Streamnotes: August 27, 2024

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 31. Past reviews and more information are available here (24416 records).

Recent Releases

21 Savage: American Dream (2024, Slaughter Gang/Epic): Rapper Shéyaa Bin Abraham-Joseph, born in London but raised in Atlanta, third solo album since 2017, also has three collaborations, all charted top-five in US. B+(**) [sp]

Adeem the Artist: Anniversary (2024, Four Quarters): Country singer-songwriter, from North Carolina, several albums going back to 2011, but only came to my attention with Cast Iron Pansexual in 2021, followed by White Trash Revelry, both well off the beaten path, which wasn't their only appeal. B+(**) [sp]

Neil Adler: Emi's Song (2024, self-released): Pianist, also plays harmonica, and incorporated that into his website. Seems to be his first album, a quartet with bass, drums, and congas, on a wide range of covers along with three of his own. B+(**) [cd]

Okaidja Afroso: Àbòr Édín (2024, Chechekule): Singer-songwriter and traditional dancer from Ghana, has a couple previous albums. B+(*) [sp]

Erlend Albertsen Basspace: Name of the Wind (2024, Dugnad Rec): Norwegian bassist, second album as leader, group a quintet, mostly strings and keyboards, with Albertsen also playing some soprano sax, plus: Ellie Mäkelä (viola, Hardanger fiddle), Egil Kalman (modular synth, double bass), Simon Albertsen (drums, synth), and Hogne Kleiberg (piano, synth). B+(**) [sp]

Gonçalo Almeida: States of Restraint (2023 [2024], Clean Feed): Portuguese bassist, based in Rotterdam, prolific since 2014. With Susana Santos Silva (trumpet) and Gustavo Costa (percussion), for "a set of remarkable minimalist tone poems distinguished by their brooding crawl-time intensity and austere meditative aesthetics." B+(***) [sp]

Livio Almeida: The Brasilia Sessions (2024, Zoho): Tenor saxophonist from Brazil, based in New York, has mostly worked with Arturo O'Farrill, second album as leader (first on a real label), quartet with keys, bass, and drums. B+(**) [cd]

John Alvey: Loft Glow (2022-23 [2024], Jazz Music City): Nashville-based drummer, first album, wrote first song, local-based band members added two more, plus some jazz covers (Benny Golson, Ron Carter, John Stubblefield), nice postbop group with a little swing. B+(**) [cd]

Robby Ameen: Live at the Poster Museum (2024, Origin): Drummer, from Connecticut, based in New York, early Latin influence with Dizzy Gillespie, Eddie Palmieri, and Horacio "El Negro" Hernandez. Sextet with two saxophonists (Bob Franceschini and Troy Roberts), trombone (Conrad Herwig), Fender Rhodes, and bass, playing "Oleo" and six originals. B+(**) [cd]

Apathy: Connecticut Casual: Chapter 2 (2024, Dirty Version): Connecticut rapper Chad Bromley, member of the Demigodz and Army of the Pharoahs, his own albums start in 2004, called a 2014 album Connecticut Casual, with hard beats and heavy vibes. B+(**) [sp]

Charlie Apicella & Iron City Meet the Griots Speak: Call to Action/Call to Prayer (2022 [2024], OA2): Guitarist, his Iron City group has mostly played funk-fusion since 2008, but his griots are from another musical planet, mostly veterans of the old NYC loft scene, like Daniel Carter, William Parker, and Juma Sultan. B+(**) [cd]

Arrested Development: Bullets in the Chamber (2024, Vagabond Productions): Hip-hop group from Atlanta, had a massive debut hit in 1992, broke up after their 1994 album, regrouped in 2000 and have released albums regularly ever since, to little notice (at least to no notice by me). B+(*) [sp]

Awon & Parental: Sublime (2024, HHV): Rapper Antwan Wiggins, grew up in Virginia Beach, dozen-plus albums since 2008, working with French producer Raphaël Besikian, who favors jazzy vibes and explains that "hip-hop is the pinnacle of diversity and inclusion" and "one of the greatest blessings I've had." Ends with an instrumental version of the album, which is pleasant but unnecessary. B+(***) [sp]

Art Baden: How Much of It Is Real (2023 [2024], Rainy Days): Tenor saxophonist, born in Russia, first album, also plays bass clarinet and flute, leads a quartet with Joe Locke (vibes/keyboards), Jay Anderson (bass), and Jeff "Tain" Watts (drums, recorded in his studio). B+(**) [cd]

Beans: Zwaard (2024, Tygr Rawwk): Rapper Robert Edward Stewart II, started out in Antipop Consortium, joined here by Finnish producer Sasu Ripatti, better known as Vladislav Delay. B+(*) [sp]

Blu & Evidence: Los Angeles (2024, Bigger Picture Music/New World Color): Rapper Johnson Barnes III, from Los Angeles, debut 2003, prolific since 2007, working here with producer Michael Perretta, who started with Dilated Peoples in the late 1990s. B+(**) [sp]

Olie Brice/Rachel Musson/Mark Sanders: Immense Blue (2022 [2024], West Hill): British bassist, many groups since 2011, trio here with tenor sax and drums. B+(**) [bc]

Bridgetown Sextet: Functionizin' (2023 [2024], Rivermont): Portland-based trad jazz group, "actually a septet" (see back cover photo), but I'm counting even more credits. Old songs, from Jelly Roll Morton through Fats Waller. B+(**) [sp]

Brother Ali & unJUST: Love & Science (2024, Travelers Media): Underground rapper since 2003, has a light touch. B+(*) [sp]

Melissa Carper: Borned in Ya (2024, Mae Music): Country singer-songwriter, from Arkansas, plays banjo and upright bass, started in a family band. half-dozen albums since 2015, appeared recently in Wonder Women of Country, along with Brennen Leigh, who co-wrote several songs here. She also pulls out two unexpected covers -- "That's My Desire" and "Every Time We Said Goodbye," and namechecks Hank Williams, Leadbelly, and Hazel Dickens in the title song. A- [sp]

Cavalier: Different Type Time (2024, Backwoodz Studioz): Rapper, from Brooklyn but based in New Orleans, couple albums since 2014. Jimmy Haslip co-produced, plays some bass, as does James Genus. B+(**) [sp]

Marc Ciprut: Moonshine (2024, White Label): Guitarist, from New York, plays fusion/funk, various lineups, mostly electric keyboards (or organ), electric bass, drums. B+(*) [cd]

Common & Pete Rock: The Auditorium Vol. I (2024, Loma Vista): Big-name rapper, debut 1992 as Common Sense, when his ambitions were more modest, has done quite a bit of acting since 2002, as well as producing a steady stream of quite respectable albums. Rock (Peter Phillips) produces, goes back as far, especially for his duo with CL Smooth. B+(***) [sp]

Charley Crockett: $10 Cowboy Chapter II: Visions of Dallas (2024, Son of Davy): Country singer-songwriter from Texas, 14th studio album since 2015 (plus a Live From the Ryman Auditorium that I say takes the cake). This 12-song, 36:09 addendum to his previous 2024 album makes it look easy. B+(***) [sp]

Walter Crockett: Children So Long (2022, self-released): Folk singer-songwriter, from Massachusetts, seems to be his first (and only) album, although he looks like he's been around a long time, dropping hints like "drives through Michigan or Kansas in the '40s and '50s," "listening to Elvis in 1955," "Mom is 98 now," and he dates his songs back to 1976. B+(**) [sp]

George Dearborne: Lotta Honky Tonkin' Left in Me (2024, Wingate): Country singer, from Beaumont, Texas, started out as a drummer in the 1970s, started leading bands in the 1990s, released his first album in 2020. No original songs, but most are new to me (exceptions: Doug Sahm, Merle Haggard). B+(**) [sp]

Morten Duun: Code Breaker (2024, Cmntx): Guitarist, from Denmark, aka Morten Duun Aarup, mostly a trio with trumpet (Brandon Choi) and drums (Wouter Kühne), plus piano on two tracks, interesting as far as it goes, but he adds voice on four tracks, which is where I lose interest. B+(*) [cd]

Eminem: The Death of Slim Shady (Coup de Grâce) (2024, Shady/Aftermath/Interscope): Twelfth studio album since 1996, namechecks the title character of his 1999 megahit, still sells enough he can laugh off the bad reviews (46/15 Metacritic, 50/15 AOTY, 4.8 at Pitchfork). I don't know what the beef is, and midway through I hadn't noticed much one way or the other, but "Houdini" is pretty damn catchy, and tuning in on words the next few songs was interesting enough, even though the only words I jotted down were "deep down I'm a dork." B+(**) [sp]

Signe Emmeluth: Banshee (2023 [2024], Motvind): Danish alto saxophonist, based in Oslo, debut album in 2018 launched her group, Emmeluth's Amoeba. B+(***) [sp]

Jeff Evans Porkestra: Willow Pillow (2024, self-released, EP): Evans is "a seasoned figure in Atlanta's roots and alt-country scene," seems to have had a previous group called Chickens and Pigs, calls this "a musical rewrite" of their 2021 album Guitars Food Music Beer Dog, which I can find no corroborating evidence for (although Spotify has three other Chickens and Pigs albums, none in Discogs). Six songs, 22:31. B+(***) [sp]

Orrin Evans and the Captain Black Big Band: Walk a Mile in My Shoe (2024, Imani): Pianist-led big band (less than conventional, at 11 pieces, but supplemented with guests -- among whom vocalist Lisa Fischer gets "very special" status) fifth group album since 2010. B+(*) [cdr]

Flo Milli: Fine Ho, Stay (2024, RCA): Rapper Tamia Carter, from Alabama, second album or third mixtape -- the distinction eludes me, all with Ho in the title. B+(**) [sp]

Flukten: Flukten (2023 [2024], Odin): Norwegian quartet, second album, I have the filed under saxophonist Hanna Paulsberg but the writers this time are drummer Hans Hulbækmo (6) and guitarist Marius Hirth Klovning (2); also with Bárður Reinert Poulsen (bass). B+(***) [sp]

Future & Metro Boomin: We Don't Trust You (2024, Epic/Freebandz/Republic Boominati Worldwide): Rapper Nayvadius Cash, from Atlanta, best-selling albums since 2012, working here with producer Leland Tyler Wayne, first of two collaborative albums this year, but they go back at least to 2013. Runs 17 tracks, 59:39, and they weren't done yet. B+(**) [sp]

Future & Metro Boomin: We Still Don't Trust You (2024, Epic/Freebandz/Republic/Boominati Worldwide, 2CD): So, less than a month later, they released another 25 tracks, 88:33, the last seven overflowing to a second CD. Strikes me as maybe a tad catchier, but not sure the difference is worth quantifying. B+(**) [sp]

Gangrene: Heads I Win, Tails You Lose (2024, ALC): Hip-hop duo, Alchemist and Oh No, fourth album since 2010. B+(**) [sp]

Claudia Gibson: The Fields of Chazy (2024, self-released): Austin-based folk singer-songwriter, second album, has some appealing songs. B+(**) [sp]

The Sofia Goodman Group: Receptive (2023 [2024], Joyous): Drummer, based in Nashville, couple albums, eight-piece group playing her original pieces. Fairly slick postbop, nicely arranged. B+(*) [cd]

Richard Guba: Songs for Stuffed Animals (2024, self-released): "Veteran saxophonist, debut album": three original pieces, five jazz standards, nicely done, reminds me in spots of Horace Silver. B+(**) [cd]

Russell Haight: Go Forth (2023 [2024], OA2): Saxophonist (tenor pictured), studied at Texas, was based in Austin until moving to Saratoga Springs and Skidmore college. Has a previous album, also a book on Odd-Meter Etudes for Saxophone. Quartet with Sean Giddings (piano), bass, and drums. Original pieces. Strong on upbeat pieces. B+(***) [cd]

Sahra Halgan: Hiddo Dhawr (2024, La Région/Danaya Music): Singer from Somaliland, which is a "de facto independent state" broken away from Somalia in 1991 but still unrecognized by most other countries. Second album, combines Ethiopian and Arabic influences, with some of the flavor of the "Saharan rock" common in Niger and Mali. B+(***) [sp]

Joel Harrison & Alternative Guitar Summit: The Middle of Everywhere: Guitar Solos Vol. I (2024, AGS): Harrison, a notable guitarist in his own right, is credited as producer here, with eleven other guitarists doing the heavy lifting. No recording dates given, but AGS has at least existed for 14 years, so they're probably working off some backlog. Only two names don't ring a bell for me, but check yourself: Fareed Haque, Nguyen Lê, Nels Cline, Liberty Ellman, Anupam Shobhakar, Camila Meza, Kurt Rosenwinkel, Anthony Pirog, Cecil Alexander, Miles Okazaki, Henry Kaiser. Not ambient exactly, but insider plays I suspect are more to impress each other than to excite fans. B+(*) [cd]

Eirik Hegdal Eklektisk Samband: Turnchest (2022 [2024], Particular): Billed as "a new Scandinavian Super band!" with the Team Hegdal saxophonist the "initiator," joined by Thea Grant (voice/electronics), Per Texas Johansson (tenor sax/flute/clarinets), Anja Lauvdal (piano/synth/pump organ), Ole Morten Vågan (bass), and Hans Hulbækmo (drums/percussion/mouth harp). As is often the case, it's the vocals that turn me off, but while my usual complaint is arch or starchy, this time it's deliriously disruptive. B+(*) [sp]

Fred Hersch: Silent, Listening (2023 [2024], ECM): Eminent pianist, more than 50 albums since 1984, mostly trios but I count 16 solo albums, including this one -- I'm not a big fan of solo piano, but 2015's Solo is an exception. This one, as the title implies, winds up a bit thin. B+(*) [sp]

Monika Herzig's Sheroes: All in Good Time (2023 [2024], Zoho): German pianist, also plays electric, moved to US 1988, studied at Indiana, albums from 2000, formed her Sheroes band in 2016, currently seven women, with Jamie Baum (flutes), Reut Regev (trombone), Camille Thurman (tenor sax), Leni Stern (guitar), Gina Schwarz (bass), and Rosa Avila (drums), playing originals by her and Schwarz, plus a Beyoncé cover. B+(**) [cd]

Hyeseon Hong Jazz Orchestra: Things Will Pass (2023 [2024], Pacific Coast Jazz): Korean composer and band leader, based in New York and/or Seoul, has a previous album from 2017, leads a conventional big band with saxophonist Rich Perry getting a "featured" credit. B+(**) [cd]

The Hot Toddies Jazz Band: The Hot Toadies Jazz Band (2019-22 [2023], Prohibition Productions): New York-based trad jazz outfit, first album, considerable turnover between early and later sessions, the constants being Justin Poindexter (guitar/vocals), Gabe Terracciano (violin/vocals), and Patrick Soluri (drums), with featured singers Queen Esther (2019) and Hannah Gill (2022). B+(***) [bc]

Ice Spice: Y2K! (2024, 10K/Capitol/Dolo): Rapper Isis Gaston, first studio album (10 songs, 23:17) after a well-received EP in 2023 (13:08, then 16:01, then finally in a 24:15 "deluxe edition," which is the one I liked). B+(***) [sp]

Ize Trio: The Global Suites (2024, self-released): "Multi-cultural" trio of Chase Morrin (piano, compositions), George Lernis (percussion), and Naseem Alatrash (percussion), jazz with Middle Eastern flavors, joined here by John Patitucci (bass, get a "featuring" on cover but plays on only 2 of 10 tracks) and by singers Farayi Malek (2 tracks) and Heiraza (5 tracks). B+(*) [cd]

Eric Jacobson: Heading Home (2023 [2024], Origin): Trumpet player, based in Chicago, couple previous albums, this a postbop quintet with Geoff Bradfield (tenor sax), Bruce Barth (piano), bass, and drums. B+(*) [cd]

Boldy James/Conductor Williams: Across the Tracks (2024, self-released): Rapper James Clay Jones III, several albums per year since 2020, various producer/collaborators, this one is Denzel Williams, from Kansas City, coming off joints with Stik Figa and Conway the Machine. B+(**) [sp]

Karen Jonas: The Rise and Fall of American Kitsch (2024, self-released): Country singer-songwriter from Virginia, seventh album since 2014. B+(*) [sp]

Danny Jonokuchi Big Band: A Decade (2022 [2024], Bandstand Presents): Trumpet player, has at least one previous album (hype sheet says four, and mentions an ISJAC award), leads a conventional big band through one original and a batch of nicely done standards, ending with his vocal on a bonus take of "Skylark." B+(*) [cd]

I. Jordan: I Am Jordan (2024, Ninja Tune): British electronica producer/DJ, previously released an EP as India Jordan, seems this is first album. Opener is dead (or worse), but gets better after finding a beat. Much better. B+(*) [sp]

JPEGMafia: I Lay Down My Life for You (2024, AWAL): Rapper-producer Barrington Hendricks, half-dozen albums since 2016, last year's Danny Brown collaboration Scaring the Hoes got a lot of critical applause, but I never made any sense out of it. I can't say much about this one either, but with only three "feat." slots, it mostly dwells in dank and dark noise -- I've seen comps to Death Grips, which does even less for me (perhaps because of the occasional break one catches here). B+(*) [sp]

Kirk Knuffke: Super Blonde (2023 [2024], SteepleChase): Cornet player, albums since 2007 range from free to mainstream, often superb either way. This one is mostly standards, sharply etched, with a mainstram rhythm section of two bassists (Jay Anderson and Thommy Andersson) and drums (Adam Nussbaum). A- [sp]

David Liebman & the CNY Jazz Orchestra: If a White Horse From Jerusalem . . . (2022 [2024], CNY Jazz Arts Foundation): This should probably be filed under Bret Zvacek, who is music director of the Syracuse-based Central New York Jazz Orchestra -- spine credit is just CNY Jazz Orchestra -- a conventional big band -- but the featured soprano saxophonist gets top billing on the cover. Zvacek composed the title suite (4 parts, 25:27), with others arranging the rest of the program, including covers of "Somewhere" and "Where or When." B+(**) [cd]

Rosemary Loar: Vagabond Heart/Curação Vagabundo (2024, Atlor Music): Singer and actress, mostly theatrical, Discogs credits her one previous album, from 2003, but website claims four, and hasn't been updated for this one yet. Title song, from Caetano Veloso and Gal Costa, is the only Brazilian venture, and the only other non-English title is from Sting. Other than that, three originals, and a bunch of show tunes. With pianist Frank Ponzio as music director/co-producer, bass-drums-percussion, and a bit of harmonica in lieu of horns. B+(***) [cd]

Lupe Fiasco: Samurai (2024, 1st and 15th Too): Chicago rapper, 2006 debut was a breakout hit. Still has a pop touch. B+(**) [sp]

Lux Quartet: Tomorrowland (2023 [2024], Enja/Yellowbird): Co-led by Myra Melford (piano) and Allison Miller (drums), with Dayna Stephens (tenor sax) and Scott Colley (bass). Relentlessly inventive postbop, the pianist can delight and dazzle, the sax more tentative but substantial,the rhythm always en garde. A- [cd]

Mai-Liis: Kaleidoscope (2023-24 [2024], OA2): Canadian jazz singer-songwriter, has a previous album from 2021, backed by piano, guitar, bass, and drums, with guest spots for horns and vibes. B+(*) [cd]

Roc Marciano: Marciology (2024, Marci Enterprises): Rapper Rakeem Myer, has a regular stream of albums since 2010, many plays on his alias, this being even more inscrutable than most. B+(*) [sp]

Masta Ace & Marco Polo: Richmond Hill (2024, Fat Beats): Rapper Duval Clear, from Brooklyn, started 1988 in Juice Crew, debut album 1990, more after 2000, teaming up with Canadian beatmaker/producer Marco Bruno in 2018. B+(**) [sp]

Paula Maya: Rio De Janeiro (2024, Yellow House): Brazilian singer-songwriter, last name Niemeyer, plays piano, her six originals supplemented by a Jobim standard. B [cd]

James McClaskey & the Rhythm Band: Later on Blues (2024, BigTone): From New Orleans, plays tenor guitar and sings, second album for band (has another supporting Annabelle Zakaluk), mostly blues, three originals, but also covers from Tiny Grimes (one Charlie Parker, another Art Tatum) and Coleman Hawkins. B+(**) [sp]

Midnight Sons: Money Has No Owners (2024, Chong Wizard): Philadelphia rapper Stephen Zales, aka Zilla Rocca, with Canadian DJ Chong Wizard, with most cuts featuring others (the ones I recognize are Blu, AJ Suede, and Alaska). Has a jazzy underground vibe. B+(**) [sp]

Matt Mitchell: Zealous Angles (2024, Pi): Pianist, one of the best to have emerged in the last decade, presents a trio of Chris Tordini (bass) and Dan Weiss (drums), playing a batch of original pieces. B+(***) [cd]

Megan Moroney: Am I Okay? (2024, Columbia Nashville): Country singer-songwriter, second album, seems pretty good, quite consistent. B+(***) [sp]

Move: Free Baile: Live in Shenzhen (2023 [2024], Clean Feed): Free jazz trio, Portuguese and/or Brazilian: Yedo Gibson (sax), Felipe Zenicola (bass), João Valinho (drums). Second album, a rabble-rousing crowd-pleaser. B+(***) [sp]

Simon Nabatov Quartet Feat. Ralph Alessi: Lovely Music (2021 [2024], Clean Feed): Russian pianist, left at 20 in 1979, ostensibly for Israel but wound up in US, studying at Juilliard, becoming a US citizen in 1986, but he's lived in Germany since 1989, which is shortly after his discography kicks off (Discogs credits him with four 1988 albums). Quartet is rounded out with Sebastian Gille (sax), David Helm (bass), and Leif Berger (drums), so doesn't count the featured guest on trumpet. Rather grand and, sure, lovely. B+(***) [sp]

Navy Blue: Memoirs in Armour (2024, Freedom Sounds): Rapper Sage Elesser, albums since 2020 (after a string of EPs back to 2015). Underground, "conscious," flows about as well as ever, not much sticks though. B+(***) [sp]

Sam Newsome/Max Johnson: Tubes (2023 [2024], Unbroken Sounds): Saxophonist, started on tenor but has focused on soprano at least since 1998's The Tender Side of Sammy Straighthorn, and that's what he plays here, along with toys and treatments, accompanied by bass (often the most interesting thing here). B+(**) [sp]

Miles Okazaki: Miniature America (2022 [2024], Cygnus): Guitarist, eclectic mix of albums since 2022, gathers ten musicians here for "22 vignettes exploring the wonder of chance encounters and 'found' compositions." The musicians are all prominent names (not all-stars, but people you should know, like Patricia Brennen and Jacob Garchik). Unfortunately, three of them are vocalists, and while they (Ganavya, Jen Shyu, and Fay Victor) don't always rub me the wrong way, they do so way too often for me here. B [cd]

Nils Økland Band: Gjenskinn (2021-22 [2024], Hubro): From Norway, plays Hardnager fiddle, debut 1986, third group album since 2015, draws on folk and aims for ambient. B+(**) [sp]

ØKSE: ØKSE (2023 [2024], Backwoodz Studioz): Free jazz quartet with an electronic twist -- "sound chemist" Val Jeanty plays electronics, while bassist Petter Eldh also wields sampler and synths, along with saxophonist Mette Rasmussen and drummer Savannah Harris -- but four (of eight) pieces also feature guest rappers: Elucid, Billy Woods, Maassal, and Cavalier. Remarkable on all counts. A- [sp]

Roberto Ottaviano/Danilo Gallo/Fernando Faraò: Lacy in the Sky With Diamonds (2023 [2024], Clean Feed): Italian soprano saxophonist, fairly long list of albums since 1985, here with bass and drums, playing seven Steve Lacy songs plus a few originals/improvs with a bit of "These Foolish Things." A- [sp]

Michael Pagán: Paganova (2023 [2024], Capri): American pianist, based in Kansas City, debut album 1995, accent suggests Latin heritage, and there's much more than tinge here, driving the rhythms behind saxophonists Michael Herrera and David Chael. B+(***) [cd]

The Palomar Trio [Dan Levinson/Mark Shane/Kevin Dorn]: The Song in Our Soul (2023, Turtle Bay): Swing trio from New York, with tenor sax/clarinet, piano, and drums, playing old standards, including Jelly Roll Morton and Edmond Hall. B+(**) [sp]

Planet D Nonet: Echoes of Harlem: A Salute to Duke Ellington Vol. 2 (2024, Eastlawn): Detroit group, founded by James O'Donnell (trumpet) and RJ Spangler (percussion) back in 2010, when they were working with John Sinclair, and their repertoire extended from Bennie Moten to Sun Ra, only recently turning to Ellington. B+(***) [cd]

Jonathan Powell: Mambo Jazz Party (2022 [2024], Circle 9): Trumpet player, from Florida, based in New York, has played in Latin jazz bands, leading this one, a powerhouse outfit. B+(***) [cd]

Alvin Queen Trio: Feeling Good (2023 [2024], Stunt): Drummer, born in New York, credits start in 1970, picking up a fter he moved to Switzerland in 1979. Trio with Carlton Holmes (piano) and Danton Boller (bass), playing standards, and doubling down on Cedar Walton. B+(*) [sp]

Real Bad Man & Lukah: Temple Needs Water. Village Needs Peace. (2024, Old Soul Music/Real Bad Man): Los Angeles-based producer Adam Weissman, has a dozen albums since 2020, mostly collaborations with underground rappers, this one from Memphis. B+(**) [sp]

Moses Rockwell Featuring Plain Old Mike: Regular Henry Sessions (2024, Hipnott): Rapper from Rochester, has at least one previous album, don't know anything more about his partner here, but cover photos two bearded blokes, and Mike gets the producer credit, earning his "jazzy" cred. B+(***) [sp]

Jerome Sabbagh: Heart (2022 [2024], Analog Tone Factory): French tenor saxophonist, postbop, dozen or so albums since 2004, trio with Joe Martin (bass) and Al Foster (drums), three originals and five standards (from Ellington to "Body and Soul"). B+(**) [cd]

ShrapKnel: Nobody Planning to Leave (2024, Backwoodz Studioz): Hip-hop duo, Curly Castro and Mark Debuque, third album. Kind of patchy, sketchy too. B [sp]

Jae Skeese & Superior: Testament of the Times (2024, RRC Music/BarsOverBs): Rapper from Buffalo, fifth album since 2020, producer is Marcos Oviedo (German "with Spanish descents"), his first album 2009. Underground, smart, really nice flow. A- [sp]

Daniel Son & Futurewave: Bushman Bodega (2024, WavGodMusic): Toronto rapper Daniel Borley, Discogs credits him with 18 albums since 2017, 7 with producer Martin Budik (Futurewave). B+(*) [sp]

Spanish Harlem Orchestra: Swing Forever (2023-24 [2024], Ovation): Latin jazz 13-piece big band led by pianist Oscar Hernández, ninth studio album, with Doug Beavers co-producing, and guest vocalist Gilberto Santa Rosa. Seems like records like this always sound great to start, but tiring by the end. B+(**) [cd]

Ayra Starr: The Year I Turned 21 (2024, Mavin Global Holdings): Pop singer-songwriter, born in Benin, grew up in Lagos, titles so far note her age -- debut was 19 & Dangerous. B+(**) [sp]

Aki Takase Japanic: Forte (2023 [2024], Budapest Music Center): Japanese pianist, long based in Berlin, Quintet with Daniel Erdmann (tenor/soprano sax), Carlos Bica (bass), Dag Magnus Narvesen (drums), and Vincent von Schlippenbach (turntable), with guest credits for Nils Wogram (trombone) and her husband, pianist Alexander von Schlippenbach. First track hints at things Japanese, but the rest careens wildly, which can provide a thrill, or not. B+(**) [sp]

Tarbaby: You Think This America (2022 [2024], Giant Step Arts): Pianist Orrin Evans, took this group name from his 2006 album, sixth group album since 2009, various horn players over the years but just the core trio here, with bass (Eric Revis) and drums (Nasheet Waits). Songs from each and nall, plus covers of Sam Rivers, Fats Waller, Oliver Lake, Andrew Hill, Paul Motion, and Bad Brains. B+(***) [bc]

Linda Thompson: Proxy Music (2024, Storysound): Much beloved as the better half of a 1970s duo with then-husband Richard Thompson, spotty solo career since then with several decade-plus breaks, no longer sings but co-wrote a batch of songs, performed by various family and friends, with son Teddy Thompson most inovlved. B+(*) [sp]

Tinashe: Quantum Baby (2024, Nice Life): R&B singer-songwriter, born in Kentucky but grew up in California, last name Kachingwe, seventh album since 2014, single "Nasty" her biggest since 2014's "2 On." B+(**) [sp]

Zach Top: Cold Beer & Country Music (2024, Leo33): Country singer-songwriter from Washington State, 25, first album, no hint that's not his original name, serves up a nice batch of country clichés -- title song is wedged between "[My Life] Sounds Like the Radio" and "Cowboys Like Me Do," along with "Dirt Turns to Gold," "The Kinda Woman I Like," "Bad Luck", "Ain't That a Heartbnerak," "I Never Lie," and "Things to Do" (that's not all, but you get the drift). B+(**) [sp]

Juanma Trujillo: Howl (2024, Endectomorph Music): Guitarist, from Venezuela, based in New York, fifth album since 2018, quartet with Kevin Sun (tenor sax), Andrew Schiller (bass), and Matt Honor (drums). Slippery enough, but tends to slip past me. B+(**) [cdr]

Piet Verbist: Flamenco Jazz Summit: El Mar Empieza Aquí (2023 [2024], Origin): Belgian bassist, has several albums, none particularly like this foray into Spanish flamenco, represented with bansuriney (Carmelo Muriel), guitar (Carlos Cortés), and drums (Juan Sainz), mixed with piano (Milan Verbist) and alto/soprano sax (Tom Van Dyck). B+(***) [cd]

Luis Vicente Trio: Come Down Here (2023 [2024], Clean Feed): Portuguese trumpet player, many albums since 2012, this a trio with bass (Gonçalo Almeida) and drums (Pedro Melo Alves). B+(**) [sp]

Kelsey Waldon: There's Always a Song (2024, Oh Boy): Deep country singer-songwriter from Kentucky, ninth album since 2010, fourth on John Prine's label. Always has that deep holler voice and vibe, but leans heavily on guests to stretch eight songs (including covers as well worn as "Hello Stranger," "Uncle Pen, and "Travelling the Highway Home") out to 27:45. B+(***) [sp]

Jack White: No Name (2024, Third Man): Singer-songwriter, founder of White Stripes and other alt/indie groups, sixth studio album under his own name, such as it is. I've never liked his solo albums, aside from the first (and even then not much), but this "back to roots" effort is pretty crunchy. B+(**) [sp]

WHO Trio: Live at Jazz Festival Willisau 2023 First Visit (2023 [2024], Ezz-Thetics): Trio of Michel Wintsch (piano), Bänz Oester (bass), and Gerry Hemingway (drums/voice); have at least a half-dozen albums since 1999. Live improv based (loosely) on Ellington compositions. B+(***) [bc]

Wilco: Hot Sun Cool Shroud (2024, Nonesuch, EP): Six decent songs, isolated bits of showy guitar, 17:36. B+(*) [sp]

X: Smoke & Fiction (2024, Fat Possum): Postpunk band from Los Angles, debut 1980, John Doe and Exene Cervenka the singer-songwriters, with D.J. Bonebrake on drums and Billy Zoom on guitar (except for 1986-99, missing only one album, but it took them even longer, until 2020, to come up with another). This is supposed to be their last ever. I was never much of a fan, but don't have any complaints here. B+(*) [sp]

Recent Reissues, Compilations, Vault Discoveries

África Negra: Antologia Vol. 2 (1979-90 [2024], Bongo Joe): Band, established in the early 1970s by Horacio and Emidio Pontes, in the formerly Portuguese colony of São Tomé and Principé, islands in the Atlantic of the west coast of Africa, fitting midway between Nigerian highlife and Congolese soukous. A- [sp]

Phil Haynes' 4 Horns and What?: The Complete American Recordings (1989-95 [2024], Corner Store Jazz, 3CD): Drummer, mostly associated with the late trumpet player Paul Smoker (on all three sets here), also with Ellery Eskelin (tenor sax, on the first two sets) and Herb Robertson (on the last two, credited here with "multi-brass"). Other horns here include Andy Laster (alto/bari sax/clarinet/flute on all three sets), Joe Daley ("low brass" on the first), and John Tchicai (tenor sax on the third). It's a formula that generates a lot of excitement. A- [sp]

Phil Ranelin: The Found Tapes: Live in Los Angeles (1978-81 [2024], ORG Music): Trombonist, moved to Detroit in the 1960s, did some Motown session work, in 1971 co-founded the Tribe (an important if very underground group with Wendell Harrison and Marcus Belgrave), later moving to Los Angeles where Horace Tapscott had been at the center of a similar community-oriented free jazz movement, going on to found a new band, Build an Ark. Previously unreleased live tapes, more tribal vibes. B+(***) [sp]

Sonny Rollins: A Night at the Village Vanguard: The Complete Masters (1957 [2024], Blue Note Tone Poet, 2CD): Long regarded as a major item in the tenor saxophonist's oeuvre, but I've never been much of a fan. The original 1958 LP (6 tracks, 44:17; one afternoon track with Donald Bailey and Pete La Roca, the rest from the evening sets with Wilbur Ware and Elvin Jones) was expanded to two CDs in 1987, picking up tracks from 1975's 2-LP More From the Vanguard (which I once owned). I've certainly underrated those CDs (in my database at B- and B, with the 1999 2-CD reissue at B+, and now this one, conceived as a 3-LP set but also available as 2-CD (130:00), adding nothing new of consequence (possibly some extra patter). I might complain of too many drum solos, but they're not bad, and the saxophone is majestic. Still, I have enough experience with really great Rollins to find this a tad overrated. B+(***) [sp]

The Louis Stewart Trio: Louis the First (1975 [2024], Livia): Irish guitarist (1944-2016), seems to have been his first album (although he had previous side-credits, including Clark Terry, Benny Goodman, and Jesus Christ Superstar). Mostly trio, with Martin Walshe (bass) and John Wadham (drums), dropping down to solo or bass duo on occasion. B+(***) [bc]

Old Music

Okaidja Afroso: Jaku Mumor (2022, Chechekule): From Ghana, earlier album has a nicer flow. B+(**) [sp]

Joanne Brackeen [Featuring Michael Brecker]: Tring-a-Ling (1977 [1978], Choice): Pianist, born JoAnne Grogan in California, married saxophonist Charles Brackeen in the 1960s but started releasing her own records in 1975, and easily eclipsed him. Fourth album, "featuring Mike Brecker," the saxophonist in the Brecker Bros. (1975-81), who already had a ton of studio work on rock albums. Brackeen pushes him hard here, and he responds credibly. B+(**) [yt]

Michael Brecker: Don't Try This at Home (1988, Impulse!): Tenor saxophonist (1949-2007), his eponymous 1987 album wasn't technically his first but his run as a leader/star started there, with this as its sequel. Producer Don Grolnick took over piano on 2 tracks, and brought in big names -- Herbie Hancock, Charlie Haden, Jack DeJohnette, Mark O'Connor, Peter Erskine -- limiting Brecker's touring band to bit roles: Mike Stern (guitar, 6 tracks), Joey Calderazzo (piano, 2), Jeff Andrews (bass, 4), Adam Nussbaum (drums, 3). The result is pretty scattered, I'd say "not even fusion." Of course, if the saxophonist was as great as some critics claimed, it shouldn't matter (cf. Sonny Rollins). But he isn't, so it does. B- [sp]

Michael Brecker: Now You See It . . . (Now You Don't) (1990, GRP): Third album, three Brecker originals, two each by producer Don Grolnick and keyboardist Jim Beard, ends with a Bobby Troup blues, with a revolving cast of guitar-bass-drums-percussion. That backing is rather lacklustre, but the saxophone, as least on the slow ones, sounds pretty good. B [sp]

Michael Brecker: Tales From the Hudson (1996, Impulse!): With Grolnick gone, he's co-producing, lining up stars like Pat Metheny, Dave Holland, and Jack DeJohnette, with pianist Calderazzo spelled on two tracks by McCoy Tyner. With less muddle in the middle, he finally juices up the saxophone. B+(*) [sp]

Michael Brecker: Time Is of the Essence (1998 [1999], Verve): Sixth album, George Whitty produced, group is reduced by a quartet, with Pat Metheny (guitar), Larry Goldings (organ), and any of three drummers (Elvin Jones, Jeff "Tain" Watts, Bill Stewart). I'm still not convinced he's a great saxophonist, but he can be a pretty good one, and Metheny can be a pretty good guitarist, too. B+(**) [sp]

Johnny Dyani With John Tchicai & Dudu Pukwana: Witchdoctor's Son (1978 [1987], SteepleChase): South African bassist (1945-86), one of the Blue Notes who went into exile in 1964, along with Pukwana (alto/tenor sax), joined here by the Afro-Danish alto/soprano saxophonist, and a global rhythm section of Alfredo Do Nascimento (guitar), Luez "Chuim" Carlos de Sequaira (drums), and Mohamed Al-Jabry (congas/percussion), with Dyani also on piano and vocals. Some two sax sections are quite wonderful. B+(***) [sp]

Johnny Dyani Quartet: Mbizo (1981 [1995], SteepleChase): Bassist-led quartet with two saxophonists -- Ed Epstein (alto/baritone) and Dudu Pukwana (alto/soprano) -- and drums (Churchill Jolobe). B+(***) [sp]

Johnny Dyani Quartet: Angolian Cry (1985 [1986], SteepleChase): Bassist-led quartet with John Tchicai (tenor sax/bass clarinet), Harry Beckett (trumpet/flugelhorn), and Billy Hart (drums). B+(**) [sp]

Johnny Dyani/Okay Temiz/Mongezi Feza: Music for Xaba (1972 [1973], Sonet): South African bassist, Turkish drummer, South African trumpet player, recorded in Stockholm, two pieces rooted in South Africa, two joint improvs. B+(***) [yt]

Johnny Dyani/Okay Temiz/Mongezi Feza: Music for Xaba Volume Two (1972 [1980], Sonet): Five more tracks from the same session, the opener by Feza, the rest by Dyani. B+(**) [yt]

Ellery Eskelin/Drew Gress/Phil Haynes/Paul Smoker: Joint Venture (1987, Enja): Free jazz group, artist names -- tenor sax, bass, drums, trumpet -- on cover but appears conceived as an eponymous group album, first of three albums through 1993, although their intertangled histories continued much longer. Starts with two covers, a slow "Day Dream" and a "Just in Time" which picks up momentum before getting into the originals. B+(***) [bc]

Don Grolnick [Featuring Michael Brecker]: Hearts and Numbers (1985, Hip Pocket): Pianist (1947-96), played in fusion groups Dreams and Brecker Bros. before recording a pair of well-regarded albums on Blue Note (I'm thumbs up on Nighttown but not Weaver of Dreams). This was his first, playing as much synth as piano, and taking the closing title song solo. B [sp]

Herbie Hancock/Michael Brecker/Roy Hargrove: Directions in Music: Celebrating Miles Davis & John Coltrane: Live at Massey Hall (2001 [2002], Verve): Live set, piano, tenor sax, trumpet, backed by John Patitucci (bass) and Brian Blade (drums). Each brings an original in the style, they collaborate on one more, and cover the obvious bases, plus a version of "My Ship" that won a Grammy. B+(*) [sp]

Pat Metheny: Bright Size Life (1975 [1976], ECM): First album for the now-famous guitarist, a trio with Jaco Pastorius (bass) and Bob Moses (drums). Before he found his fusion schtick, he had a lot going on. B+(**) [sp]

Pat Metheny: 80/81 (1980 [1981], ECM): 2-LP set, recorded over four days in May, 1980, the guitarist is backed by an exceptional rhythm section (Charlie Haden and Jack DeJohnette), and joined by two tenor saxophonists, Dewey Redman and Michael Brecker (both on three tracks, one with Redman only, three with Brecker only. short final track with neither). B+(***) [sp]

Houston Person: Underground Soul! (1966, Prestige): Tenor saxophonist, b. 1934 in South Carolina, now regarded as one of the great mainstream tenors ever, started here at Prestige, where he also did a&r work for Prestige -- continuing with Muse from 1976-94, and HighNote after 1996. Soul jazz quartet with trombone (Mark Levine), organ (Charles Boston), and drums (Frank Jones). Gets off wrong-footed with a chintzy cover of "What the World Needs Now Is Love," but rights that with a couple of originals, which get the organ working, and show off some already impressive sax. B+(*) [yt]

Houston Person: Blue Odyssey (1968, Prestige): They cut 'em fast and loose at Prestige, so this was number four, but the earliest reissue I've found to stream, a sextet session that kicks off with two songs by pianist Cedar Walton, followed by four covers, most expressively on "Please Send Me Someone to Love." With Curtis Fuller (trombone), Pepper Adams (baritone sax), Bob Cranshaw (bass), and Frank Jones (drums). B+(**) [sp]

Houston Person: Goodness! (1969, Prestige): Sixth prestige album, only horn in a sextet with organ (Sonny Phillips), guitar (Billy Butler), electric bass, drums, and congas. B+(***) [sp]

Houston Person: Legends of Acid Jazz (1970-71 [1996], Prestige): A volume in a series that each collected two relatively obscure soul jazz albums onto a single CD, tied in to the then-current "acid jazz" genre, which sometimes sampled albums like those included. Person's entry combines the 1970 album Person to Person! (with Virgil Jones on trumpet, Grant Green on guitar, Sonny Phillips on organ/piano, plus electric bass, drums, congas) and 1971's Houston Express (two groups with Billy Butler on guitar, one with a lot of extra horns arranged by Horace Ott. B+(*) [sp]

Houston Person: Person-ified (1996 [1997], HighNote): The tenor saxophonist followed Joe Fields from Prestige to Muse to HighNote, where this rather mellow quartet was his first album -- a session with Teddy Edwards was recorded earlier in the month, but not released until later, and in any case gave Edwards first billing. This one is impeccably mainstream, with Richard Wyands (piano), Ray Drummond (bass), and Kenny Washington (drums), playing one Person piece and a batch of standards. B+(***) [sp]

Gabriel Sielawa: Terra (2022, Bangue): Brazilian, I think, sings and plays guitar, bass, cavaquinho; first (probably only) album, very little on the web, recommended by a virtual friend. B+(*) [sp]

Jumaane Smith: I Only Have Eyes for You (2014, self-released): Trumpet player, also sings (but not much here), first album, side credits include Rashied Ali in 2005, also Alicia Keys and Michael Bublé, the latter opening with a guest vocal here. Some nice trumpet, but song selection is odd, and the string backdrops uninspired. B- [sp]

Jumaane Smith: When You're Smiling (2020, Zinn Music): Trumpet player, plays hot, sings with some enthusiasm, picks more upbeat songs this time. I'm not finding any credits. But he hasn't totally lost the strings. Or the milquetoast guest singers? B [sp]

Rosie Tucker: Lowlight (2015, self-released, EP): Singer-songwriter from Los Angeles, first album if you count it -- nine songs, 23:26, as best I can figure was 17 at the time, very much on her own. Her latest album sent Christgau back to her 2019 "debut," which I will get to in due course, but this one is very impressive in its own right, with several songs I'm tempted to quote not just lines but verses from, including two where she advises guys to look for love elsewhere, with one turning to suicide instead. A- [sp]

Rosie Tucker: Never Not Never Not Never Not (2019, New Professor): With 11 songs, we'll call this a proper album, but still only runs 26:40, with only one song topping 3:04. She also has band backup here, but maybe the new songs needed that -- they're not as immediately striking, nor are they obviously not. B+(***) [sp]

Rosie Tucker: Sucker Supreme (2021, Epitaph): Fourteen songs, 35:43, semi-major label dropper her after one album, music continues to develop, lyrics get harder to follow, or maybe just more complex and alusive. This seems to be the consensus pick among her albums, but I don't quite get it. B+(***) [sp]

Brian Wilson: I Just Wasn't Made for These Times (1995, MCA): Beach Boys genius-turned-madman, promised to be coming out of all that when he released a solo album in 1988 that wasn't either, and wasn't followed up either, at least until this short (29:27) collection of remakes from the madman period dropped seven years later (or the solo album). Some of these songs once seemed like mad genius, but here the singer sounds tired, as if nostalgia is all there is left. B- [sp]

Brian Wilson and Van Dyke Parks: Orange Crate Art (1995, Warner Bros.): Parks wrote all of the songs, so all Wilson had to do was sing. Parks wrote song cycles, long on concept with eclectic borrowings that should be interesting but, at least in my limited experience, aren't. B- [sp]

Brian Wilson: At My Piano (2021, Lakeshore): Solo, no vocals, songs you no doubt know, may not impress as jazz, but the melodies are lovely as ever, harmony too. B+(**) [sp]

Limited Sampling

Records I played parts of, but not enough to grade: -- means no interest, - not bad but not a prospect, + some chance, ++ likely prospect.

Keith Jarrett: The Sun Bear Concerts (1976 [1989], ECM, 6CD): I still don't feel up to taking on the entire 6+ hours, but a 41:14 excerpt on YouTube ("Sapporo, Pt. 1") is really quite good. Maybe, someday. ++ [yt]

Grade (or other) Changes

Sometimes further listening leads me to change an initial grade, usually either because I move on to a real copy, or because someone else's review or list makes me want to check it again. Also some old albums extracted from further listening:

Chappell Roan: The Rise and Fall of a Midwest Princess (2023, Amusement/Island): I played this last year, wrote virtually nothing on it, so must not have been paying much attention, losing the single "Red Wine Supernova" after the later ballad fare, which on closer inspection turns out to be pretty good, too. [was: B+(**)] A- [sp]

Rosie Tucker: Utopia Now! (2024, Sentimental): I played this when it came out, and liked it but didn't get much. Christgau picked it, went into her back catalog, and was even more smitten by Sucker Supreme. Various others have seconded his approval. So I figured odds were good that I had been hasty, and her previously unreported Lowlight raised my expectations even higher. Working forward confirmed her smarts and added chops and (less often) hooks, but as her increasing chops brings extra clutter, I'm getting less and less satisfaction out of her records. When I played this last night, I wound up inclined to save myself the paperwork by leaving my original grade. Playing it again today, I'm finally hearing lots of interesting stuff, but I'm still not enjoying it enough -- perhaps her voice, the time shifts, other little things I don't have any idea how to characterize. But her rep is certainly earned. [was: B+(**)] B+(***)

Music Weeks

Music: Current count 42869 [42729] rated (+140), 34 [36] unrated (-2).

Excerpts from this month's Music Week posts:

August 6, 2024

Music: Current count 42761 [42729] rated (+32), 39 [36] unrated (+3).

I don't have much to say here, and want to move on, so let's keep this brief. Big Speaking of Which yesterday. I want to go back and edit a bit, but I'm afraid if I do it will drag on indefinitely. But if I post this now, I can go back with any revisions later (possibly including revisions here). I can also open a file for next week, which already has important stuff to report and comment on.

Only thing to note here is that this week is mostly hip-hop, and mostly underground at that. I finally added HHGA's The Best Hip Hop Albums of 2024 to my Metacritic File, and listened to about half of the unheard albums on the list. I remembered that their The Best Hip Hop Albums of 2023 produced a bonanza of finds, and hoped that this mid-year list would be half as productive. It wasn't even close, with Jay Skeese the only A-, although most of the rest were worth hearing. Of 60 albums on their 2023 list, 14 made my A-list (5 previously known to me). So far this year, it's only 2 of the 32 I've heard (1 previously known: Heems; leaving 37 still unheard).

I can't totally discount the possibility that my bad moods took a toll. And sure, one play (which is all nearly all of these got) has its limits, especially given how slow I am with words. I'll also admit that I spent a lot of time last week playing oldies. Also, the week was at least a day short, so I was surprised to find the rated count (32) as high as it is. No idea what next week will bring, other than that it's going to be hot. And we're officially in a drought now.

Hopefully I'll get to some questions this week.

August 12, 2024

Music: Current count 42798 [42761] rated (+37), 34 [39] unrated (-5).

I went ahead and pushed Speaking of Which out late last night, on schedule for the first time in many weeks. I'm probably not done with it, but figured that at 270 links, 12539 words -- I do love that little counter I programmed in a week or two ago -- I figured I had enough to present. Anything additional I come up with today will be flagged by the red border bar. [PS: Not much. Today's been shot to shit.]

Writing this mid-afternoon Monday. I probably won't post until late, but I wanted to get it ready, so I don't slip up and delay it again. At this point, I'd much rather work more on Speaking of Which than on Music Week, not least because I find it easier and more relaxing to do, but also because I feel like I know what I understand what I'm reading there, and I'm able to write about it with some coherency.

Whereas with music I just drop a lot of names and dates, and arbitrary knee-jerk reactions, and have little if any inspiration to write actual criticism. That feeling is being reinforced today as I'm only fifth straight B+(*) or less album -- trying to whittle down the demo queue while unpacking this week's haul pushed it back up again, all the more aggravated because I can't see the small print I need to file it all properly. (Optometrist has been telling me for years that I need cataract surgery, but somehow I flunked the surgeon's exam a couple weeks ago, so have to wait until inevitably become even more debilitated.)

I suppose my self-doubts were pricked by the latest batch of Questions and Answers, only one of which is less than a year old. I thought the one on Michael Brecker was worth not just answering but putting a bit of time and thought into. That took some time getting to, and in the end turned out rather unsatisfactory, as I still can't point to any albums that justify his reputation. I started to explain more here, then decided to add that as a PS, and leave it there.

I don't have much to say about the music below. Again, only one A- record, which like Jay Skeese last week, sounded qualitatively superior from the beginning, although I don't see it coming close to the top of the annual list. Some leftover hip-hop and country from the previous week's searches, some jazz from poll ballots and the demo queue, and a lot of old stuff from the Q&A. Gabriel Sielawa was recommended by a reader in a Q I just decided to treat as a tip.

I have an essay in a new book, The Death Project: An Anthology for the Living, edited by Gretchen Cassel Eick and Cora Poage. The essay is called "Reading the Obits," which has been significantly revised from an old blog post. Very pleased to be part of this project.

August 20, 2024

Music: Current count 42830 [42798] rated (+32), 34 [34] unrated (-0).

Delayed a day, because that's how long the week's Speaking of Which took (219 links, 12161 words, before whatever I add today). Probably just as well, given that (as I noted yesterday) my week was light, which I can only partly blame on time out to cook a nice dinner on Saturday. I made no attempt to count calories, which ingredients suggest were astronomical, but can now report that my weight is down 0.2 lbs today, compared to a day or two before, so maybe I can afford to indulge on the rare occasions when I can line up some willing guests.

I've been bemoaning my inability (and sometimes incompetence) at getting routine maintenance tasks done around the house. One of those came crashing down after dinner on Saturday: a big chunk of plaster-on-lath ceiling in one of the upstairs bedrooms. I've been aware of a crack growing there at least since 2005, viewing it with increasing alarm over the past few months. I even started to plot out possible ways to fix it. After the first pieces broke away, I got up and tore out some extra, so now I have about a 4 sq. ft. patch of exposed lath. In some ways it's less troubling (certainly less ominous) now, especially as I can gauge the thickness of the plaster (about 3/8-inch, the state of the lath (ugly but dry), and how solid what's remaining is (looks like I'll wind up doubling the size of the patch, but nothing else is likely to fall down on its own). In the past, I would have figured out how to fix this, but we've started looking for help. Same for some other small projects.

Barely topped 30 albums below, but the A-list -- after only one album each of the last two weeks -- came roaring back. I'm also pretty caught up with the demo queue, although I still have a lot of albums in hand for September into mid-October. I spent some time re-checking older albums, so came up with a couple re-grades.

I guess I can finally mention now that Fifth Column Filmworks has a web page with a 4:52 trailer for a feature documentary about saxophonist Sam Rivers, based on the extraordinary 764-page book, The Sam Rivers Sessionography by Rick Lopez.

I considered using "we" in the opening line, because this film was originally my idea, but about all I did was to introduce Rick, an internet friend for over 20+ years, and Mike Hull, my nephew and the filmmaker who previously directed and produced Betrayal at Attica, dump some starter money into the project, and let them work it out.

August 27, 2024

Music: Current count 42869 [42830] rated (+39), 34 [34] unrated (-0).

Delayed a day, because that's how long the week's Speaking of Which took (219 links, 12161 words, before whatever I add today). Probably just as well, given that (as I noted yesterday) my week was light, which I can only partly blame on time out to cook a nice dinner on Saturday. I made no attempt to count calories, which ingredients suggest were astronomical, but can now report that my weight is down 0.2 lbs today, compared to a day or two before, so maybe I can afford to indulge on the rare occasions when I can line up some willing guests.

I've been bemoaning my inability (and sometimes incompetence) at getting routine maintenance tasks done around the house. One of those came crashing down after dinner on Saturday: a big chunk of plaster-on-lath ceiling in one of the upstairs bedrooms. I've been aware of a crack growing there at least since 2005, viewing it with increasing alarm over the past few months. I even started to plot out possible ways to fix it. After the first pieces broke away, I got up and tore out some extra, so now I have about a 4 sq. ft. patch of exposed lath. In some ways it's less troubling (certainly less ominous) now, especially as I can gauge the thickness of the plaster (about 3/8-inch, the state of the lath (ugly but dry), and how solid what's remaining is (looks like I'll wind up doubling the size of the patch, but nothing else is likely to fall down on its own). In the past, I would have figured out how to fix this, but we've started looking for help. Same for some other small projects.

Barely topped 30 albums below, but the A-list -- after only one album each of the last two weeks -- came roaring back. I'm also pretty caught up with the demo queue, although I still have a lot of albums in hand for September into mid-October. I spent some time re-checking older albums, so came up with a couple re-grades.

I guess I can finally mention now that Fifth Column Filmworks has a web page with a 4:52 trailer for a feature documentary about saxophonist Sam Rivers, based on the extraordinary 764-page book, The Sam Rivers Sessionography by Rick Lopez.

I considered using "we" in the opening line, because this film was originally my idea, but about all I did was to introduce Rick, an internet friend for over 20+ years, and Mike Hull, my nephew and the filmmaker who previously directed and produced Betrayal at Attica, dump some starter money into the project, and let them work it out.

Notes

Sources noted as follows:

• [cd] based on physical cd
• [cdr] based on an advance or promo cd or cdr
• [bc] available at bandcamp.com
• [sp] available at spotify.com
• [yt] available at youtube.com

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.