Streamnotes: August 26, 2025

Most of these are short notes/reviews based on streaming records from Napster (formerly Rhapsody; other sources are noted in brackets). They are snap judgments, usually based on one or two plays, accumulated since my last post along these lines, back on July 28. Past reviews and more information are available here (26313 records).

New Music

Addison Rae: Addison (2025, As Long as I'm Dancing/Columbia): Pop singer-songwriter, last name Easterling, first album, but evidently famous since 2019 as a TikTok content creator ("amassing over 88 million followers, making her the fifth most-followed individual on the platform, as of 2025"). B+(*) [sp]

Gabriel Alegría Afro-Peruvian Sextet: El Muki (2025, Saponegro): Peruvian trumpet player, established his group in 2005, composed all the pieces. B+(***) [cd]

Eric Alexander & Vincent Herring: Split Decision (2025, Smoke Sessions): Tenor and alto sax, mainstream, both came up in the 1990s (late 1980s for Herring), third album styled as a joust (after 2005's The Battle and 2012's Friendly Fire), backed by Mike LeDonne (piano), John Webber (bass), and Lewis Nash (drums). B+(**) [sp]

David Bailis: Running Through My Mind (2025, Create or Destroy): Guitarist, leads a quintet, some nice work by Caroline Davis (alto sax). B+(**) [cd]

Barry Can't Swim: Loner (2025, Ninja Tune): Scottish electronica producer Joshua Mainnie, second album. B+(***) [sp]

Alain Bédard Auguste Quartet: Particules Sonores (2024, Effendi): French Canadian bassist, side credits back to 1985, second Auguste Quartet album, with Mario Allard (saxes), Marie-Fatima Rudolf (piano), and Michel Lambert (drums). B+(**) [sp]

Ilia Belorukov & Marina Džukljev: Everything Changes, Nothing Disappears (2022-23 [2024], Acheulian Handaxe): Russian alto saxophonist, based in Serbia, long list of albums since 2007, here in a duo with the Serbian pianist. B+(***) [sp]

Miki Berenyi Trio: Tripla (2025, Bella Union): British singer-songwriter, born in London, father Hungarian, mother Japanese, singer-guitarist in Lush (1987-96), reunited briefly 2015-16, had another short-lived band Piroshka, first album under her own name here, with Oliver Cherer (bass), Moose (guitar), and a drum machine. B+(***) [sp]

Gina Birch: Trouble (2025, Third Man): British singer-songwriter, second solo album, but side credits go back to 1977, when she was a founder of the Raincoats. B+(**) [sp]

Ron Blake: Scratch Band (2021 [2023], 7Ten33 Productions): Saxophonist (tenor/baritone/soprano here), had three albums on Mack Avenue 2003-08, only a couple since (but many more side credits, including 1990s work with Roy Hargrove). Trio with Reuben Rogers (bass) and John Hadfield (drums). I remember the 1990s as a great decade for mainstream tenor saxophonists, full of warmth with a bit of gruff. I wouldn't call this a great example, but it fills the role and fits the need. B+(***) [cd]

Rory Block: Heavy on the Blues (2025, M.C.): Blues singer-guitarist, debut album 1975, 75 now, 37th album, writes some but recent albums have been covers/tributes -- this appears to be a mix. [PS: Christgau notes a "detailed booklet," which I haven't seen, but could motivate extra spins that might put this over. On the other hand, I moved on to Maria Muldaur, which sounded solid A on first play.] B+(***) [bc]

Brandi Carlile & Elton John: Who Believes in Angels? (2025, Mercury): Novelty star pairing, 8th studio album since 2005 for the American singer-songwriter, 33rd for Reg (or Sir Elton!), who I haven't checked out since 2010, and haven't graded an A- (or for that matter B+) album since 1975's Rock of the Westies. Aside from a Laura Nyro cover, all songs are co-credited to the stars, but also to Bernie Taupin and producer-guitarist Andrew Watt. Most favor Carlile, arena-scaled, with the closer pure John-Taupin. B- [sp]

Hayes Carll: We're Only Human (2025, Hwy 87): Country singer-songwriter, albums since 2002, most real good and some brilliant. More of the former here, some of the latter. A- [sp]

Caroline: Caroline 2 (2025, Rough Trade): English "post-rock" band, second album. Floundered awhile, then finally seemed like it might be developing into something sonic, then was over. B [sp]

Erika de Casier: Lifetime (2025, Independent Jeep Music): Singer-songwriter, born in Portugal, parents from Belgium and Cape Verde, based in Copenhagen, fourth album since 2019, trip-hop (more or less). B+(**) [sp]

Sharel Cassity: Gratitude (2023 [2025], Sunnyside): Alto saxophonist, half-dozen albums since 2008, star-studded rhythm section here -- Cyrus Chestnut (piano), Christian McBride (bass), Lewis Nash (drums) -- with guest trumpet (Terell Stafford) and/or trombone (Michael Dease) on a couple tracks. B+(***) [sp]

Monique Chao Jazz Orchestra: Time Chamber (2023 [2024], Da Vinci Jazz): Pianist, born in Taipei, based in Milan, released a quartet album in 2021, a Subconscious Trio album in 2022, and now this big band album: sounds exceptional out of the gate, but runs on a bit past my interest. B+(**) [sp]

Tyler Childers: Snipe Hunter (2025, RCA): Country singer-songwriter, from Kentucky, self-released a good album in 2011, didn't follow it up until 2017 and has been superb ever since. A- [sp]

Circuit Des Yeux: Halo on the Inside (2025, Matador): Singer-songwriter Haley Fohr, born in Indiana, based in Chicago, 7th studio album since 2008 (plus 2 released as Jackie Lynn). Some kind of baroque pop, grandiose and overwrought, but not devoid of sonic interest. B [sp]

Bootsy Collins: Album of the Year #1 Funkateer (2025, Bootzilla/Roc Nation): Prime-time bassist for James Brown and George Clinton, recorded classic funk albums in the 1970s with his Rubber Band, mixed results since then, finds the old magic for the title track, and hints at it further on. Of the later developments, most of the rap just doubles down on the funk, but it runs long and spreads a bit too far. B+(***) [sp]

Edwyn Collins: Nation Shall Speak Unto Nation (2025, AED): Scottish singer-songwriter, started in new wave/jangle pop group Orange Juice (three albums 1982-84, some live albums and compilations since, including a 6-CD box of everything), 10 solo studio albums from 1989. He has a voice that shouldn't work, but sometimes does. B+(**) [sp]

Adegoke Steve Colson & Iqua Colson With Andrew Cyrille/Mark Helias: Glow: Music for Trio . . . and Voice (2025, Silver Sphinx): Pianist, originally from New Jersey but associated with AACM, backed by bass and drums, with his wife on most songs -- she's accompanied him as far back as 1980's Colson Unity Troup. B+(***) [cd]

Ryan Davis & the Roadhouse Band: New Threats From the Soul (2025, Sophomore Lounge/Tough Love): Indiana band, second album, singer-songwriter plays guitar/keys/more, has worked his way through several previous bands (State Champion, Tropical Trash, Electric Drywall Band, Equipment Pointed Ankh). Stretches 7 songs to 57:06. [PS: I bump this up after my wife raved about it.] B+(***) [bc]

Rich Dawson: End of the Middle (2025, Weird World/Domino): English singer-songwriter, ninth album since 2007 starting with Richard Dawson Sings Songs and Plays Guitar, which is about par for the course. Cover appears to have "ard" scratched out, while spine credits this to "(Just Rich)" with label/number "WEIRD166CD." Awkward fit offers little appeal, but there's something to be said for weird. B [sp]

Deafheaven: Lonely People With Power (2025, Roadrunner): Black metal band, sixth album since 2011, easily the highest-rated album I hadn't heard this year (20 on my metacritic list, next one down was Heartworms at 57; 83/19 at AOTY), by definition useless to me, but tolerable at low volume (I know, not the point), but they do seem to have something special -- manic frenzy that comes through anyway. I'm not sure I wouldn't like them even more at even lower volume, but might miss the quiet bits that definitely help. B+(*) [sp]

Divorce: Drive to Goldenhammer (2025, Gravity/Capitol): British alt-country band, first album after a couple of EPs, singers Tiger Cohen-Towell and Felix Mackenzie-Barrow, with guitarist Adam Peter-Smith and drummer Kasper Sandstrom, have described themselves as "Wilco meets ABBA." B+(*) [sp]

DJ Koze: Music Can Hear Us (2025, Pampa): German electronica producer Stefan Kozalla, 7th studio album since 2000, lots more DJ mixes, singles, etc. B+(**) [sp]

Djo: The Crux (2025, AWAL): Singer-songwriter Joe Keery, from Massachusetts, started in a psych band, has a fairly substantial career as an actor, but this is his third album as Djo -- name sounds African to me, but not the music, which can be entertaining once you lose any preconceptions. B+(*) [sp]

Doseone & Height Keech: Wood Teeth (2025, Hands Made, EP): Rapper/producer/poet/artist Adam Drucker, from Idaho, based in Santa Fe, first album 1998, long associated with Anticon, Wikipedia has a long list of musicians he's recorded with but omits the one that brought him to my attention: Buck 65. Baltimore rapper Dan Keech, aka Height, has a similar career and is also well into his 40s. Six "blistering" songs (12:13), "written and recorded in protest": "May all kind hearts feel seen in these songs. May all fascists, bigots and closed minded individuals feel stared at." Scratchy voice signified metal until the words became clearer. B+(***) [sp]

Doves: Constellations for the Lonely (2024, EMI North): English alt-rock trio, sixth album since 2000 (big gap between 2009-20), big in UK, not so much in US. B+(*) [sp]

Eddy Current Suppression Ring: Shapes and Forms (2025, Cool Death, EP): Australian alt-rock group, five albums 2006-09, one more in 2019, and now this skinny EP (3 songs, one a Camper Van Beethoven cover, 6:55). B+(*) [bc]

Wayne Escoffery: Alone (2024, Smoke Sessions): Tenor saxophonist, born in London, based in New York, albums since 2001, impressive chops and tone but albums have been erratic. Title suggests solo, but he's backed by Gerald Clayton (piano), Ron Carter (bass), and Carl Allen (drums), so must just be his mood. B+(**) [sp]

Ex_libris: Ex_libris - 001 (2025, Ex_libris, EP): Electronica producer Dave Huismans, Discogs says based in Berlin but Bandcamp has Utrecht, Netherlands. New alias, but he started in 2006 with A Made Up Sound, alternating with 2562. Two EPs, this one 3 tracks (24:32). Ambient with a little extra. B+(**) [sp]

Ex_libris: Ex_libris - 002 (2025, Ex_libris, EP): Same day sequel, 3 more tracks (23:57). B+(**) [sp]

Joe Farnsworth: The Big Room (2025, Smoke Sessions): Mainstream drummer, albums since 1998, Discogs counts 234 side-credits since 1992 (most often with Eric Alexander). Sextet with Jeremy Pelt (trumpet), Sarah Hanahan (alto sax). Joel Ross (vibes), Emmet Cohen (piano), and Yasushi Nakamura (bass), with all but the bassist bringing songs (one cover is "I Fall in Love Too Easily"). Flashy up front, but interest tails off. B+(*) [sp]

Steven Feifke: The Role of the Rhythm Section Vol. II (2023 [2024], La Reserve): Pianist, has several blbums since 2015, including a previous volume in 2022. He also has a septet and a big band, but this is just a trio, with Dan Chmielinski (bass) and Bryan Carter(drums). Mostly standards, with a serious focus on the rhythm. B+(**) [sp]

Fines Double: Espejismo (2025, self-released): Portland-based hip-hop producer/dj, second album, uses a long list of featured rappers (names I recognize: AJ Suede, Curly Castro, PremRock, Billy Woods). The words tend to scatter, but the music is intricate and sinuous, a nice flow with interesting quirks. B+(***) [sp]

Béla Fleck/Edmar Castañeda/Antonio Sanchez: BEATrio (2025, Thirty Tigers): Banjo, harp, and drums trio. Fleck was born in New York, was inspired by Earl Scruggs to start in bluegrass, called his group the Flecktones, which recorded ten studio albums 1990-2011, but he has branched out in jazz and world music, here with the Colombian harpist and Mexican drummer (first initials BEA). B+(*) [sp]

Franz Ferdinand: The Human Fear (2025, Domino): Scottish band, first album (2004) was a huge hit, as was its 2005 follow up, but later albums have been spread out (4, 4, 5, and now 7 years between). Not a bad band, knows how to craft a catchy song, and bring some energy. B(*) [sp]

Mike Freeman Zona Vibe: Circles in a Yellow Room (2019 [2025], VOF): Vibes/marimba player, originally from Omaha, based in New York, seems to have a 1991 debut, another in 2000, third Zona Vibe album since 2011. Sparkling, with trumpet (Guido Gonzalez), tenor sax/bass clarinet (Jim Gailloreto), and a lot of Latin tinge. B+(***) [cd]

Garbage: Let All That We Imagine Be the Light (2025, Infectious Music/Stunvolume/BMG): Rock band from Wisconsin, eighth album since 1995, singer Shirley Manson, drummer Butch Vig already had a reputation as a producer (Nirvana). Starts nice enough, but sharpens up considerably. Eventually you get to: "They hate your women/ They rob your children and they love their guns/ They're all liars, they're all users." A- [sp]

Jacob Garchik: Ye Olde 2: At the End of Time (2023 [2025], Yestereve): Trombonist, from San Francisco, based in New York, dozen or so albums since 2005, one called Ye Olde in 2015. Avant-fusion group then featured the multi-guitar attack of Brandon Seabrook, Mary Halvorson, and Jonathan Goldberger, with Vinnie Sperrazza on drums. This time Ava Mendoza replaces Seabrook, aside from two tracks with others (Miles Okazaki and Sean Moran on guitar, Josh Dion on drums). This got distributed early enough to show up on some mid-year ballots (I had my copy at the time; Discogs says this was "already being sold at concerts as early as July 11). Not much to my taste, but impressive enough I'm cutting it some slack B+(**) [cd]

Ben Lamar Gay: Yowzers (2023-24 [2025], International Anthem): Cornet player, sings, several albums since 2018, also plays synth, diddley bow, and percussion, with a diverse group that signifies exotica (flute, tuba, guitar, ngoni, percussion, several voices), in combinations that sometimes dazzle or beguile or just bewilder. B+(*) [sp]

Bruce Gertz Quintet: Octopus Dreams (2024 [2025], Open Mind Jazz): Bassist, composer here, hype sheet says he's led "over 20 albums," Discogs lists his credits as starting in 1979, with "featuring" spots under Jerry Bergonzi and Mick Goodrick. Quintet here with trumpet (Phil Grenadier), tenor sax (Rick DiMuzio), piano, and drums. B+(*) [cd]

Roger Glenn: My Latin Heart (2025, Patois): Flute player, also vibes/marimba, alto sax, and vocals here, cover proclaims "a jazz legend revealed": the legend has one previous album, from 1976, plus 60+ side credits starting in 1970 with Mary Lou Williams, Mongo Santamaria, and Donald Byrd, later with Cal Tjader, and while he's slowed down since 2006, there are no real gaps. B+(**) [cd]

S.G. Goodman: Planting by the Signs (2025, Slough Water/Thirty Tigers): Folk singer-songwriter, from Kentucky, third album since 2020. B+(**) [sp]

Kelly Green: Corner of My Dreams (2024 [2025], La Reserve): Jazz singer-songwriter, plays piano, based in New York, several albums since 2017. Arrangements lean toward strings. B+(*) [cd]

Andy Haas/Brian g Skol: The Honeybee Twist (2024 [2025], Resonant Music): Duo, sax with live effects and drums. The saxophonist has a long list of interesting albums, from Martha & the Muffins through Radio I-Ching to recent works. This seems marginal, an experiment in moving through space and time, but interesting nonetheless. B+(***) [cd]

Andreas Haddeland Trio: Estuar (2025, Tare): Norwegian guitarist, at least eight albums since 2003, with Lars Tormod Jenset (double bass) and Ulrik Ibsen Thorsrud (drums). B+(**) [bc]

Heat On: Heat On (2024 [2025], Cuneiform): Chicago group, two saxophonists -- Edward Wilkerson Jr. (tenor, best known for 8 Bold Souls) and Fred Jackson Jr. (alto) -- with bass (Nick Macri) and drums (Lily Finnegan), playing 8 tracks composed by the drummer. Finnegan started out in hard core punk band Deodorant, but also plays in Ken Vandermark's Edition Redux, and has a duo album with Gabby Fluke-Mogul. None of that background suggests how meticulously, or remarkably, this plays out. A- [dl]

Gilad Hekselman: Downhill From Here (2023 [2025], La Reserve/Diggers Factory): Israeli guitarist, moved to New York in 2004, dozen-plus albums since 2006, this a trio with Larry Grenadier (bass) and Marcus Gilmore (drums). B+(*) [sp]

Dylan Hicks & Small Screens: Avian Field Recordings (2025, Soft Launch): Singer-songwriter, based in Minneapolis, interesting as such since his 1996 debut, has lately turned toward jazz, or "ambient and meditative instrumentals" as he describes the six interludes separating seven real songs here. I'm not that much into ambient/meditative, and the songs tend to slip past me -- I think I hear a bit of Randy Newman here and there, but not the sarcasm. Or maybe Dave Alvin? Still, working while this is on is a pleasure, and what little attention I do pay is amply rewarded. A- [cd]

James Holden & Waclaw Zimpel: The Universe Will Take Care of You (2025, Border Community): Cover just offers surnames. Holden is a well-established (since 2006) electronica producer, with titles like The Idiots Are Winning and Imagine This Is a High Dimensional Space of All Possibilities. Zimpel is a Polish clarinetist, albums since 2008, that first with Chicago-based free jazzers (Dave Rempis, Tim Daisy), but also has a couple albums with Schackleton, so he's been down this road before. This starts off shimmering, goes beyond glitzy, and winds up somewhere in the stars. A- [sp]

The Horrors: Night Life (2025, Fiction/Universal): English rock band, first album 2007, originally garage or gothic or post-punk or shoegaze or neo-psychedelia, sixth album, first I've heard since 2011 and first released since 2017, Faris Badwan the singer, at this point has an understated vibe I'm enjoying. Sixth album since 2007 (previous 2017). B+(**) [sp]

Kjetil Husebø: Piano Transformed - Interspace (2024 [2025], Optical Substance): Norwegian pianist, twelve albums since 2010. This is solo, sometimes adding sampling and live electronics, spread over 2-CD (18 songs, 92:29). B+(*) [bc]

Mikko Innanen & Ingebrigt Håker Flaten: Live in Espoo (2025, Fiasko/Sonic Transmissions): Finnish saxophonist, alto is probably his first choice but also plays baritone, sopranino, tenor, and oboe here, fair number of albums since 2006, including some dandies. Duo here with the prolific Norwegian bassist, who gets a fair share of the mix and makes the most of it. A- [sp]

Jasmine.4.T: You Are the Morning (2025, Saddest Factory/Dead Oceans): British singer-songwriter Jasmine Cruikshank with band, first album after a 2019 EP and some singles. B [sp]

Bonnie J Jensen: Rise (2024-25 [2025[, MGM Metropolitan Groove Merchants): Jazz singer-songwriter from Australia, fifth album. B+(*) [cd]

Sheila Jordan With Roni Ben-Hur & Harvie S: Portrait Now (2023 [2025], Dot Time): Jazz singer, got her start chasing Charlie Parker when he played Detroit, and after 1951 in New York, where she married his pianist, Duke Jordan, studied with Lennie Tristano and Charles Mingus. She always sung, but remained a well-kept secret, even after George Russell gave her a feature on his 1962 album, which led to a single Blue Note album, Portrait of Sheila (1963), and well into the 1970s she made her living doing secretarial work. I encountered her on Roswell Rudd's 1974 album Flexible Flyer (or maybe it was Rudd's 1973 Numatik Swing Band -- in either case it must have been 1978 when I caught up), and she's been my favorite jazz singer ever since. (One of the first things that attracted me to Francis Davis was how much he appreciated Jordan.) She cut a second album in 1975, when she was 47, and never again paused. In 1977 she hit on the idea of recording only backed with a bass -- Arild Andersen (one of Russell's now-famous students from his Scandinavian exile days) on Sheila -- a format she's often returned to, notably with Cameron Brown and Harvie S (né Swartz). Harvie returns here, along with guitarist Roni Ben-Hur. Title refers back to her first album, but to make a point of how far she's come. She's not quite in perfect voice, but her ability to accentuate just the right syllables, salvaging standards like "Willow Weep for Me," and still maneuver around a piece as tricky as "Relaxing at the Camarillo" -- and turn it into a riveting story, not just a piece of scat gymnastics -- is uncanny. Regrets after deaths are common. Mine is that she never had a producer who could just let the tape run as they fed her with songs, like Norman Granz with Ella Fitzgerald, or Rick Rubin with Johnny Cash. I imagine it would be like lobbing softballs at Ted Williams. A- [sp]

Karol G: Tropicoqueta (2025, Bichota/Interscope): Colombian singer-songwriter Carolina Giraldo Navarro, fifth album since 2017, all high on the US Latin charts. Technically a mix of styles, proudly "Latina Foreva," but those details, like the language, are lost on me. The beats break through first, but much more follows. The guest track for Manu Chao stands out, but by them I'm already sold. A- [sp]

Kronos Quartet and the Hard Rain Collective: Hard Rain (2025, Red Hot Org, EP): Postclassical string quartet, started with the moderns but has wandered eclectically ever since, here backing two long takes of the Dylan song, the words taken up by a queue of 15 (or more?) singers, starting with Allison Russell and Iggy Pop, and ending with Willie Nelson. Third piece is by Terry Riley and Sara Miyamoto, some kind of dirge as best I can tell. Conceptually an EP, but adds up to 29:54. B+(**) [bc]

Jim Legxacy: Black British Music (2025, XL): British rapper, James Olaloye, Nigerian descent, second mixtape after three EPs (since 2019). B+(*) [sp]

Nicolas Leirtrø: Cherry Blossom (2024 [2025], Sonic Transmission): Norwegian bassist, first album, solo, has side credits (notably with Amalie Dahl and Mats Gustafsson) back to 2016. B+(*) [bc]

Lorde: Virgin (2025, Republic): Pop singer-songwriter from New Zealand, fourth album since 2013, all big international hits. I'm surprised at how flat and featureless this one sounds. B [sp]

M(h)aol: Something Soft (2025, Merge): Irish postpunk band, second album, 11 tracks, 29:58, some songs, some just rattle the air. B+(***) [sp]

Eric McPherson: Double Bass Quartet (2022 [2025], Giant Step Arts): Drummer, leads a group with Cuban pianist David Virelles and two bassists: John Hébert and Ben Street. One original each from three members, plus six covers, two from Andrew Hill. B+(**) [cd]

Memphis Metaphysics: Memphis Metaphysics (2023 [2025], Sonic Transmissions): Swiss pianist Margaux Oswald and Norwegian guitarist Hein Westgaard recorded this in Memphis with three Americans: Art Edmaiston (tenor sax), Ra Kalam Bob Moses (drums), and Kevin Cheli (percussion). The Europeans were thinking Memphis as in Egypt, the songs named after ancient spirits, with artwork to match. B+(**) [sp]

Pasquale Mirra/Hamid Drake: Lhasa (2022 [2025], Parco Della Musica): Italian vibraphonist, several albums since 2014, many more side-credits, in a duo with the drummer -- pictured on the cover with one of his frame drums. B+(*) [sp]

Bob Mould: Here We Go Crazy (2025, Granary Music): Ex-Hüsker Dü (1983-87) -- which I got a welcome refresher on with new releases of old live albums -- with 15 solo albums since 1989 (plus several as Sugar), very consistent sound throughout, although my own level of interest has waxed and waned considerably. (I also thought that while Mould was primarily responsible for Hüsker Dü's sound, it was Grant Hart who wrote their best songs, despite their sound. So I never expected Mould alone to match the group highs -- although Hart alone couldn't do that either). Still, this one sounds better than any I recall, so maybe "crazy" helps. Not consistent enough to overwhelm my general reluctance, but close. B+(***) [sp]

Maria Muldaur: One Hour Mama: The Blues of Victoria Spivey (2025, Nola Blue): She started in Jim Kweskin's Jug Band back in the 1960s, went solo with a hit song and album in 1973, leaned increasingly to blues in the 1990s, and found her calling with her 2001 Memphis Minnie tribute (Richland Woman Blues), which brought her to Blue Lu Barker (2018) and now to Spivey, whose 1926-36 singles provide the juiciest of these 12 songs, many salacious but ending with the grim "T.B. Blues." Spivey made a comeback in the early 1960s, so there's a personal connection. Also worth noting that Spivey spent a lot of time fronting real jazz bands, so the fit here with backup by Jim Dapogny and Tuba Skinny is natural. Elvin Bishop and Taj Mahal are duet partners. A [sp]

Aruán Ortiz: Créole Renaissance (2024 [2025], Intakt): Cuban pianist, in US since 2002, based in New York, dozen-plus albums since 2012, this is his second solo, the first with a title that played off "Cuban" and "Cubism" (Cub(an)ism). This one again references art (e.g., surrealism), especially as used by modernist intellectuals of the African diaspora -- the centerpiece here namechecks many such movements. B+(***) [cd]

PAL: Under Your Radar (2025, self-released, EP): Cleveland group, Maureen Joyce (keys) and Jake Schott (guitar) the singers, tag line mentions "punk" five times, "skronk" three, "art" two, perhaps most acutely "angular," which they fit more than any band since Devo. Seven songs, 10:25. B+(***) [bc]

Greentea Peng: Tell Dem It's Sunny (2025, AWAL): British neo-soul singer-songwriter Aria Wells, second studio album (first in 2021), closer to trip-hop here, but the singer is the focus, not just atmosphere. A- [sp]

PlainsPeak: Someone to Someone (2024 [2025], Irabbagast): New quartet led by Jon Irabagon (alto sax), all his pieces, with Russ Johnson (trumpet), Clark Sommers (bass), and Dana Hall (drums), the group name a nod to Chicago, where the skyscrapers are supposed to tower higher than any of the surrounding plains -- which is probably true as far as one can see from there, but the plains I know go higher (if not steeper). Still, a good example of freewheeling two-horn quartets. A- [cd]

Playboi Carti: [I Am] Music (2025, AWGE/Interscope): Atlanta rapper Jordan Terrell Carter, fourth album since 2017, most sources credit title as simply Music, but cover reads I Am Music (all caps, twice). For further confusion, the 30-track (76-minute) album cane out on 3/14, followed by similar 30-track V1, V2, and V3 releases through 3/20, and in April a 34-track variant called Sorry 4 Da Wait. (Discogs also lists "variants" 1-8.) B+(**) [sp]

Mike Pope: The Parts You Keep (2022 [2025], Origin): Bassist, has previous albums from 2002, 2012, and 2021. This is an ambitious work, with originals studded with Parker and Coltrane pieces, "That Old Feeling," and ending with a bit of classical music featuring his 85-year-old pianist mother. Otherwise, the pianist is Geoffrey Keezer, with Nat Smith on drums, and spots for trumpet (Randy Brecker), sax (Roxy Coss), guitar (Amaury Cabral), and strings (two tracks). B+(**) [cd]

Mark Pritchard & Thom Yorke: Tall Tales (2025, Warp): Electronic musician, born in England but based in Australia, Discogs credits him with 4 albums and 18 singles/EPs since 2007, but many more credits going back to 1991. The Radiohead frontman wrote and sang the lyrics here. Jonathan Zawanda created artwork for the music, developed that into an accompanying film, and published "a limited amount of Tall Tales zines." B+(**) [sp]

Pulp: More (2025, Rough Trade): British band, principally Jarvis Cocker, released 7 albums 1983-2001, the big one was Different Class (aka "Common People") in 1995 (NME put it number 6 in a 2013 list of "500 Greatest Albums of All Time"), regrouped briefly in 2011 and again in 2022, but this is their first new album (after a half-dozen solo albums). It does have occasional moments of grandeur, or as one review put it, "Pulp remains resolutely Pulpy." B+(*) [sp]

PUP: Who Will Look After the Dogs? (2025, Rise): Canadian post-punk album, acronym stands for Pathetic Use of Potential, fifth album since 2013. B+(*) [sp]

Jesika von Rabbit: Bunnywood Babylon (2025, Dionysus): Singer-songwriter Jessica Leischow, from Wisconsin, second album, formerly fronted the band Gram Rabbit (5 albums, 2006-12). B+(**) [sp]

Jonathan Richman: Only Frozen Sky Anyway (2025, Blue Arrow): Singer-songwriter from Massachusetts, founded the Modern Lovers, their John Cale-produced debut album was recorded in 1972 but didn't appear until the punk/new wave explosion in 1976. I loved that album, and also his 1983 Jonathan Sings!, but not much more, and haven't his later albums, of which there are 20 or more. This is not bad, but unlikely to stick with me. B+(*) [sp]

Julius Rodriguez: Evergreen (2024, Verve): Originally a drummer, leaves that part to others here while he plays keyboards (including piano and organ), guitar, and electric bass, and does some programming. Gets occasional help on horns and elsewhere, including a Georgia Anne Muldrow vocal. B+(***) [sp]

Gonzalo Rubalcaba/Chris Potter/Eric Harland/Larry Grenadier: First Meeting: Live at Dizzy's Club (2022 [2025], 5Passion, 2CD): Cover just lists their first names, which is sufficiently unique for the pianist, probably first guess for the saxophonist, and probably surmisable for the others (at least if you assume drums and bass). This is about as good as you'd expect: Potter steals the show, as he often does, and hearing him expound at length is always a pleasure, as is the pianist when he inserts one of his distinctive solos. B+(***) [cd]

Marc Seales With Ernie Watts: People & Places (2022-23 [2025], Origin): Pianist, side-credits from the 1980s but not much as leader until he landed on this label, first with Don Lanphere in 1996, on his own since 2004. Good to hear so much tenor sax. B+(***) [cd]

Self Esteem: A Complicated Woman (2025, Polydor): English singer-songwriter Rebecca Lucy Taylor, third album since 2019, some interesting songs. Makes extensive use of choir and string arrangements, not something I normally take to. B+(***) [sp]

Big A Sherrod: Torchbearer of the Clarksdale Sound [Listener's Circle Vol. 72] (2025, Music Maker, EP): Blues guitarist-singer, "A" for Anthony, has a couple albums from 2014 and 2022, this one runs 5 songs, 28:28. B+(**) [bc]

Alex Sipiagin: Daydream (2024 [2025], SkyDeck Muisic): Russian trumpet/flugelhorn player, moved to US in 1990, has a couple dozen albums since 2003, this one recorded in Italy with singers Giuditta Franco and Marta Frigo, guitar and piano, bass and drums. B [sp]

Alex Sipiagin: Reverberations (2024 [2025], Criss Cross Jazz): Trumpet/flugelhorn leader, with alto sax (Will Vinson), piano (John Escreet), bass, and drums, kicking off with three originals before breaking out the Mingus, Ellington, Tyner, and Strayhorn. Aubrey Johnson contributes a vocal I could do without. B+(*) [sp]

Slick Rick: Victory (2025, Mass Appeal): Rapper Ricky Walters, born in England to Jamaican parents, moved to New York at 11, recorded four albums 1988-99, so this one's taken until he's turned 60. B+(***) [sp]

Sparks: MAD! (2025, Transgressive): Brothers Ron and Russell Mael, unflappably cranking out records more than 50 years after their brilliantly titled but horribly executed debut (A Wolfer in Tweeter's Clothing). They've always been a bit clever, and they've occasionally been able to find a hook. That sufficed for a while, but what's sustained them over the long haul was hack professionalism, which sustains indifference, if not disgust. B- [sp]

Sultan Stevenson: El Roi (2025, Edition): British pianist, second album, mostly trio with bass (Jacob Gryn) and drums (Joel Waters), three (of 8) tracks adding trumpet/flugelhorn (Josh Short) and tenor sax (Soweto Kinch). B+(*) [sp]

Bill Stewart: Live at the Village Vanguard (2023 [2025], Criss Cross Jazz): Drummer, a dozen-plus albums as leader since 1990, hundreds of side credits. Trio with Larry Grenadier (bass) and Walter Smith III (tenor sax), from a week-long stand. B+(**) [sp]

Swans: Birthing (2025, Young God/Mute): Heavy rock band ("experimental") founded 1981 and fronted by Michael Gira, 17th studio album since 1983 (not counting 10 live albums, and miscellany), many like this one running long (115:35, their 6th straight 2-CD). Long obscure, but they nicked the US charts in 2012, rose to 37 in 2014, and extended internationally in 2016. Sounded just oppressive at first, with its first interesting pattern emerging maybe a half hour in. Eventually settled into a dank ambient groove that was tolerable enough to allow me to think about other things. B [sp]

Antony Szmierek: Service Station at the End of the Universe (2025, Mushroom Music): British rapper, or "spoken word artist," first album, after an EP in 2023, but the first single from this appeared in 2022. Music is closer to house than to hip-hop, but I can see it either way. B+(***) [sp]

Kae Tempest: Self Titled (2025, Island): English poet/rapper, has published poetry collections since 2012, four plays, a novel, and studio album since 2014 (or 2011?). Music is very strong here, and so are the words. A- [sp]

Emma-Jean Thackray: Weirdo (2025, Brownswood/Parlophone): English singer-songwriter, started in jazz playing trumpet, second album, vocals are up front, synthesizers are her main instrument, and she's played everything else, aside from two guest spots. B [sp]

These New Puritans: Crooked Wing (2025, Domino): English band, fifth studio album since 2008. Caroline Polachek guests. B+(*) [sp]

Ben Thomas Tango Project: The Hat With the Grin and the Chuckle (2025, Origin): Vibraphone/bandoneon player, second group album (I missed the title when I originally logged this). Band includes two violins, clarinet, piano, and bass, with Thomas also credited for percussion. B+(**) [cd]

Ross Thorn: Ross Thorn Tries Fitting In (2025, Casa De Copas): Folkie singer-songwriter from Duluth, has a couple previous albums on Bandcamp but none in Discogs, no credits given but cover pic shows him with a banjo and there's a fair amount of guitar and fiddle in the background. B+(***) [bc]

Three-Layer Cake: Sounds the Color of Grounds (2025, Otherly Love): Trio of Mike Pride (drums/marimba), Brandon Seabrook (guitar/banjo/mandolin), and Mike Watt (bass, some spoken word vocals). Second album. B+(**) [sp]

Premik Russell Tubbs/Margee Minier-Tubbs: Oneness-World (2025, Margetoile): Both compose and produce, Margee at the executive level, also claiming all the lyrics, vocals, and some percussion. Premik plays sax, flutes, and EWI. Others help out: the only name I recognize is Zack Brock (violin). I could pass on the music, but the spoken word was more than a little interesting, including a disquisition on fashion that didn't neglect the costs, both tragic and mundane. B+(*) [cd]

Turnstile: Never Enough (2025, Roadrunner): Band from Baltimore, fourth album since 2015 (EPs back to 2011), "hardcore punk" per Wikipedia. I don't know about that, but they combine an agreeable degree of noise, crunch, and melody. B+(*) [sp]

William Tyler: Time Indefinite (2025, Psychic Hotline): Guitarist, based in Nashville, started out of the folk tradition on Tompkins Square (2010), but has played in rock groups (Lambchop, Silver Jews), and has an album called Modern Country. This one has some of the glistening tones I associate with synths and ambient music. B+(*) [sp]

Akira Umeda & Metal Preyers: Clube Da Mariposa Mórbida (2025, Nyege Nyege Tapes): Brazilian visual and sound artist, many albums (tapes?) since 1997, on a label that's turned Kampala into a world center for offbeat electronica. Metal Preyers is a loose group with members from London and Chicago that has appeared on several of the label's projects. B+(*) [sp]

Vibration Black Finger: Everybody Cryin' Mercy (2024 [2025], Enid): Group/alias for British DJ/producer Lascelle Gordon (aka Lascelles, or Lascelle Lascelles), also associated with Nat Birchall, Beth Orton, Heliocentric, and Brand New Heavies. Third album, following a 2016 EP. Good enough to send me back to their earlier albums, which more clearly fit as jazz (or maybe I just mean more horns/fewer voices). B+(***) [bc]

Chris Wabich: 1978 (Steep) (2024 [2025], ADW): Drummer, albums since 2007, "featuring" names on the cover: Josh Nelson (piano), Dan Lutz (bass). Presumably his pieces. Very nice. B+(***) [cd]

Morgan Wade: The Party Is Over (Recovered) (2025, Ladylike/Sony): Country singer-songwriter, fifth album since 2018, all aces (though I'm having a little trouble focusing here). B+(***) [sp]

Water From Your Eyes: It's a Beautiful Place (2025, Matador): Chicago band, principally Rachel Brown (vocals) and Nate Amos (guitar/production), started with self-released albums in 2017, breakthrough was 2023's Everyone's Crushed. I was slow on that one, and I'm slow on this one, but it's distinctive and interesting enough that I keep coming back to it, even though I'm not sure what it's delivering. A- [sp]

Steven Wilson: The Overview (2025, Fiction): English singer-songwriter, plays guitar and keyboards, draws on 1970s prog rock with airs of Pink Floyd, started in Porcupine Tree (1992-2009), eighth solo studio album since 2008, two long pieces totaling 41:44, with an extra 60:26 of "The Alterview" in the deluxe edition. The proper role of a bonus disc is to add something extra for those who already enjoy the product, which is a fair description of this one. With my already limited interest, I could have done without it, but let it run anyway. It's a bit less buttoned-down than the first disc, which may have helped to clarify what is probably the better presentation. B+(*) [sp]

Wretch 32: Home? (2025, AWAL): British rapper Jermaine Sinclair, Jamaican family, 7th studio album since 2008, another half dozen mixtpes. B+(**) [sp]

Meryl Zimmerman: Easy to Love (2024, Tuxedo Cat): Standards singer from New Orleans, only other credit I can find is a 2007 appearance in the St. Louis a cappella group Mosaic Whispers. "Selections from the Great American Songbook," backed by Kris Tokarski (piano), Nobu Ozaki (bass), and Hal Smith (drums). B [bc]

Carlos "Zingaro"/João Madeira: Arcada Pendular (2023 [2025], 4DaRecord): Portuguese violin and bass duo, the former with many albums since 1988, many more side credits since 1969, but still no explanation for the quote marks (last name evidently Alves; use sometimes suggests a nickname, but quotes are as often omitted). I'm beginning to feel compromised here, as I would normally never give a violin-bass duo stream more than a cursory single pass, with some flavor of B+ depending on how it hit me, but Madeira keeps sending me CDs, and after 4-5 plays I start to love them. (Needless to say, there's no guarantee that I'll give your CD commensurate attention. But it happens on occasion, and with Madeira it's happened a lot.) A- [cd]

Zurhub [Mattan Klein/Ezequiel Hezi Joit]: Countryside Motorways (2024 [2025], Origin): Flute and guitar, backed by keyboards (Itay Simhovich), bass (Assaf Hakimi), and Dani Benedikt (drums). B [cd]

Recent Reissues, Compilations, Vault Discoveries

Master Wilburn Burchette: Master Wilburn Burchette's Psychic Meditation Music (1974 [2025], Numero Group): California-based mystic (1939-2023), "transfixed by the parapsychological, spending as much time reading books on Tibetan mysticism fundamentals as he did practicing guitar," he released seven albums 1971-77, "before abruptly burning and discarding everything related to his musical explorations." This was his fourth album, two LP-side pieces called "Yin" and "Yang," done on some kind of synth (unspecified). B+(*) [bc]

Electric Satie: Gymnopédie '99 (1998 [2025], In Sheep's Clothing): One-shot group, led by Mitsuto Suzuki, who arranged the French composer's pieces (adding one of his own) mostly for Moog. First track is a misdirection, with Ryoji Oba arranging and Silvio Anastacio guitar and vocal. B+(***) [sp]

Brian Eno/Holger Czukay/J. Peter Schwalm: Sushi. Roti. Reibekuchen (1998 [2024], Grönland): Live set from Bonn "at the opening reception of Eno's Future Light-Lounge Proposal Multimedia Installation." Title is from a menu, where the latter are German potato pancakes. The principles seem to be playing various electronics, but the first track (in particular) gains from live drums and bass. B+(**) [sp]

Emahoy Tsege Mariam Gebru: Church of Kidane Mehret (1963-72 [2025], Mississippi): Ethiopian pianist (1923-2023), also plays organ and harmonium here, also happened to be an Ethiopian Orthodox nun, a selection of her 1963-96 solo recordings was a highlight of the Éthiopiques series. This is a 1972 album with two earlier cuts added. She's done some remarkable work, but too much organ here. B [bc]

Hüsker Dü: Jan. 30, First Ave Pt. 1 (1985 [2025], Numero Group, EP): Minneapolis group, hardcore with just enough melodic sense to break through my resistance (actually, but me it was their 1983 EP Metal Circus, which I initially hated but eventually came around on), coming off their 2-LP magnum opus, Zen Arcade, and just before New Day Rising. This has been described as "their legendary homecoming concert," recorded to 24-track tape at the time for a possible live album, but shelved with new studio albums coming fast and furious. Thought lost in a 2011 fire, but now "restored completely." First sample: 5 songs (10:58), no idea how much more is left. I doubt I've played any of their records in this century, but a couple songs are so indelible I'm pleased to be reminded ("Books About UFOs," "Makes No Sense at All"). B+(**) [sp]

Hüsker Dü: Nov. 3, Salt Lake City (1985 [2025], Numero Group, EP): Another sample from the live audio archive, recorded November 3, five songs (17:45) that later appeared on Candy Apple Grey (1986) -- my second favorite of their albums, explaining why most of the songs sound familiar, but a bit muted. B+(*) [sp]

Lonnie Johnson With Elmer Snowden: Blues & Ballads (1960 [2025], Craft): Bluesman, famed as a guitarist, recorded from 1925 on, landed on Prestige's blues label as the folk blues revival was kicking up. He sings and plays electric here, with Snowden on acoustic guitar. (Snowden is better known as a banjo player and as a jazz bandleader, including of the Washingtonians before Duke Ellington took over.) Also with Wendell Marshall on bass. The blues, including a surprising "St. Louis Blules," are fine. I'm less sure of the ballads. B+(*) [sp]

Edna Martinez Presents Picó: Sound System Culture From the Colombian Caribbean (1950s-70s [2025], Strut): Colombian DJ, based in Berlin, curated these dance tracks -- I hear there's a "detailed booklet," but haven't seen it, leaving me with no more than impressions that the music dates from the 1950s to 1970s, and while played by Colombian sound systems called "picós," the music is more likely African (especially Congolese) than local. (One review also notes Jamaican soca, Ghanaian highlife, Arab disco, and various Caribbean forms, like jibaro, descarga, rhumba, mambo, and gwo ka, as well as salsa, cumbia, and champeta). A- [sp]

Kinloch Nelson: Waiting: More Recordings, 1968-1976 (1968-76 [2025], Tompkins Square): Guitarist, in the American primitive vein, from Rochester, studied classical and jazz guitar (the latter with Gene Bertoncini, the former Stanley Watson), has been playing since 1967 ("performing since 1969"). This follows a 2019 Tompkins Square compilation, Partly On Time: Recordings 1968-1970, with several other self-released albums. B+(**) [sp]

Alick Nkhata: Radio Lusaka ([2025], Mississippi): Singer-songwriter from Zambia (1922-78), formed a quartet in the 1940s, which later became the Lusaka Radio Band, and later still the Big Gold Six, having some hits in the 1950s, and possibly after independence in 1964 (he had worked as a field recording engineer during WWII, and with the Central African Broadcasting Service until 1974). I don't see any dates, but Discogs lists his singles (where dated) between 1950-59. This sounds naively crude at first, but picks up midway (perhaps with a bit of calypso?). B+(***) [bc]

Roots Rocking Zimbabwe: The Modern Sound of Harare Townships 1975-1980 (1975-80 [2025], Analog Africa): White settlers under Ian Smith declared Southern Rhodesia independent in 1965. The African majority fought back and prevailed in 1980, although that was hardly the end of the troubles. This collects 25 songs from the last third of the 15-year civil war. The best known bands are Green Arrows and Blacks Unlimited (with Thomas Mapfumo, who also leads off with an early track). B+(***) [sp]

Old Music

The Colson Unity Troupe: No Reservation (1980, Black Saint): AACM pianist Adegoke Steve Colson and vocalist Iqua Colson, still together with a new 2025 album, released two albums under this name, this one with Wallace LaRoy McMilan (a saxophonist from St. Louis who also worked with Muhal Richard Abrams, Roscoe Mitchell, Henry Threadgill, and Wadada Leo Smith 1975-82, but not much since), Reggie Willis (bass), and Dushun Mosley (percussion). The music is quite adventurous here, but the changes sorely try the vocalist, who winds up sounding operatic. B+(**) [sp]

Holger Czukay: Der Osten Ist Rot (1984, Virgin): Krautrock pioneer (1938-2017), born in Danzig (now Gdansk), Czukay was his Polish family name, but they went by Schüring, calculated to sound more Aryan, which got them expelled to Germany in 1945. He grew up in Duisburg, played bass, studied under Stockhausen, and was a founder of Can in 1968 (leaving after 1977), playing bass and adding samples and electronics, especially radio sounds. He recorded a solo album in 1969, and more from 1979 on, of which this is one of the more famous, with Jaki Liebzeit co-writing several songs (also playing drums, trumpet, piano, organ). A few interesting pieces here, but the effect is rather widely scattered. B+(*) [sp]

Holger Czukay: Rome Remains Rome (1987, Virgin): As scattered as its predecessor, but longer pieces sustain the interesting bits, while inflicting less whiplash. This was running a notch up until the 10:33 "Perfect World" swept me away, with its hints of Afrika Bambaataa and Kid Creole and anticipation of DJ Shadow -- albeit, sure, in a rather plastic way, but this could anchor a solid A album. That sent me back to recheck the Jah Wobble-powered funk pieces ("Hey Baba Reebop," "Hit Hit Flop Flop" and "Sudetenland"), the Pope-sampled "Blessed Easter," and the truly atmospheric "Music in the Air." A- [sp]

Fines Double: Flotar (2021, Filthy Broke): First album, only a few featured rappers (mostly Defcee and AJ Suede), so more emphasis on the rhythm tracks, which are pretty distinctive. B+(**) [bc]

Blaze Foley: Blaze Foley [The Lost Muscle Shoals Recordings] (1984 [2017], Lost Art): Alt-country singer-songwriter, actual name Michael Fuller, took his stage name from Red Foley and Blaze Starr, shot dead at 39 in 1989 with just this one album to his credit: original title, Blaze Foley, but "lost" due to "some trouble with the law" (most of 500 copies were confiscated in a DEA drug bust). A decade later he was mostly famous as the subject of songs by Townes Van Zandt and Lucinda Williams, with Gurf Morlix releasing a tribute album in 2011 (Blaze Foley's 113th Wet Dream, probably Morlix's best). Since then, various live scraps have appeared, which rarely live up to the legend. B+(*) [bc]

Roger Glenn: Reachin' (1976, Fantasy): Flute player, also vibes, started in Latin jazz with Mongo Santamaria and in fusion with Donald Byrd, combines them on his first own album (and only album until 2025). Electric keyboards by Mark Soskin and Larry Mizell, electric bass (Paul Jackson) and guitar (Ray Obiedo), lots of percussion (bata, congas, shekere). Good funk as long as they keep it up. B+(*) [sp]

Alberta Hunter/Lucille Hegamin/Victoria Spivey: Songs We Taught Your Mother (1961 [1962], Bluesville): Three blues singers from the 1920s, rediscovered during the big folk blues revival c. 1960. The trio had their early work compiled by Document into 4-5 CDs each. Hunter (1895-1984) recorded one more album in 1961, then staged a fairly major comeback in 1980 with Amtrak Blues. Hegamin (1894-1970) only appeared on one more album (A Basket Full of Blues, with Spivey and Buddy Tate). Spivey was a decade younger (1906-76), and more active at least through 1965. They take turns, reviving their old hits, backed by a mix of old jazz hands, including Willie "The Lion" Smith (piano), J.C. Higginbotham (trombone), and Zutty Singleton (drums). B+(***) [sp]

Hüsker Dü: Extra Circus (1983 [2017], Numero Group): Five extra tracks from the session(s) that produced their breakthrough 7-song, 18:57 Metal Circus EP. Total: 7:33 -- three tracks less than 1 minute each, the only one over 2 minutes is "Standing by the Sea," which you may know from Zen Arcade, so nothing revelatory, but pretty good while it lasts. B [sp]

Peter Ind: Looking Out (1958-61 [1962], Wave): English bassist (1928-2021), first album, mostly with guitar (Al Schackman or Joe Puma), piano (Ronnie Ball or Sal Mosca), a couple cuts with drums (Dick Scott), one with vocalist Sheila Jordan -- probably her first recording, already distinctive. The rest is equally engaging, with the bass mixed prominently (turns out some of it was overdubbed). B+(**) [sp]

Peter Ind: Jazz Bass Baroque (1987 [1988], Wave): First side continues his bass overdub experiments, ranging from "Bach" to "Lush Life." Second side is a live set with Daryl Anger (violin) and Martin Taylor (guitar). B+(**) [sp]

Peter Ind: Looking Out/Jazz Bass Baroque (1958-87 [1999], Wave): Two (or effectively three) albums crammed together, each interesting, together adds up to a nice overview. B+(**) [sp]

Lonnie Johnson With Victoria Spivey: Idle Hours (1961, Bluesville): Major blues singer-guitarist (1899-1970), made 130 recordings for Okeh 1925-32, still regarded as classics (see Steppin' on the Blues, 58 on Robert Santelli's blues albums list), including some duets with Spivey. He continued to work steady, including some time in dixieland bands, but by 1960 he was recording for Prestige's blues subsidiary. Her early string ended in 1936, but came back for this reunion. B+(**) [sp]

Sheila Jordan/Mark Murphy: One for Junior (1991 [1993], Muse): Two bebop singers, distinctive voices, fast dynamics, quick to sling the scat. I've always adored her, but I've never cared for what little I've heard by him. Title refers to the late painter Helen Mayer (aka Junior Morrow). Backed by Kenny Barron (piano), Harvie S (bass), and Ben Riley (drums), with Bill Mays (piano/synth) on two tracks. She's terrific, of course. He's, well, pretty decent. B+(**) [yt]

Sheila Jordan/Jose Carra/Bori Albero: En La Fundación Valparaiso (2018 [2024], Clasijazz): Part of a Spanish tour just shy of her 90th birthday, from three sets in Mojácar, a small town on the Mediterranean coast east of Granada, backed by local piano and bass (although she cites Cameron Brown as her bassist in "Sheila's Blues"). B+(***) [sp]

Stephan Kramer: Thank You Sheila (2018, House Master): German guitarist, seems to be his only album, cover adds: "with Chris Lachotta and Alexander Hoetzinger feat. Sheila Jordan." Recorded live in Munich, no date given, with Jordan entering on the second cut, and it's her record from then on out. Choice cut: "Lady Be Good" (on Ella Fitzgerald). Ends with a very nice guitar piece. B+(***) [sp]

Steve Kuhn & Toshiko Akiyoshi: Country and Western Sound of Jazz Pianos (1963, Dauntless): Two pianists, Kuhn's first album, Akiyoshi has credits back to 1954, most of the c&w standards ("Trouble in Mind," "Down in the Valley," "Along the Navajo Trail," etc.) not sounding all that country, with sparkling pianos backed by guitar (Barry Galbraith), bass (Dave Izenson/John Neves), and drums (Pete LaRoca). B+(*) [sp]

Steve Kuhn/Gary McFarland: The October Suite (1966 [1967], Impulse): Pianist, and composer/conductor, with Ron Carter (bass) and Marty Morell (drums), plus strings on the first side, woodwinds on the second. McFarland (1933-71) played vibraphone early on, led and/or produced/arranged albums from 1961 on, many with titles like Soft Samba and Big Band Bossa Nova (for Stan Getz). B+(*) [sp]

Steve Kuhn Quartet: Last Year's Waltz (1981 [1982], ECM): Piano trio with Harvie S (bass) and Bob Moses (drums), plus singer Sheila Jordan, a group listed on their previous (1980) album as Steve Kuhn/Sheila Jordan Band. Live at Fat Tuesday's. Starts with three Kuhn originals, which while exciting enough don't give Jordan much to work with. Then we get an 8:19 "I Remember You" which is just extraordinary. Second side starts with a jaunty piece by the bassist, and two more by Kuhn, before Jordan again gets to feast on covers (although don't miss Kuhn's detonation of Monk). A- [sp]

New Tutankhamen: I Wish You Were Mine (1979 [2019], Nyami Nyami): Late 1970s group from the territory renamed Zimbabwe in 1980, prominent on Analog Africa's recent comp, so I figured it was worth checking out. Draws more on American soul/disco than on South African models. B+(*) [bc]

PAL: PALS (2023, self-released, EP): First record, a 7-song EP (11:05), just a trio at this point, so singer-songwriter Maureen Joyce plays drums as well as keys. B+(**) [bc]

Roswell Rudd/Steve Lacy/Sheila Jordan: Blown Bone (1967-76 [1979], Philips): Trombonist, one stray track from a 1967 session, the rest from two sets in 1976 with Lacy (soprano sax), bass (Wilbur Little), drums (Paul Motian), The first of those 1976 sets adds Enrico Rava (trumpet), plus singer Jordan on two tracks. The other adds electric piano (Patti Brown), clarinet/soprano sax (Kenny Davern), and tenor sax (Tyrone Washington), with Louisiana Red singing a blues. B+(***) [yt]

Victoria Spivey: Complete Recorded Works in Chronological Order: Volume 1 (11 May 1926 to 31 October 1927) (1926-27 [1995], Document): One of the classic female blues singer from the 1920s, recorded singles for Okeh 1926-28 (23 tracks here, plus more on Volume 2), with other labels up to 1937 (4 CDs today in this series). As is often the case for this label, lots of surface noise from the source 78s. But a cleaned up selection could be worth it. B+(**) [sp]

Victoria Spivey: Complete Recorded Works in Chronological Order: Volume 2 (31 October 1927 to 24 September 1929) (1927-29 [1995], Document): Probably the rest of her Okeh singles -- the Victors start later in 1929 -- including duos with Lonnie Johnson and some tracks with jazz groups led by Clarence Williams and Henry Allen. Sound still dubious, but where it clears up some terrific music ensues -- especially with Allen's band riffing. B+(***) [sp]

Victoria Spivey: Complete Recorded Works in Chronological Order: Volume 3 (1 October 1929 to 7 July 1936) (1929-36 [1995], Document): She recorded for Victor in 1930, and Brunswick in 1931. Not sure what else there is before some 1936 Decca sides (this ends with "T.B.'s Got Me Blues"), but this works in pieces with a few other leaders. Sound's better, especially on the closing jazz band sides. A- [sp]

Victoria Spivey: Complete Recorded Works in Chronological Order: Volume 4 (30 August 1936 to 21 July 1937) (1936-37 [1995], Document): This seems to be the end of her early recordings, on Vocalion (some as Jane Lucas), stretched to 22 tracks with 5 extra takes. She continued performing up to 1951, often in music films and stage shows, but I'm not seeing any recordings until 1961, when Bluesville brought her back for several albums. She's become a remarkably poised singer, as songs you don't need her for like "Trouble in Mind" prove, and the bands swing. She clearly deserves a proper compilation. B+(***) [sp]

Victoria Spivey With Lonnie Johnson: Woman Blues! (1962, Bluesville): She gets the leads this time, and plays piano, while he plays guitar, and sings some, mostly seeming superfluous. B+(**) [sp]

Christian Stock Trio & Sheila Jordan & Adrian Mears: Straight Ahead (2000, YVP): German bassist, side-credits back to 1982 but not a lot of them, found himself leading a trio here with Karel Růžička (piano) and Walter Bittner (drums). Twelve tracks, with the singer in on four ("Autumn in New York," "Badbados," "Sail Away," and "Song of Joy"), the trombonist on three others. Nice pieces, limited interest. B+(*) [sp]

Aki Takase: ABC (1982, Union Jazz): Japanese pianist, started playing in US in 1978, moved to Berlin in 1988, where she married another notable pianist, Alexander von Schlippenbach. She recorded this early album in New York, with Cecil McBee (bass), Bob Moses (drums). Sheila Jordan sings to open, but after that the only voice is a bit of shading, if that. B+(**) [yt]

Vibration Black Finger: Blackism (2008 [2017], Enid): British jazz-funk group, produced by Lascelle [Gordon], who got his start with "acid jazz" group Brand New Heavies (1991). Curious delay between recording this and release, with two albums and several EPs since. Inspired here by 1970s electric Miles, with Andy Knight (trumpet), James Arben (sax), two drummers, and possibly others on a back cover scan I can't decipher (a vocal bit by Maggie Nichols?). A- [sp]

Vibration Black Finger: Can You See What I'm Trying to Say (2020, Jazzman): Second album, no credits that I can see, although there are vocalists, and glancing references to Musical friends," but this is mostly down to Lascelle Gordon, conjuring up a mixed bag of tricks. B+(***) [sp]

Music Weeks

Music: Current count 44745 [44592] rated (+153), 24 [18] unrated (+6).

Excerpts from this month's Music Week posts:

August 4, 2025

Music: Current count 44630 [44592] rated (+38), 25 [18] unrated (+7).

Major personal news is that we bought a new car. I've been wanting to for several years, but we've traveled so rarely since 2020 that there's been little need. Still, over the last year the clutch has been so dicey I've been afraid of driving out of town, even for the day trips we like to offer our occasional visitors, or for checking in on the few friends and relatives within easy reasonable distance. By the time I got the car into the shop, it was barely drivable and deteriorating fast.

I like to do a thorough job of shopping for big purchases like cars, and had done a fair amount of research, but when the time came, we panicked and bought what I initially identified as the safe default choice. The good news is that it's done now, moving a fairly large project from pending to done. (Well, mostly done: we still have tags, taxes, insurance, not sure what else as there's a lot of new technology I don't fully understand; e.g., they're pushing some kind of AT&T "powerful Wi-Fi hotspot" subscription with a 2-day window for a 20% discount.) The bad news is that I'm still unhappy with the way it all unfolded.

Still, we drive so little we shouldn't let minor quibbles get the better of us. Laura is unhappy that the passenger seat is so low (and unadjustable for height, unlike the driver seat; why not offer that?). And I hate that I won't be able to play CDs in the car. I'm trying not to panic on that score. I have a lot to learn about the new media console system. For that matter, there is a lot I never learned about my fairly ancient cell phone, but may have to as the phone seems to be the nerve center of the car's media package. I've only now downloaded my streaming apps, but haven't tested them out yet.

While numerous trips to car dealers kept me away from other projects around the house, between closing on the car on Friday and picking it up today I managed to listen to a few albums (38 below), and write a fair chunk of the next Loose Tabs. In particular, I haven't done anything on the Substack-based Notes on Everyday Life I announced a couple weeks ago (other than my edit of their "Coming Soon" page, retitled Hello World, which offers an idea of what I had in mind. I'm pleased to note that despite no output, I have 29 free subscribers waiting. I expect to send them something in the coming week.

Whether that first message fits my plan or not isn't clear yet. My latest thinking is that while everything will land somewhere on the website, the timing will vary: some things will show up first in the newsletter, others on the website, with each referring to the other. Redundancy should encourage me to edit more, and possibly expand on items I rushed out. (I missed last night's deadline in posting this. Looking at it again this morning I've already made a dozen edits in the previous paragraphs.) While I have enough Loose Tabs to publish now -- and probably too much for most folk to digest -- I still have a lot of open tabs to get to. I'll probably hold that post back until I finish my rounds (in a week or so), then put it up on the website. I could then write a shorter digest for the newsletter, with links to featured pieces, with the whole post as context. On the other hand, a couple items are already big and/or important enough to extract, polish up a bit, and turn into newsletter items, so they may appear ahead of the Loose Tabs blog post.

I'm not sure where music might fit into this scheme of things. I'm conscious that most of my current subscribers come for the music tips, but my ability to write reviews is already stretched pretty thin. Still, I might come up with a framework to tack on some timely listening notes at the end, perhaps like Jeffrey St. Clair does in his "Sound Grammar" section. He also does one on books, which I could handle -- perhaps not just on what little I manage to read, but by advancing some items that would later appear in a Book Roundup?

My main source for records this week has been Phil Overeem's August 1 list, which I'm still working my way through, plus a few items from Chris Monsen's mid-year list. The main exception is probably the sampling of Holger Czukay. I found (and have since lost) a Chinese website that seemed to suggest a recent reissue of Der Osten Ist Rot, which got me started, although I didn't go very deep. But when I looked up what Christgau had to say about Czukay (very little), I was reminded that I never managed to find a copy of David Toop's Oceans of Sound 2-CD compilation (graded A). A quick check at Amazon shows the book still in print, but no evidence of the CDs.

I finished Chris Hayes' book, The Siren's Call: How Attention Became the World's Most Endangered Resource. I found it useful, generating a lot of interesting thoughts about technology, media culture, and capitalism. Like his previous two books -- Twilight of the Elites: America After Meritocracy (2012) and A Colony in a Nation (2017) -- he took a novel approach to framing a big problem, although this one is a bit more tenuous, making me think that attention may not be the best way of framing the problem. I was especially impressed by the depth of research. While he is clearly smarter than your average TV talking head, what finally came clear in the acknowledgments section was that he has some genuinely brilliant research assistance. I certainly didn't expect to see mention, let alone a learned discussion, of Alexandre Kojève. His discussion of Marx's early writings on alienation is also so spot on that he felt the need to insert a parenthetical "I am not a Marxist" disclaimer.

I've moved on to a book called How AI Works, figuring it's about time I get some fairly unbiased insight into such a superhyped technology. I knew a fair amount about AI back in the 1980s, but haven't followed it, so it wasn't clear how useful my past understanding was. I'll write more about this in the future. One notable thing is that this has gotten me thinking about more mundane matters of technology, like website development. I just ordered a book from the same publisher called The Modern Web, because it seems to cover a lot of details that I've never been able to quite grasp (e.g., the chapters on device-responsive CSS and flexbox layouts). On the other hand, I'm surprised to be ordering a book on web technology originally published over a decade ago (2013). But looking around, I'm not seeing anything newer that looks genuinely useful. Given that most of my web development was learned in 2001-03, maybe the best I can hope for is to advance in decade-sized chunks.

Or maybe I'm just thrashing, as everything we seem to try, or at least hope to try, is failing. Or maybe failing isn't the right word: just slipping further and further away.

August 11, 2025

Music: Current count 44663 [44630] rated (+33), 36 [25] unrated (+11).

Some time after I bought my 1986 Audi, I replaced the radio with a CD player. Same with my 1994 Nissan, unless it came with one (I'm a bit unsure, but if it did, it was gone within a week). The 2006 Toyota had one by default, but we opted for the 6-CD changer. I don't think I ever loaded more than one CD at a time, but it came with extra speakers, and made a statement. When I started contemplating a new car just before 2020 happened, I was dismayed to find virtually nothing offering CD players, or even radios that could be ripped out and easily replaced. When we finally gave in and bought our new Toyota, all we could get was a 10.5-inch media/info console with bluetooth, wi-fi, one usb port, and a bunch of trial subscriptions. I spent our first week driving in silence, except when my wife insisted on NPR, which was painful. Exposing oneself to too much news and opinion isn't healthy.

I asked google "why did car companies stop offering cd players," and AI responded:

Car companies stopped offering CD players as standard features due to a shift in consumer preferences towards digital music and the convenience of streaming services. The rise of smartphones, Bluetooth, and USB connectivity has made it easier and more appealing to access music through these devices rather than through physical CDs. Additionally, CD players are more expensive to manufacture and install than other audio components, and their removal helps manufacturers cut costs.

This mostly sounds like bullshit to me. I don't doubt that this is what they say and want you to believe, but that's all it is. AI is only as good as its training data. It hasn't overcome the maxim of "garbage in, garbage out." The costs are trivial in a $30,000 car (nor do you find them appearing in more expensive models), and "consumer preferences" are largely dictated by marketing schemes, meant to steer people to corporate preferences. I doubt convenience too. I use streaming a lot at home, but the user interfaces are awful, and I only get by because I'm constantly on the keyboard. I'm trying not to go too crazy here. I'm often slow adopting new tech. (I certainly dragged my feet when CDs came out -- you know, back when they had superior sound and lasted forever.) So I'll try to give it a go. But this week has been pretty miserable for me and my music.

My big goal last week was to finally publish my first Substack post. I've written quite a bit of Loose Tabs draft material, and I figured one long comment on an especially inane Vox piece would kick things off nicely, as it does a fairly succinct job of summing up the current political situation, with relevant notes on the ineptness of the opposition and the cluelessness of a way-too-indulgent media, while introducing my general themes. All I needed to do was write a bit of header and footer, but I tore up three or four of the former by Friday before I got something I could stand. As expected, I did a fair amount of editing on the core piece, and sent it out to a couple people Saturday evening. Sunday I added a couple more paragraphs, then finally sent it out, under the title Four Stories. Please check it out, and subscribe to get it delivered regularly by email. There is no charge, no advertising, and no nagging (if I can help it). You do not have to have a Substack account to subscribe. If you have questions or problems, let me know.

I posted notices on X, Bluesky, and Facebook. Subscribers are up to 41, which looks like more than a third of the views on any of those mass social media platforms. (The X tweet has 93 views, almost double the 51 of last week's Music Week notice.) But I've been enjoying the stream of mail from Substack, especially sign-up notices from old friends, and I'm saving the marketing tips in case I ever get around to thinking about promotion. Right now this is mostly a pivot in how I'm approaching writing. More on that when I have something to show.

As noted in the letter, I only had 17 records rated through Friday. I didn't try to explain why. The distractions were major, but also every now and then I just have trouble figuring out what to play next. So I settled on the dumbest (but easiest) algorithm of all: I started playing the highest-rated non-genre (rock/pop, but not metal) albums on my metacritic list: Pulp, Turnstile, Caroline, Rich Dawson, Jasmine.4.T, Swans, Steven Wilson, Divorce, Doves, Lorde, etc. These are all albums I hadn't been in any hurry to play, and in many cases might never have bothered with. By the end of the week, I was down to Sparks (110), and up over 30 albums rated. Most vindicated my previous neglect, with the few pleasant surprises -- Bob Mould, Self Esteem, Horrors -- not quite rising past B+(***). That leaves us way short of A-list albums this week. Aside from those three, the best prospect is Antony Szmierek, followed by the other Vibrational Therapy albums.

After the cutoff, I decided to tweak the algorithm to allow me to pick one-in-three albums. I went with Miki Berenyi over Youth Lagoon and BC Camplight, and got another B+(***). The top unheard albums now are all metal (Deafheaven, Heartworms, Spiritbox). I sample a few metal albums every year, although only one so far this year (Mean Mistreater). Updates to the lists have been very sporadic of late, which is one reason I've struggled to find things to listen to. I've also let the jazz queue languish, but most of what's pending hasn't been released yet.

Goals for next week include: finally building Laura's new computer; shopping for eye glasses; building one more rack for the woodpile project; building my recycling kiosk; posting Loose Tabs; another newsletter; cooking dinner for some very old friends. The probably won't get to section also includes: sorting out my electrician tools and parts; setting up the website framework for the broader Notes on Everyday Life project; analyzing the DownBeat polls. Probably some more stuff I'm forgetting right now, given that I've done next to nothing on my planning documents, but most of what's left falls into definitely-won't-get-around-to territory. Loose Tabs could swallow everything else, so I'll focus on cutting that one short.

PS: A while back I was trying to track down a broken link to rockcritics.com. I finally found the answer, which is that the old domain name is defunct, but the website is still available here. This came up with reference to a 2002 interview with Robert Christgau, but it also concerns a 2014 interview with me, where I talk a little about my intellectual evolution, how I got into writing rock and jazz criticism, and how I built Robert Christgau's website (as well as a few things about my website). This interview turned out to be the basis for most of what is in my Wikipedia page, so it's rather important to me -- albeit something I hadn't looked at in years. It may be worth a revisit and some second thoughts.

August 18, 2025

Music: Current count 44701 [44663] rated (+38), 30 [36] unrated (-6).

I ended last week's post with long list of projects I hoped to get done last week. The only ones I've accomplished are "another newsletter" -- the piece there is titled Sheila Jordan (1928-2025) -- and a Loose Tabs (which ran to 277 links, 20669 words). Which is to say that once again I spent pretty much the whole week at the computer, hacking out long strings of words. Meanwhile, the house projects languished, and the "dinner for some very old friends" fell through. I don't think we even used the new car except for one grocery store trip.

I should do better this week. I did the first tiny bit of "setting up the website framework for the broader Notes on Everyday Life project": the website archive of the newsletters is here. It's currently hand-collated, but I can maintain that until some further inspiration comes along. The second part, which I've referred to as "the pile," will still take some design work, but I have a rough idea what I want to do there: each file will have a set of embedded markup, which can be used both by the PHP code that presents the file and by external programs, which can build up indexes and feed search tools. This doesn't have to be very fancy, but I have to think about index terms and trade-offs between simplified markup and extra work in output. I'm expecting at this point that I'll wind up using this software for several piles. It might even make sense to treat it as an open source software project, but right now I'm thinking that's Version 2, as making software reusable is a much bigger job than just getting something to work. (You'd think that this sort of thing must already exist somewhere, and it probably does, albeit with more complexity and more trouble than I need: one such example is Mediawiki, which was actually my original idea for such a tool.)

It only now occurs to me that the easiest pile to prepare data for might be music reviews. I've long been stymied by the idea of adapting an album-review database, like I used for Christgau, to my data, which has a slightly different granularity. (Apologies for not trying to explain what I mean by that.) But for practical purposes, it might suffice to just offer artist pages, each with an intro and all the relevant albums. As I already have most of the reviews sorted by artist, it wouldn't be hard to move them into the pile. The notebooks, on the other hand, will be more work, as they'll need to be sorted topically. (Perhaps AI could help there?)

Still, I hope to spend more time on the house projects this week. Those will pull me away from the computer, and result in fewer new records rated, but this is a slow season anyway. I'm surprised to find August half gone already. I need to start thinking about some preliminary jazz poll organization. I had hoped to use this time to restructure the website, but haven't come close to working on it. While the quality of what I do still seems satisfactory, the quantity has sunk considerably.

One thing I did take the time to do today was to vote in the DownBeat Readers Poll. I typically have zero effect there, and they don't publish ballots, so unless I publish mine, no one will notice or care who I vote for. I do, however, keep notes, so you can look them over. Main value to me comes from the album lists, as they serve as a checklist for my own listening. In this case, I've noted that I haven't heard 24 new jazz albums (18.8% of 128), 11 historic jazz albums (28.3% of 32), 36 blues albums (75.0% of 48), and 12 "beyond" albums (21.7% of 58). I'll work on whittling that down, but should also note that they didn't nominate tons of really good albums, and they nominated even more not-so-great ones.

I'm generally pleased with the newsletter response so far. I'm just starting to figure it out, and I'm trying to ease into it. I wasn't expecting to do a post on music, at least this early, but it suddenly seemed like the thing to do. Not sure what the next one will be, but I need to go back and re-read Loose Tabs and this one and see what comes to mind.

August 26, 2025

Music: Current count 44745 [44701] rated (+44), 24 [30] unrated (-6).

Calendar has today as the last Monday in August, so I should be wrapping up the monthly archive and starting a new one for September. But I'm finding it hard to move ahead, maybe because I feel like I've accomplished so little this summer. Made very modest progress on some of my projects, but too little to mention. Did come up with a healthy set of reviews this week, most of which surprised me.

I did publish a third Notes on Everyday Life column on Saturday, Bernie Sanders Finds It's OK to Talk Like an Old Lefty. This was occasioned by reading his post-2020 campaign book. I'm thinking about follow it up this week with a "More Thoughts" piece, as I find myself with some:

1. I might start with the section on policies (pp. 265-275), which offer various combinations of impossible, unreliable, insufficient, and vague, not that they don't dance around real problems. I doubt I can (or should) posit an alternate list, at least until we sort through some other considerations.
2. I have a short point on the the "failure" of his 2020 campaign -- quotes because I'm not sure he wanted to win, although losing to Biden wasn't really optimal either.
3. Another short point on how he was first out of the gate with his anti-oligarchy tour against Trump, even though he has no real chance for a 2028 run.
4. Some thoughts about how to focus the "anger about capitalism" he recognizes into a way of talking and formulating policies. People are pretty heavily armored against his old left critique, and my new left critique hasn't fared much better, but misgivings about capitalism are much more broad-based than we credit, and that suggests approaches we haven't really explored.

The last point will have to be very schematic: I haven't really figured it out yet, and doubt I could explain it briefly if I had. One idea is to try to formulate each postulate as a end (telos) and a set of initial paths toward it. For example, if your end is a full right to quality health care, what are the practical steps that move you in that direction? Bernie's Medicare-for-All is a pretty big step, but one that's hard to sell whole (and does it still work if it's cut up into an ACA-style compromise?). I have some thoughts, but no time to go into them here.

There's also a section on media, another subject worth looking into, but while Sanders has valid complaints, but they're not all that useful. There's little that can be done with policies -- not that a number of past policy decisions haven't made the situation worse. Given that there's no practical way to make media trustworthy, the only real alternative is to get viewers and readers to be more wary, and more critical. Neil Postman argued that the highest goal of education is to equip us with finely-tuned bullshit detectors. That the media fails so often in this regard cannot be chalked up to a shortage of bullshit to detect.

One need hardly add that the point of Trump's assault on education is to dull critical senses, or to obliterate them altogether. Why not turn this around on them, pointing out not just what they're trying to get away with, but how them are doing it. It's not as if the public isn't already skeptical of the Fake News Lamestream Media. One thing I've found in life is that it's virtually impossible to restore shattered faiths (e.g., my own early and quite fervent belief in religion, patriotism, and free enterprise). You'd have a better chance of building on what they already find credible, which is that the whole system is rotten. Then show how Trump is part of that rot, and not a fix. His desire to turn American history into some sort of catechism isn't just dogmatic. It's some kind of lobotomy.

One reason I'm having trouble facing September is that I had this schedule in my mind about the 20th Annual Francis Davis Jazz Critics Poll: we'd make some key website design decisions in August, then start qualifying voters in September, so when November came around the website and mailing lists would be ready, and the poll would deploy like clockwork. Thus far none of that's happened. I'll try to get some messages out in the next week or two, to get the ball rolling. I run an "admin" email list for people who would like to help out, or just act as a sounding board for my ruminations, so if you're interested in joining that, let me know. If you know of anyone who should be voting but isn't, let me know -- or better still, get them to contact me. I'll post more info when I have some.

PS: I posted this a day late, basically because I ran out of energy Monday night, and still wanted to mention the jazz poll. Spent most of the day working on the garage wood pile. I didn't make a lot of progress, but I did make a little. Should be done this week (although rain could spoil tomorrow). I thought about pulling Monday's records forward here, but I figure I won't have much next week -- I'm finally optimistic about my home projects, which will cut down on my listening/writing time. Besides, plenty already below. (Although I might as well sneak in cover pics for two surprise A- records next week.) I still haven't done the monthly cutoff, but will probably treat the rest of the week as the first of September.

Notes

Sources noted as follows:

• [cd] based on physical cd
• [bc] available at bandcamp.com
• [sp] available at spotify.com
• [yt] available at youtube.com
• [dl] something I was able to download from the web; may be freely available, may be a bootleg someone made available, or may be a publicist promo

Grades are probably self-explanatory, aside from B+, which is subdivided 1-2-3 stars, because most records that come my way are pretty good, but they're not all that good.