from a member of Afrofuturist collective Fulu Miziki (Lingala for "music from garbage"), like them on Uganda's premier electroclash label, overruns you with beats that bang on metal, and are even more surprising when they don't. A- [sp] Drain: Living Proof (2023, Epitaph): Hardcore punk band, second album, ten songs, 25:07. Short, but still a bit longer than the joke lasts. B+(*) [sp] Emmeluth's Amoeba: Nonsense (2021 [2024], Moserobie): Danish alto saxophonist Signe Emmeluth, third group album, with guitar (Karl Bjorå), drums (Ole Mofjell), and piano (Christian Balvig). Free jazz with a lot of sharp edges and resonant ripples. A- [cd] Christian Fabian Trio: Hip to the Skip (2022-23 [2024], Spicerack): Funk/fusion grooves, led by electric bassist with Matt King (keys) and Jason Marsalis (drums). B+(*) [cd] Friends & Neighbors: Circles (2022 [2024], Clean Feed): Scandinavian freebop quintet, sixth album, with André Roligheten (tenor sax), Thomas Johansson (trumpet), Oscar Grönberg (piano), Jon Rune Strøm (bass), and Tollef Østvang (drums), each writing at least one song. B+(***) [sp] Romulo Fróes and Tiago Rosas: Na Goela (2023, YB Music): Brazilian singer-songwriters, latter also plays guitar, former has ten albums since 2004. B+(**) [sp] Glass Beach: Plastic Death (2024, Run for Cover): Indie rock band from Seattle, second album. Very complex, in ways I respect the craft for without taking any pleasure in the music, or whatever else they're trying to accomplish. B- [sp] Gordon Grdina/Christian Lillinger: Duo Work (2023 [2024], Attaboygirl): Duo, guitar/midi-guitar and drums, both on top of their game, with some intriguing dissonance early. B+(***) [cd] Gordon Grdina's the Marrow: With Fathieh Honari (2023 [2024], Attaboygirl): Grdina plays oud here, along with Mark Helias (bass), Hank Roberts (cello), and Hamin Honari (percussion), son of the Canada-based Persian singer. B+(***) [cd] Enrique Heredia Trio: Plays Herbie Nichols (2019-22 [2024], Fresh Sound): Spanish drummer, has several previous records, including a 2016 Plays the Music of Bob Zieff, and a previous (but different) trio. This with Pere Soto (guitar) and Xavi Castillo (bass), playing nine pieces by the short-lived Nichols (1919-63, with most of his recordings 1955-57). B+(***) [sp] Kabeaushé: The Coming of Gaze (2023, Hakuna Kulala): Singer-rapper from Kenya, first album. B+(*) [sp] Kabeaushé: Hold on to Deer Life, There's a Blcak Boy Behind You! (2023, Monkeytown): Second album, goes psychedelic. B [sp] Noah Kahan: Stick Season (2022, Mercury/Republic): Singer-songwriter, originally from Vermont, folkie with some pop appeal, third album -- the first of three iterations to date, as newer releases, cashing in on chart success and a Grammy nomination, pile on way beyond these original thirteen songs. I'm impressed, a little, anyways. B+(***) [sp] Kaze: Unwritten (2023 [2024], Circum/Libra): Quartet of Satoko Fujii (piano), Natsuki Tamura (trumpet), Christian Pruvost (trumpet), and Peter Orins (drums), seventh group album since 2011, first one billed as "completely improvised," which may excuse some temporary regrouping as they explore. B+(***) [cd] Anni Kiviniemi Trio: Eir (2023 [2024], We Jazz): Finnish pianist, reportedly US-based but recorded this debut album in Oslo with Eero Tikkanen (bass) and Hans Hulbaekmo (drums), all her compositions. B+(***) [sp] Doug MacDonald: Sextet Session (2023 [2024], DMAC Music): Guitarist, goes back a ways but has been especially prolific since 2014. Mainstream, with a bit of swing, sextet includes trumpet (Aaron Janik), tenor sax (Doub Webb), piano (Josh Nelson, bass, and drums. B+(**) [cd] [03-01] Eliza McLamb: Going Through It (2024, Royal Mountain): Singer-songwriter, described as "LA-based pop culture icon," which seems to mean she's had a song ("Porn Star Tits") that went viral on TikTok. Intimate songs have some depth. "16" goes: "We pretend that you're trying/ 'I Don't know what to do with you'/ You say it often/ Almost sounds like a good excuse/ For doing nothing." B+(***) [sp] Chase Rice: I Hate Cowboys & All Dogs Go to Hell (2023, Broken Bow): Country singer-songwriter from Florida, sixth album since 2010, the one on Columbia (2014) a platinum hit, but three later albums on Broken Bow didn't come close. Title from two songs, both against the grain, as is most of the filler, where the down home is spiced with stratospheric guitar. A- [sp] RVG: Brain Worms (2023, Ivy League/Fire): Initials for Romy Vager Group, for the singer-songwriter-lead guitarist, from Melbourne, Australia. B+(**) [sp] Sunny Five [Tim Berne/David Torn/Ches Smith/Devin Hoff/Marc Ducret]: Candid (2022 [2024], Intakt): Alto sax, two guitars (Torn and Ducret), drums/electronics and electric bass. This lineup might once have suggested fusion, but I have no clear idea of with what? Maybe Berne et al. just see the hardcore/metal instrumentation as something loud to improv with. B+(***) [sp] Kali Uchis: Orquídeas (2024, Geffen): Dance-pop singer-songwriter Karly Marina Loaiza, from the Virginia side of DC, father Colombian, returned there while she was in high school, fourth album, second mostly in Spanish. Ends with a piece ("Dame Beso/Muévete") that would jump out even on a Kenyan guitar paradise album. Multiple plays show it's not alone. A- [sp] Recent reissues, compilations, and vault discoveries: Herb Geller: Fire in the West (1957 [2023], Jazz Workshop): Alto saxophonist (1928-2013), inspired by Benny Carter, played in big bands in the early 1950s, led his first session in 1954, released this classic sextet session on Jubilee in 1957, establishing himself as a superb arranger, with Kenny Dorham (trumpet), Harold Land (tenor sax), Lou Levy (piano), Ray Brown (bass), and Lawrence Marable (drums), turning the fire up on "West coast cool jazz." Original title and artwork for an album I know from the 2003 CD That Geller Feller. A- [sp] Ghetto Brothers: Power-Fuerza (1972 [2024], Vampisoul): South Bronx Puerto Rican group, only album, reissue billed as "one of the best Latin funk albums ever recorded," eventually moves in that direction, but only after a number of efforts at Beatles-like harmonies don't quite hit the mark. B+(*) [sp] If You Want to Make a Lover: Palm Wine, Akan Blues & Early Guitar Highlife, Pt. 1 (1920s-50s [2023], Death Is Not the End): Twenty-six oldies, dates lack precision but specify "late" both for 20s and 50s, from southern Ghana and environs, influence extending east to Nigeria and west to Liberia. B+(*) [sp] If You Want to Make a Lover: Palm Wine, Akan Blues & Early Guitar Highlife, Pt. 2 (1920s-50s [2023], Death Is Not the End): Twenty-six more oldies, again nothing but a broad range of dates. B+(**) [sp] Melba Liston: Melba Liston and Her 'Bones (1958 [2023], Jazz Workshop): Trombonist (1926-99), from Kansas City, started playing in all-female big bands during the war, then broke in with Gerald Wilson, then moved on to Dizzy Gillespie and Quincy Jones, where she became most valued as an arranger. This is the only album she led -- well, aside from her Randy Weston co-credit, Volcano Blues (1993), still the first item showing up when you search her. This combines two sessions, one with Ray Bryant (piano), the other with Kenny Burrell (guitar), bass, drums, and three more trombonists each (Benny Green, Al Grey, and Benny Powell with Burrell; Jimmy Cleveland, Slide Hampton, and Frank Rehak with Bryant). A real delight. A- [yt] Los Mohanes: La Tumbia (2017 [2023], Moli Del Tro): Colombian duo, Faunes Efe (bass/guitar) and Joseph Muñoz (field recording/sampler), first album, originally self-released, picked up on a Belgian label. Engaging electronica, falls down at the end. B+(*) [sp] Don Menza & Sam Noto: Steppin': Quartet Live (1980 [2023], Fresh Sound): Tenor saxophonist, from Buffalo (b. 1936), played in big bands with Maynard Ferguson and Louie Bellson, with more than a dozen albums as leader, joined here by the trumpet player, also from Buffalo (b. 1930), who played with Woody Herman, Stan Kenton, Count Basie, and others, headlining a handful of albums. A blistering live gig here from a club in Toronto, with Dave Young (bass) and Terry Clarke (drums). B+(***) [sp] Old music: Abyssinia Infinite Featuring Ejigayehu "Gigi" Shibabaw: Zion Roots (2003, Network): A one-shot album I only just noticed, looks like a vehicle for the featured Ethiopian singer (she wrote six songs, the other four trad.), engineered by Bill Laswell. Not rasta, but ethio-soul, subtle and beguiling. A- [yt] Afrorack: The Afrorack (2022, Hakuna Kulala): Electronic music from Uganda, someone named Bamanya, who built "Africa's first DIY modular synthesizer, a huge wall of home-made modules and FX units. Recapitulates many of the sounds of the pioneers of electronic music, then finds layers of rhythm they never dreamed of. A- [sp] Grade (or other) changes: Zach Bryan: Zach Bryan (2023, Warner): Country singer-songwriter, though this second label album (after two self-releaseds) topped the rock charts as well as country and folk. Solid, unassuming, workman-like -- attributes that only deeepen with multiple replays. [Was: B+(***)] A- [sp] Rodney Crowell: The Chicago Sessions (2023, New West): Country singer, emerged as a thoughtful songwriter with his 1978 debut, seems like his albums have only gotten easier over the years. This was recorded in Jeff Tweedy's Chicago studio, and came so easy they didn't even bother thinking up a title for it. Made it easy to underappreciate, too. [was: B+(**)] A- [sp] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, February 19, 2024 Music Week
February archive (in progress). Music: Current count 41864 [41828] rated (+36), 20 [23] unrated (-3). I posted a long Speaking of Which just before bedtime late Sunday night. I didn't quite get through my usual rounds, so added some more stuff today, which in turn pushed this out late, again. Still unclear how far I'll get Monday night. Fortunately, I don't have much to say about music this week. The rated count is down, but I hit up several boxes, including the big Mingus one I saw little point in but enjoyed anyway, and yet another iteration of the Massey Hall Quintet/Trio. Also, another big r&b oldies box, again not ideal but quite thoroughly enjoyed. Very little progress to report on EOY lists, websites, book projects, or anything else. The links, of course, are in the usual place. New records reviewed this week: Joe Alterman: Joe Alterman Plays Les McCann: Big Mo & Little Joe: (2023, Joe Alterman Music): Pianist, from Georgia, half-dozen albums since 2009, leads a trio with Kevin Smith (bass) and Justin Chesarek (drums), playing eleven Les McCann compositions, including one written with Alterman in 2021. This came out a few months before McCann (88) died in December. B+(**) [sp] Carsie Blanton: Body of Work (2023, self-released): Singer-songwriter, originally from Virginia, based in New Jersey, seven albums 2005-21, decided to "undress" 15 songs catalog songs here, releasing them one-per-month digitally, finally compile them on vinyl. So, I gather, it's a bit like the Taylor's Version remakes, but on a much lower budget. B+(**) [sp] Stix Bones/Bob Beamon: Olimpik Soul (2023 [2024], BONE Entertainment): Billed as a "jazz meets hip-hop EP," the leaders' credits are drums and percussion, respectively (the former aka Franklin Brown), the band adding trumpet, sax, guitar, keybs, bass, and vocalists Abiodun Oyewole and Khadejia Bass. Eight songs, 31:??, some fancy funk, but the mix could be sharper. B+(*) [cd] Peter Bruun/Søren Kjærgaard/Josas Westergaard: Thēsaurós (2022, ILK): Danish drums-piano-bass trio, playing "an ambitious work" composed by Bruun, in seven parts (83:07). B+(*) [bc] Mina Cho's Grace Beat Quartet: "Beat Mirage" (2023 [2024], International Gugak Jazz Institute): Korean pianist, based in Boston, fifth album, quartet with Max Ridley (bass), Yeongjin Kim (drums), and Insoo Kim (Korean traditional percussion). B+(**) [cd] Commodore Trio: Communal - EP (2023 [2024], self-released, EP): Hype sheet credits Joel Tucker (guitar) first but neither cover nor spine mentions him. Joined here by Brandan Keller (tuberg bass) and Justin Clark (drums), for five tracks (20:24) of what they call "improvised art rock." B+(*) [cd] Dogo Du Togo: Dogo Du Togo (2022, self-released): Massama Dogo, from Lome, in Togo, but now based in DC area. B+(*) [sp] Jose Gobbo Trio: Current (2023 [2024], self-released): Brazilian guitarist-singer, lyrics here by Deuler Andrade, moved to Iowa in 2011 and on to Illinois, where he teaches. Appears to have some previous albums, but I can't find them in Discogs. With bass (Max Beckman) and drums (Jay Ferguson). Voice barely registers over the rhythm, which is all important. B+(**) [cd] Mary Halvorson: Cloudward (2023 [2024], Nonesuch): Guitarist, Braxton student at Wesleyan, started with a trio album in 2008, and expanded in various directions, eventually winning a MacArthur genius grant, and topping the 2022 Francis Davis poll with a pair of albums (Amaryllis was the actual winner, but many voters wanted to include the more string-focused Belladonna). This one is a sextet, with trumpet (Adam O'Farrill), trombone (Jacob Garchik), bass (Nick Dunston), drums (Tomas Fujiwara), and vibes (Patricia Brennan), with no vocals and only a bit of violin (guest spot for Laurie Anderson). The state-of-the-art compositions are fashionably tricky, the horns add some weight, the vibes a bit of levity. Many critics seem to be impression, but still seems rather nebulous to me. B+(**) [sp] Jon Irabagon: Survivalism (2024, Irabbagast): Saxophonist, based in Chicago, best known for "bebop terrorist" group MOPDTK but has a substantial, widely scattered discography on his own. Visited a "munitions bunker in South Dakota" to get the isolated ambiance for this album of solo soprillo sax -- at 33cm (13in), the smallest of all saxophones, pitched a fifth higher than sopranino, a full octave above soprano. Nonetheless, Irabagon spends a fair amount of time here finding more guttural sounds in lower registers, contrast to the high notes, which are never what you'd call flighty. B+(*) [bc] Jon Irabagon's Outright!: Recharge the Blade (2021 [2024], Irabbagast): Group name refers back to a 2008 album of that name, followed by another (Unhinged) in 2012 -- neither especially successful, as I recall, so I don't really get the thinking behind giving this totally different group an old group name. Leader plays soprano sax here, with Ray Anderson (trombone), Matt Mitchell (piano/keyboards), Chris Lightcap (bass), and Dan Weiss (drums), plus a couple guest spots. B+(***) [bc] Steven Kamperman: Maison Moderne (2023, Trytone): Dutch clarinetist, half-dozen album since 1999, describes this as "music inspired by the house, life, and passions of Theo van Doesburg," the artist and architect (1883-1931) who in 1917 founded the magazine De Stijl, which advanced abstract art and modernist style, effectively qualifying as a "school." The pieces are supported by piano (Albert van Veenendaal), electric guitar (Paul Jarret), and viola (Oene van Geel). Mostly chamber jazz befitting a museum, but this really sharpens up when Jarret takes the lead and Kamperman introduces some much-needed percussion. A- [cd] Liquid Mike: Paul Bunyan's Slingshot (2024, self-released): Indie band from Marquette, Michigan, several albums since 2021. They run through 13 crisp songs in 25:31. B+(**) [sp] Richard Nelson/Makrokosmos Orchestra: Dissolve (2023 [2024], Adhyâropa): Guitarist, member of Aardvark Jazz Orchestra since 1993, released his own Large Ensemble project in 2011, returns here with a 15-piece group. Three complex and lush pieces, 39:22. B+(**) [cd] Nondi_: Flood City Trax (2023, Planet Mu): Electronics producer Tatiana Triplin, from Johnstown, Pennsylvania, looks to have two previous EPs, another self-released digital album, and some kind of mixtape/remix related to this. B+(*) [sp] Angel Olsen: Forever Means (2023, Jagjaguwar, EP): American singer-songwriter, six generally well-regarded albums since 2012, released this four song, 16:02 EP. B [sp] Public Image Ltd.: End of World (2023, PIL Official): Original Sex Pistol John Lydon, 67 when this came out, eleventh group album, eight years after previous. He's managed to keep a consistent sound since 1978, and occasionally to channel some rage against "liars, fakes, cheats and frauds." B+(*) [sp] Zoe Rahman: Colour of Sound (2023, Manushi): British pianist, father Bengali, eighth album since 2001, brother Idris Rahman plays sax, with several other horn players, bass, and drums. Richly detailed, sometimes to excess. B+(*) [sp] Andrew Rathbun: The Speed of Time (2022 [2023], SteepleChase): Tenor saxophonist, based in Brooklyn, more than a dozen albums since 1999, quartet with Gary Versace (piano), John Hébert (bass), and Tom Rainey (drums), all original pieces. B+(***) [sp] Monika Roscher Bigband: Witchy Activities and the Maple Death (2023, Zenna): German guitarist, fourth Bigband album since 2011. Discogs lists genres as: dark jazz, jazz-rock, psychedelic rock. I was thinking prog rock as light opera -- Roscher sings throughout, in English (not that I followed much of it) -- although the big band was built to play jazz, which does a nice job of shading the straightforward beat. B+(**) [sp] Bobby Sanabria Multiverse Big Band: Vox Humana (2023, Jazzheads): Bronx-born drummer, graduated from Berklee, joined Mongo Santamaria in 1983, headlined a 1993 album with Tito Puente and Paquito D'Rivera, has led Latin jazz big bands at least since 2007, naming a 2012 album Multiverse. Runs through a lengthy songbook, starting with "Caravan," hitting "Let the Good Times Roll" and "I Love You Porgy," and perhaps most successfully, Steely Dan's "Do It Again." B+(***) [sp] Adam Schroeder/Mark Masters: CT! Adam Schroeder & Mark Masters Celebrate Clark Terry (2023 [2024], Capri): Big band arrangements of thirteen Terry tunes, Schroeder playing baritone sax, Masters not in the band but with a long career as an arranger. You may recall that Terry played trumpet both for Duke Ellington and Count Basie before leading his own bands, offering plenty of hints for how this works -- largely splitting the difference. B+(***) [cd] Matthew Shipp/Steve Swell: Space Cube Jazz (2021 [2024], RogueArt): Piano and trombone duets, improvised, first time recording together. A bit sparse, though both have plenty to say. B+(***) [cdr] Rajna Swaminathan: Apertures (2021 [2023], Ropeadope): Indian percussionist, plays mrudangam, also sings (as does co-producer Ganavya), second album, with Utsav Lal (piano) and a raft of famous jazz musicians: Adam O'Farrill (trumpet), Anna Webber (tenor sax), Miles Okazaki (guitar), Stephan Crump (bass). B+(**) [sp] Tucker Brothers: Live at Chatterbox (2023 [2024], Midwest Crush Music): Brothers Joe (guitar) and Nick (bass), with sax (Sean Imboden) and drums (Carrington Clinton) at a club in Indianapolis. No song credits, but I always recognize "Caravan." Groove band, nice set. B+(*) [cd] Recent reissues, compilations, and vault discoveries: George Cartwright's GloryLand PonyCat: Black Ants Crawling ([2024], Mahakala Music): Alto/tenor saxophonist, best known for the group Curlew (1980-2003?), based in Minneapolis these days, no recording date given, but it's a live trio date from Clown Lounge, with Adam Linz (bass) and Alden Ikeda (drums) and is released (as have several previous Cartwright albums) in the label's "Reissue Series." B+(**) [bc] Late Night Count Basie (2023, Primary Wave, EP): The "Count" is in small print, and tends to get overlooked. The songs mostly originate with Basie (well, not "St. Thomas"), and three are credited to his ghost band (Scotty Barnhart, director, with various featured guests), the others to others, as is obvious when Talib Kweli starts rapping over "Didn't You." And "One O'Clock Jump" gets an encore. All in 23:32, but it definitely swings, and jumps. B+(**) [sp] Charles Mingus: Changes: The Complete 1970s Atlantic Studio Recordings (1973-78 [2023], Rhino, 7CD): I didn't feel much need for this -- and, needless to say, Rhino didn't gift me a copy, so no obligation there -- but looking for something to play while trying to get something else written, this seemed like a pretty nice way to spend 5 hours, 49 minutes. One pass [broken up, with a bit of rechecking, as it turned out], although I've heard most of this before. Starts off with a revitalizing young quartet -- featuring George Adams and Don Pullen, who continued on their own, including a fabulous 1986 album called Breakthrough -- but his health deteriorated fast, and he died of ALS at 56 in 1979. Mostly straight reissues, the breakdown:
Vinyl box has an 8th LP of outtakes, which are included inline in the CD and digital editions. B+(***) [sp] Charlie Parker/Dizzy Gillespie/Bud Powell/Charles Mingus/Max Roach: Hot House: The Complete Jazz at Massey Hall Recordings (1953 [2023], Craft, 3CD): Mingus and Roach started their own label, Debut Records, in 1952, so they grabbed these tapes, redubbed the bass parts, and released them on three 10-inch records, two credited to "The Quintet" (with the saxophonist identified as Charlie Chan), the other a hornless Bud Powell Trio set, already hyped as "the greatest jazz concert ever." The Quintet eventually came out on an CD (OJC-44), with the trio as Jazz at Massey Hall, Volume Two (OJC-111), with sound, like most Parker bootlegs, pretty dicey. I've never been much impressed, even after a 2012 remaster answered most of the sound issue. The overdubs, too, were controversial, so when Jazz Factory released their 1-CD Complete Jazz at Massey Hall in 2003, they went back to the original tapes. This edition tries to have it both ways, again combining the original Quintet and Trio sets on one CD, but also providing the overdubs on a 2nd CD. (Vinyl splits the first CD into 2-LP, with the overdubs on a 3rd.) Sound is pretty decent here, but it's still more typical than exemplary. B+(***) [sp] Sonny Rollins: Go West! The Contemporary Records Albums (1957-58 [2023], Craft, 3CD): The label exists primarily to produce luxury vinyl reissues of famous jazz albums, but they also release their remastered wares on CD and digital, so it's possible to stream them, and they get a lot of notice. This collects albums recorded for' Contemporary: Way Out West (1957) and Sonny Rollins and the Contemporary Leaders. The former, a trio with Ray Brown and Shelly Manne leading off with "I'm an Old Cowhand," is one of his best-known records, and has already been given the Craft treatment. The latter, adding extras (piano, guitar, vibes on one track), is less focused, except when Rollins plays, who continues to show uncanny skill for building on standards. The third disc collects the alternate takes, which were initially added to the OJC CDs. It may be the best of the bunch. A- [sp] Pharoah Sanders: Festival de Jazz de Nice, Nice, France, July 18, 1971 (1971 [2024], Kipepeo Publishing): British label, banner says "A fundraising project to help Kenyans in need," Bandcamp page offers 46 bootlegs from various venues/dates. This is a quintet with the tenor saxophonist, piano (Lonnie Liston Smith), bass (Cecil McBee), drums (Jimmy Hopp), and percussion (Lawrence Killian). I picked this one out from the list, figuring it would be really nice to hear some vintage Sanders. It hit that spot from the start with a no-vocal 21:30 "The Creator Has a Master Plan." B+(***) [bc] Old music: Clarence "Gatemouth" Brown: Sings Louis Jordan [The Definitive Black & Blue Sessions] (1973 [2019], Black & Blue): Blues singer-guitarist from Louisiana (1924-2005), played drums after WWII, and started recording singles for Peacock in the late 1940s. Album discography doesn't start until just before this one, a Paris session with jazz musicians, including Milt Buckner (organ), Jay McShann (piano), and Arnett Cobb (tenor sax). No new insights into either Brown or Jordan as blues, but the songs are hits, and Cobb is a real plus. B+(**) [sp] Millie Jackson: On the Soul Country Side (1977-81 [2014], Kent): Hard-belting soul singer, debut 1972, found her concept with 1974's Caught Up, with a focus on cheating songs that suggested country music -- partly acknowledged on her 1981 album Just a Lil' Bit Country. This repeats six songs from that album (omitting four). The other songs include a couple duets with Isaac Hayes. Some songs are country enough for novelties, but most keep a respectful distance. Puzzling, as respect really isn't her thing. B+(***) [sp] The R&B No. 1s of the '50s (1950-59 [2013], Acrobat, 6CD): Another decade's worth of hits, most justly famous, some as blues but more in the early development of rock and roll, with some novelties and other oddities in the mix. The syrupy strings of "Mona Lisa" is the first song that feels out of place (the first of only two Nat King Cole songs). Another surprise was Elvis Presley showing up, although "Hound Dog" sounds great after "Let the Good Times Roll." That kicked off a period where white artists, and we're not just talking ones who famously sounded black but others like the Everly Brothers, Jimmie Rodgers, Paul Anka, and David Seville --a sudden wave of integration that mirrored my own experience. It wouldn't be hard to edit this down to a solid-A set (probably 4-CD). And it would still be rewarding to stream through the rest. A- [cd] Grade (or other) changes: Sonny Rollins: Sonny Rollins and the Contemporary Leaders: Barney Kessel/Hampton Hawes/Leroy Vinnegar/Shelly Manne (1958, Contemporary): I thought I should recheck this. [was: B+] B+(***) [r] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Tuesday, February 13, 2024 Music Week
February archive (in progress). Music: Current count 41828 [41777] rated (+51), 23 [21] unrated (+2). I did the weekly changeover at more or less the usual time -- late Sunday evening, or maybe early Monday, the last thing usually being unpacking, which I've been avoiding lately. I've gotten real tired of the bookkeeping that keeps me on top of what's coming and going, and never more so than at the present moment. I figured Monday should be a relatively open day for once, and remembered that I had skipped the indexing for January Streamnotes, so I thought I'd knock that out of the way and catch up. Problem was: I hadn't done December and November either. At the end of Monday, I was still stuck in December, having written nothing. Hence the delay to Tuesday. When I got up, I felt up to trying to finish, but didn't get January done until 9PM, at which point I still had to write this introduction. The indexing consists of monthly lists organized by year: 2023 is complete now, and 2024 is a new file, with just January. Worse is the Artist Index, which lists all 23,272 records that I've written about in Streamnotes, since that fateful day in 2007 when Rhapsody gave me a subscription and I decided to be generous and write down notes on whatever I listened to. In 2014, I swept my other reviews (Jazz Prospecting and Recycled Goods) into a single Streamnotes archive, as the promos and purchases thinned out, and I filled my empty time with streaming. It's never been clearer to me that my indexing scheme is too laborious and error-prone. What isn't clear is whether I'm up to the fairly substantial programming project that is clearly called for, especially given the probability that I won't be able to do this much longer. Given that I've reviewed and rated what I'm fairly certain is an all-time personal record of 1,711 albums released or discovered in 2023, I'm tempted to just bow out on top. And note that I just had to fix 4 errors in the source for that number, my 2023 tracking file. It's a never-ending struggle around here. Actually, I did manage a small bit of writing on the side yesterday and today -- just not here. Monday I wrote a postscript to the weekend's Speaking of Which, where I point out that reputedly smart people (Matthew Yglesias was named but is far from alone) simply don't understand the Trump campaign. This postscript adds to what I previously identified as my "pull quote":
My political writing scarcely gets noticed in my own house, so I'm under no illusions about my ability to influence the world. But I do insist, to anyone willing to listen, that our great fear isn't what might happen in November, but what's actually happening day-by-day here and now. My post starts each week with links to Mondoweiss's daily reports, which given the time gap are up each day before I am. That's as good a place to start as any, although you can also track Middle East Monitor, +972, Middle East Eye, AlJazeera, Antiwar.com, Tikun Olam, Popular Resistance, and no doubt there are many others. The reporting in the Washington Post and New York Times is also pretty damning, even if their opinion writers remain under Israel's spell. The enormity of the atrocities Israel is committing is staggering, something that will redound to the long-term embarrassment of everyone not opposing not opposing it now. (Note: only three Democrats voted against the $95B military military aid bill; 19 Republicans opposed, with most objecting to the larger Ukraine component. Van Hollen gave a good speech declaring Israelis to be "war criminals," but voted for the aid anyway.) I did manage to get my political book file reopened last week, but haven't managed to do any work on it. I've promised myself one solid month of focus on it, which hasn't started yet, but is still the plan. Meanwhile, I have another essay I need to wrap up this week. And, well, there are always distractions. I spent a good chunk of time today writing an obscure notebook entry -- something even I don't consider important enough to blog about, but wanted to keep as a thought experiment. It has to do with my Old Music review of the Paranoid Style, below, and a fracas over on Facebook that made me question what I had written. If you know what I'm talking about, and care, you can probably look it up. Most likely I will eventually turn it into a Q&A answer, since that's where it started. Too late to try to say anything about the EOY Aggregate, but I'm essentially done with it. I factored in all of the albums that I had give grades to but hadn't previously picked up. I added in Christgau's Dean's List. I did a search for country music lists I had missed, and found quite a few. (A bunch of this week's records come from that work, including the Stephen Wilson Jr. pick. Diminishing returns from that work, as the other two albums pictured actually came from my demo queue. The Maison Moderne review came after the cutoff, but I figured I had the image space.) The legend is up to 612 lists now. Maybe I'll check to see what's missing, and find a few gaps, but it's pretty much all there. Usual freeze date is end of February, so I'm not feeling much pressure to wind it up. Just the opposite: fatigue. As bookkeeping tasks go, it's at most an hour's work. I'm very impressed with Greg Grandin's The End of the Myth, and should write some about it. New records reviewed this week: Colby Acuff: Western White Pines (2023, Sony Music Nashville): Country singer-songwriter, from Idaho, second album, claims he's "too Idaho for Texas, too Texas for Nashville." Good songs, and sings them hard. B+(***) [sp] Jim Alfredson: Family Business (2021 [2023], Posi-Tone): Organ player, has a previous album from 2009, gets the red carpet treatment from his new mainstream label here, with headliners Alex Sipiagin (trumpet), Diego Rivera (tenor sax), Michael Dease (trombone), Will Bernard (guitar), and EJ Strickland (drums). B+(**) [sp] Bill Anschell: Improbable Solutions (2020-23 [2024], Origin): Pianist, based in Seattle, debut 1995, adds electronics to the mix here, with guitarist Brian Monroney joining the trio on five (of nine) tracks, extra percussion on three, moving into fusion the the finale. B+(*) [cd] Alex Anwandter: El Diablo En El Cuerpo (2023, 5 AM): Singer-songwriter from Chile, started as vocalist for Teleradio Donoso, based in Los Angeles, sixth album. Big beats carry the day. B+(**) [sp] Atmosphere: Talk Talk EP (2023, Rhymesayers Entertainment): Hip-hop duo from Minneapolis, started out in 1997, still underground, despite the "EP" in the title this runs 10 songs, 40:20. Two guest spots for Bat Flower; one more shared by Buck 65 and Kool Keith. B+(**) [sp] Bad Bunny: Nadie Sabe Lo Que Va a Pasar Manana (2023, Rimas Entertainment): Puerto Rican, major reggaeton star, fifth album, first album in 2018 rose to 11 on US pop chart (1 Latin), second album hit 2, this makes 3 straight number ones. I've played them all, and never really connected -- seems to be a case where my lack of Spanish hurts (or it could just be the record's lack of beats). I took my sweet time getting to this one, because, well, it doesn't seem to have generated much buzz (EOY lists: 7 Complex, 17 Billboard, 32 Rolling Stone, 53 Uproxx Critics Poll, very little else), and because it's really long (22 tracks, 81:18). Gave me time enough to wax and wane, with stretches making me think this could really work, only to be followed by doubts it will ever work for me. B+(**) [sp] Barbie: The Album (2023, Atlantic): Original songs keyed to the Greta Gerwig-directed movie, produced by Mark Ronson, Kevin Weaver, and Brandon Weaver, with six singles (out of 17 songs), starting with Dua Lipa's "Dance the Night." The dance pop could be tuned up a bit, but some of the novelty songs (including the Billie Eilish, "Pink," and "I'm Just Ken") hit their mark. B+(***) [sp] Berlioz: Jazz Is for Ordinary People (2023, self-released, EP): All Discogs has to say is "Bassist." But the album credits list two composers: Robin Edward Phillips (piano, keyboards) and Jasper Edward Attle (producer), along with Sam Miles (saxophone) and Jihad Darwish (sitar/bass). Five songs, 15:15, jazzy instrumentation but some other postmodernist feel. B+(*) [sp] Jaap Blonk/Damon Smith/Ra Kalam Bob Moses: Rune Kitchen (2022 [2023], Balance Point Acoustics): Dutch "sound poet," voice and electronics here, backed with bass and drums. B+(*) [sp] Brothers Osborne: Brothers Osborne (2023, EMI Nashville): Country duo, T.J (lead vocals, rhythm guitar) and John (lead guitar, background vocals), from Maryland, fourth studio album since 2016, debut went gold, commercially it's been downhill since there. Not to be confused with the Osborne Brothers, a bluegrass group that ran from 1953-2005, with Bobby dying last year, and Sonny in 2021. These youngsters are more country-rock, with a little something. B+(*) [sp] Burial: Dreamfear/Boy Sent From Above (2024, XL, EP): British electronica producer William Bevan, has a couple albums from 2006-07, since then has mostly released two-sided singles, like this one (12:53 + 13:23). Seems more energetic than recent efforts. Also weirder. B+(*) [sp] Tré Burt: Traffic Fiction (2023, Oh Boy): Singer-songwriter, from Sacramento, third album, slotted folk because he landed on John Prine's label, but not much resemblance, with tags on Bandcamp all over the map. B+(*) [sp] Willi Carlisle: Critterland (2024, Signature Sounds): Folkie singer-songwriter, previous album (Peculiar, Missouri) seemed like a breakthrough, but struggles here, ending with a spoken word bit of Ozark folklore. B+(**) [sp] Jordan Davis: Bluebird Days (2023, MCA Nashville): Country singer-songwriter, second album. B+(*) [sp] John Dierker/Jeff Arnal: Astral Chronology (2022-23 [2023], Mahakala Music, EP): Bass clarinet/tenor sax with percussion, electronics, and field recordings. Both have spotty discographies, including a previous album together in 2002. This one is short (4 tracks, 21:48, but engaging and intense. B+(**) [bc] Drake: For All the Dogs (2023, OVO Sound): Canadian rapper, middle name for Aubrey Graham, debut EP 2009, breakthrough album 2010, eighth studio album, all number ones, which he's parlayed into a substantial business empire, while losing virtually all of his critical cachet. I can't begin to explain either why he's so popular, or so disliked by critics: AOTY gives him a career rating of 68 over 311 reviews, with this album scoring 50 for 13. Other than pointing to the extreme length -- 23 songs (84:50), expanded in the Scary Hours Edition to 29 (108:46) -- during which very little stands out (a rare exception is a feature for Sexyy Red and SZA that goes: "shake that ass for Drake/ now shake that ass for me"; that segues into Lil Yachty chanting, "just another late night for my bitch"). Not awful, but not by much. B [sp] Ana Frango Elétrico: Me Chama De Gato Que Eu Sou Sua (2023, Mr Bongo): Brazilian singer-songwriter, Ana Fainguelernt, third album. Some snappy dance moves. B+(**) [sp] Andy Emler MegaOctet: No Rush! (2021 [2023], La Buissonne): French pianist, albums since 1982, initial Mega Octet in 1990, ten musicians credited here, including trumpet, tuba, three saxes, guitar (Nguyen Lê), bass, drums, percussion (including marimba, tabla). B+(**) [bc] Ilhan Ersahin/Dave Harrington/Kenny Wollesen: Your Head You Know (2023, Nublu, EP): Saxophonist, Turkish roots but born in Sweden, based in New York, albums since 1996; Harrington plays guitar, bass, keyboards, and electronics, with Wollesen on drums. Three tracks (18:47). B+(*) [bc] Peter Erskine and the Jam Music Lab All-Stars: Bernstein in Vienna (2021 [2024], Origin): Drummer, best known for Weather Report, but his best work is clearest in piano trios, and he's long had a thing for big bands. Pianist Danny Grissett is musical director here, leading a septet of sax, guitar, harmonica, violin, and bass through Leonard Bernstein's most popular show tunes. B+(**) [cd] Greg Foat & Eero Koivistoinen: Feathers (2023, Jazzaggression): British pianist, all electric here (Rhodes, Roland, Prophet, Moogs), with the Finnish tenor saxophonist, and rhythm (bass, drums, extra percussion). Nice groove album, the sax a plus but not as dominant as you'd expect (or hope for). B+(*) [sp] Hardy: The Mockingbird & the Crow (2023, Big Loud): Country singer-songwriter Michael Hardy, from Mississippi, based in Nashville, second album after several EPs and mixtapes (dubbed Hixtape). Has a rep as a hard rocker, which isn't especially in evidence here until the crow comes out. I prefer the "poor boy from Mississppi," but don't mind a little noise (although I am wary of the redneck chauvinism). I don't really approve of the effort to muscle up country music into arena rock, but this makes a case. [Docked a notch for the finale.] B+(**) [sp] Ayumi Ishito: Ayumi Ishito & the Spacemen Vol. 2 (2020 [2023], 577): Japanese tenor saxophonist, graduated from Berklee, Vol. 1 came out in 2021, group includes synthesizer, theremin, guitar/bass, and drums, with voice scattered about, haunting (or mocking?) the spaciness. B+(*) [os] Maria João & Carlos Bica Quartet: Close to You (2019-21 [2023], JACC): Portuguese singer, counted in the quartet with bassist Bica, keyboards (João Farinha), and guitar (Gonçalo Neto or André Santos). Leads with four covers, disconcertingly weaving Paul Simon into Joni Mitchell's "Woodstock," scatting around "Norwegian Wood," followed by the Bacharach-David title song, and Lennon/Ono's "Oh My Love," then three originals (one with a Yeats text), and "What a Wonderful World." I was tempted to write the openers off as merely eccentric, but the title song is especially striking, and the originals find a nice musical balance, which lets the finale end as it should. A- [bc] Cody Johnson: Leather (2023, Warner Music Nashville): Country singer from Texas, ninth album since 2006, third on a major label. A voice and band as credible as most of his lot, but didn't write any of these twelve songs -- most conventional, "Jesus Loves You" should make you more than a little nervous. B [sp] Ruston Kelly: The Weakness (2023, Rounder): Singer-songwriter, originally from South Carolina, briefly married to Kacey Musgraves, third album since 2018, slotted country but I don't particularly hear that. I do hear some songs. B+(*) [sp] Knower: Knower Forever (2023, self-released): Duo of Genevieve Artadi (vocals) and Louis Cole (drums), albums since 2010 (at first under the artists' names), many more credits here, mostly electropop, when it peeks out from under the strings. B [sp] Tony Kofi & Alina Bzhezhinska: Altera Vita (For Pharoah Sanders) (2023, BBE, EP): Tenor sax and harp duet, she also goes as AlinaHipHarp, actually just a 5:34 single, so I shouldn't have bothered, but it showed up in an album list, and is quite nice, as far as it goes. B [sp] Ella Langley: Excuse the Mess (2023, Sawgod): Country singer-songwriter, from Alabama, follows up several singles with a solid eight-song, 25:09 album. B+(*) [sp] Metric: Formentera II (2023, Metric Music International): Electropop band from Toronto, ninth studio album since 2001, sequel to their 2022 album; Emily Haines is the vocalist, who co-wrote the songs with guitarist James Shaw. Songs are catchy and engaging. B+(***) [sp] Mokoomba: Tusona: Tracings in the Sand (2023, Out Here): Tonga group from Zimbabwe, third album (per Discogs) since 2012. Not far removed from the chimurenga popularized in the 1980s, but only picks up real groove power toward the end. B+(**) [sp] Nickel Creek: Celebrants (2023, Thirty Tigers): Progressive bluegrass trio, released five albums 1993-2005, disbanded, regrouped for a 2014 album, then this one. I heard nothing notable here until "Where the Long Line Leads." Fades back into oblivion, and stays there a long time. Every now and then my ears prick up, suggesting something of interest, most soon souring. Maybe that's what they mean by "progressive"? B- [sp] Old Crow Medicine Show: Jubilee (2023, ATO): Nashville-based country string band, eighth studio album since 2004. Some gospel flourishes this time. B [sp] Dave Pietro: The Talisman (2023 [2024], SteepleChase): Alto saxophonist, half-dozen albums 1994-2008, only a couple since. Mainstream lineup with Scott Wendholt (trumpet), Gary Versace (piano), Jay Anderson (bass), and Billy Drummond (drums). B+(**) [sp] Dougie Poole: The Rainbow Wheel of Death (2023, Wharf Cat): Country-ish singer-songwriter from Brooklyn, third album, some good songs, ends on a soft note. B+(*) [sp] Noah Preminger/Kim Cass: The Dank (2023, Dry Bridge, EP): Duets, sax/clarinet/flute/synth and bass/guitar. Eight short pieces, 20:06. B+(**) [bc] Nicky Schrire: Nowhere Girl (2023, Anzic): Jazz singer-songwriter, born in London, grew up in Cape Town, studied in New York, wound up in Toronto, debut album 2012. I'm not seeing song credits, but the only one I recognize is "Heart Like a Wheel," which focuses the remainder for McGarrigles fans. B+(*) [sp] Laura Schuler Quartett: Sueños Paralelos (2021 [2023], Antidrò): Swiss violinist, debut 2018, with Tony Malaby (tenor sax), Hanspeler Pfammatter (synthesizer), and Lionel Friedli (drums), leaning free (last title is "Baby It's Freejazz"). B+(**) [sp] Sparks Quartet [Eri Yamamoto/Chad Fowler/William Parker/Steve Hirsh]: Live at Vision Festival XXVI (2022 [2023], Mahakala Music): Piano, sax/flute, bass, drums; quartet released an album as Sparks in 2022, so are following it up with a live set here. B+(**) [bc] Peter Stampfel/Eli Smith/Walker Shepard: Wildernauts (2024, Don Giovanni): Folk "supergroup" releases their eponymous debut, but I had to look the others up: Discogs shows side-credits for both, mostly playing banjo, including Have Moicy 2. The leader's voice remains instantly recognizable, even as tattered as it is, even as backup ("Picking Dandelions"). Some covers, like the opener "Crazy Arms," and "There Stands the Glass," register right away. Others will take more dedication. B+(**) [sp] Tani Tabbal Quartet: Intentional (2022 [2023], Mahakala Music): Drummer, only a couple albums as leader but has side credits starting in 1981 with Roscoe Mitchell, later with David Murray, then was in James Carter's quartet during its prime period. Here with Joe McPhee (tenor sax/poetry), Adam Siegel (alto sax), and Michael Bisio (bass). B+(***) [bc] Truth Cult: Walk the Wheel (2023, Pop Wig): Emo/hardcore band from Baltimore, second album after a 2018 EP, eleven songs, 27:22. Heavy enough I set the "metal" flag, but sharp enough I let them have their say. B+(*) [bc] Turnpike Troubadours: A Cat in the Rain (2023, Bossier City): Country band from Oklahoma, sixth album since 2007, steady, pleasant performers, fiddle helps with the old timey feel, don't have much to say, but at least what they have to say isn't bad. B [sp] Morgan Wallen: One Thing at a Time (2023, Big Loud): Country singer-songwriter, from Sneedville, Tennessee, third studio album since 2018, seems like much more, sprawling from 14-songs (45:11) to 30-songs (96:53) to 36-songs (111:36). Huge bestseller, Billboard's number one album for 2023. I've avoid this due to anticipated fatigue and poor reputation, but a very cursory stream does little credit to either excuse. He writes (with help) ordinary songs, gives them fashionably tradish arrangements, and has an agreeable voice. No one will ever mistake him for Merle Haggard (or, for that matter, Don Williams), but you can drink, or I can write, with him in the background, and never give him a serious thought, even if you happen to pay some attention. B+(*) [sp] Stephen Wilson Jr.: Søn of Dad (2023, Big Loud): Country singer-songwriter, from Indiana, first album, about his father, got a little carried away (21 songs, 90 minutes). Still, the first three songs set the stage, showing an interest in social realism and demonstrating sonic tricks (including that "strong Southern drawl" but also booming guitar with a bit of fiddle) to sustain the effort. As for his daddy complex, I have my doubts -- what kind of father teaches his age-5 son to box? not mine, but but I can't say much more in his favor. I keep wondering whether I should revisit Zack Bryan, a good album, but one where the length ultimately wore me down. But even if it earns its reputation, I'd be very surprised if will hold up this well. A- [sp] Recent reissues, compilations, and vault discoveries: Tubby Hayes: No Blues: The Complete Hopbine '65 (1965 [2023], Jazz in Britain): British tenor saxophonist, one of the few real bebop masters, lived fast and died young (1935-73). With Kenny Powell (piano), Ron Mathewson (bass), and Dick Brennan (drums), with Hopbine host and fellow tenor saxophonist Tommy Whittle joining for a couple of jousts. Burns intense and long (7 tracks, 95:39), though sometimes the mic seems to wander off. B+(***) [sp] Jeffrey Lewis: Asides & B-Sides (2014-2018) (2014-18 [2023], self-released): Antifolk singer-songwriter, got started with a self-released cassette in 1998, has a couple albums suggesting career development, then reverts to DIY obscurity, like his recent series from 2019 Tapes through 2022 Tapes -- on Bandcamp but not enough to review. In 2022, he scraped together a 7-track EP called When That Really Old Cat Dies, which has since all but disappeared, even from Google, evidently supplanted by this miscellany, extending the EP to 10 songs, 31:12, finally showing up on Spotify (after I failed to find it just a week ago). Doesn't add much, but did get "The Guest List" a couple more spins. B+(***) [sp] Lou Reed: Hudson River Wind Meditations (2007 [2024], Light in the Attic): An hour-plus of ambient electronica, as far off his beaten path as Metal Machine Music, and certainly more age-appropriate for what appears to have been his last album. And good enough that he could have had a decent career had he started in this vein decades earlier -- not that you or I would have heard of him. B+(**) [sp] Taylor Swift: 1989 (Taylor's Version) (2023, Republic): Her fifth album in 2014, now the fourth to get the "Taylor's Version" treatment, which doesn't seem to be anything more than a scam to make more money off back catalogue while giving less of it to Big Machine. I'm not making judgments on that, although I'm also not arguing with anyone who wants to argue against on ethical and/or artistic grounds. I streamed the original, liked it enough for a B+(***), but don't remember a single song, and have no desire compare versions. It's as if I'm hearing a new album for the first time, although it seems unfair to the rest of the world not to list it among reissues. Original grade seems about right. B+(***) [sp] Barbara Thompson: First Light (1971-72 [2023], Jazz in Britain): British saxophonist (1944-2022), had played with Howard Riley, Michael Gibbs, and Neil Ardley before this, also the rock band Colosseum (she married their drummer, Jon Hiseman), but became better known after 1978 with her Paraphernalia groups. This starts with two Group E pieces, with her on soprano sax and alto flute, and Peip Lemer singing (21:10). That's followed by a big band piece (26:38), then five tracks with her Jubiaba group (29:39; the group finally released an album in 1978). The vocals add to the mess of the first two sets. Jubiaba is also messy, but explodes in rhythm often enough to raise your hopes. B [bc] Old music: The Paranoid Style: The Power of Our Proven System (2013, Misra, EP): A reader sent me this YouTube playlist so I could "check it off my list," like this one (updated but not regularly maintained). This was evidently the first of three EPs later combined in unhelpful ways (like a 2013 Misra cassette), a five-song (21:59) digital release, each with its own video (which I've played through several times, but never managed to watch through). Straitlaced indie rock with copious smarts, a formula Elizabeth Nelson and Timothy Bracy have stuck doggedly with, even through full albums like 2016's Rolling Disclosure and the new one, The Interrogator -- both recommended. B+(***) [yt] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, February 5, 2024 Music Week
February archive (in progress). Music: Current count 41777 [41743] rated (+34), 21 [16] unrated (+5). Very late start here, but I don't have much to say, so let's just get it out of the way. I published another Speaking of Which Sunday evening. Came out with more links than usual (141), but fewer words (4726), so I didn't do much commenting. Today I added another 1000 words of introduction, but only 5 more links. Look for the red stripe in the right margin. The new words try to explain why some of the things people say to frame what Israel and the US are doing in ways that further genocide and poison any prospect for peace. I'm about 100 pages into Greg Grandin's The End of the Myth: From the Frontier to the Border Wall in the Mind of America. I thought about quoting several sections that seem particularly relevant to the present, especially about how the notion of an expandable frontier, driven by new settlement, leads to racism at home, war abroad, and genocide for whoever gets caught in the middle. In America this is the dynamic of Jefferson's "Empire of Liberty," of Jackson's "Indian Removal," and of Polk's "Mexican War." Many people understand Israel (like America, South Africa, and Algeria) as an example of attempted Settler Colonialism, but few people have noted the significance of Ben Gurion's refusal in 1948 to declare or, even after defining armistices in 1950-51, define Israel's borders -- even though Ben Gurion had lobbied hard to get the UN to approve a partition plan with defined borders. I'm struggling to revise an old blog post I wrote about "reading obituaries" for possible inclusion in a book some friends are intent on publishing, and I'm tearing my hair out over my inability to focus on that task, or indeed on much of anything. That in turn has left everything else on hold. I figured I'd wrap up the EOY aggregate once I counted Robert Christgau's Dean's List: 2023. It's out now, and I've split it up into essay and list, but I haven't counted it yet. I also haven't updated the Consumer Guide database and added the links from the list file to the database. Later this week. I did add a few things to the EOY aggregate, like the Free Jazz Collective Album of the Year and individual critic lists for their writers who didn't vote in the Francis Davis JCP -- I've taken names, 11 of them, compared to the 7 who did vote. I'd also like to point out that Mark Lomanno is doing a very nice Month in Review series. It's perhaps a bit more mainstream than the monthly columns Phil Freeman writes for Stereogum and Dave Sumner for Bandcamp Daily, but is a very welcome development. I've been neglecting my 2024 music tracking file, but with both labels and release dates, it makes updating too easy to ignore. Also note that Paul Medrano is making an effort to track all 2024 New Jazz Music Releases, also in very usable format. I hope some readers here will find a way to help him out. I also want to recommend one of the very best EOY reports I've seen this year, Tris McCall's Pop Music Abstract 2023, which is basically a whole year's worth of well-written reviews. I added all of the albums cited to my EOY Aggregate (code: tmr:+), even after I realized that not all of them were positive reviews; e.g.:
Which was even more to the point than even my own B− review. But also take a look at his Lemon Twigs review, which does a marvelous job of putting into words what I was thinking when I simply jotted down C+. Rated count is significantly down this week, to which I can only say, "whew!" Two 4-CD boxes, though, that I actually bought, and possibly cut them some slack (certainly gave them more time) as a result. Still lots of technical glitches around the office and home, but I did get my main computer's speakers working, so I'm able to start playing downloads and Soundcloud and YouTube links again. One thing I didn't do last week was pay any attention to my demo queue, for for that matter to 2024 releases (although five snuck in anyway, including one A−). New records reviewed this week: Ben Allison/Steve Cardenas/Ted Nash: Tell the Birds I Said Hello: The Music of Herbie Nichols (2022 [2024], Sonic Camera): Bass, guitar, and tenor sax, fourth album as a trio, also effectively a successor to Allison's Herbie Nichols Project, which recorded three albums 1996-2001, and returns here with arrangements of eight previously unperformed compositions by Nichols (1919-63). B+(***) [sp] Chuquimamani-Condori: DJ E (2023, self-released): Evidently the work of the California-born electronica producer who has mostly released albums as Elysia Crampton (her name give or take a Chuquimia), although credits here include Elly, Joshua Chuquimia Crampton, and PK Crampton. A back story almost as glitchy as the music, which somehow grows on you if you can resist the temptation to exit immediately. B+(*) [bc] City Girls: Raw (2023, Quality Control/Motown): Miami hip-hop duo, Yung Miami and JT, third studio album since 2018. B+(**) [sp] Isaiah Collier: Parallel Universe (2023, Night Dreamer): Chicago-based saxophonist (also flute, keys, vocals), has a couple albums, mostly talks his way through expansive r&b-based grooves, really breaks out when the sax finally breaks free. B+(***) [sp] Craven Faults: Standers (2023, The Leaf Label): British electronica artist, described as "enigmatic," favors analogue synthesizers, EPs since 2017 and albums since 2020. Nice and steady. B+(***) [sp] Charley Crockett: Live From the Ryman Auditorium (2022 [2023], Son of Davy): Country singer-songwriter, has been releasing trad-themed records at a furious pace since 2015, building up a songbook that he crafts into a fine best-of here. A- [sp] DJ Danifox: Ansiedade (2023, Principe): Daniel Veiga, based in Lisbon, draws on Afro-Portuguese styles like batida, talking over light, lilting beats, with bits of guitar amidst the percussion. B+(**) [sp] Evelyn Davis/Fred Frith/Phillip Greenlief: Lantskap Logic: Hidden Danger Lets Me In (2022 [2023], Clean Feed): Pipe organ, electric guitar, clarinet/alto sax; second group album, after Lantskap Logic in 2013, at which point they referred to themselves as Drone Trio. More ambient here, but set in a very old church. B+(*) [bc] DJ K: Panico No Submundo (2023, Nyege Nyege Tapes): Brazilian funk producer, (19) of his name at Discogs. Broken beats, heavy chants, metallic clunk and grind. B+(*) [sp] Chad Fowler/George Cartwright/Kelley Hurt/Christopher Parker/Luke Stewart/Steve Hirsh/Zoh Amba: Miserere (2023, Mahakala Music): Free jazz bash, recorded in Little Rock, with visitors from Memphis and points beyond -- Cartwright (alto/tenor sax, guitar) is the senior citizen and mentor to this bunch, with two more saxophonists (Fowler and Amba), piano (Parker), bass (Stewart), drums (Hirsh), and voice (Hurt). B+(**) [bc] Chad Fowler/Shanyse Strickland/Sana Nagano/Melanie Dyer/Ken Filiano/Anders Griffen: Birdsong (2022 [2024], 'Mahakala Music): Leader plays strich and bass flute; Strickland French horn and flute, with a vocal bit; the others violin, viola, bass, and drums, quite impressive (except for the vocal). B+(**) [sp] Jayda G: Guy (2023, Ninja Tune): Canadian DJ and producer, actual name Jayda Guy, moved from Grand Forks to Vancouver, then to Berlin, finally to London. Second studio album, also has a DJ-Kicks. B+(***) [sp] Tim Hecker: No Highs (2023, Kranky): Canadian electronica producer, ambient division, dozen-plus albums since 2001, wound up writing a PhD thesis on urban noise. Describes this as "a beacon of unease against the deluge of false positive corporate ambient currently in vogue" -- a fair description of much of his own recent work, and much more interesting for the effort. B+(***) [sp] Abdullah Ibrahim: 3 (2023 [2024], Gearbox): South African pianist, has had a remarkable career since his 1963 debut Duke Ellington Presents the Dollar Brand Trio. Trio here with Cleave Guyton Jr. (flute/piccolo) and Noah Jackson (bass/cello). This offers two sets, the second live before a very appreciative audience. Nice stuff when you pay attention, but much of it slips by easily if you don't stay on top of it. B+(*) [sp] Jonas Brothers: The Album (2023, Republic): Successful boy band, formed 2006 by brothers Nick, Joe, and Kevin Jonas, sold 17 million copies through 2013, by which time they were pursuing solo projects. Regrouped for a 2019 album, and one more here. It seems to have sold well, but didn't show up in the first 500 lists I collected for my EOY aggregate. Attractive album, although I tired of the overblown finale. B+(*) [sp] Lia Kohl: The Ceiling Reposes (2021-22 [2023], American Dreams): "Sound artist," based in Chicago, plays cello, synths, kazoo, concertina, wind machine, piano, drums, bells, and live radio. B+(**) [sp] Jamie Leonhart: The Illusion of Blue (Side A) (2022, self-released, EP): Jazz singer-songwriter, has a previous album from 2008, very little info on this one, except that it seems to be released as two EPs, this one six songs, 22:34. B- [sp] Jamie Leonhart: The Illusion of Blue (Side B) (2022, self-released, EP): Kicks this one -- five songs, 24:25 -- off with a cover ("What's So Funny About Peace, Love and Understanding?"), followed by another covers ("Willow Weep for Me") and other less substantial songs I'd have to look up. B- [sp] Bonnie Montgomery: River (2023, Gar Hole): Country singer-songwriter from Arkansas, eponymous debut in 2014, fourth album. Claims a "big voice," but there's something a bit off, and big production does the opposite of helping. The more trad backdrops help a bit, but ultimately one just acquiesces, and accepts her as a pretty decent songwriter. B+(*) [sp] Ulysses Owens Jr. and Generation Y: A New Beat (2023 [2024], Cellar Music): Drummer, debut 2012, leads a large group here through hard bop that may be new to the young musicians, who at least keep it fresh. B+(**) [sp] The Paranoid Style: The Interrogator (2024, Bar/None): Singer-songwriter (and culture critic) Elizabeth Nelson's front group, several EPs and albums since 2013. The music is almost perfectly straightforward -- aside from flashes of superior guitar, that is -- so one gets the feeling that lyrics are decisive, but I'm too slow on their uptake to note more than their intelligence and erudition. Not sure if I can ask for more than that. A- [sp] Luciana Souza & Trio Corrente: Cometa (2023, Sunnyside): Brazilian jazz singer, studied in Boston, taught in New York, based in Los Angeles, more than a dozen albums since 1998, trio here with Fabio Torres (piano), Paulo Paulelli (bass), and Edu Ribeiro (drums). B+(**) [sp] David Tamura + Toadal Package: Final Entrance (2023, JPN): New York-based saxophonist (tenor/soprano, also keyboards), "plays noise rock and free jazz," also in a group called The JazzFakers. Backed here with guitar (Cosmo Gallaro), bass (Brenna Rey), and drums (James Paul Nadien). A bit too noisy for me, but that's probably the point. B+(**) [bc] Azu Tiwaline: The Fifth Dream (2023, IOT): Electronica producer, from Tunisia, second album. Deep, dark, dreamy too, but with a hard industrial frame, not as advertised "guiding us warmly towards trance-inducing hyper states of dance & delight," but strangely comforting anyway. A- [sp] Mark Turner Quartet: Live at the Village Vanguard (2022 [2023], Giant Step Arts): Tenor saxophonist, one of the top ones to emerge in the 1990s, with major label releases on Warners, and much more recently on ECM. So I was surprised that this, unlike other albums on this new label, never showed up in my queue. Live set with Jason Palmer (trumpet), Joe Martin (bass), and Jonathan Pinson (drums). Lots of skill here, but not so much spark. B+(**) [sc] Wiki & Tony Seltzer: 14K Figaro (2023, Wikset Enterprise): Rapper Patrick Morales, prolific since 2015, with producer Antonio Hernandez. B+(***) [sp] Eri Yamamoto: Colors of the Night Trio (2022 [2023], Mahakala Music): Japanese pianist, moved to US in 1995, played on several William Parker projects, plus her own (mostly trio) records since 2001. This is another trio, with Parker on bass and Ikuo Takeuchi on drums. B+(**) [sp] Recent reissues, compilations, and vault discoveries: Borga Revolution! Volume 1: Ghanaian Dance Music in the Digital Age, 1983-1992 (1983-92 [2022], Kalita): I've long understood that highlife was the superpowered pop music that evolved in Ghana in the 1970s, whence it spread to Nigeria and mutated into juju and other forms, and of course there was a connection to London, but I didn't realize there was a German one, or that it would be called "burger highlife." That's the focus here, featuring George Darko, Wilson Boateng, and Uncle Joe's Afri-Beat, shifting slightly toward electro-dance music. B+(***) [sp] Borga Revolution! Volume 2: Ghanaian Dance Music in the Digital Age, 1983-1996 (1983-96 (2023), Kalita): Further explorations in the Ghanaian diaspora, including a couple names likely to be recognized elsewhere (A.B. Crentsil, Pat Thomas). Advantage over Volume 1 is in the more sustained dance grooves. A- [sp] The Dave Brubeck Quartet: Live From the Northwest, 1959 (1959 [2023], Brubeck Editions): Four cuts from the Multnomah Hotel in Portland, plus three more from Clark College in Vancouver, WA, both in April, before Take Five came out, mixed with four standards up front (starting with a rather frothy "When the Saints Go Marching In"), two originals, then "The Lonesome Road." Fine piano, with Paul Desmond (alto sax), Eugene Wright (bass), and Joe Morello (drums). This is, of course, quite nice, but not much more. B+(***) [r] Duke Ellington: All the Hits and More 1927-54 (1927-54 [2023], Acrobat, 4CD): This seemed like a useful idea, chronicling the period when jazz was popular music through the longest-running, most consistent, and most often brilliant of the era's big bands, even if strictly following the charts has never been surefire. Also because the standard RCA compilations, up to and including the 24-CD Centennial Edition box, skip over the 1932-40 period, when Ellington recorded mostly for Brunswick -- sides that have only been collected on the French Classics label and, finally in 2010, a pricey 11-CD Mosaic box. This is evenly balanced among all of Ellington's labels, confirming the common judgment that the RCA sides from 1927-28 and 1940-46 were peak periods (along with much of his later work, including Newport in 1956 and many of the suites and tributes and small groups from then through the end of the 1960s), but also reminding us that the maligned 1930s and the Hodges-less early 1950s still produced copious brilliance. About the only complaint one might make is that the chart-focus favors singers, which Ellington had -- how to put this? -- rather idiosyncratic taste in. Comes with a substantial booklet with full credits. A [cd] Kantata: It's High Time Now (1986 [2023], BBE): Burger highlife band from Ghana, Lee Duodu the lead singer and Ogone Kologbo the guitarist, with sax, keyboards, bass, drums, and more percussion. Takes a bit of time to find the right gear, but finally gets there. B+(***) [sp] The R&B No. 1s of the '40s (1942-50 [2023], Acrobat, 4CD): As with the Ellington box, the booklet provides detailed credits and useful history. But the strict chart focus produces some anomalies, especially early on, when Paul Whiteman, Harry James, Benny Goodman, Ella Mae Morse, and Bing Crosby topped the r&b charts (the latter with, of all things we don't need another copy of, "White Christmas"). Indeed, up to 1945, the r&b charts seem to have been dominated with novelties ("Cow Cow Boogie" was one of the better ones, by Ella Fitzgerald with the Ink Spots). The transition comes awkwardly with two takes of "I Wonder," Cecil Gant's original and a cover by Roosevelt Sykes, taken from a badly worn 78. After that, the first thing you realize is how Louis Jordan dominated the decade (18 songs, compared to 5 each for Duke Ellington, Nat King Cole, and the Ink Spots; Fitzgerald shares 2 songs with the Ink Spots and one with Jordan; no one else has more than 2). Later years advance significantly toward rock and roll, without taking explicit aim -- for that, you'd be better served by the first disc of The Roots of Rock 'n' Roll 1946-1954 (3-CD, on Hip-O) or The First Rock and Roll Record (another 3-CD, Famous Flames) or the first disc of The R&B Box (6-CD, on Rhino, 1944-74, canon-defining), or Rhino's Blues Masters on jump blues (Volume 5: Jumb Blues Classics, and Volume 14: More Jump Blues). And, of course, if you went that direction, you'd need more Louis Jordan: MCA's original CDs The Best of Louis Jordan and Five Guys Named Moe: Vol. 2 are essential. How much more is hard to judge, but the 4-CD Properbox (Jivin' With Jordan) doesn't flag, and there's a similar 4-CD JSP box -- although I've heard that the 9-CD Bear Family box is de trop. A- [cd] Papa Yankson: Party Time (Odo Ye Wu) (1989 [2023], Kalita): Ghanaian highlife singer-songwriter (1944-2017), various spellings which may or may not include Kofi. B+(***) [sp] Old music:
Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, January 29, 2023 Music Week
Music: Current count 41743 [41697] rated (+46), 16 [19] unrated (-3). Over the weekend, I cobbled together another substantial Speaking of Which (130 links, 7048 words). Feels pretty hopeless, but did give me a couple days respite from a week of flopping haplessly, accomplishing nothing. Speaking of nothing, here's this week's catch. Five of six A- releases are jazz; four of six are 2024 releases. The best of the batch is the exception to both generalizations, which seems about right. They all seem rather marginal, but so do most things these days. Still, they're all interesting, very accomplished records, as are the next tier down. By the way, there's more "burger highlife" coming from the "mysterious bin-bags" that brought forth the Jewel Ackah record. No telling how far behind I am with various bookkeeping tasks. One thing I did manage to do was to add results from Brad Luen's The 13th Annual Expert Witness Poll to the EOY aggregate, all the way down to the singletons. Several things there I still haven't heard. New records reviewed this week: Deena Abdelwahed: Jbal Rrsas (2023, Infiné): Tunisian DJ/producer, moved to Paris at 26, although this, her second album (plus a handful of EPs), was recorded in Tunisia, and bears an Arabic title. B+(***) [sp] Acid Arab: Trois (2023, Crammed Discs): Paris-based electronic group, founded 2012 by Guido Minisky and Hervé Carvalho, "a distinctive mix of deep club-based beats with arabic instruments and vocals." Third album, title is Arabic for such. B+(**) [sp] Don Braden: Earth Wind and Wonder Volume 2 (2023, self-released): Mainstream tenor saxophonist, followed a fairly classic arc from Criss Cross in 1991 to major labels to HighNote 2001-08 and winding up with a self-released covers project (first volume in 2018). Still an imposing saxophonist, but no one I can think of has managed to claim these songs for jazz. B [sp] Helena Deland: Goodnight Summerland (2023, Chivi Chivi): Canadian singer-songwriter, second album, title from her hometown in British Columbia, now based in Montreal, has a light touch. B+(*) [sp] Disclosure: Alchemy (2023, Apollo/AWAL): British synthpop duo, brothers Howard and Guy Lawrence, fourth studio album since 2013. B [sp] DJ Girl: Hellworld (2023, Planet Mu): Detroit techno producer Terri Shaska, second album. Some bits (especially vocal riffs) don't do much, but gets much better as the beats pick up (e.g., "When U Touch Me," featuring Lighght, but "Groover" works as well). B+(**) [sp] DJ Ws Da Ingejinha: Caça Fantasma Vol. 1 (2023, Delama): Funk brasilero artist, Wilson da Silva, from Belo Horizonte, can't find him on Discogs, and not making much sense out of this oddly disjointed mess. But stick with it and it may develop its own logic. B [sp] Dragonchild: Dragonchild (2023, FPE): Ethiopian saxophonist DA Mekonnen, a founder and leader of the Boston-based Debo Band, offers up a solo album. B+(**) [sp] Baxter Dury: I Thought I Was Better Than You (2023, Heavenly): Second-generation singer-songwriter, eighth album since 2002. Sounds rather like his father, except there's no mistaking him for genius. B [sp] Enji: Ulaan (2023, Squama): Mongolian singer Enkhjargal Erkhembayar, based in Germany, third album, draws on folk music with jazz musicians. B [sp] FACS: Still Life in Decay (2023, Trouble in Mind): Chicago group, several albums since 2017, related to Disappears, which had a nice run of albums, 2010-16. Similar industrial vibe here, a bit on the lumbering side. B+(**) [sp] Amanda Gardier: Auteur (Music Inspired by the Films of Wes Anderson) (2022 [2024], self-released): Alto saxophonist, based in Baltimore, third album, quartet with Charlie Ballantine (guitar, a major factor here), Jesse Wittman (bass), and Dave King (drums). I don't have any idea what the tie-in to the films might be, but something inspired her. A- [cd] Samuel Goff/Camila Nebbia/Patrick Shiroishi: Diminished Borders (2023, Cacophonous Revival): Drummer plus two saxophonists, free jazz with Nebbia adding some commentary. The lineup reminds me of Cosmosamatics, which worked to the same impressive effect, although this one tails off toward the end. B+(***) [bc] Vinny Golia/Max Johnson/Weasel Walter: No Refunds (2014 [2023], Unbroken Sounds): A live sax-bass-drums set from Seaside Lounge a while back, the bassist doing the mix and release. Golia plays clarinet, saxello, soprano and baritone sax. B+(**) [sp] Hands & Tongues: 3 Meta-Dialogues (2023, 4DaRecord): Three pairings of voice and instrument: Jean-Michel Van Schouwburg with 10-string microtonal guitar (Pascal Marzan); Bill Young with clarinet (Noel Taylor); Rodrigo Brandão with bass (João Madeira). Unable to decipher the words, there's very little to relate to here. B- [cd] Anders Jormin/Lena Willemark: Pasado En Claro (2021 [2023], ECM): Swedish bassist, debut 1984, on ECM since 2001, second album with the Swedish singer/violinist, who has a similar presume, including an ECM debut in 1996. With, below the title, Karin Nakagawa (25-string koto) and Jon Fält (drums). B+(**) [sp] La Sécurité: Stay Safe (2023, Mothland): Montreal "art punk" group, first album: "equal parts: jumpy beats, off-kilter arrangements, and minimalistic melodic hooks," also a nice balance between English and French. They remind me of vintage new wave, perhaps Martha & the Muffins spiked with Devo? A- [sp] Alex Lahey: The Answer Is Always Yes (2023, Liberation): Australian singer-songwriter, turns out layered, hooky pop, with a "wall of sound" effect. Third album. B+(**) [sp] Maurice Louca Elephantine Band: Moonshine (2023, Sub Rosa/Northern Spy): Egyptian composer, plays guitar, lap steel guitar, and synthesizer, in a group with saxophones, clarinet, tuba, vibes, bass, and drums. (Elephantine was the title of his 2019 album, and plays more prominently on the cover here; artist credit here from Sub Rosa sticker.) B+(***) [sp] Salvoandrea Lucifora Quartet: Drifters (2022 [2023], Trytone): Trombonist, from Sicily, based in Amsterdam, should count as his first album (although I've heard him before). Quartet with piano (Marta Warelis), bass (Omer Govreen), and drums (Marcos Baggiani). Two lp-side-long pieces, very sharp. A- [sp] Lyia Meta: Always You (2023, self-released): Malaysian singer-songwriter, based in Kuala Lumpur, identifies as jazz and sings in English as an impressive contralto voice. First full album, after an EP. Quite some accomplishment, yet nothing I much care for. B [sp] Stephan Micus: Thunder (2020-22 [2023], ECM): German singer-songwriter, on ECM since 1977, sings some and plays everything here, mostly exotic instruments like lute, sarangi, calabash, nyckelharpa, shakuhachi, bass zither, frame drums and various bells. Very ambient, other than the distant rumbling of brass, which helps. B [sp] Camila Nebbia: Una Ofrenda a la Ausencia (2023, Relative Pitch): Tenor saxophonist from Argentina, debut 2015, has been especially busy of late, here with a solo album, a format with pretty severe limitations. Still impressive, building up over time. B+(**) [sp] Lothar Ohlmeier/Tobias Klein: Left Side Right (2023 [2024], Trytone): Bass clarinet duo, with a little sax (tenor and alto, respectively) on the side. B+(**) [cd] [02-16] Omnigone: Against the Rest (2023, Bad Time): California ska-punk band led by Adam Davis, second album, the punk aesthetic pumped up with keyb and horns. B+(*) [sp] Pardoner: Peace Loving People (2023, Bar/None): Seattle post-punk (or some might say "not really punk") outfit, third album since 2017. B+(*) [sp] Reggie Quinerly: The Thousandth Scholar (2023 [2024], Redefinition): Drummer, has several albums, wrote all the pieces but one here, that by pianist Manuel Valera. Also with Matt Brewer (bass) and Samuel Torres (percussion), skewing Afro-Latin. B+(**) [cd] Naoko Sakata: Infinity (2023, Pomperipossa): Japanese pianist, based in Sweden, has several albums, not sure if this is meant as jazz, but is solo piano, boldly imagined, nicely turned out. B+(*) [sp] Samo Salamon/Vasil Hadzimanov/Ra-Kalam Bob Moses: Dances of Freedom (2021 [2024], Samo): Slovenian guitarist, has many fine albums since 2003, also plays some banjo here, with piano/keyboards and drums/percussion, both outstanding. A- [cd] Sigur Rós: Átta (2023, Krunk/BMG): Post-rock band from Iceland, eighth studio album, which you already know if you know Icelandic. B- [sp] Ches Smith: Laugh Ash (2023 [2024], Pyroclastic): Drummer, many side-credits since 2000, his own records fairly scattered (or, I suppose, "eclectic"). He composed this, with electronics and percussion, with a string section, and spots for voice (Shara Lunon), flute (Anna Webber), clarinet (Oscar Noriega), tenor sax (James Brandon Lewis), and trumpet (Nate Wooley), with Shahzad Ismaily (bass and keyboards). Some of this are as impressive as you'd hope for, but only scattered bits, nothing I feel compelled to pursue. So I won't be surprised when this shows up on EOY lists. B+(*) [cd] [02-02] Jimi "Primetime" Smith & Bob Corritore: The World in a Jug (2023, Vizztone/SWMAF): Blues guitarist-singer from Chicago, based in Minneapolis, third album (21 years after a second called Back on Track), mostly originals credited to Minford James Smith, with Corritore on harmonica. B+(***) [sp] Jim Snidero: For All We Know (2023 [2024], Savant): Alto saxophonist, many albums since 1989, straightforward trio here with Peter Washington (bass) and Joe Farnsworth (drums), playing eight standards. Splendidly, of course. A- [cd] [02-16] Jonathan Suazo: Ricano (2023, Ropeadope): Alto saxophonist from Puerto Rico, based in Boston, has a couple previous albums, aims for the whole "Afro-Caribbean experience" here, with lots of guests (he moves to tenor on the Miguel Zenón spot), including vocals. Too massive for my taste, but the sax is most impressive, and the rest is plenty authentic. B+(***) [sp] Surgeon: Crash Recoil (2023, Tresor): English electronica producer Anthony Child, was most active 1997-2000, with several long gaps since then. Fairly simple patterns run through at a relentless pace, reminds me of some game music themes, but exceptionally compelling. B+(***) [sp] Rob Sussman: Top Secret Lab (2023, Sus4music): New York-based trombonist, also plays keyboards, released an eponymous album in 2002, since then has mostly appeared in groups like Swingadelic and Funk Shui NYC. Ends with a pretty energetic "When a Man Loves a Woman." B+(*) [cd] Tomu DJ: Crazy Trip (2023, No Bias, EP): From California, has a couple previous releases, this a short album (7 tracks, 27:06), enticing beats scattered about a swishy ambient space. B+(***) [sp] Rian Treanor & Ocen James: Saccades (2023, Nyege Nyege Tapes): British electronica producer, working here with a Ugandan, who mixes traditional acoustic instruments with electronics. B+(**) [sp] Katie Von Schleicher: A Little Touch of Schleicher in the Night (2023, Sipsman): Brooklyn singer-songwriter, fifth album since 2012. B+(*) [sp] Bobby West: Big Trippin' (2023, Soulville Sound): Los Angeles-based pianist, possibly the same one Discogs credits with session work for James Taylor and Buffy Sainte Marie in the 1970s, and for R. Kelly in the 1990s. Second album, after a debut in 2021. Trio, nice touch on the occasional ballad, but likes them fast, with lots of frills. B+(*) [sp] Recent reissues, compilations, and vault discoveries: Jewel Ackah: Electric Hi-Life (1986 [2023], BBE): Highlife singer from Ghana (1945-2018), his name long imprinted on my mind thanks to a single Christgau review of his elusive 1989 album My Dear. Discogs credits him with 27 albums, and a birth date that doesn't jive with other sources. B+(***) [sp] Eddie Lockjaw Davis Quartet: All of Me (1983 [2023], SteepleChase): Tenor saxophonist, debut 1951, had a very productive decade with Prestige from 1958, was scrapping for dates after that, this from a stop in Copenhagen with locals (counting expat pianist Kenny Drew, backed here by Jesper Lundgaard and Svend-Erik Nørregaard on bass and drums). [Digital includes an extra track added to the 1994 CD, but the 2023 vinyl does not.] B+(***) [sp] J Jazz: Deep Modern Jazz From Japan Volume 4: The Nippon Columbia Label 1968-1981 (1968-81 [2023], BBE): It's hard in America to get any sense of jazz in Japan, but this series seems to be having little trouble picking up superb examples, nearly all from musicians I never heard of. (The Lithuanian label NoBusiness has also been fruitfully exploring Japanese jazz, focusing on the avant-garde there.) Nippon Columbia was founded as Nipponophone in 1910, licensing Columbia trademarks as early as 1931, and changing the company name in 1946, but has always remained independent. Not clear how important jazz was to Nippon Columbia (or vice versa), but this ranges widely and impressively, through hard bop combos, big bands, and a lot of Miles Davis influences. B+(***) [sp] WaJazz: Japanese Jazz Spectacle Vol. I: Deep, Heavy and Beautiful Jazz From Japan 1968-1984: The Nippon Columbia Masters (1968-84 [2022], Universounds): Label is a Tokyo record store, owned by Yosuk Ogawa, who selected this material (and is credited by Discogs). B+(**) [sp] WaJazz: Japanese Jazz Spectacle Vol II: Deep, Heavy and Beautiful Jazz From Japan 1962-1985: The King Records Masters (1962-85 [2023], Universounds): A second volume, but only seems to be available as 2-LP, with Bandcamp limited to annoyingly short excerpts (with fades), accenting the eclecticism. B [bc] Mal Waldron/Terumasa Hino: Reminscent Suite (1973 [2024], BBE): Pianist, started in the mid-1950s supporting singer Billie Holiday, and may still be best known for that, but he produced major works for Prestige 1956-62, and moved decisively into avant-jazz later on, especially with Enja, ECM, and Soul Note. He cut this quintet set in Japan with the well-known trumpet player, each writing a side-long piece. A- [sp] Old music: Camila Nebbia/Patrick Shiroishi: The Human Being as a Fragile Article (2021, Trouble in Mind): Sax duo, alto and baritone for Shiroishi, tenor for Nebbia, latter speaks, samples and fx for both. B+(**) [sp] Tomu DJ: Feminista (2021, self-released): First album, eight songs running 41:49. B+(**) [sp] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, January 22, 2024 Music Week
January archive (in progress). Music: Current count 41696 [41641] rated (+55), 19 [22] unrated (-3). I wrote a pretty substantial Speaking of Which over the weekend, including more on the ongoing genocide in Gaza, and on why Israel wants to see the rest of the Middle East up in flames, figuring that will force the Americans into the fight, as opposed to their usual role, which is giving Israel arms, money, and advice (which they are freer than ever to ignore, although Netanyahu was more public than usual in slapping Biden down over the two-state fantasy). I've added a couple more links since initial posting (look for the red right-border stripe), and will probably add a few more before (or after) this gets posted. Also stuff there on Iowa and New Hampshire, as Republicans continue to embrace the criminality their leaders have been promoting at least since Nixon. I haven't made anything like a transition to knuckling down on the book yet. A big chunk of last week went to adding all of the Jazz Critics Poll ballots to my EOY aggregate. The result was, predictably enough, a massive surge for jazz albums in the overall standings:
I expect those standings to slide back down over the next week, although I'm still searching specifically for jazz lists. Since I finished with the ballots, I've already seen one change, where Jaimie Branch pulled back ahead of James Brandon Lewis -- the former has had quite a bit of crossover list support, but only came in 9th in the Poll. Matana Roberts, Lakecia Benjamin, and Irreversible Entanglements also do somewhat better away from the jazz critics. I haven't added Brad Luen's Expert Witness Poll results in yet, but did manage to pick up some individual ballots. A late expansion of Greg Morton's list led me to Brazilian singer Patricia Bastos this week. I also picked up two more A- titles from the extraordinary Hip Hop Golden Age list. I also happened on some pretty decent electronica while adding Mixmag's 169 albums to the aggregate. And when I got hard up for something to play at the moment, I dipped into the 2024 queue, usually (not always) finding items that are already out. I'll probably spend some more time wrapping up the EOY aggregate, and checking out some of the albums I'm only now finding out about, but should be winding that down this week. I also have a few things on the Jazz Critics Poll left to wrap up, and some mail I haven't gotten to. I also have a database update to the Robert Christgau website almost ready to go. New records reviewed this week: Agust D: D-Day (2023, Big Hit Music): South Korean rapper Min Yoon-gi, also known as Suga, joined K-pop boy band BTS in 2013, Agust D was the name of a mixtape he released in 2016, followed by a second mixtape in 2020 (D-2), and this, his first proper solo album. In Korean, so this waxes and wanes on the beats, which clearly have some money behind them. B+(*) [sp] Altin Gün: Ask (2023, Glitterbeat): Mostly Turkish psychedelic rock band, based in Amsterdam, fifth album since 2018. B+(*) [sp] B. Cool-Aid: Leather Blvd. (2023, Lex): Hip-hop duo from Long Beach, producers Ahwlee and Pink Siifu (Livinston Matthews), keeping it cool. B+(*) [sp] Ballister: Smash and Grab (2022 [2024], Aerophonic): Sixth group outing for saxophonist Dave Rempis's fiercest group, a trio with Fred Lonberg-Holm (cello/electronics) and Paal Nilssen-Love (drums). I'm probably losing all credibility on him. I'm certainly getting used to the rough stuff -- although even here, they set up sublime moments. A- [cd] Patricia Bastos: Vos Da Taba (2023, self-released): Brazilian singer-songwriter, from Macapá, just north of the Amazon delta, seventh studio album since 2002. Exceptionally delightful. A- [sp] Big O: In the Company of Others (2023, Vintage Soundz): London-based hip-hop producer, possibly Oliver Moore (Discogs offers the name, but only lists one album and one EP, the latter from 1996; on the other hand, Bandcamp shows no less than 44 releases, but most behind other leaders). Feat. guests everywhere, many with scratches by gman. B+(*) [bc] Black Milk: Everybody Good? (2023, Mass Appeal): Detroit rapper Curtis Cross, eighth albums ince 2005. B+(*) [sp] Blonde Redhead: Sit Down for Dinner (2023, Section1): Indie band from New York, tenth album since 1994, fronted by Kazu Makino, with brothers Amedeo and Simone Pace. B+(*) [sp] Apollo Brown & Planet Asia: Sardines (2023, Mello Music Group): Detroit hip-hop producer Erik Stephens, has dropped an album (or two or three) every year since 2009, this one featuring rapper Jason Green, who's been even more prolific for longer (since 2000) but has previously escaped my attention -- as has everyone else working out of Fresno. B+(***) [sp] John Butcher/Dominic Lash/Emil Karlsen: Here and How (2022 [2023], Bead): English avant-saxophonist, released half dozen albums in 2023 but this was one of the few I managed to find, a trio with bass and drums. B+(**) [sp] Rasheed Chappell & the Arcitype: Sugar Bills (2023, Project City Music Group): New Jersey rapper, sixth album since 2011, with producer Janos Fulop. This runs up against my distaste for "gangsta shit" (as HHGA rather circumspectly put it: "traditional hip-hop . . . a great emcee who is in turn with golden -age aesthetics") but this carries that deadly weight better than any album I've heard in years (maybe since Ghostface Killah?). A- [sp] Gerald Cleaver: 22/23 (2023, Positive Elevation/577): Normally a drummer, produces electronics here, with some voice (both him and Jean Carla Rodea) and sax (Andrew Dahlke). Runs 22 tracks, 169 minutes, on and on, one suspects the excess is the point. [LP selects 6 (of 22) tracks, for 32:26. Probably just a sampler, as if a taste is all you need.] B+(***) [sp] Declaime and Theory Hazit: Rocketman (2023, SomeOthaShip): Rapper Dudley Perkins, dozen-plus albums since 2001, with producer Thearthur Washington. Deep, out of this world yet very much within it, loses the thread of the music when he declares his belief in God, yet through some miracle keeps you connected anyway. A- [sp] Mike Flips/Nord1kone/Seize: Life Cycles (2023, SpitSLAM): The MC answered one question by pronouncing his name "nordic-one." Flanked here by two producers, Flips at least from UK. B+(**) [sp] Anne Foucher & Jean-Marc Foussat: Chair Ça (2022 [2024], Fou): Violin/electronics, and "Synthi AKS, piano, jouets & voix," which I guess explains the sonic range here, but not enough to describe it. B+(***) [cd] Jean-Marc Foussat/Daunik Lazro: Trente-Cinq Minutes & Vingt-Trois Secondes (2023 [2024], Fou): Title the sum of three constituent pieces, Credits: "méchanisme instinctif et résonnant" and "kaléidophone ténor." File under "drone" or "noise," but more interesting than that implies. B+(***) [cd] Satoko Fujii Tokyo Trio: Jet Black (2023 [2024], Libra): Japanese avant-pianist, well over 100 albums, nice to hear her in a conventional trio setting, this with Takashi Sugawa (bass) and Ittetsu Takamura (drums). B+(***) [cd] [01-24] Peter Gabriel: I/O (2023, Real World): British singer-songwriter, started in prog rock band Genesis, released a series of eponymous albums 1977-82, this 10th album is first since 2011, but it incorporates earlier work going back to 1995, and comes in two mixes ("Bright Side" and "Dark Side"), each 12 songs and well over an hour. Pleasant enough, but interminable. B+(*) [sp] Geese: 3D Country (2023, Partisan): Brooklyn-based alt-rock band, second album, dubbed "art punk," compared to outfits like Black Midi, which might seem interesting until the time shifts and odd eruptions turn super-annoying. B- [sp] Gorillaz: Cracker Island (2023, Parlophone/Warner): Cartoon band, founded 2001 by Damon Albarn, who seems to have been the only regular, aside from illustrator Jamie Hewlett: the other principal musician here is Greg Kurstin, with a bunch of guests dropping in for one song each (Thundercat, Stevie Nicks, Tame Impala, Beck, etc.). Albarn's always had a good sense for hooks, but I grew tired of the mask some time back, and now it all just sounds anonymous (except the title cut is rather catchy). B [sp] Marina Herlop: Nekkuja (2023, Pan): Spanish singer, songwriter and pianist, fourth album, electroacoustic experiments, short (7 songs, 26:35). B+(*) [sp] Gregory Alan Isakov: Appaloosa Bones (2023, Dualtone): Singer-songwriter from South Africa, moved to Philadelphia when he was seven, wound up in Boulder, Colorado. Eighth album since 2003. Seems like a thoughtful but not especially engaging guy. B [sp] Ethan Iverson: Technically Acceptable (2024, Blue Note): Pianist, made a big impression with his early Fresh Sound releases, followed with a rare commercial breakthrough as the Bad Plus, left them in 2017, continues to write a very smart blog. Two bass-drums trios here -- Thomas Morgan/Kush Abadey and Simón Willson/Vinnie Sperrazza -- and a couple of covers (one I love, followed by a vocal I hate), ending with a three-part solo sonata. Appropriately titled. B+(*) [sp] Ja'king the Divine: Parables of the Sower (2023, Copenhagen Crates): Brooklyn rapper, half-dozen albums since 2021. His fascination with things oriental led to the album title Black Sun Tzu. Here he raps over a particularly sinuous "Caravan." [sp] Benjamin Koppel/Scott Colley/Brian Blade: Perspective (2023, Cowbell Music): Danish alto saxophonist, 30+ albums since 1998, has worked with this bass-drums combo since 2011. B+(**) [sp] Benjamin Koppel: White Buses: Passage to Freedom (2023, Cowbell Music): In 1943, as the Nazis were consolidating their occupation of Denmark, some 90% of Danish Jews managed to escape into Sweden, thus avoiding the Holocaust. That much is fairly widely known, but this draws on a lesser-known incident near the end of the war, when the Swedish Red Cross sent white buses to Theresienstadt, where another 425 Danish Jews were held, and affected their liberation. This narrates that story, along with some inspiring music, led by the Danish alto saxophonist. B+(***) [sp] Talib Kweli & Madlib: Liberation 2 (2023, Luminary): A sequel 16 years later, runs longer (45:51), is even harder to find. With politics that deserve wider airing, but thinned out with more ambient breaks. B+(***) [sc] Oliver Lake/Mathias Landæus/Kresten Osgood: Spirit (2017 [2023], Sfär): Alto sax, piano, drums. Lake is a bit erratic, but impresses more often than not. B+(**) [bc] Lalalar: En Kötü Iyi Olur (2023, Bongo Joe): Turkish group, second album. Vibe reminiscent of several Balkan rock groups. B+(***) [sp] Dave Lombardo: Rites of Percussion (2023, Ipecac): Drummer, born in Cuba but moved to California when he was two. Best known as drummer in the thrash metal band Slayer, but also in Fantômas (based on a French anti-hero, "waging an implacable war against the bourgeois society in which he moves"). I've run across him once before, when he joined DJ Spooky on a 2005 Thirsty Ear album called Drums of Death. Solo here, so more drums of death? B+(**) [sp] Van Morrison: Accentuate the Positive (2023, Exile/Virgin): Second release of a covers set this year, reminds you that while he used to be a pretty great songwriter, he's still a terrific singer. Advantage here is in the songs, moving from the country-folk roots of Moving on Skiffle to rhythm and blues and rock and roll, although he's loose enough on the concept to include the Mercer-Arlen title song, and to start off with a "You Are My Sunshine" that proves to be a high point. Elsewhere, lots of nits one can pick, but really too much fun for that. B+(**) [sp] Riley Mulherkar: Riley (2021-22 [2024], Westerlies): Trumpet player, from Seattle, a co-founder of the Westerlies, debut album, with Chris Pattishall (piano) and Rafiq Bhatia both credited with programming and sound design, on a mix of originals and vintage covers ("Stardust," "King Porter Stomp"). B+(***) [cd] [02-16] Estee Nack: Nacksaw Jim Duggan (2023, Griselda): Another rapper I'd never heard of, Alex Rosario, of Lynn, Mass., but Discogs credits him with 25 albums since 2015, and offers 11 distinct editions of this title (but no CD). Rather fractured, with a long riff on Dominicans in the drug trade. B+(*) [sp] Ndox Electrique: Tëd ak Mame Coumba Lamba ak Mame Coumba Mbang (2023, Bongo Joe): Traditional n'doëp community vocal group from Cap-Vert in Senegal, remixed by François R. Cambuzat and Gianna Greco (who also produced Ifriqiyya Electrique), who bring the beats, and some heavy machinery. B+(*) [sp] Noertker's Moxie: In Flitters: 49 Bits From B*ck*tt (2023, Edgetone): Bassist, recordings go back to 2003's Sketches of Catalonia, with a cover reminiscent of Miles Davis's Sketches of Spain (or maybe Billy Jenkins' Scratches of Spain, a superior album [imho]), but then expanded into multi-volume suites for Dali, Miró, and Gaudi. Here the inspiration is Samuel Beckett's Watt, a novel I bought long ago and never managed to read, but evidently of interest to jazzbos (it's the name of Carla Bley's record label). It's put to good use here, with Annelise Zamula (clarinet/flute), Brett Carson (piano), and Jordan Glenn (drums). No idea what's up with the asterisks. B+(***) [cd] Hery Paz: Jardineros (2021 [2023], 577): Cuban saxophonist (also flute, piano, suona), based in New York, first album, backed by drums (Francisco Mela) and percussion (Román Diaz, also credited for vocals -- basically a spoken narration, in Spanish). B+(**) [sp] Shaheed & DJ Supreme: The Art of Throwing Darts (2023, Communicating Vessels): Hip-hop duo from Birmingham, second album. Has an old school air, the words (doubled up?) coming so fast and hard they effectively are the rhythm. B+(***) [sp] Shakti: This Moment (2023, Abstract Logix): Indian supergroup formed by English guitarist John McLaughlin in 1975-77, was revived in 1997 for a series of "Remember Shakti" albums, and now again here, with McLaughlin and Zakir Hussain (tabla) returning, joined by Selvaganesh Vinayakaram (kanjira) and Shankar Mahadevan (vocals) from the 1990s, and Ganesh Rajagopalan (violin). B+(*) [sp] Louis Siciliano: Ancient Cosmic Truth (2023, Musica Presente, EP): Italian trumpet player, seems to have mostly worked on film music, aims for some kind of Miles Davis fusion here, and is mostly successful, for four songs, 22:42. B+(**) [sp] Antero Sievert: Dear Bossa (2023, JMI): Spanish pianist, second album, a "pan-Latin musical journey" with Pedrito Martinez (Cuban percussion), Edmar Castaneda (Colombian harp), and Elena Pinderhughes (Bay Area flute), plus bassist Corcoran Holt, and a bit of trumpet I'd like to hear more from. B+(***) [sp] Guilty Simpson: Escalation (2023, Uncommon): Detroit rapper Byron Dwayne Simpson, debut 2008, came up working with J. Dilla and Madlib, produced here by Uncommon Nasa (Paul Loverro). B+(**) [sp] Josh Sinton: Couloir & Book of Practitioners Vol. 2: Book W (2023 [2024], Form Is Possibility, 2CD): Solo baritone saxophone, the second a volume of Steve Lacy "etudes" -- Sinton led the Lacy tribute band Ideal Bread -- the first originals that are hard to distinguish from Lacy's models. B+(***) [cd] Alex Sipiagin Quintet: Mel's Vision (2022 [2023], Criss Cross): Russian trumpet/flugelhorn player, moved to US in 1990, has a steady stream of mainstream jazz albums since 1998. With Chris Potter (tenor sax), David Kikoski (piano), Matt Brewer (bass), and Johnathan Blake (drums). Two Sipiagin originals (including the unexplained title song), one from Potter, a Ukrainian folk song, and four modern jazz covers. Long (9 tracks, 71:18). B+(**) [sp] Sister Zo: Arcana (2023, All Centre, EP): New York-based electronica artist, has at least one previous EP, this one 4 exquisitely balanced rhythm tracks, 17:38. Remarkably satisfying. A- [sp] Chucky Smash: The Taking of Pelham One Two Three (2023, King of the Beats): J. Samuels, part of a Bronx hip-hop trio called the Legion, which recorded some in the 1990s, with one more album from 2019. B+(*) [sp] Spectacular Diagnostics: Raw Lessons (2023, Rucksack): Chicago hip-hop producer Robert Krums. Has several previous "Raw" titles (Raw Unknown, Raw Studies). B+(**) [sp] Marnie Stern: The Comeback Kid (2023, Joyful Noise): Singer-songwriter, plays guitar and has a rep for that, fifth album since 2007, but ten years after her fourth. Pop overtones over something dense and mathy. B+(**) [sp] The Dave Stryker Trio With Bob Mintzer: Groove Street (2023 [2024], Strikezone): Guitarist, has long settled into the organ groove tradition, releasing a new iteration each January. Trio names on cover: Jared Gold (organ) and McClenty Hunter (drums), with the saxophonist joining in, even contributing a couple of songs. B+(**) [cd] [01-24] Sweeping Promises: Good Living Is Coming for You (2023, Sub Pop): Duo (Lira Mondal and Caufield Schnug), met as students in Arkansas, moved to Boston, recorded a pretty good album there, relocated to Lawrence, Kansas, where they recorded this sophomore effort. B+(**) [sp] Emilio Teubal: Futuro (2021 [2023], Not Yet): Argentinian pianist, based in New York, first album 2009, mostly trio with bass (Pablo Lanouguere) and drums (Chris Michael or Brian Shankar Adler), with a few guests, like Sam Sadigursky (clarinet on three tracks) or Chris Dingman (vibes on three). B+(**) [sp] V Knuckles & Phoniks: The Next Chapter (2023, Don't Sleep): Boston rapper Rahim Muhammad, from the group N.B.S. [Natural Born Spitters], ten albums 2002-20, first solo album, produced by Phoniks (from Portland, ME). Old school vibe, some nice features. B+(***) [sp] Yungmorpheus & Real Bad Man: The Chalice & the Blade (2023, Real Bad Man): California hip-hop artist Colby Campbell, a dozen-plus albums since 2016, working here with producer Adam Weissman. B+(**) [sp] Yungmorpheus: From Whence It Came (2023, Lex): Another one, understated lyrics over minimal beats. B+(*) [sp] Recent reissues, compilations, and vault discoveries: Per 'Texas' Johansson: Alla Mina Kompisar (1998 [2023], Moserobie): Swedish reeds player, second album, plays tenor/baritone sax and clarinets here, with Fredrik Ljunkgvist (four saxes), Johan Lindström (pedal steel guitar), Dan Berglund (bass), and Mikel Ulfberg (drums). A- [sp] Kenneth Kiesler/University of Michigan Opera Theatre: James P. Johnson: De Organizer/The Dreamy Kid (Excerpts) (2006 [2023], Naxos): I'm inclined to file classical music by the performer, with the composer included in the title, but even there the cover makes this difficult, as I wound up flipping the larger type order, and ignoring a long list of smaller-type names. (I did give into the obvious and listed this under Johnson in the Jazz Critics Poll standings, but figured I should be more consistent here.) Johnson (1894-1955) is widely recognized as an outstanding stride pianist, but his ambitions as a composer are less well known. James Dapogny, a superb stride pianist in his own right, arranged these two short operas, the former with lyrics by Langston Hughes, the latter Eugene O'Neill. I've never liked opera, but I can't help but applaud union organizers. B+(*) [sp] Old music: Talib Kweli/Madlib: Liberation (2007, Blacksmith Music): Rapper, last name Greene, broke out with Mos Def as Black Star in 1998, with Hi-Tek as Reflection Eternal in 2000, released a solo album in 2002. I found this one down after failing to find Liberation 2 (2023) on streaming. This was given away as a freebie for a week, then withdrawn, so is similarly scarce. Short (30:12), but the production is dazzling, and the guy is a thinker: "I went to college, then I left/ That's when I got my education." (Unlike the college dropouts who simply couldn't wait to get rich.) A- [yt] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, January 15, 2023 Music Week
January archive (in progress). Music: Current count 41641 [41584] rated (+57), 22 [23] unrated (-1). Seriously long Speaking of Which posted yesterday (5748 words, 135 links). The Joshua Frank piece, Making Gaza Unlivable, is important, as are the additional points I made last week and this. Also consider the Michael Kruse piece on Trump's long assault on the very notion of justice. It's painfully cold here in Kansas tonight, or at least that's how I'm feeling it. We haven't been out in several days. I still have to take the trash out tonight, and I have a dentist appointment tomorrow. I'm dreading both. [OK, trash went out. And dentist office decided to shut down tomorrow, so I'm off the hook.] Of course, it's worse north of here. I see where Trump is urging his supporters to vote in Iowa even if it kills you. Easy for him to say. But "voting to kill" has been a Republican tradition, at least since right-wing journo Jim Geraghty used it as a book title (2006, about the 2004 election). [PS: Trump won, but no reports yet on the collateral damage.] I've been trying to clean up some things, especially with the EOY lists. One big thing I did was to scan through the Pazz + Jop Rip-Off Poll ballots, and count a bunch of them (about 110, out of 338?). Most were names I recognized, mostly from having counted them before (90), but another 20 or so just struck me as interesting ballots. This is one way my subjective bias infects the standings, but the only rooting interest I had this year was for Olivia Rodrigo over Boygenius, and in that my selection didn't help at all. The more substantive biases in the aggregate are that I follow a lot of jazz critics, and also know many critics (or just fans) who follow Robert Christgau. I've also factored Christgau's grades into the point totals, so his more esoteric picks are generously represented in the totals. (As are my grades, as far as they get you.) Since I regard the EOY aggregate as a tool for prospecting unheard albums, those biases are mostly useful in finding other lists with intersecting tastes. Still, our picks don't have a lot of sway in the upper tiers of the aggregate, and many fall well down the list. I finally factored my Jazz and Non-Jazz lists into the aggregate, although I haven't picked up all the lesser grades yet. And while I've entered the top results from the Jazz Critics Poll, thus far I've entered very few individual ballots. I'll add some, plus whatever other jazz lists I find. After last week's bumper crop of underground hip-hop, pickings have thinned out a bit this week. Saving Country Music's album of the year (Gabe Lee) got an A- this week, but nothing else made the grade. Sara Petite came from Ye Wei Blog, but other albums I checked from there fell short. Also, note that three A- albums this week were in Old Music, but not very old. The tip for the South African record came from Christgau's January CG. The other two came in the mail well after I gave an A- to Bill Scorzari's The Crosswinds of Kansas (again, following up on a Christgau tip). Having the CDs helped, but only because the albums were so good in the first place. No idea how much more of this I'll bother with. I usually wait until the end of February to save off a "frozen" annual list, but my rated count this year is already up to 1549, which if not a personal record is pretty close. And I'm itching to move onto other things, so it's tempting to call it a year. Now, if only it'd warm up a bit. New records reviewed this week: 75 Dollar Bill: Singularity 06: Anchor Dragging Behind (2023, The State51 Conspiracy, EP): Guitarist Che Chen and percussionist Rick Brown, draw more on North Africa than on jazz in their instrumental pieces, of which this is one track, 18:42, pleasantly then intoxicatingly ambient. B+(***) [sp] Daniel Bachman: When the Roses Come Again (2023, Three Lobed): Guitarist, first albums self-released as Sacred Harp, and under his own name since 2011, started out in the American primitive school but has added a drone dimension. B+(*) [sp] Black Belt Eagle Scout: The Land, the Water, the Sky (2023, Saddle Creek): Alias for Katherine Paul, a "Swinomish/Iñupiaq singer-songwriter and multi-instrumentalist based in Portland, Oregon." Sounds like a bon bon dipped in shoegaze. B+(**) [sp] Blockhead: The Aux (2023, Backwoodz Studioz): New York hip-hop producer Tony Simon, has a couple dozen albums since 2001, more production credits. Fifteen tracks here, features start with Billy Woods, Navy Blue, Quelle Chris, Aesop Rock, Koreatown Oddity, Open Mike Eagle. B+(***) [sp] Frank Carlberg Large Ensemble: Elegy for Thelonious (2022 [2024], Sunnyside): The leader claims "all compositions and re-compositions," the latter producing titles like "Wrinkle on Trinkle." An impressive piece of work, the orchestrations complex and occasionally striking, the vocal bits unnecessary fluff but fleeting. Feels like a major bid for the high ground in seriously serious music. But while multiple plays didn't increase my irritation, they did leave me uninterested. B+(**) [sp] [03-08] CASisDEAD: Famous Last Words (2023, XL): British grime rapper, started as Castro Saint, first studio album after a decade of singles, EPs and mixtapes. Some confusion over caps, which I could do without. Attractive groove album. B+(**) [sp] Cat Clyde: Down Rounder (2023, Second Prize): Canadian singer-songwriter, fifth album since 2017. B+(*) [sp] CESVR/Fleevus/Febem: Brime! (2020 [2021], Butterz/Beatwise, EP): Title signifies Brazilian Grime, six song, 20:15 EP, various sources show different covers, labels, artist order, but same batch of songs, with only Cesar Pierri (CESVR, co-founder of Beatwise Recordings) seemingly well established. Does sound like UK grime, but in Portuguese, a bit less stiff, much as the concept promises. B+(***) [sp] CESVR/Fleezus/Febem: Brime! (Deluxe Edition) (2020-23 [2023], Butterz/Beatwise): Tacks on five extra tracks, total 39:15. More, but not much better. B+(***) [sp] Christine and the Queens: Paranoia, Angels, True Love (2023, Because Music): French singer-songwriter Héloïse Letissier, "assigned female at birth," fourth album since 2014, "the second part of an operatic gesture," the title a nod to Tony Kushner's Angels in America, running 96:49 over 3-LP. B [sp] The Rob Dixon/Steve Allee Quintet: Standards Deluxe (2023 [2024], self-released): Tenor/soprano saxophone and piano, quintet adds trumpet (Derrick Gardner), bass, and drums. Singer Amanda King joins for first six tracks, getting a feature credit on the cover, as does Gardner, for the back six (five Dixon pieces, but a reprise of the opener "Caravan." That gives us two rather distinct albums: a better-than-average standards showcase (mostly because the songs are so sure-fire), and an upbeat and rather luxe postbop combo set. B+(**) [cd] [02-01] Jason Eady: Mississippi (2023, Old Guitar): Country singer-songwriter, originally from Mississippi, based in Texas, ten albums since 2005, in a steady, low-key career. B+(**) [sp] Easy Star All-Stars: Ziggy Stardub (2023, Easy Star): New York-based reggae collective/label, active since 1997. First one I've heard, but title (and cover) should have been a giveaway, as is a back catalog of Dub Side of the Moon, Radiodread, Easy Star's Lonely Hearts Dub Band, and Easy Star's Thrillah. So, a slightly amusing covers band? B- [sp] Mayer Hawthorne: For All Time (2023, P&L): Soul/funk singer-songwriter Andrew Cohen, took his middle name and added the street he grew up on, debut 2009. [sp] Anna Hillburg: Tired Girls (2023, Speakeasy Studios): Bay Area singer-songwriter, third album, has a nice flow. B+(*) [sp] Hope D: Clash of the Substance (2023, self-released): Indie band from Australia, or maybe just short for Hope Defteros. First album, rather catchy. B+(**) [sp] Hozier: Unreal Unearth (2023, Island): Irish singer-songwriter Andrew John Hozier-Byrne, third album since 2014. Seems like a good guy, with grand ambitions both musical and lyrical. Perhaps a little too grand, for my taste. B+(**) [sp] Mon Laferte: Autopoiética (2023, Universal Music Mexico): Singer-songwriter from Chile, based in Mexico, ninth studio album since 2011. This has some remarkable parts, mixed up in a pastiche that I can't begin to comprehend, but only start to doubt with the terminal dirge. But is that really the end? A- [sp] David Larsen: The Peplowski Project (2022 [2023], self-released): Saxophonist, from Spokane, several albums since 2019, credits scarce but cover photo shows him with a baritone, and Discogs photo adds a tenor (also note a previous album called The Mulligan Chronicles). Ken Peplowski plays clarinet, and suggested some Al Cohn tunes. B+(**) [sp] Gabe Lee: Drink the River (2023, Torrez Music Group): Nashville native, parents immigrants from Taiwan, fourth album since 2019. Anyone who doubts the power of the American melting pot is in for an object lesson here. A- [sp] Jim Legxacy: Homeless N*gga Pop Music (2023, (!)): Debut mixtape, from the London-based rapper/singer/producer. B [sp] Carin León: Colmillo De Leche (2023, Socios/Oplaai): Mexican singer-songwriter, plays guitar, third studio album since 2019, many more live albums. His style depends on you understanding the words, but even if you don't, he makes it clear that he does. B+(**) [sp] Nils Lofgren: Mountains (2023, Cattle Track Road): Debut at 20 as leader of Grin, one of the better country-rock outfits of the early 1970s, followed by an acclaimed eponymous solo album in 1975. I rated those highly, but didn't file any more of his solo albums until 2019 -- with no gap more than five years, looks like I skipped 25. Meanwhile, he played with Crazy Horse/Neil Young, and since 1986 with Bruce Springsteen. This sounds promising for a while, then runs low. B [yt] Machine Girl: Neon White Soundtrack Part 1: The Wicked Heart (2022, self-released): Electronica duo, Matt Stephenson and Sean Kelly, discography starts in 2012, with a debut album in 2014. As Neon White is some kind of video game, the music is designed not for dance but for speedrunning, giving it a cartoonish air, that can be extended indefinitely. This one proved the point by hanging on to 83 minutes, and dropping a notch in the process. B+(**) [sp] Machine Girl: Neon White Soundtrack Part 2: The Burn That Cures (2022, self-released): Of course, there's more: 33 more tracks, 66 minutes. B+(*) [sp] Melenas: Ahora (2023, Trouble in Mind): Spanish indie rock band, from Pamplona, third album since 2017, keyboard thick. B+(**) [sp] Memphis LK: Too Much Fun (2023, Dot Dash, EP): Melbourne, Australia DJ/producer/vocalist Memphis Kelly, Paul Kelly's daughter, several albums and more EPs since 2019. Five tracks, 14:01. Fun, but not too much. B+(**) [sp] Memphis LK: True Love and Its Consequences (2023, Dot Dash, EP): More fun, or maybe just faster beats. Five songs, 13:16. B+(***) [sp] Hailu Mergia: Pioneer Works Swing (Live) (2016 [2023], Awesome Tapes From Africa): Ethiopian keyboardist (also plays accordion and melodica), had a couple albums there before moving to America, where he drove a cab before (and probably well after) someone took an interest, reissuing old albums, adding new ones, setting up gigs like this one in Brooklyn. B+(**) [sp] Moka Only: In and of Itself (2023, Urbnet): Canadian rapper Daniel Denton, based in Vancouver, co-founder of Swollen Members, many albums since 1995. Easy underground beats. B+(***) [sp] The Mountain Goats: Jenny From Thebes (2023, Merge): Singer-songwriter John Darnielle, been at it a long time, reports are that this is a sequel to his 2002 All Hail West Texas and/or a "soft rock opera." Sounds like another batch of probably smart songs that skitter past too quickly for me to get a handle on, albeit with more ballast than usual in the background. B+(**) [sp] Nas: Magic 2 (2023, Mass Appeal): Rapper Nasir Jones, prolific since his 1994 Illmatic breakthrough, but seems like he's run dry on titles recently, since Nasir (in 2018) going with three volumes each of King's Disease and Magic. This one is strong, but short (31:54). B+(**) [sp] Nas: Magic 3 (2023, Mass Appeal): A third volume, following the 2021 EP and in short order after this year's Magic 2. Perhaps wrapping things up, this one runs a healthy 45:43. B+(**) [sp] The New Pornographers: Continue as a Guest (2023, Merge): Canadian indie group, debut 2000, with the departure of Dan Bejar the songwriting is down to Carl Newman, although singer Neko Case remains. B+(*) [sp] Nostalgia 77: The Loneliest Flower in the Village (2021 [2023], Jazzman): British jazz producer Benedic Lamdin, has nearly a dozen albums under this alias since 2004, not clear how nostalgic and/or jazzy they are, but this recalls the South Africans who were such a large part of British jazz in the 1970s. B+(**) [sp] Atle Nymo Trio: Circle Steps (2023, Arc): Norwegian tenor saxophonist, best known for the quintets I.P.A. (6 albums since 2009) and Chrome Hill (4 albums since 2008), also plays bass and contrabass clarinets, trio with bass (Mats Eilertsen) and drums (Michaela Antalová). B+(**) [sp] Joell Ortiz & L'Orange: Signature (2023, Mello Music): Brooklyn rapper, debut was The Brick: Bodega Chronicles in 2007, had his biggest success with Slaughterhouse. With producer Austin Hart, who usually works with underground rappers, whereas Ortiz is closer to gangsta (but getting out). B+(*) [sp] Pest Control: Don't Test the Pest (2023, Quality Control HQ): British punk/thrash metal/hardcore group, from Leeds, first album. Tolerable enough. B+(*) [sp] Sara Petite: The Empress (2023, Forty Below): Country singer-songwriter, from rural Washington via San Diego, seventh album since 2006, promises "the intersection of country twang and roots-rock bang." Delivers too, with an embrace of low-life and high-times. A- [sp] Pipe: Pipe (2023, Third Uncle): Punk/hardcore band from North Carolina, three albums 1994-97, now a fourth 26 years later. They describe it as "a scorching new album and a lament for affordable living." I put it on, stopped it after 20 seconds to ask whether I wanted to bother with this, then decided against trying to pick something else, and wound up glad I heard it through. B+(**) [sp] Andy Pratt: Trio (2023 [2024], Thrift Girl): Jazz guitarist, plays standards with some retro swing and Perez Prado to spice up the rhythm, sings some, can't quite cut it as a crooner but tries to slip by with a grin. Name threw me at first, reminding me of a much-hyped singer-songwriter from 1973, still active at least through 2015. B+(*) [cd] Prince Kaybee: Gemini (2022, self-released): South African house producer, I know very little about him, but this long (15 songs, 76 minutes) set has been identified as his fifth album. B+(**) [sp] Queens of the Stone Age: In Times New Roman . . . (2023, Matador): Rock band from Seattle, tempted me 25 years ago but proved too hard and too dull to sustain interest. I wouldn't bother now, but as of this writing, they're the top-rated unheard album in my EOY aggregate (71, but in AOTY's more metal-friendly aggregate they only rise to 64; second on my list is Hozier at 94, or 52 at AOTY). Not so heavy after all, but not much good either. B- [sp] Reneé Rapp: Snow Angel (2023, Interscope): American pop singer-songwriter and actress, first album (not counting a 2022 EP which expanded to 24:48 on a "Deluxe Edition"), songs co-written by guitarist Alexander Glantz, and often others. B [sp] Jason Rebello/Tim Garland: Life to Life (2022 [2023], Whirlwind): British piano and sax duo, the latter playing tenor, soprano, sopranino, and bass clarinet, both composing (with covers of Chick Corea and trad). B+(**) [sp] Ishmael Reed/West Coast Blues Caravan of All Stars: Blues Lyrics by Ishmael Reed (2023, Reading Group): Spoken word from the legendary novelist, backed by a band featuring David Murray (tenor sax) and Ronnie Stewart (guitar), with Art Halen (trombone), Gregory "Gman" Simmons (bass), Michael Robinson (keyboard), and Michael Skinner (drums). A- [bc] Seablite: Lemon Lights (2023, Mt. St. Mtn.): Indie pop band from San Francisco, second album, Wikipedia redirects to "Suaeda," a genus of seepweeds. B+(*) [sp] Caitlyn Smith: High & Low (2023, Monument): Country singer-songwriter, based in Nashville, third album. B+(*) [sp] Joe Stamm Band: Wild Man (2023, self-released): Country rock band, from Illinois, fourth album since 2018. B+(*) [sp] Willie Tea Taylor & the Fellership: The Great Western Hangover (2023, self-released): Alt-country singer-songwriter, from Oakdale, California, which claims to be the "cowboy capital of the world." B+(**) [sp] Tele Novella: Poet's Tooth (2023, Kill Rock Stars): Texas-based "indie psych" band, principally Natalie Ribbons and Jason Chronis, third album. B+(*) [sp] Hank Williams IV: Honky Tonk Habit (2023, Lone Star Reserve, EP): Original name Ricky Fitzgerald, his claim to great-grandson status follows the assertion that Lewis Fitzgerald was Hank's illegitimate son (b. 1943, when Hank would have been about 19). So not as clear as Coleman Williams (dba IV), who goes back through his father Shelton Williams (aka Hank III) and Hank Jr., who was three when his already-estranged father died. Still, he does a fair approximation of the voice, and his "Hank Williams Ghost" is an inspired, touching, and pathetic reprisal of "Living Proof." Five songs, 16:39. B+(*) [sp] Jaime Wyatt: Feel Good (2023, New West): Country singer-songwriter, second album. B [sp] Recent reissues, compilations, and vault discoveries: Ary Lobo: Ary Lobo 1958-1966 [Limited Dance Edition No. 19] (1958-66 [2023], Analog Africa): Brazilian singer, from Belém in the northeast (1930-80), this picks up 15 early recordings, more upbeat and salsa-like than the samba and bossa nova that was becoming popular at the time. B+(***) [bc] Oscar Peterson: Con Alma: Live in Lugano, 1964 (1964 [2023], Mack Avenue): More from the Trio, with Ray Brown (bass) and Ed Thigpen (drums). B+(**) [sp] Yo! Boombox: Early Independent Hip Holp, Electro and Disco Rap, 1979-83 (1979-83 [2023], Soul Jazz): Only groups here I recognize are Funky Four Plus One More and Grandmaster Flash and the Furious Five, but twelve others cop the same funky beats with the same sea-sawing round of vocals, all in long, 12-inch versions that take 14 songs to 101 minutes. B+(***) [sp] Old music: Native Soul: Teenage Dreams (2021, Awesome Tapes From Africa): South African duo, teens, programming amapiano beats that keep coming at you like game music, twelve pieces, 82 minutes. Christgau added Amapiano to the title, but I'm not seeing any hint of that on the cover scans. A- [sp] Bill Scorzari: Through These Waves (2016, self-released): Singer-songwriter from New York, turned from law to music after his father ("a preeminent New York Trial Attorney") passed. Second album (but first of three he sent me). Vocals sound like Dylan at first, but give him time and they're soon his own, as are the stories and views. A- [cd] Bill Scorzari: Now I'm Free (2019, self-released): Third album. Long, songs mostly about relationships, considered and carefully assembled, especially the long "Yes I Can." Took me quite some while, but may be his best. A- [cd] Bill Scorzari: Just the Same (2015, self-released): First album, last heard. He's got his basic sound, some harmonica, some songs that ramble but don't stick with you. B+(*) [sp] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, January 7, 2024 Music Week
January archive (in progress). Music: Current count 41584 [41531] rated (+53), 23 [21] unrated (+2). Back on regular schedule after the holiday calendar confusion. The 18th Annual Francis Davis Jazz Critics Poll came out quickly on January 2. Article links at ArtsFuse:
The complete results and all 159 ballots are on my Jazz Poll Website. After the fact, and not as part of the package, I wrote up a little Music Week: Jazz Poll blog piece. I offer a little bit of analysis there, not so much about the winning records but of the process of putting the Poll together. Obviously, I could have written a lot more, but I was frustrated by the lack of analysis tools. [PS: One mistake in that piece was citing Pyroclastic when I meant Tao Forms, for James Brandon Lewis's label. Both are small, artist-owned labels that extend significantly beyond their owner's albums, and in our Poll punch way over weight. Pyroclastic, whose ace publicist is Braithwaite & Katz, has 16 albums by 10 artists in our top-fifties. Tao Forms has 5 top-fifties by 3 artists, with two wins.] But one bit of data I did manage to include is a list of albums that made my Jazz A-list (80 new and 22 old albums) but didn't show up on any of the voters' ballots: 16 new and 3 old. On the other hand, I calculated that, even after enjoying the advantage of seeing voters' ballots weeks in advance of their publication, and having logged grades for 865 jazz albums this year, I still hadn't heard 34% of the 535 new albums that got votes, or 39.8% of the old. If/when I get time, I'd like to do some more analysis of the data. And, of course, I'd like to see what other people can do in terms of analyzing the data. At some point I hope to collect some of the mail and discussion based on the Poll. One thing I can point you to now is a Facebook post by Matt Merewitz (the publicist for the winning album), which I also collected notes from in my notebook. Several people have offered to help, which I much appreciate -- although I haven't had time yet to figure out what help I most need. At this point, the things that would be most useful for me are to take a critical look at the website, especially the early years, and note where information needs to be improved (or in some cases, provided in the first place). Also, send me questions. I started to write a FAQ file, but it's always harder to think of questions than it is to answer them. I'm usually pretty diligent about working off assigned tasks, but I tend to flounder when I have to figure out what to do myself. One thing I want to do more of is to compare our Poll against others. I haven't added much jazz data to my ever-growing EOY aggregate file, but will try to remedy that next week. In particular, I should then be able to generate a list of albums that appeared on other jazz lists but not on our ballots. Meanwhile, one poll I want to mention here is one just published this week by the Spanish jazz magazine, El Intruso (which I voted in). Short on albums, with only a top five, and long on categories (instruments, groups, functions -- for them, with no pretense of significance, I just pick a few names off the top of my head, figuring they deserve mention, but of course so do many others). The top six albums (our finish in brackets):
I often tack my grades onto lists like this one, but the only one here that didn't make my A-list was Jaimie Branch's, after two previous ones that did (perhaps one I should revisit?). Their poll tilts more toward European artists (two in the top six; the same two finished highest among Europeans in our poll, but at 19 and 24). That's no surprise, given that our share of American voters is still up around 80%, where theirs is a bit less than 40% (still a pretty large bloc). They also lean slightly more avant, although I can't say how much of that has to do with nationality as opposed to taste and interest. Of El Intruso's 62 voters, 31 also voted in our poll; 7 more were invited but didn't respond; leaving 24 not invited (some I knew the names of but hadn't gotten around to vetting, and probably didn't have email for, plus a few more I wasn't even aware of). Given that their ballots and credentials are included in the poll, I should have studied harder. I mentioned the EOY Aggregate file above. I've been trying to add specialized lists for hip-hop into it, as those records seem to be especially underrepresented in the lists collected by outfits like Album of the Year. By far the most useful list I've found is HHGA's The Best Hip Hop Albums of 2023. That send me looking for more than a dozen albums I was previously unaware of, eight of which I wound up adding to my Non-Jazz A-List just this week (stretching it out to 68 albums, still well short of the 80 on the Jazz A-List. Although it seems like list-making season should be over now, there are still a lot of lists I haven't gotten to (current total: 238; last year: 565). No chance I will come close to 2022, but I have yet to factor in the Jazz Critics Poll (aggregate and most individual ballots), and while I've picked up some ballots from PJRP on the fly, I haven't yet made a systematic trawl through their feed. I also haven't counted sources like Ye Wei Blog, or Saving Country Music. Nor have I looked through the many international lists at Acclaimed Music Forums. I haven't even glanced at Uncle Fester yet (and may not, given how metal-heavy his lists are). I'm torn right now because I have a lot of momentum toward wrapping up Music Year 2023, and readying the jazz poll for next year's round. On the other hand, I've resolved to spend the next month making a serious push toward writing the long-simmering political book. It's getting late to have any practical effect in 2024, and plenty of people will tell you that this is the year that will break democracy in America . . . if we don't rally and do lots of things to change people's minds. Those things seem clear enough in my mind to write without getting bogged down in research. So I figure I should give it a month, and see if what I come up with makes my friends think the effort is worth the trouble. I've been pacing myself with my weekly Speaking of Which posts -- the first under that name dating to June 18, 2021, the latest yesterday (110 of them, with 561,232 words, but there are more similar pieces going back to the early days of the notebook, the political pieces collected into four Last Days book files: 2000-09 (766k words), 2009-2013 (768k), 2013-2017 (675k), 2017-2020 (651k), so I can look back on 3.4 million words. Reducing them to 60k would be a daunting amount of work, but remembering enough basic ideas to rattle off 30k from the top of my head should be easy. From that point, I could use some help checking facts, adding fine points, and tightening up the prose a bit, but there's reason to think that help might not be too hard to come by. Getting the thing started is, and has always been, the problem. I won't start today, and I may not tomorrow -- it going to snow tonight, and I'm going to make meatloaf tomorrow -- plus I have some fairly urgent housekeeping chores I've been putting off. But sometime in the next week or so I am resolved to set out and start grinding down on it. One more pretty major correction: in my review of Don Fiorino/Andy Haas: The Accidentals (from Dec. 4, 2023) I wrongly assumed that Jay Dee Daugherty was the same person as the late Bush Tetras and Radio I-Ching drummer Dee Pop. Daugherty, who appeared with Fiorino and Haas at a tribute for Dee Pop (Dimitri Papadopoulos), is very much alive. New records reviewed this week: Alfa Mist: Variables (2023, Anti-): British nu jazz producer Alfa Sekitoleko, plays keyboards, fifth album since 2017. B+(*) [sp] Beneficence & Jazz Spastiks: Summer Night Sessions (2023, Ill Adrenaline): Rapper Rahim Muhammad, from New Jersey, eighth album since 2004, with earlier efforts going back to 1991. First I've heard from him, but he sounds familiar, reminding me of groups like Downtown Science and the Perceptionists. Jazz Spastiks is a group, based in Scotland, of jazz-oriented hip-hop beatmakers, with ten or so albums since 2010. They're terrific here. A [sp] Mykki Blanco: Postcards From Italia (2023, Transgressive, EP): Michael Quattlebaum, from Orange County, trans (gender, but everything is hard to pin down), started as a poet, then rapper, but sings here, six songs, 15:46. B+(*) [sp] Cautious Clay: Karpeh (2023, Blue Note): Singer-songwriter Joshua Karpeh, from Cleveland, studied jazz but leaned r&b on here is encouraged to explore those "jazz roots." He plays sax/reeds/flute, guitar, bass, keyboards, drums, but gets help from label mates, like Immanuel Wilkins, Julian Lage, Joe Ross, and Ambrose Akinmusire. B+(*) [sp] Chembo Corniel Quintet: Artistas, Músicos y Poetas (2023, Chemboro): Puerto Rican percussionist, several albums since 2006, second Quintet, with "featuring" names on the front cover: Don Pancho Terry, Andrea Brachfeld, Felipe Luciano, and Ismael East Carlo -- but the quintet consists of Hery Paz (tenor sax/flute), Carlos Cuevas (piano/fender rhodes), Ian Stewart (electric bass), and Joel E. Mateo (drums). B+(***) [sp] Chino XL & Stu Bangas: God's Carpenter (2023, Brutal Music/1332): Rapper Derek Barbosa, released debut album in 1996, also has an acting career, working here with producer Stuart Hudgins. He's remarkably fast, not least because he has a lot to say, and the beats serve him well. A- [sp] Czarface: Czartificial Intelligence (2023, Silver Age/Virgin): Hip-hop "supergroup" -- Inspectah Deck, 7L, Esoteric -- twelfth album since 2013, all with comix covers and comic grooves, perpetual adolescence as proof of vitality: "better check your pulse if you don't feel it." A- [sp] Day Tripper: What a Day to Be Dead (2023, self-released): Atlanta rapper, originally from North Carolina, has several albums, one as far back as 2004 signed "DT & Osama." B+(**) [sp] Elzhi X Oh No: Heavy Vibrato (2023, Nature Sounds): Rapper Jason Powers, debut with Slum Village 2002, several solo albums since 2008. Oh No is Michael Jackson Woodrow, son of soul singer Otis Jackson and brother of Madlib/Quasimoto. Terrific flow here, lyrics dancing not just on the beats but surrounded by dazzle. A- [sp] Fatboi Sharif X Steel Tipped Dove: Decay (2023, Backwoodz Studioz): New Jersey rapper, third album, with producer Joseph Fusaro. B- [sp] Four Elements & Beyond: Clock the Chemistry (2023, Four Elements & Beyond): "Boom bap hip hop crew from New York," second album. B+(***) [sp] Derrick Gardner & the Jazz Prophets: Pan Africa (2022 [2023], Impact Jazz): Trumpet player, from Chicago, has several albums, brother is trombonist Vincent Gardner (plays here), with Robert Dixon (alto/tenor sax), George Caldwell (piano), Obasi Akoto (bass) and, most importantly, Kweku Sumbry (drums/African percussion). B+(***) [sp] Sam Gendel: Cookup (2023, Nonesuch): Saxophonist, offers "simultaneous synchronized sonic construction/deconstruction" of r&b/soul hits from 1992-2004, which is to say songs that I've probably heard but am unlikely to recall, especially toned down and flattened out like this. Includes one Meshell Ndegeocello vocal, in case radio needs something to fixate on. B [sp] Nabihah Iqbal: Dreamer (2023, Ninja Tune): British electronica producer, Pakistani descent, worked with Sophie as a singer, some vocals here, songs even. Second album, captivating. B+(***) [sp] Kid Abstrakt & Leo Low Pass: Still Dreaming (2023, Melting Pot Music): Los Angeles rapper, parents from Brazil and Nicaragua, a "young emcee with an old soul aims to give you nostalgic vibes and provide jazzy hip hop sounds," which he certainly does. The producer, from Amsterdam, helps out. A- [sp] King Kashmere X Alecs DeLarge: The Album to End All Alien Abductions (2023, High Focus): British rapper Obiesie Adibuah, aka Iguana Man, or some combination thereof. Debut EP 2002, this a double-LP (24 tracks, 58:43). B+(*) [sp] Kool Keith & Real Bad Man: Serpent (2023, Real Bad Man): Rapper Keith Thornton, started in 1984 with Ultramagnetic MCs, went solo in 1996 as Dr. Octagon, later as Dr. Dooom, Black Elvis, and most often as Kool Keith, with close to fifty albums so far. His producer here is Adam Weisman, who's grabbed co-credits since 2020 with Boldy James, Pink Siifu, Smoke DZA, and Blu. B+(***) [sp] Madlib/Meyhem Lauren/DJ Muggs: Champagne for Breakfast (2023, Soul Assassins): Producer Otis Jackson, rappers James Rencher and Lawrence Muggerud, all active more than 20 years, the latter since co-founding Cypress Hill in 1988. B+(***) [sp] Neak: Die Wurzel (2023, self-released): Chicago rapper, digs deep roots, all the way back to 1619. B+(**) [sp] Ivan Neville: Touch My Soul (2023, The Funk Garage): From New Orleans, "the greatest place on earth," second generation, son of Aaron Neville, joined his uncles in the Neville Brothers, cut a solo album in 1988, has a few more but this is the first since 2004. Agreeable funk sliding into ballad artistry. B+(**) [sp] Offset: Set It Off (2023, Motown): Rapper Kiari Kendrell Cephus, from Georgia, started in the group Migos, second solo album. Has a nice, steady flow. B+(*) [sp] Dolly Parton: Rockstar (2023, Butterfly/Big Machine): For those who still count, album number forty-nine, conceptual payback for getting elected to the Rock and Roll Hall of Fame, although we can argue whether it establishes her bona fides or makes a mockery of them. Thirty songs, 141:18, although there may be editions with more (or less?), six she had a hand in writing, the rest covers, many I never care to hear again -- some in any form, some in this one, although a few I can't help but find amusing (e.g., the 10:45 "Freebird"). None of which denies that in the most generic sense of the term, she's long been a rockstar. If she wasn't, she couldn't have begun to pull off this monstrosity. B [sp] Vinnie Paz: All Are Guests in the House of God (2023, Iron Tusk Music): Italian-born Philadelphia rapper Vicenzo Luvineri, started in Jedi Mind Tricks, solo debut EP 1996. B+(**) [sp] Prins Emanuel: Diagonal Musik II (2023, Music for Dreams): Swedish producer Emanuel Sundin, fourth album. B+(**) [sp] Purelink: Signs (2023, Peak Oil): Chicago-based electronica trio, very ambient. B+(*) [sp] Quantic: Dancing While Falling (2023, Play It Again Sam): English soul/funk musician/producer Will Holland, has operated under various aliases since 2001, but since moving to Colombia in 2007 has also released records as Combo Bárbaro, Los Miticos del Ritmo, and Ondatrópica, bringing some of the rhythm back here. B+(***) [sp] Raw Poetic: Away Back In (2023, Def Pressé): Rapper Jason Moore, from Virginia, several albums since 2014, most (like this one) with Damu the Fudgemunk, one with his uncle, Archie Shepp. B+(**) [sp] Recognize Ali: Back to Mecca II (2023, Greenfield Music): Ghanaian rapper Nii Ayitey Ajin Adamafio, has quite a few albums/mixtapes since 2014. B+(***) [sp] Jay Royale: Criminal Discourse (2023, self-released): Baltimore rapper Justin Johnson, part of Umbrella Collective, fourth album since 2015. B+(**) [sp] Shabazz Palaces: Robed in Rareness (2023, Sub Pop, EP): Hip-hop group from Seattle led by Ishmael Butler, formerly of Digable Planets, albums since 2011. Seven tracks, 24:03. B+(*) [sp] Kavita Shah: Cape Verdean Blues (2023, Folkalist): Singer, at least per her degree, born in New York, parents Gujarati from Mumbai, majored in Latin American studies at Harvard and jazz voice at Manhattan School of Music (with Sheila Jordan); studied in Ecuador, Peru, China, and Brazil; "trained in styles ranging from opera to gospel to folk music in more than 20 languages." Subject here is Cesária Évora, and once again she is the perfect student. B+(***) [sp] Jae Skeese: Abolished Uncertainties (2023, Empire): Rapper from Buffalo, fourth album since 2020, tight with Conway the Machine, but this really gets interesting on the later guest shots -- Jillian Haynesworth on "Red Koolaid" over free jazz sax, and "1 of 1" with Kota Savia channeling Digable Planets. Loosens him up too. A- [sp] Jorja Smith: Falling or Flying (2023, FAMM): British singer-songwriter, father Jamaican, second album. B+(***) [sp] Cleo Sol: Heaven (2023, Forever Living Originals): British soul singer Cleopatra Nikolic, third solo album. B+(*) [sp] Cleo Sol: Gold (2023, Forever Living Originals): Fourth album, came out just two weeks after Heaven, and is a slightly more substantial effort (42:03 vs. 32:04), with slightly more Chic (or maybe just Sault?) reverberations. B+(**) [sp] Stik Figa X The Expert: Ritual (2023, Rucksack): Rapper John Westbrook, originally from Kansas but based in Fort Worth, Discogs style is "conscious," which I take to mean smart and coherent, which he most certainly is. The Expert is Irish hip-hop producer Cian Galvin, who earns his moniker. A- [sp] AJ Suede & Televangel: Parthian Shots (2023, Fake Four): Rapper from Seattle, debut 2015; Discogs lists several alias for the producer, including Ian Taggart. B+(*) [sp] Walter Wolfman Washington: Feel So at Home (2022 [2023], Tipitina's Record Club): Blues guitarist-singer from New Orleans, records start in 1981. Last record before he died in December 2022, feints toward easy listening until his guitar finds the right note. B+(*) [sp] Sam Wilkes: Driving (2023, Wilkes): Bassist, producer, has worked with saxophonist Sam Gendel, plays various instruments and sings some here. B+(*) [sp] Adrian Younge & Ali Shaheed Muhammad: Jazz Is Dead 16: Phil Ranelin & Wendell Harrison (2023, Jazz Is Dead): Jazz didn't really die in the 1970s, but while Miles Davis and the fusioneers were filling arenas, and most of the real stuff went underground (mostly to be sustained on European labels), there were others struggling to maintain a populist connection, even if the business didn't validate them. The idea here is for the producers to seek out long-forgotten jazz-funk heroes and revive them with fresh grooves. The guests here were main guys in a protean Detroit group, the Tribe, playing trombone and tenor sax. B+(**) [sp] Recent reissues, compilations, and vault discoveries: Cannonball Adderley Quintet: In Concert: Falkoner Centret, Copenhagen, Denmark, April 13, 1961 (1961 [2023], SteepleChase): Hard bop group, with brother Nat Adderley (trumpet), Victor Feldman (piano/vibes), Sam Jones (bass), and Louis Hayes (drums), playing a long set (8 songs, 4 by Feldman to 1 by the leader, 71:59). B+(***) [sp] Dorothy Ashby: With Strings Attached (1957-1965) (1957-65 [2023], New Land): Jazz harpist (1932-86), probably the only one of note before recent years brought us Edmar Castañeda and Brandee Younger (sure, Alice Coltrane dabbled a bit). This box, which finished 7th in this year's Jazz Critics Poll, remasters her first six LPs on fresh vinyl. I can't speak to the sound quality, but having reviewed all of the albums (see below), I can say that the concept is more intriguing than the realization. B+(*) [r/yt] Danger Mouse & Jemini: Born Again (2003-04 [2023], Lex): Hip-hop producer Brian Burton and rapper Thomas Smith (also known as Jemini the Gifted One), released an album together as Ghetto Pop Life, then recorded this one, shelved until this release -- meanwhile, Danger Mouse achieved a measure of fame for his Beatles remix, The Gray Album. This really hops. A- [bc] Evan Parker: NYC 1978 (1978 [2023], Relative Pitch): British avant-saxophonist, first trip to America, six numbered pieces named for the venue (Environ), all solo, four on soprano, two on tenor. B+(***) [sp] Old music: Dorothy Ashby: The Jazz Harpist (1957, Regent): From Detroit (1932-86), started on piano but switched to harp by 1952, was the first jazz musician to establish herself on the instrument. First album, with Frank Wess (flute), Ed Thigpen (drums), and bass (Eddie Jones or Wendell Marshall). Aside from the occasional fancy frill, first thought is this could be guitar, so the real question may be how you feel about flute. B+(**) [yt] Dorothy Ashby With Frank Wess: Hip Harp (1958, Prestige): Their second harp and flute album, with Herman Wright on bass and Art Taylor on drums, playing three Ashby originals and four standards. Goes a bit soft. B [r] Dorothy Ashby and Frank Wess: In a Minor Groove (1958, New Jazz): Third album, Roy Haynes takes over drums, two originals to six covers. Very minor. B [r] Dorothy Ashby: Soft Winds: The Swinging Harp of Dorothy Ashby (1961, Jazzland): Fourth album, only one original ("With Strings Attached," which would be the title of her box), title from a Benny Goodman tune, backed by Terry Pollard (piano and vibes), Herman Wright (bass), and Jimmy Cobb (drums). B [yt] Dorothy Ashby: Dorothy Ashby (1962, Argo): Fifth album, first with just a trio, her harp with bass (Herman Wright) and drums (John Tooley). In some ways, the focus helps. B+(**) [yt] Dorothy Ashby: The Jazz Harpist (1957-62 [2012], Fresh Sound, 3CD): A remaster of her first five albums, which leaves it one short of the more recent (and much more expensive) With Strings Attached vinyl box. B+(*) [r/yt] Dorothy Ashby: The Fantastic Jazz Harp of Dorothy Ashby (1965, Atlantic): The first thing you notice here is a big improvement at bass, with Richard Davis taking over, although Willie Bobo adds some extra percussion. The trombones don't enter until the third track, and return for six (of ten) tracks. B+(*) [yt] Dorothy Ashby: Afro-Harping (1968, Cadet): With anonymous orchestra, "arranged and conducted by Richard Evans," who also wrote the "featuring" song on the cover, "Soul Vibrations." Evans seems to think that a little more groove will help, and it does, but only so much. B+(*) [sp] Dorothy Ashby: Dorothy's Harp (1969, Cadet): Richard Evans producing again, also wrote two pieces, as did the harpist, combined with seven covers that are light at best, or maybe the word I want is "treacly"? B- [sp] Dorothy Ashby: The Rubáiyát of Dorothy Ashby (1969-70 [1970], Cadet): "Original compositions in spired by the words of Omar Khayyam, arranged and conducted by Richard Evans." Ashby plays koto (pictured on the cover) as well as harp, and sings. This is supposed to be a pioneering world jazz album, but Davis keeps it a bit too pat. B [sp] Danger Mouse & Jemini: Ghetto Pop Life (2003, Lex): Rapper Thomas Smith had an EP in 1995, then this collaboration and its only-recently-released sequel, and that's about it -- while producer Brian Burton keeps recruiting new collaborators. This isn't quite as consistent as the sequel. B+(***) [sp] Grade (or other) changes:
Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, December 31, 2023 Music Week
Music: Current count 41531 [41474] rated (+57), 21 [21] unrated (+0). This usually comes out on Monday, but since I wanted to end the month and year properly, it's backdated to Sunday, December 31. Actually, most weeks end the night before I post, this six-day week is pretty close to being a seven-day one. The rated count reflects that. I've been burning through EOY lists at a fast clip. Indeed, all December has been a speed blur, averaging more than 50 records per week for five straight weeks. To help move this post up a day, I also posted Speaking of Which a day early. I threatened to add some late finds in an update today, and indeed have added a few (marked with a red right-border). Still, it's been impossible to write about recent news at much length. On the other hand, virtually everything I wrote about Israel and Gaza since Oct. 7 is still worth a read and thought. The 18th Annual Francis Davis Jazz Critics Poll will be published in ArtsFuse later this week. I expect to send them two short essays tomorrow, one written by Davis, presenting the results. We also have this year's In Memoriam list more or less ready to go. It's sort of traditional, really going back to Robert Christgau's annual Pazz & Jop essays, to try to come up with a detailed analysis that lends an air of coherency and completeness to the year as summed up in a poll. But this has been a very frustrating, and a very puzzling, year, so it's been hard to reach clear, firm conclusions. Maybe a few weeks (or months) down the line, I'll gain enough perspective to venture more than wild guesses. But at least the website will make all of the totals available, and all of the 159 individual ballots that were submitted and compiled into the poll. One thing I do hope to do in the coming week is to add more explanation and more ways of viewing the data. I'll write more about that in coming days on the website, and in next week's Music Week, and possibly elsewhere. One more thing I hope is that many of the people who contributed to the poll will take a little extra time and spread the word around, and generate some buzz and discussion. Same for the people who so far are merely innocent bystanders, but who appreciate that the poll continues to exist and thrive. My lists are continually updated. I won't bother linking to them here (ok, here's an index), but they continue to grow the more I learn, and are invaluable tools in that learning. I haven't done all of my usual bookkeeping, but have at least set up the framework so that the next record I play goes into the January 2024 file. New records reviewed this week: Lina Allemano: Canons (2022 [2023], Lumo): Canadian trumpet player, wrote these pieces in canon form for "Trumpet and Creative Chamber Ensembles." Chamber seems to mean no rhythm to speak of, which mostly leaves you with trumpet tones. B+(*) [bc] Lina Allemano/Uwe Oberg/Matthias Bauer/Rudi Fischerlehner: SOG (2022 [2023], Creative Sources): Recorded in Berlin, which seems to be a second home for the Canadian trumpet player, backed here by piano, bass, and drums. The pianist is a major figure here. B+(***) [bc] Ray Anderson: Marching On: Solo Trombone (2022, Double Moon): Trombonist, a very busy guy from roughly 1980-2000, rarely heard from since. This is solo, nearly impossible to do well, but he's always been remarkably fast, and he understands as few others do the intrinsic humor of the instrument. B+(**) [sp] Ray Anderson & Bobby Previte: Double Trouble (2023, Double Moon): Trombone and drums duo, not sure how much they played together, but both recorded for Gramavision and Enja in the '80s and '90s, and both tended to go off the reservation, the drummer toward fusion, the trombonist avant-funk. B+(***) [sp] Jim Campilongo/Steve Cardenas: New Year (2023, Sunnyside): Guitar duo, former has a reputation for "roots rock," but is pretty demure here. B [sp] Laura Cantrell: Just Like a Rose: The Anniversary Sessions (2023, Propeller Sound): Nashville-born country singer-songwriter, now based in New York, recorded three promising albums 2000-05, this only her third since, coming nine years after No Way There From Here (her best). More solid songs here, especially "Holding You in My Heart," and a closer about "AWM." A- [sp] Ken Carson: A Great Chaos (2023, Opium/Interscope): Atlanta rapper, last name Frazier, third album since 2021, three more mixtapes. Trap beats, tight behind that. B+(**) [sp] The Cash Box Kings: Oscar's Motel (2023, Alligator): Founded in Wisconsin, a "Chicago-style blues band," led by Joe Nosek, with a steady stream of records since 2003 (this is number ten). Reminds me of Elvin Bishop, with less drawl and a bit less grin. B+(**) [sp] Crosslegged: Another Blue (2023, self-released): Singer-songwriter Keba Robinson, has a previous album. B+(*) [sp] Alabaster DePlume: Come With Fierce Grace (2023, International Anthem): British saxophonist Angus Fairbairn, spoken word poet who is singing more, eighth album since 2012. B+(**) [sp] DJ Maphorisa/Tman Xpress: Chukela (2023, New Money Gang): South African amapiano DJ Themba Sekowe, had a breakthrough album in 2019 with Scorpion Kings, with Kabza De Small (featured on the first track here). Don't know anything about Tman Xpress. Billed as an EP, but eight tracks, 48:46. B+(***) [sp] David Dove/Joe McPhee: Where's the Wine? (2023, C.I.A.): Houston trombonist, plays host to the avant sax/trumpet legend, with some spoken word, possibly (at least as far as the title line goes) just from the audience. Scattered, but some of this is very nice. B+(***) [bc] Silke Eberhard/Céline Voccia: Wild Knots (2021 [2023], Relative Pitch): Alto sax and piano duo. B+(**) [sp] The End: Why Do You Mourn (2021-22 [2023], Trost): I filed this free jazz/heavy metal under vocalist Sofia Jernberg, her soprano screech the icing on top of the sax and electronic squall of Mats Gustafsson and Kjetil Møster, steadied by the ponderous rhythms (Anders Hana on baritone and bass guitars, Børge Fjordheim on drums). But that's only the start, with much more weirdness to follow, including texts from Robert Creeley and Moki Cherry, and music from Sudan Archives. B+(**) [bc] Gunna: A Gift & a Curse (2023, YSL/300 Entertainment): Rapper Sergio Kitchens, from Georgia, released his first mixtape in 2013 as Yung Gunna, followed by several Drip Season mixtapes. Fourth studio album since 2019. B+(***) [sp] Kevin Hays/Ben Street/Billy Hart: Bridges (2023, Smoke Sessions): Piano/bass/drums trio, Hays has thirty or so albums since 1990, the others are either more- (Hart) or less- (Street) established veterans. B+(**) [sp] Headie One x K-Trap: Strength to Strength (2023, self-released): UK rapper Irving Adjei ("of Ghanaian origin"), has a half-dozen albums since 2017, with producer Devonte Perkins, first mixtape together. B+(**) [sp] Eric Hofbauer/The Five Agents: Waking Up! (2023, Creative Nation Music): Guitarist, debut 1998, impressed me early on with The Blueprint Project. This is his second Five Agents project, with Jerry Sabatini (trumpet), Seth Meicht (tenor sax), Tony Leva (bass), and Curt Newton (drums). Four titles concerned with the climate crisis, like "Nostalgia is a Form of Denial AKA the Polycrisis Blues." B+(***) [sp] Jasper Høiby's 3 Elements: Earthness (2023, Edition): Danish bassist, led the group Phronesis (eight albums 2007-18), has had several other groups -- Fellow Creatures (inspired by Naomi Klein's This Changes Everything) and Planet B. This is a trio with Noah Stoneman (piano) and Luca Caruso (drums). B+(***) [sp] Hotline TNT: Cartwheel (2023, Third Man): American shoegaze band, mostly a front for William Anderson, formerly of Weed. Second album. B+(*) [sp] Mick Jenkins: The Patience (2023, BMG): Rapper, born in Alabama but moved to Chicago as a child, released his first mixtape in 2012, album in 2016. B+(**) [sp] Arthur Kell Speculation Quartet: Live at Lunàtico (2022 [2023], Origin): Bassist, had a series of superb quartet albums 2005-12 but hadn't been heard from since, returns here with a new quartet, with two guitarists (Brad Shepik and Nate Radley) and drums (Allan Mednard). B+(***) [sp] Karina Kozhevnikova & Krugly Band: Polyphonic Circle (2022 [2023], Leo): Russian jazz singer, second album, Krugly Band is mostly the work of producer Alexey Kruglov, who plays alto sax. Between two Gershwin tunes and two Ornette Colemans, the repertoire focuses on bebop and vocalese, with plenty of spurious scat. I like the sax much more than the vocals, but I'm duly impressed by the singer anyway. B+(**) [bc] Alexey Kruglov: Synchronization of Time (2022, Leo): Russian alto saxophonist, large discography since 2002, including collaborations with two-thirds of the Ganelin Trio. Narration makes me nervous here, breaking up the occasionally remarkable but more often merely curious soundscape. B [bc] Lambrini Girls: You're Welcome (2023, Big Scary Monsters, EP): British punk band, from Brighton, six-track EP (16:25), although Discogs says there's a vinyl version with two extra live tracks ("Fuck Myself" and "Big Dick Energy"). B+(***) [sp] Janel Leppin: The Brink (2023, Shiny Boy Press): Cellist, solo here, holds your attention for eight tracks, 33:13. B+(*) [sp] Joe Locke: Makram (2021-22 [2023], Circle 9): Vibraphonist, many albums since 1987, starts with a quartet here -- Jim Ridl (piano/keyboards), Lorin Cohen (acoustic and electric bass), Samvel Sarkisyan (drums) -- and adds guests to cuts 2-5, going with oud and riq for the title track, brass for two, and reeds (Tim Garland) for the other. B+(*) [sp] Lage Lund Quartet: Most Peculiar (2022 [2023], Criss Cross): Norwegian guitarist, based in New York, dozen or so albums since 2006. Quartet with Sullivan Fortner (piano), Matt Brewer (bass), and Tyshawn Sorey (drums). B+(**) [sp] Maps: Counter Melodies (2023, Mute): British electronica producer James Chapman, sixth album since 2007, perhaps not as "counter" as he hoped. B+(*) [sp] MC Yallah: Yallah Beibe (2023, Hakuna Kulala): Ugandan rapper Yallah Gaudencia Mbidde, second album, cranks up the speed and intensity, even borrowing from the metal-fusion that has developed in and around Nyege Nyege Tapes. A- [sp] Lubomyr Melnyk: The Sacred Thousand (2022 [2023], Jeriska): Ukrainian pianist, lived in Paris in the 1970s, has albums back to 1979, mostly solo or duo piano, holds some kind of world speed record for "sustained speeds of over 19.5 notes per second in each hand." Two recordings of one composition here, 22:26 and 22:45, "dedicated to the heroic Ukrainian soldiers who held out against the enormous Russian army for several weeks in the Azov Steel Plant of Mariupol." Tight rythmic patterns with cross-variations, not super fast but very steady. Minimalism and more. B+(***) [bc] Roscoe Mitchell Orchestra and Space Trio: At the Fault Zone Festival (2022 [2023], Wide Hive): Reeds player, past 80, best known for Art Ensemble of Chicago. Five pieces here, a varied program opening and closing with his Space Trio (bass sax, plus Scott Robinson on slide sax and vocalist Thomas Buckner), a trio with piano (Sarah Cahill) and violin (Kate Stenberg), and long pieces (12:34 + 28:52) for a full orchestra and chorus. All due respect, but I find the choral work pretty hard to take. C+ [sp] Paul Mottram: Seven Ages of Man (2023, Ubuntu Music): British composer, classical training, has done a lot of work for BBC series and specials, including the wedding of Prince William and Kate Middleton. Has a few albums, with titles like Solo Strings and Minimalism (two of each), but this suite built on top of a Shakespeare quote is exceptional. Front cover notes, rather off to the side from the artist/title block: "Jazz sextet and string orchestra featuring Tim Garland/Jason Rebello" (sax and piano). The strings are pretty conventional, but the sextet can (and often does) rise way above them. A- [sp] Tisziji Muñoz: Burning Down Hades (2023, Ra Kalam): Guitarist, born in New York, started as a drummer, many records since 1978. Also plays shenai, wood flute, and percussion here, with Yaka Don Pale (bass) and Ra Kalam Bob Moses (drums). B+(***) [sp] Marius Neset: Geyser: Live at Royal Albert Hall - BBC Proms (2022 [2023], ACT Music): Norwegian saxophonist, based in Copenhagen, regular albums since 2011, was commissioned to write this eight-part piece by BBC Proms, staging it live with the London Sinfonietta, conducted by Geoffrey Paterson, and his quintet, with Ivo Neame (piano), Jim Hart (vibes/marimba), bass, and drums. The strings are exceptionally lively, suggesting that the notion that classical music was once meant to be fun may have occasionally been true. The rest of the orchestra adds depth and color, leaving the serious soloing for Neame and Neset, who aim for rapture. A- Sam Newsome/Dave Liebman: Soprano-Logues (2021 [2023], Some New Music): Soprano sax duets, both started with other saxophones but have largely adopted the straight horn. Newsome's has some preparation. Liebman also credited with wooden flute and voice. B+(*) [sp] Sam Newsome & Jean-Michel Pilc: Cosmic Unconsciousness Unplugged (2022 [2023], Some New Music): Soprano sax and piano duo, some preparation to the sax, they have previous duo and trio albums together. Nice to hear some familiar standards in the rather austere mix here. B+(**) [bc] Pangaea: Changing Channels (2023, Hessle Audio): British techno producer Kevin McAuley, singles back to 2007 but only his second album. B+(***) [sp] Pizza Hotline: Level Select (2022 [2023], We Release Whatever the Fuck We Want): London-based electronica producer Harvey Jones, fourth album under this alias, also does business as El Choop (2 albums, 2016-19). Nine cuts, 47:22, at least for the edition I've listened to (looks like they vary). Beats really hit the spot for me. A- [sp] Polobi & the Gwo Ka Masters: Abri Cyclonique (2023, Real World): Singer Moïse Polobi, from Gaudeloupe in the former French Caribbean. B+(**) [sp] Amy Ray: If It All Goes South (2023, Daemon): Singer-songwriter, from Georgia, co-founded Indigo Girls in 1985, seventh solo album since 2001. Mixed bag of songs, but "A Mighty Thing" is a choice cut. B+(**) [sp] André Roligheten: Marbles (2022 [2023], Odin): Norwegian saxophonist (tenor/soprano/bass plus clarinet), has a couple previous albums (mostly in groups), This a quintet with pedal steel/guitar (Johan Lindström), vibes (Mattias Ståhl), bass (Jon Rune Strøm), and drums (Gard Nilssen). Has a delightfully upbeat, playful air. A- [sp] Kurt Rosenwinkel: Undercover: Live at the Village Vanguard (2023, Heartcore): Guitarist, originally from Philadelphia, played with Human Feel in the 1990s, own albums start in 1996, now based in Berlin. Quartet with Aaron Parks (piano), Eric Revis (bass) and Gregory Hutchinson (drums). B+(**) [sp] Scree: Jasmine on a Night in July (2023, Ruination): Brooklyn "experimental" trio: Ryan El-Solh (guitar/keybs), Carmen Rothwell (bass), Jason Burger (drums/kalimba) -- also credits producer Ari Chersky with "loops." Not much risk. B [sp] Titanic: Vidrio (2023, Unheard of Hope): Duo, based in Mexico City, of Héctor Tosta (as I. La Católica, piano/guitar) and Mabe Fratti (cello/vocals), with help on sax (Jarrett Gilgore) and drums (Gibran Andrade). B+(**) [sp] Lucinda Williams: Stories From a Rock N Roll Heart (2023, Highway 20): After sounding pretty ragged for several albums, here she struggles to recover from a pretty severe stroke, and comes out sounding remarkably centered. A- [yt] WILSN: Those Days Are Over (2023, Ivy League): Australian, Melbourne-based singer-songwriter Shannon Busch, first album, after a 2019 EP, both voice and arrangements aimed squarely at Aretha Franklin, which isn't quite as ridiculous as you'd think. B+(***) [sp] Libby York: Dreamland (2021 [2023], OA2): Jazz singer, several albums since 2003. Very low key here, backed minimally by guitar (Randy Napoleon) and bass (Rodney Whitaker), with a bit of drums on three tracks. B+(**) [sp] Recent reissues, compilations, and vault discoveries: Albert Ayler Trio: 1964 Prophecy Revisited (1964 [2023], Ezz-Thetics): Tenor sax trio, with Gary Peacock (bass) and Sunny Murray (drums). First five tracks (40:32), a live set a month before Spiritual Unity was recorded, were first released on ESP-Disk' in 1975. This adds five more tracks (35:58) from the same trio, dates unclear. B+(**) [bc] Albert Ayler: Summertime to Spiritual Unity Revisited (1964 [2023], Ezz-Thetics): Spiritual Unity, the trio album on ESP-Disk with Gary Peacock (bass) and Sunny Murray (drums), is Ayler's masterpiece, so it's tempting to say just leave it at that. This prepends two tracks from a Danish set that was later released as My Name Is Albert Ayler: a 8:46 "Summertime" and a 12:06 "C.T." Not especially great versions, but I guess they do set you up. A- [bc] Albert Ayler Quartets 1964: Spirits to Ghosts Revisited (1964 [2023], Ezz-Thetics): Two albums originally released on Debut, quartets with trumpet (Norman Howard or Don Cherry), various bassists, and Sunny Murray (drums), from Feb. 24 and Sept. 14. Spirits is an album I know as Witches & Devils, the title used by Arista/Freedom for their 1975 reissue (my personal introduction to Ayler). It is typical of Ayler's playful gospel-based chaos, and gets a bit of boost in the later album, Ghosts. B+(***) [bc] Albert Ayler: 1965: Spirits Rejoice & Bells Revisited (1965 [2023], Ezz-Thetics): Sensibly combines two ESP-Disk releases, the live set from Judson Hall (Spirits Rejoice, 32:53) with Charles Tyler (alto sax) and two bassists (Henry Grimes and Gary Peacock), and the half-album Bells (19:50, originally issued as a one-sided LP). B+(***) [bc] Albert Ayler Quintet: Lost Performances 1966 Revisited (1966 [2023], Ezz-Thetics): "From the Filmproduction in Munich & The Concerts Of Rotterdam & Helsinki." While most of the label's "Revisited" series have been pulled from Bandcamp -- more evidence of how US copyright laws are meant to keep you in the dark -- their project to release every scrap Ayler ever recorded is still on track, probably because these, at least, have been cleared by the Estate of Albert Ayler. Quintet with Don Ayler (trumpet), Michel Samson (violin), William Folwell (bass), and Beaver Harris (drums), from their much-bootlegged European tour. The first three studio tracks from Munich are magnificent. The live shots are a bit more ragged, but convey the excitement, and the uniqueness of the violin. A- [bc] Albert Ayler: More Lost Performances Revisited (1962-67 [2023], Ezz-Thetics): Three quintet tracks (22:14) from Newport Festival 1967, one 6:24 medley ("Love Cry/Truth Is Marching In/Our Prayer") from the John Coltrane Funeral (1967), and most importantly, a long 1962 Copenhagen piece, 21:27 with the Cecil Taylor Trio (piano extraordinaire, with Jimmy Lyons on alto sax, Sunny Murray on drums). A- [bc] Miles Davis: Turnaround: Rare Miles From the Complete On the Corner Sessions (1972-73 [2023], Columbia/Legacy): One of those Record Store Day specials, easy enough to pull stray cuts from a 6-CD box and press them into blue vinyl. For reference, I have the original album, recorded in three sessions in June-July 1972, as a high B+, but gave the box, which adds sessions up to May 1975, at a generous and probably overwhelmed A-. This kicks off with a subdued outtake from the first session, then adds three slightly later tracks, closing strong with a July 1973 "Big Fun/Holly-wuud." This is all fairly typical of the period, of which we have much to choose from. B+(***) [sp] Phineas Newborn Jr.: A World of Piano! (1961 [2023], Craft): Memphis pianist (1931-89), father was a blues drummer, brother a jazz guitarist, played with B.B. King, and supported r&b acts recorded at Sun Records, before his debut as a jazz pianist in 1956. This is the first of several records for Contemporary, trios with Paul Chambers and Philly Joe Jones on the first half, Sam Jones and Louis Hayes on the second. B+(***) [sp] Stanley Turrentine: Mr. Natural (1964 [2023], Blue Note): Tenor saxophonist, backed by McCoy Tyner (piano), Bob Cranshaw (bass), and Elvin Jones (drums), joined by Lee Morgan (trumpet) on four (of five) tracks, and Ray Barretto (conga) on three. Shelved at the time, finally released in a 1980 closet dump, and finally resurrected in the label's fancy vinyl (Tone Poet) series. B+(**) [sp] Old music: André Roligheten: Homegrown (2016 [2017], Clean Feed): Norwegian tenor saxophonist (also soprano, bass clarinet), first album, after side credits back to 2009. With Adrian Loseth Waade (violin), Jon Rune Strøm (bass), and Erik Nylander (drums), playing severn originals and an Ornette Coleman. B+(***) [sp] Unpacking: Found in the mail last week: None. Ask a question, or send a comment. Monday, December 25, 2023 Music Week
December archive (in progress). Music: Current count 41474 [41422] rated (+52), 21 [21] unrated (+0). The final number of voters in the 18th Annual Francis Davis Jazz Critics Poll is 159. It took quite a bit of last-minute hustling to reverse what initially looked like a small decline and turn it into a record turnout. Next thing I have to do is to write an essay to introduce that data, and try to make some sense out of it. As usual, I keep stewing on it, leaving me little option but to panic tonight or (more likely, and more panicky) tomorrow. I do have last year's essay, which looks like it might be reusable as a template. I also have last year's other piece, with tables of past winners and a memoir/history of the Poll. We also usually do an In Memoriam, which I've barely started, but Andrey Henkin's Jazz Passings website already has much more than I need. I need to get all the writing done by the end of the week, plus clean up some details on the Poll website, so ArtsFuse can publish the results the following week (January 1-5). Results and ballots won't be available there until ArtsFuse is set to go, but the rest of the material is available for anyone who wants to take a peek. I'd appreciate the extra eyes, especially if you catch mistakes or have suggestions to make things clearer or more useful. I started collecting a few notes on EOY lists, before realizing that I don't have time for such indulgences right now. (Maybe after the 1st?) But here's what I had:
For my lists, I'll just refer you to the index. I'm continuing to update them as I find and hear more. This week's haul is, for once, mostly non-jazz. But I started off the week by exploring Joe Bebco's jazz ballot. Bebco is editor of The Syncopated Times, which is about the only outlet covering trad and swing jazz these days (or "real jazz," as I like to call it). Two of his records hit my A-list, and many more came close. Despite everything, I managed to scratch out another abbreviated Speaking of Which yesterday. It left me in a very bad mood, especially as I ponder the relationship between the year in jazz and the year in everything else. There is much to be said for listening -- to jazz, of course, or to pretty much any kind of music, which continues to evolve in humane ways that enhance thought, reflection, and/or body movement. One might also note that even if the business seems increasingly perilous, that isn't stopping people from making music and enjoying it. I'm not sure how I'm going to handle this, but I while I usually end months on the last Monday, I like to extend the last week of December to the end of the month, so the year ends per the calendar. In this case, that means next Sunday (Dec. 31). I didn't want to hold this post back until then, so I'll probably just declare next week over a day early. At any rate, this week isn't end-of-month. New records reviewed this week: A.S.O.: A.S.O. (2023, Low Lying): Berlin-based duo, initials (they prefer lc but I don't) for singer Alia Seror-O'Neill, cover photo includes producer Lewie Day (looking askance), first album, easily tagged trip hop, but much more than just another example. A- [sp] Actress: LXXXVIII (2023, Ninja Tune): British electronica producer Darren Cunningham, tenth album since 2008. B+(**) [sp] Aluna: Mycelium (2023, Mad Decent): British dance-pop singer-songwriter, recorded a couple albums with producer George Reid as AlunaGeorge, released a good solo album in 2020 (Renaissance), tops that here. A- [sp] Avelino: God Save the Streets (2023, More Music/OddChild Music): London-based rapper, first album, claims the country from the streets up. B+(**) [sp] Baby Queen: Quarter Life Crisis (2023, Polydor): Pop singer-songwriter Arabella Latham, from South Africa, headed to London at 18 with 40 demo CDs, took her six years to get a contract and an EP, follows up here with her first proper album, then doubles down with a "Deluxe edition" (9 extra songs, a second disc adding up to 73:20). A- [sp] David Bandrowski & the Rhumba Defense: French Onion Superman (2021 [2022], self-released): New Orleans banjo player, band includes trumpet (Mark Braud), clarinet (Tom Fischer), trombone (Charlie Halloran), bass, and drums. Covers include "Johnny Too Bad" and "Dippermouth Blues," and sure, they're liable to slip into rhumba at any time, even when it seems least appropriate. B+(**) [sp] McKendrick Bearden: Bright as the Mines Out (2023, self-released): Singer-songwriter from somewhere South, that doesn't automatically signify country, had a group called Mothers, also a side-credit with Faye Webster, before this debut. B+(*) [sp] Benny Benack III: Third Time's the Charm (2023, La Reserve/Bandstand Presents): Singing trumpet player, third album, mostly standards, pianist Emmet Cohen is outstanding with several big solos, guitarist Peter Bernstein appears on a few cuts. A highlight is the duet with Bria Skonberg (she's another singing trumpet player) on "In a Mellotone." B+(**) [sp] Cigar Box Serenaders: Spasm (2022 [2023], self-released): New Orleans jazz primitives, eponymous debut in 2018, all play homemade instruments: from cigar boxes for the banjo, guitar, resonator, and violin; plus a "dresser drawer bass" and "wine box drum set," with Sarah Peterson vocals on three tracks (including a "Don't You Feel My Leg." B+(**) [sp] Jessi Colter: Edge of Forever (2023, Appalachia): Country singer, was married to Duane Eddy (1961-68) before her more famous union with Waylon Jennings (1969 to his death in 2002). Her debut album came out in 1970, with a second in 1975, but she got much more recognition for 1976's Wanted! The Outlaws, with Willie Nelson headlining. The records spaced out after 1984. This one sees her turning 80, produced by Margo Price, and mixed by her son, Shooter Jennings. B+(**) [sp] Dan Ex Machina: Ex's Sexts (2023, self-released): As a rock critic, Dan Weiss has such widely varied taste that I keep expecting his records so develop an eclectic (if quirky) syncretism, but here, especially, he falls back on punk, not as a formalist, but maybe just because he has a lot of anger to work out, or maybe his guitar has a mind of its own. Note that Spotify has a 10:26 title song not on Bandcamp. Lyric I noted: "I want to use my fucking power to destroy the more powerful." A- [sp] Mick Flannery: Goodtime Charlie (2023, Oh Boy): Irish singer-songwriter, eighth album since 2005. B [sp] Frog & Henry: England & Italy: 2020-2022 (2020-22 [2022], self-released): New Orleans trad group, "string and brass band," six albums since 2017 on their Bandcamp, the second namechecking spots in or near Europe. B+(**) [bc] The Garden of Joy: Bouncin' Around (2022 [2023], self-released): Another New Orleans trad-jazz (I'm tempted to say folk-jazz) group, promising much in their titles, and mostly delivering. Hunter Burgamy (guitar/banjo/vocals) seems to be the main guy here, with others coming and going. B+(**) [sp] Hannah Gill: Everybody Loves a Lover (2023, Turtle Bay): Jazz singer, 25, based in New York, first album (unless she recorded something as Hanna Gill and the Hours: Wikipedia has an entry for the group, suggesting she did, but Discogs doesn't list anything). Eleven standards from the 1920s through the 1950s, with a swing band led by Danny Jonokuchi (trumpet), with sax, trombone, piano, guitar, bass and drums. The upbeat pieces are really up. B+(***) [sp] Charlie Halloran and the Tropicales: Shake the Rum (2023, self-released): New Orleans trombonist, shows up in a number of trad jazz outfits, draws on all around the Caribbean for this ("calypsos, biguines and waltzes"). B+(***) [bc] Charlie & the Tropicales: Presents for Everyone! (2023, self-released): Charlie, of course, is trombonist Halloran, from New Orleans, well-positioned to catch whatever blows up from the Caribbean. I hate Christmas music, but this promised to be a bit different, with few obvious standards, and calypsos to open and close ("Party for Santa Claus" and "Postcard to Sparrow"). B+(**) [bc] Jaimee Harris: Boomerang Town (2023, Thirty Tigers): Austin-based singer-songwriter, second album. Slow to slower, gloomy till it doesn't matter any more, which helps. B+(**) [sp] Big Chief Donald Harrison Jr.: Congo Square Suite (2023, Truth Revolution): Alto saxophonist, born into New Orleans Indian royalty, where his father and namesake was a Big Chief, but this is the first time he's adopted the title (although he did don the regalia for the cover of his 1992 Indian Blues). Serious about the "suite" here, with his quartet giving way to a classical orchestra. Bottom line: the orchestral stuff (most of it) is, ugh, patently classical (if a bit on the grand side); the quartet, when they get a chance to play, is pretty good. B [sp] Malcolm Holcombe: Bits & Pieces (2023, Singular): Singer-songwriter from North Carolina, plays guitar, 18th album since 1994. B+(***) [sp] Ice Spice: Like . . ? [Deluxe] (2023, 10K Projects/Capitol, EP): Bronx rapper Isis Naija Gaston, produced a six-song, 13:08 EP under this title back in January, reissued in April with a seventh song, now reissued again, this time packed with eleven songs (including two takes of "Princess Diana"), but still only 22:07. The extra heft helps, giving time to let the clipped beats and words find their own magic. A- [sp] Wata Igarashi: Agartha (2023, Kompakt): Japanese techo producer, fifth album since 2012. B+(**) [sp] King Krule: Space Heavy (2023, XL/Matador): English singer-songwriter Archy Marshall, relased one album under that name, four more under this alias. B+(*) [sp] MJ Lenderman and the Wind: Live and Loose! (2023, Anti-): Singer-songwriter from North Carolina, initials for Mark Jacob, has been slotted country but rocks pretty hard here, but so does that other band he plays in, Wednesday. B+(**) [sp] Man on Man: Provincetown (2023, Polyvinyl): Roddy Bottum, played keyboards in Faith No More and guitar in Imperial Teen, formed this duo with boyfriend Joey Holman and released an eponymous album in 2021, back with a second album that's pretty explicit. They go for an '80s new wave sound, a bit on the heavy side. B+(***) [sp] Rainy Miller/Space Afrika: A Grisaille Wedding (2023, Fixed Abode): British singer-songwriter, produces brooding electronica, with occasional breaks and asides. Space Afrika is a Manchester-based duo, and several pieces have featured guests. B [sp] Nicki Minaj: Pink Friday 2 (2023, Young Money/Republic): Fifth studio album, resurrects the title of her triple-platinum 2010 debut (and her 2012 sequel, and mostly her 2014 follow up). Big-time operation, lots of writers and producers and some no-doubt-pricey samples, the basic digital edition running 22 tracks, 70:14, with four other variations (mostly bonus cuts, but also a 10-track, 32:05 "physical" -- which may solve the overkill problem, but probably doesn't). Still, much more idiosyncratic than expected, not least when she leans into those Trinidadian roots. B+(***) [sp] The New Wonders: The New Wonders (2023, Turtle Bay): New York-based trad jazz band, led by Mike Davis (cornet/vocals), named for Bix Beiderbecke's favored cornet model, backed by Roy Alexander (clarinet/alto sax), trombone, banjo, piano, bass sax, and drums. B+(**) [bc] NewJeans: Get Up (2023, ADOR, EP): South Korean girl group, second EP, six songs, 12:10. B+(**) [sp] Michel Pastre/Louis Mazetier/Guillaume Nouaux: Fine Ideas (2023, Camille Productions): French retro-swing trio: tenor sax, piano, drums. Pastre started out in 1996 with Tuxedo Swing Band and Paris Swing Orchestra, led his own big band on a 2001 album called Diggin' the Count, has a 2015 Charlie Christian Project. The others have similar backgrounds -- Mazetier is probably best known for Paris Washboard. B+(***) [bc] Peacherine Ragtime Society Orchestra: Take Me to the Ragtime Dance (2023, Rivermont): Eleven piece "ragtime-era orchestra" directed and conducted by Andrew Greene, couple previous albums. The instrumentals play like light classical music, with occasional circus airs, while the songs -- several celebrating America's entry into WWI -- take musical theatre back into the age of operetta. B [sp] Maisie Peters: The Good Witch (2023, Gingerbread Man): English singer-songwriter, second album. B+(**) [sp] Grace Potter: Mother Road (2023, Fantasy): Country-rock singer-songwriter, two early albums as Grace Potter and the Nocturnals (2002-04), third solo since 2015. Rocks hard, though the change-of-pace works just as well. Message: "you can't keep a good time down." A- [sp] Priya Ragu: Santhosam (2023, Warner): Born in Switzerland, parents Tamils from Sri Lanka, stage name shortened from Ragupathylingam. First album, story reminds one of MIA, sometimes the music does, too. B+(**) [sp] Regal86: La Onda: Groove In-Groove Out (2023, self-released): Techno producer from Monterrey (Mexico), Discogs lists three albums (not including this one, or others on his Bandcamp). Earns its reputation as "hardgroove," which while highly repetitive never wears out one's patience. B+(***) [sp] Logan Richardson: Holy Water (2023, Wax Industry): Alto saxophonist, from Kansas City, sixth album since 2007. B [sp] Molly Ryan: Sweepin' the Blues Away (2022, Turtle Bay): Jazz singer, mostly swing standards, fourth album since 2008 (including one featuring Dick Hyman, another with Bucky Pizzarelli), Bandcamp page also includes three Dan Levinson albums featuring her. Hard to find credits here, but turns out Levinson is her husband, playing tenor sax and clarinet here, and Rossano Sportiello is the pianist. B+(***) [sp] Smoking Time Jazz Club: Six Blues, Five Joys & a Stomp (2023, self-released): New Orleans-based trad jazz band, ten or more albums since 2012, nine members, Sarah Peterson the main vocalist, three horns (Charlie Halloran on trombone), lots of banjo. Thirteen songs, twelve from 1926-40 singles, mixed per title. A- [sp] Soggy Po Boys: It's Good to Laugh Again (2022, self-released): Another trad jazz group, but this one from New Hampshire. Seven pieces (two sessions with different bassists), guitarist Stu Dias the singer. B+(***) [sp] The Streets: The Darker the Shadow the Brighter the Light (2023, 679/Warner Music UK): English rapper Mike Skinner, appeared in 2002 with a breakout album. Beats are interesting enough, words are awkwardly hit and miss; e.g., "behind every great man, a girl rolls her eyes"; "work is so much more fun than fun"; "outside of the night club I don't know what to do/ inside it's too dark to care." B+(**) [sp] The Third Mind: The Third Mind/2 (2023, Yep Roc): Best-known member of this "supergroup" is guitarist Dave Alvin, but Jesse Sykes is the singer, and first named, followed in a banner on the cover that I perhaps should have taken as the artist list by Alvin, David Immerglück (guitar), Michael Jerome (drugs), Victor Krummenmacher (bass guitar/harmonium/melotron). B+(***) [sp] Leon Thomas III: Electric Dusk (2023, Ezmny/Motown): Possible that the III doesn't appear on the album, but I picked it up from a review, I'm old enough to associate the name with a jazz singer (1937-99) old enough to be his grandfather (but I'm pretty sure isn't). First album for this one, but he has a Wikipedia page as an actor and music producer. B+(***) [sp] Dlala Thukzin: Permanent Music 3 (2023, Dlala): South African dj/producer, "famous for his versatility of blending amapiano, afro tech, and gqom." Solid groove for five tracks, 33:01. B+(***) [sp] David Toop & Lawrence English: The Shell That Speaks the Sea (2023, Room40): Toop is an English author and curator as much as a musician, his first album New and Rediscovered Musical Instruments with Max Eastley on Brian Eno's Obscure Records (1975), his most famous the compilation Ocean of Sound, a soundtrack for his book of that name. English is an Australian in the same mold. Together, they made a darkly ambient album which never quite engaged my interest. B [sp] Tuba Skinny: Hot Town (2023, self-released): New Orleans trad jazz band, close to a dozen albums since 2009, got on my radar when Maria Mauldaur recorded Let's Get Happy Together with them (2021). Erika Lewis and Greg Sherman sing here, with Todd Burdick's sousaphone the gravity that holds them together -- also cornet, clarinet, trombone, guitar, banjo, washboard, and bass drum. B+(***) [bc] Marta Warelis: A Piece of Earth (2021 [2022], Relative Pitch): Polish pianist, has several co-credits with free jazz players, goes solo on this one. No details on how the piano was prepared, but I'm imagining some sort of variable-pitch table saw (aka "timbral possibilities" moving "in constantly interfering waves of energy"). B+(**) [sp] Westside Gunn: And Then You Pray for Me (2023, Griselda/Empire): Buffalo rapper Alvin Worthy, fifth studio album (plus a lot of mixtapes). Nominally a sequel to Pray for Paris (2020). Super long: 75:17. B+(**) [sp] Recent reissues, compilations, and vault discoveries: Baikida E.J. Carroll: Orange Fish Tears (1974 [2023], Souffle Continu): Trumpet player, played in the Black Artist Group in St. Louis. First album as leader, of only five through 2001, omitting the initials after this one. Also plays flugelhorn and percussion, with Oliver Lake (alto/tenor sax, flutes, percussion), Manuel Villaroel (piano), and Nana Vasconcelos (percussion). Starts very hot, wanders when the piano drops out. B+(***) [bc] Dick Hyman: One Step to Chicago: The Legacy of Frank Teschemacher and the Austin High Gang (1992 [2022], Rivermont): Not the easiest cover to parse, starting up top with "George Avakian Presents," ending "featuring Kenny Davern · Dan Levinson (clarinets)," and also lists the band members, with Hyman's name prefaced by "transcribed and directed by." Adding to the confusion, the back cover credits the first six songs to Dick Hyman and His Frank Teschemacher Celebration Band, the next seven to Kenny Davern and His Windy City Stompers, and the finale to "Dick Hyman-Kenny Hyman and Their Combined Bands." Levinson plays clarinet in Hyman's band, but Hyman plays piano in both -- the only other musician to appear in both bands is Dan Barrett (trombone), but on only two of the former's tracks. Teschemacher (1906-32) started played clarinet and alto sax with his Chicago west-side high school chums, a legendary group including Bud Freeman and Jimmy McPartland. Classic jazz, expertly done. A- [sp] Old music: Molly Ryan: Let's Fly Away (2014 [2015], Loup-Garous Productions): Swing-era standards singer, cobbled this together from two sessions, consecutive days but "featuring" pianist Dick Hyman only appears on half the tracks, with Mark Shane on the rest. Other personnel varies, and arrangements are split between Dan Levinson (9) and Dan Barrett (5). B+(**) [sp] Molly Ryan: Swing for Your Supper! (2013, Loup-Garous Productions): Dan Barrett (trombone) does most of the arrangements here, 13-to-5 over Dan Levinson (clarinet/saxophones). Front cover lists Bucky Pizzarelli as "featuring," but Chris Flory plays most of the guitar (13-to-5, again). She has a fine voice for these songs, and the band -- mostly Arbors Jazz regulars -- is superb, so I'm a bit surprised that this doesn't quite take off. B+(**) [sp] Dlala Thukzin: Permanent Music (2020, Dlala): South African dance grooves. Cover adds EP, but at 37:53 from six tracks, we'll ignore that. The grooves are compelling enough, but the occasional vocals raise the excitement. A- [sp] Dlala Thukzin: Permanent Music 2 (2021, Dlala): Beats about the same, voices sparser and toned down a bit. Six tracks, 35:57. B+(***) [sp] Unpacking: Found in the mail last week:
|
