Tom Hull: Streamnotes: 2025-09-28

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 August 26. Past reviews and more information are available here (26500 records).

New Music

Adult Mom: Natural Causes (2025, Epitaph): Singer-songwriter Stevie Knapp, fourth album since 2015, may be considered a band now. Songs include one about cancer. B+(**) [sp]

Africa Express: Africa Express Presents . . . Bahidorá (2025, World Circuit): British nonprofit founded in 2006 by Damon Albarn and Ian Birrell to promote African musicians, although their roster through five albums includes many others. Rather scattered, with some nice stuff, especially near the end. B+(*) [sp]

JD Allen: Love Letters (The Ballad Sessions) (2025, Savant): Tenor saxophonist, many albums since 1999, mostly trios which show how imposing he can be, this one lightens up, adding a piano (Brandon McCune) to his usual bass (Ian Kenselaar) and drums (Nic Cacioppo). B+(**) [sp]

Amaarae: Black Star (2025, Interscope): Ama Serwah Genfi, born in the Bronx, parents from Ghana, third album. Nice beats, dense, generously sprinkled with sex. A- [sp]

Gino Amato: Latin Crossroads 2 (2025, Ovation): Pianist, sequel to his 2024 album, arranged a set of standards for latin big band and singers, like "Moonlight in Vermont" and "I Love Paris" and "Windmills of Your Mind" and "Me and Julio Down by the Schoolyard." B+(*) [cd]

Oren Ambarchi & Eric Thielemans: Kind Regards (2023 [2025], AD 93): Australian guitarist, lots of records since 1998, duo here with a Belgian drummer, ducking and weaving through two sides, 47:12. B+(**) [sp]

Oren Ambarchi/Johan Berthling/Andreas Werlin: Ghosted III (2024 [2025], Drag City): Guitar/bass/drums trio, the latter two Swedish, third album together. B+(***) [sp]

Fly Anakin: (The) Forever Dream (2025, Lex): Rapper Frank Walton, close to a dozen albums since 2016. B+(*) [sp]

Apathy: Mom & Dad (2025, Dirty Version/Coalmine): Underground rapper Chad Bromley, from Connecticut, 20 albums since 2004, Nancy & Ronald Reagan on the cover, looking sunny and care free, which is not how he remembers their era. "Grew up in the '80s with a welfare budget." Old style turntablism, dazzling wordplay, political smarts, bearing the full weight of history. A- [sp]

Mulatu Astatke: Mulatu Plays Mulatu (2025, Strut): Ethiopian musician, plays vibes, keyboards, percussion, emerged as "the father of Ethio-Jazz" in the 1970s, a compilation of his early material was released as Vol. 4 of Éthiopiques in 1998, which led to his reemergence on the world stage. Now 81, this is billed as his "first major studio album in over 10 years," although I've heard a couple of live collaborations in that period. Old pieces, mostly new big band arrangements, credits unclear, horns a plus. B+(***) [sp]

Lucian Ban/John Surman/Mat Maneri: Cantica Profana (2022-23 [2025], Sunnyside): Pianist from Romania, moved to New York 1999, has frequently looked back to his native music, as in his 2011 Transylvanian Concert with Maneri (viola) and his 2020 recording of Transylvanian Folk Songs with Maneri and Surman (baritone/soprano sax, bass clarinet). The latter was dubbed The Bela Bartók Field Recordings, although the recordings were new, based on his research. Subsequent tours generated two more live albums, this and The Athenaeum Concert (below). This one was taken from three earlier concerts. Surman is an inspired addition here. A- [sp]

Lucian Ban/John Surman/Mat Maneri: The Athenaeum Concert (2024 [2025], Sunnyside): Notes quote Bartók: "A future generation might conceivably discover and embody in their art music properties of the peasant music which have altogether escaped us." B+(***) [sp]

Baths: Gut (2025, Basement's Basement): American electropop producer Will Wiesenfeld, fourth studio album since 2010 (also has two "B-Sides" compilations), has scattered moments but doesn't sustain them. B [sp]

Jon Batiste: Big Money (2025, Verve/Interscope): Pianist, singer-songwriter, bandleader, has done some acting, is basically a big deal, born into "a New Orleans musical dynasty," cut his first album at 17, organized his band Stay Human before it became Stephen Colbert's Tonight Show house band (2015-22). I'm surprised at how little detail info is available on this -- big name, major label, but nearly a month after release, AOTY has 0 critic reviews, a 65/57 user score. Two featured guests: Andra Day and Randy Newman, but several other songs (e.g., "Maybe") channel Newman. Title song is big bunk, and cover shows Batiste playing guitar. Half of this is really good, in as many different ways. The other half tails off, but again through divergence. Few albums are so scattered, but few artists have so many options, and the authority to pursue them. A- [sp]

Marilina Bertoldi: Para Quien Trabajas Vol. 1 (2025, Sony Music Argentina): Argentinian singer-songwriter, considered rock, has a couple previous albums, sort of a new wave sound, in Spanish, impressive until it slips a bit toward the end (10 songs, 29:27). B+(**) [sp]

The Beths: Straight Line Was a Lie (2025, Anti-): Indie rock band from New Zealand, singer-songwriter Elizabeth Stokes the singer-songwriter, Jonathan Pearce is lead guitarist/producer, fourth studio album since 2018. B+(***) [sp]

Big Thief: Double Infinity (2025, 4AD): Not my idea of a folk-rock band, just a very talented singer-songwriter (Adrianne Lenker) with enough of a band to deserve group billing (minus their bassist this time, but additional musicians make up for that. First play strikes me as near-perfect. I don't know how much more time I'll put in, but quite possibly one of the year's best. A- [sp]

Johnathan Blake: My Life Matters (2025, Blue Note): Drummer, from Philadelphia, several albums as leader since 2012, many side credits. With Dayna Stephens (sax), Jalen Baker (vibes), Fabian Almazan (piano), Dezron Douglas (bass), "plus special guests including Bilal and DJ Jahi Sundance," playing "a suite of songs that serves as a dual treatise on the importance of family values and the social imperative to stand up in the face of injustice." Does that. B+(**) [sp]

Blood Orange: Essex Honey (2025, RCA/Domino): British singer-songwriter Devonté Hynes, previously recorded as Lightspeed Champion (2008-10), fifth album since 2011. B+(*) [sp]

Blueprint: Vessel (2025, Weightless): Underground rapper Albert Shepard, from Columbus, Ohio, a dozen-plus albums since 2003, some very good, most real steady. This is both. A- [sp]

Apollo Brown & Bronze Nazareth: Funeral for a Dream (2025, Escapism): Detroit hip-hop producer Erik Stephens, many albums since 2009, with rapper Justin Cross, less famous but has a lot of credits since 2002. A- [sp]

David Byrne & Ghost Train Orchestra: Who Is the Sky? (2025, Matador): Talking Heads majordomo, their 2-4-6 albums topped my annual lists, but his solo career has been very erratic, with interesting side projects early, a fine 1994 eponymous album, and more misses than not. He's slowed down considerably over the years, this coming 7 years after American Utopia, which itself was 6 years after Love This Giant. He seems at least to have recovered much of his chunky rhythm here, and Brian Carpenter's band helps (although they don't much sound like themselves), as he seems to aim at some bigger stage. B+(**) [sp]

Ethel Cain: Willoughby Tucker, I'll Always Love You (2025, Daughters of Cain): Singer-songwriter, aka Hayden Anhedönia, shades of darkwave or gothic or whatever, identities and aesthetics unfathomable (by me at least), but somewhere way back was an evident overdose of Baptist religion. Second studio album, ignoring whatever this year's Perverts was (a drone exercise, but it still got 77/27 at AOTY, with this one currently at 83/28). Seems thoughtfully composed at first, slips into some not-bad ambient drone, then tries to square the circle. B+(*) [sp]

Cardi B: Am I the Drama? (2025, Atlantic): New York rapper Belcalis Almánzar, got a lot of interest with her mixtapes and singles in 2016-17, followed that with a triumphant studio album in 2018, second album here, makes up for lost time by running 23 songs, 70:49, including old singles back to 2020's "WAP." B+(**) [sp]

Loyle Carner: Hopefully! (2025, EMI/Universal): British rapper-singer, fourth album, pretty successful over there, not so much here. B+(**) [sp]

Sabrina Carpenter: Man's Best Friend (2025, Island): Pop singer-songwriter, started with Disney as a teen, so this is counted as her 7th album, but just 3rd in my book. This follows up on her breakthrough hit. A- [sp]

Chance the Rapper: Star Line (2025, self-released): Chicago rapper Chancelor Bennett, has mixtapes since 2012, but this is only counted as his second (or third) studio album (some dispute whether the title is one word or two). Much of interest here, some amusing, some making me uncomfortable, impressing on me that the impact of racism is still very palpable (e.g., the 4th of 4 "black commandments": "if they wanna we go to war"), not that the solution isn't clear ("my problem is your problem; your problem is my problem"). A- [sp]

Chicago Jazz Orchestra: More Amor: A Tribute to Wes Montgomery (2024 [2025], Chicago Jazz Orchestra): Trombonist Jeff Lindberg is artistic director, with several group albums starting with a Porgy & Bess in 2004. Bobby Broom is featured here on guitar, playing both Montgomery's classics and the chintzier fare of his later years, with no shortage of strings. B+(*) [sp]

Chicago Underground Duo: Hyperglyph (2024 [2025], International Anthem): Rob Mazurek (trumpets, electronics, voice, flutes, bells) and Chad Taylor (percussion, including mbira and kalimba). B+(***) [sp]

Jeremiah Chiu & Marta Sofia Honer: Different Rooms (2024-25 [2025], International Anthem): Modular synthesizer and viola duo, both with extra electronics, second album together, minor guest spots for Jeff Parker (guitar) and Josh Johnson (sax). Originally filed them as jazz thanks to the label, but this is somewhere between ambient and Terry Riley minimalism, or maybe somewhere beyond. B+(***) [sp]

CMAT: Euro-Country (2025, CMATBaby/AWAL): Irish singer-songwriter Ciara Mary-Alice Thompson, third album, all effusively admired, and not without reason, although the big production can be as much work to listen to as they were to concoct. "Ready" is way over the top, enough so that the more modest fare comes as a relief. I'm not very good at parsing her texts, but accept on faith that she's very smart, means well, and is having a remarkably good time with her newfound fame. A- [sp]

George Coleman: George Coleman With Strings (2022 [2025], Savant): Tenor saxophonist, now 90, perhaps best known for his brief term in the Miles Davis Quintet, but he's recorded some outstanding albums on his own: My Horns of Plenty (1991) is a favorite, Eastern Rebellion (1975) is another classic, and A Master Speaks (2016) kicked off one of history's finest octogenarian revivals. Seems like everyone wants to do a strings album sooner or later, even though very few have panned out. Stan Getz, in Focus, is perhaps the only one where the strings are as interesting as the sax; Art Pepper's Winter Moon is one where the strings are as gorgeous as one might hope for, and the sax even more splendid. But early efforts, like Charlie Parker, Coleman Hawkins, and Ben Webster, were nothing more than signature saxophone over mediocre backdrops, and that's been par for the course. Bill Dobbins handles the strings here, and gives them a tolerable air of 1940s soundtrack melodrama. Also helping is a fine mainstream rhythm section: David Hazeltine (piano), John Webber (bass), Joe Farnsworth (drums), and Café Da Silva (percussion). A- [sp]

Charley Crockett: Dollar a Day (2025, Lone Star Rider/Island): Country singer-songwriter, has been kicking out 2-3 albums per year since 2015, making this his 16th. All are good. None are great (although I gave his Live From the Ryman Auditorium an A-). B+(***) [sp]

Rodney Crowell: Airline Highway (2025, New West): Quality country singer-songwriter since 1978, another fine batch of songs. B+(***) [sp]

Jesse Daniel: Son of the San Lorenzo (2025, Lightning Rod): Country singer-songwriter, fifth (or 6th?) album since 2018. B+(**) [sp]

Matt Daniel: The Poet (2025, self-released): Country singer-songwriter from Texas, seems to have a previous album. Don't know from poet, but he's a pretty classic-sounding songster. B+(***) [sp]

Decius: Decius Vol. II (Splendour & Obedience) (2025, The Leaf Label): British electronica group, brothers Liam and Luke May, with Quinn Whalley (Paranoid London/Warmduscher) and Lias Saoudi (Fat White Family). Presumably named for the short-lived Roman emperor (249-251) -- at least their album art is Roman. B+(***) [sp]

Hannah Delynn: Trust Fall (2025, self-released): Nashville-based folkie singer-songwriter, first album after a couple of EPs, very slow, rather an accident that I gave this sufficient play to warm to some of its details. B+(**) [cd] [09-09]

Orhan Demir/Neil Swainson: Wicked Demon (2024-25 [2025], Hittite): Turkish guitarist, acoustic, based in Canada since 1977, has a 1990 album and several more recent, nice duo with bass. B+(**) [cd]

Dijon: Baby (2025, R&R/Warner): R&B singer-songwriter Dijon Duenas, American but born in Germany to a military family stationed there. Second album, got some rave reviews but I have trouble getting past the glitchiness. B+(*) [sp]

Doja Cat: Vie (2025, Kemosabe/RCA): Singer-rapper Amala Diamini, from Los Angeles, fifth album since 2018, rather hit and miss. B+(**) [sp]

Double Virgo: Shakedown (2025, Year0001): British duo/group, principally Jezmi Tarik Fehmi and Sam Fenton, first album after singles going back to 2020, so seems to be a parallel project to Bar Italia, where they defer to singer Nina Cristante. Hints of Pavement and Wire, not that I feel like pursuing them. B+(***) [sp]

Dave Douglas: Alloy (2025, Greenleaf Music): Trumpet player, major figure since 1993, joined by two younger trumpet players here (Alexandra Ridout and Dave Adewumi, the idea being to forge a stronger trumpet bond), plus vibes (Patricia Brennan), bass (Kate Pass), and drums (Rudy Royston). B+(**) [sp]

Baxter Dury: Allbarone (2025, Heavenly): Sometimes comes off as a chip off the old blockhead -- spoken vocals, choppy beats -- but that's rarely sufficed with regular albums since 2002. This is touted as his "best yet," and sometimes is. B+(*) [sp]

Kathleen Edwards: Billionaire (2025, Dualtone): Canadian singer-songwriter, sixth album since 2002. Jason Isbell co-produced, and provided the backing band. B+(**) [sp]

Joe Ely: Love & Freedom (2025, Rack 'Em): Legendary Lubbock singer-songwriter, started in the Flatlanders, his 1978 Honky Tonk Masquerade is an all-time favorite, and he's had lots of good ones since then, most recently 2024's Driven to Drive -- but that one was reconstructed from older demos. This was also based on home studio demos, but no info on how old they are. (One song talks about being 30 but feeling 45. Ely's 78 now.) Still sounds pretty good. B+(***) [sp]

Mark Ernestus' Ndagga Rhythm Force: Khadim (2025, Ndagga): German DJ, side credits back to 1993, released his first Afro-centric ndagga albums in 2013. This particular group is fairly minimal: Bada Seck (bougarabou, thiol, mbeung mbeung bal, tungune), Serigne Manoune Seck (bougarabou, khine, mbeung mbeung, tungune), and Mbene Diatta Seck (vocals). B+(**) [sp]

Evidence: Unlearning Vol. 2 (2025, Rhymesayers Entertainment): Rapper/producer Michael Perretta, former member of the jazz-inflected Dilated Peoples (5 albums, 2000-14), has a half-dozen solo albums since 2007, including Unlearning Vol. 1 (2021). B+(*) [sp]

Fatboi Sharif & Driveby: Let Me Out (2025, Deathbomb Arc): Rapper from New Jersey, several albums since 2021, with various producers (Steel Tipped Dove twice), first with fellow NJ producer. Somewhat ghoulish. B+(*) [sp]

Fieldwork: Thereupon (2024 [2025], Pi): Fourth album under this name, the first in 2002 with pianist Vijay Iyer and sax (Aaron Stewart) and drums (Elliot Humberto Kavee). The second substituted Steve Lehman on sax (2005), and the third brought in Tyshawn Sorey on drums (2008) -- a supergroup, even then, with Sorey contributing 6 songs to 3 for Iyer and 2 for Lehman. All three are superb, as is this new one, from the free rhythmic extravaganza to open to the soft landing to close. Song credits split 5-4-0, but "all tracks collectively developed." A- [cd]

Ingebrigt Häker Flaten/(Exit) Knarr: Live at Artfacts '22 (2022 [2025], Sonic Transmissions): Norwegian bassist, Discogs credits him with 58 albums since 2000, performance credits go back to 1994 and number 274, he's anchored such major groups as Atomic and the Thing, as well as numerous Ken Vandermark projects. Septet here named for a 2021 album, here with Mette Rasmussen (alto sax), Atle Nymo (tenor sax/clarinets), Erik Kimestad (trumpet), guitar, piano, and drums. B+(*) [sp]

Ingebrigt Håker Flaten/(Exit) Knarr: Drops (2024 [2025], Sonic Transmissions): Same band concept, although the cast has shifted, with Amalie Dahl on alto sax (except for one track with Mette Rasmussen), Karl Hjalmar Nyberg on tenor, no trumpet, Marta Warelis taking over at piano (with electronics), Jonathan F. Horne on guitar, and an extra drummer for one track ("a bold, extended lineup"). B+(**) [sp]

Folk Bitch Trio: Now Would Be a Good Time (2025, Jagjaguwar): Indie folk-rock trio from Melbourne, Australia; first album, after singles going back to 2020. B [sp]

Anat Fort: The Dreamworld of Paul Motian (2024 [2025], Sunnyside): Pianist from Israel, moved to New York in 1996, gained some attention with her ECM debut in 2007. Motian's started out as Bill Evans' drummer, went on to play with dozens of other famous pianists, rather oddly as he always seemed to be following his own drift, nudging the pianist to sharpen the contrast. His own groups almost never included piano, often guitar (especially Bill Frisell). Fort picked out 11 of his songs, with Steve Cardenas (guitar), Gary Wang (bass), and Matt Wilson (drums). B+(***) [sp]

From the Dirt: Colored Edge of Memory (2025, self-released): Americana band from Frederick, Maryland, with Dan Kenny as singer-songwriter, filed them under folk although there is also a bluegrass influence. Seems nice enough, but I doubt that much will stick. B+(***) [sp]

Robbie Fulks: Now Then (2025, Compass): Folkie singer-songwriter, steady stream of albums since 1996, ranging from bluegrass to Michael Jackson covers to a session with some of the Mekons. Another mixed bag of songs. B [sp]

Geese: Getting Killed (2025, Partisan): Brooklyn band, fourth album since 2018, Cameron Winter the singer, plays keyboards and guitar, backed by guitar-bass-drums. Irritating singer aside, there is something interesting in the mix here, mostly rhythmic. But "irritating" is an understatement. B [sp]

Ghostface Killah: Supreme Clientele 2 (2025, Mass Appeal): Wu-Tang rapper Dennis Coles, went solo in 1996, followed by Supreme Clientele in 2000. Regarded at the time as the most gangsta of the Clan, I wasn't a fan at the time, although later albums like Fishscale impressed me. B+(*) [sp]

Freddie Gibbs & the Alchemist: Alfredo 2 (2025, ESGN/ALC): Rapper Fredrick Tipton, many albums since 2004, several with producer Alan Maman since 2018, including their previous Alfredo (2020). B+(*) [sp]

GoGo Penguin: Necessary Fictions (2025, XXIM): English fusion band, 7th album since 2012, a piano-bass-drums trio but with synths and extra strings. B+(**) [sp]

Omer Govreen Quartet: All Things Equal (2024 [2025], J.M.I.): Israeli-born, Amsterdam-based bassist, has side-credits with Michael Moore and Ziv Taubenfeld, probably his first album as leader, original compositions, played with Aleksander Sever (vibes), Floris Kappeyne (piano), and Wouter Kühne (drums). B+(***) [sp]

Luigi Grasso: La Dimora Dell'atrove (2024 [2025], LP345): Italian saxophonist (soprano, alto, baritone, bass clarinet), albums since 1999, supported here by NDR Bigband, which he is a regular in. Bills this as "two themes and variations." B+(*) [cd] [09-26]

Haim: I Quit (2025, Columbia): Three sisters, all sing, play guitar-bass-drums-plus, with producer Rostam Batmanglij (mostly keyboards but also guitar, mandolin, and sitar) co-credited on all songs. I was reluctant at first, but this is pretty catchy. A- [sp]

Colin Hancock's Jazz Hounds Featuring Catherine Russell: Cat & the Hounds (2024 [2025], Turtle Bay): "A 1920s Jazz and Blues Centennial," arranged and produced by Hancock, who plays cornet and C-melody sax. Seems to be his first album, but he scored a coup in getting the singer. Only band member I recognize is Evan Christopher (clarinet/alto sax), but Vince Giordano (bass sax) guests. Terrific songs from the real jazz era. A- [cd]

The High & Mighty: Sound of Market (2025, Eastern Conference): Hip-hop duo, Eric Meltzer (Mr. Eon) and Milo Berger (DJ Mighty Mi), recorded an album in 1999 on Rawkus that got some notice, three more through 2005, now one more. B+(***) [sp]

The Hives: The Hives Forever Forever the Hives (2025, PIAS): Swedish post-punk group, five albums 1997-2012, a hiatus from the departure of their bassist ("Dr. Matt Destruction") and ended in 2023 with The Death of Randy Fitzsimmons (an alias credited with their songwriting). Title song suggests they've found the secret to endurance, which is keeping it simple, but also fast and loud. B+(***) [sp]

Gao Hong/Baluji Shrivastav: Neelam (2025, ARC Music): Chinese pipa and Indian sitar duo, both with substantial discographies on their own since their moves, the former from China to US in 1994, the latter from India to UK in 1982. The latter's ragas, aided by Yousef Ali Khan on tabla, seem to be the base for improvisations. B+(*) [os]

Michael Hurley: Broken Homes and Gardens (2025, No Quartet): Folk singer-songwriter (1941-2025), recorded an album for Folkways in 1964, a couple more 1971-72, then appeared as the lead artist on the 1976 album Have Moicy! Recorded steadily after that, but less notably, finishing this a month before he died on the road. B+(***) [sp]

Ill Considered: Balm (2025, New Soil): London-based group, ten numbered albums plus a few more starting with their eponymous debut in 2017, specialize in free improv built on top of deep grooves, although this one short-changes the groove in favor of solemn ambience. Group is reduced to: Idris Rahman (tenor sax/bass clarinet/flute), Liran Donin (bass/taishogoto), and Emre Ramazanoglu (percussion). Unusual business plan calls for an LP run limited to 300, each with "a unique hand-painted cover by Vincent De Boer [where] each one forms part of a larger 300-piece canvas" (on Bandcamp for £50, limit 1 per customer). B+(**) [sp]

Ill Considered: Live at Eye Film Museum (2024, New Soil): A full live show in Amsterdam, in one 89:28 chunk (although there are obvious gaps between pieces). B+(**) [bc]

Ill Considered & Rob Lewis: Emergence (2024, New Soil): I've tried to follow this group fairly closely, but several recent albums escaped my attention. As best I can figure out, Lewis is a London-based cellist-composer who mostly does soundtrack work. Some of that comes through, only sometimes as overwrought drama. B+(**) [bc]

Ill Considered: UnEvensong (2024, New Soil): Fourth album in as many months, rushed out in early December as a Christmas album, but while titles like "Come All Ye Faithful" and "Frosty the Snowman" are familiar, they don't weigh heavy on the music, which soars (ah, there's a wee bit of "Auld Lang Syne"). B+(***) [sp]

Jade: That's Showbiz Baby! (2025, RCA): British dance-pop singer-songwriter, surname Thirwall, formerly in the group Little Mix (6 albums, 2012-20, all BPI platinum), first solo album, grew on me a bit, then made me regret it. B+(**) [sp]

Cody Jinks: In My Blood (2025, Late August): Country singer-songwriter, from Texas, styled outlaw, started in a thrash metal band, 11th album since 2006, has got the voice and knows a few licks. B+(*) [sp]

Josiah the Gift & Machacha: The Happening (2025, BarsOverBs): New Jersey rapper, member of Umbrella Collective, several albums since 2020, here with producer Mattæus Overgaard Jensen. B+(**) [sp]

Kaytranada: Ain't No Damn Way! (2025, RCA): Haitian DJ/producer based in Canada, fourth album since 2016, not counting many mixtapes, a few collaborations, and lots of production work. Fairly basic beat-centric album, exactly what I expect. B+(***) [sp]

Larry Keel/Jon Stickley: Larry Keel & Jon Stickley (2025, self-released, EP): Two flat-picking guitarist singer-songwriters, filed this under bluegrass, which seems to be where they've been working since 2004 or so. Five songs, 17:09. B [cd]

Knowledge the Pirate: The Round Table (2025, Pimpire/Trouble Chest Entertainment): Rapper Richard Iverson, half-dozen albums since 2018, this one sometimes co-credited to executive producer Roc Marciano, who also gets a featuring listing on one song. B+(**) [sp]

Kirk Knuffke/Stomu Takeishi/Bill Goodwin: Window (2025, Royal Potato Family): Cornet player, many albums since 2009, superb both in free and mainstream contexts, trio here with bass and drums. Also sings a couple songs here (not a plus, but not a minus either). B+(***) [sp]

Lex Korten: Canopy (2024 [2025], Sounderscore): Pianist, also plays Rhodes, couple previous albums, scattered side credits (recently: Simon Moullier, Alfredo Colón, Sasha Berliner, Zoh Amba). Most tracks here feature voice (Claire Dickson), alto sax (David Léon), guitar (Tal Yahalom), drums (Stephen Boegeheld). I'm not much into the vocals. B [cd] [09-19]

Sofia Kourtesis: Volver (2025, Ninja Tune, EP): DJ/producer from Peru, based in Berlin, has one album and five EPs since 2014, presumably does her own lead vocals (not credited). Six songs (28:01). B+(**) [sp]

KRS-One: Temple of Hip Hop Global Awareness (2025, R.A.M.P. Ent Agency): Another old-timer, just turned 60, still able to summon up the anger and the sound ("boom bap back to the basics") of his prime, which like Public Enemy and Wu-Tang sounds especially great right now. Of course, he's even more self-conscious and ever more didactic than his peers, but that's always been his thing. A- [sp]

Laufey: A Matter of Time (2025, AWAL): Icelandic singer-songwriter, last name Jónsdóttir, mother a Chinese classical violinist, has studied in Scotland and at Berklee, lived in DC and Los Angeles, has a twin sister who's a violinist and has a degree in international relations. Third album since 2022, gets some attention from jazz critics, but also hits the pop charts. Whatever this is, it is pretty accomplished. B+(**) [sp]

Billy Lester Trio: High Standards (2017 [2025], Ultra Sound): Pianist, described by Howard Mandel in 1998 as "a late-bloomer on that reticent branch of the jazz tree, the school of Lennie Trisano." His Discogs credits start in 2002 (aside from a composition credit for a song Anthony Braxton recorded first in 1997 as part of his Tristano Project). Trio here with Marcello Testa (bass) and Nicola Stranieri (drums), same as his Italy 2016 album, playing standards plus a closing 9:29 "Free Improvisation." B+(**) [cd] [09-12]

Lizzo: My Face Hurts From Smiling (2025, Nice Life/Atlantic): Rapper Melissa Jefferson, four albums since 2013, Cuz I Love You (2019) a big hit, has a fifth one planned for later this year, calls this poorly-received interim effort a mixtape (AOTY: 50/3). Distinction seems to be hard, fast, rude, and repetitive. B+(*) [sp]

Olivia Ellen Lloyd: Do It Myself (2025, self-released): Country singer-songwriter, originally from West Virginia, now based in Brooklyn, has a previous album from 2021 (Loose Cannon). B+(***) [sp]

Tony Logue: Dark Horse (2025, Jenny Ridge Productions): Country singer-songwriter, has a couple previous albums. Hard worker, Lynyrd Skynyrd fan. "The road I'm on is dark and dirty/ It's that crazy that keeps me sane." B+(***) [sp]

Rocío Giménez López/Franco Di Renzo/Luciano Ruggieri: La Palabra Repetida (2025, Blue Art): Argentinian pianist, has a couple albums since 2017, trio with bass and drums, their second together, standards, mostly from jazz (Davis, Ellington, Parker, Shorter, Coltrane). B+(**) [bc]

Harold López-Nussa: Nueva Timba (2025, Blue Note): Cuban pianist, many notable musicians in his family, half-dozen albums since 2007, second on Blue Note (a deal that seems to have required him to relocate from Havana, so he wound up in Toulouse, France). B+(**) [sp]

Roberto Magris: Lovely Day(s) (2024 [2025], JMood): Italian pianist, couple dozen albums since 1990. This one is solo, starts with an original, then hits the usual bases (doubling up on Monk and Andrew Hill), in fine fashion. B+(***) [cd]

Mahotella Queens: Buya Buya: Come Back (2025, Umsakazo): South African vocal trio, best known for backing Mahlathini (1937-99), but they have a fair number of albums on their own, starting in 1966, with this new album their first since 2007. Classic township jive, can't miss. A- [sp]

Lili Maljic: The Nearness of You: In Loving Memory of Jim Rotondi (2024 [2025], Pacific Coast Jazz): Standards singer, sticks to A-list songs, handles them well enough, the dedication to the trumpet player, who died two months after helping out here, is a nice touch. B+(**) [cd]

Maruja: Pain to Power (2025, Music for Nations): English avant-rock band, half-dozen EPs since 2016, first studio album, has some jazz rep probably due to the prominence of Joe Carroll's saxophone, vocalist Harry Wilkinson is more rapper than singer. B [sp]

Christian McBride Big Band: Without Further Ado, Vol. 1 (2025, Mack Avenue): Mainstream bassist, emerged as a band leader in the 1990s and has retained his standing as a poll winner. He's had many ventures, with this his fourth big band album. Key here is that he's lined up a long list of big name singers, starting least conventionally with Sting and Andy Summers. B+(**) [sp]

Juliet McConkey: Southern Front (2025, Soggy Anvil): Country singer-songwriter, out of Austin, second album. B+(*) [sp]

Brad Mehldau: Ride Into the Sun (2025, Nonesuch): Pianist, got his start on Fresh Sound in 1993 before landing on a major label in 1995 and soon moving through his remarkable The Art of the Trio series. Since then he's diversified, with everything from Bach to Beatles and solos to big bands. This is about half orchestra, with some vocals and flutes and such, most playing Elliot Smith songs. Some nice piano spots, but not much else I find interesting. B [sp]

MindsOne: Stages (2025, Fort Lowell): Hip-hop group (Kon Sci, Tronic, various DJs but mostly DJ Noumenon), fifth album since 2007. Old school scratches, and (per HHGA) "precision, moving between introspection and sharp observations about life, ambition, and purpose." A- [sp]

Nils Petter Molvær: Khmer Live in Bergen (2023 [2025], Edition): Norwegian trumpet player, developed a distinctive strain of jazztronica in the 1990s -- which, by the way, started with Masqualero with Arild Andersen, which once again brings us back to George Russell and his Electronic Sonata -- especially on the ECM albums Khmer (1998) and Solid Ether (2000). This draws songs from both albums, bringing back the original band from the latter, plus long-time collaborator Jan Bang (live sampling). A- [sp]

Ashley Monroe: Tennessee Lightning (2025, Mountainrose Sparrow): Pistol Annies singer-songwriter decided to go big on her 7th album (since 2009): 17 songs, 61 minutes. So far hardly anyone has noticed (80/1 at AOTY after nearly a month). I can't say as I noticed much either, at least until the closing "Jesus Hold My Hand." B+(*) [sp]

Nerves Baddington: Driving Off Cliffs (2025, Apt. B Productions): Birmingham, AL duo, Inkline the rapper and Kilgore Doubt the producer, have a couple previous albums I've liked. B+(**) [sp]

Nourished by Time: The Passionate Ones (2025, XL): Alt-r&b singer-songwriter Marcus Brown, second album. B [sp]

Nova Twins: Parasites & Butterflies (2025, Marshall): British duo, Amy Love (vocals/guitar) and Georgia South (bass/vocals), third album, funk beats, metallic clang hilights, can rap some. I've been a fan so far, and some of this is really extraordinary, but it's rather hit-and-miss, taking four songs to get to "Soprano," and more to get to what sounds like supercharged Queen. B+(**) [sp]

Mark O'Leary Group: A Simple Question (2025, TIBProd.): Guitarist, from Ireland, Discogs lists several dozen albums from 2005-18, early records on Leo were well-regarded in Penguin Guide, seems to have moved to "rock/ambient/post-rock" around 2008, but has a bunch of recent releases, this a nice trio ("a new paradigm") with Marc Johnson (bass) and Bill Stewart (drums). B+(**) [bc]

Linda May Han Oh: Strange Heavens (2025, Biophilia): Bassist, born in Malaysia, grew up in Australia, lives in New York, has a dozen or so albums since 2012, as well as such notable side credits as Dave Douglas, Joe Lovano, and Vijay Iyer. This trio with Ambrose Akinmusire (trumpet) and Tyshawn Sorey (drums) got mid-year poll votes two months before its release date. I was pleased when my copy arrived, until I opened up the "origami-inspired" packaging and didn't find any music inside. This is supposedly a feature: "This innovative design caters to the environmentally-conscious listener, who is aware of the harmful effects of plastic in the environment, yet feels that a digital download is just not enough." I'll grant that digital downloads aren't enough, as I'm often left scrambling to collect bits of information that accompany physical CDs, but the music itself is essential to the value proposition. So I ignored this until I could conveniently stream it. (Downloading is a pain I avoid if possible. I did wind up consulting the packaging to determine that the recording dates were Jan. 10-11, 2025, at Bunker Studios -- information not (yet) available at Discogs or Bandcamp. As for the music, simple pleasures: focusing on the bass leads, neat fit for the trumpet (who I like more here than on any of his own albums), outstanding drummer. A- [sp]

Kassa Overall: Cream (2025, Warp): Drummer from Seattle, bounces between jazz (played with Geri Allen in 2009) and hip-hop (Das Racist in 2010), in 2013 did albums with Peter Evans, Vijay Iyer, and Kool A.D., and released a mixtape Christgau and I liked but not on his discographies at Discogs or Wikipedia (Stargate Mixtape). Joined Jon Batiste's Tonight Show band, and started crossing over in every which direction, from Marisa Monte to Carmen Lundy, Arto Lindsay to Cass McCombs, Yoko Ono to Danny Brown. This one, where the title is an acronym for "cash rules everything around me" (caps some places, but u&lc on the cover), offers "eight interpretations of hip-hop classics," but no vocals, so they sound like extended samples. No credits given either, but the saxophonist deserves a shout out. B+(***) [sp]

The Oxys: Casting Pearls Before Swine (2025, Cleopatra): Punkish band from Austin, third album since 2020, some past credits for various members, including two from Sylvain Sylvain and the Sylvains. Ten songs (28:14). B+(**) [sp]

Panic Shack: Panic Shack (2025, Brace Yourself): Welsh post-punk band, Sarah Harvey the singer, first album after a couple EPs, 11 songs, 34:16. Some of the themes I'm not into, but they have so much fun with them I can't complain. Reminds me of some '70s new wave, only not male. A- [sp]

Vinnie Paz: God Sent Vengeance (2025, Iron Tusk Music): Underground rapper from Philadelphia, Vincenzo Luvineri, started in 2006 with Jedi Mind Tricks, with 17 albums, most with metal-sounding titles, like Fires of the Judas Blood, The Priest of Bloodshed, The Pain Collector, Savor the Kill, Burn Everything That Bears Your Name, Lower the Blade, Tortured in the Name of God's Unconditional Love. I'm not into the pain, let alone the violence, that fills these tales, but I noted lines like "my life is darker than Charlie Parker" and "beware the wrath of a patient man," and the gloomy music lays bare the harsh reality. No reason we need to live in dystopia, but there's something to be said for not flinching when you do. A- [sp]

Cam Pierce: A Thousand Lonely Horses (2025, self-released): Country singer-songwriter from Oregon, based in Nashville, leans toward the western end of c&w, seems to have a couple previous albums but I'm finding almost nothing on the internet: just one SCM review, and a streaming widget. Songs are solid-plus, voice good, pace assured. A- [os]

Ken Pomeroy: Cruel Joke (2025, Rounder): Country singer-songwriter, a Cherokee from Oklahoma, third album. B+(***) [sp]

Sam Prekop: Open Close (2025, Thrill Jockey): Started in rock bands Shrimp Boat and the Sea and Cake, seems to have moved fully into electronic music these days (although I do hear some probable guitar). B+(*) [sp]

Preservation & Gabe 'Nandez: Sortilège (2025, Backwoodz Studioz): Former has a 25-year history as an underground DJ without revealing so much as a name (unless it's Jean Daval? "half-French," from New York); 'Nandez (or Nadez) is younger, "half-Malian," both with some connection to Billy Woods. B+(***) [sp]

Margo Price: Hard Headed Woman (2025, Loma Vista): Country singer-songwriter, fifth studio album since 2016 (plus a live Perfectly Imperfect at the Ryman). Strong upbeat pieces, loses a bit on the ballads. B+(***) [sp]

Queen Herawin: Awaken the Sleeping Giant (2025, Matic): New York rapper, sophomore album. Dense and powerful. Done prematurely at 32:22, but no regrets. A- [sp]

Ravita Jazz: Alice Blue (2025, Ravita Music): Bassist Phil Ravita, from Baltimore, has a previous album co-led by Skip Grasso, wrote most of the originals, plus a couple from pianist Greg Small, while covering "I Can't Stand the Rain" and a medley of Led Zeppelin and "Sunny Side of the Street." Features saxophonist Paul Carr. B [cd]

Rent Romus/Tatsuya Nakatani: Uplift (2023 [2025], Edgetone): Saxophonist, plays everything and then some, Discogs has a picture of playing two simultaneously, many albums since 1995. Live duo with drums here. B+(**) [sp]

Steve Rosenbloom Big Band: San Francisco 1948 (2024 [2025], Glory): Alto saxophonist, has a side-credit from 1983 and a quintet album from 1997, but not a lot more, as his main gig seems to have been in psychiatry. Original pieces, conventional big band. It's possible my CD is defective, as it sounds awfully murky, but crystal clarity wouldn't help much either. [PS: If it was meant to sound like this, drop the grade to D.] C [cd]

Ned Rothenberg: Looms & Legends (2024-25 [2025], Pyroclastic): Alto sax/clarinet player, tends to work the gentler side of free jazz, and has since 1981. Solo here, includes some shakuhachi, a very attractive album, one that doesn't sound like practice, as most solo reeds albums do. Holds up to multiple replays. A- [cd]

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]

Cécile McLorin Salvant: Oh Snap (2025, Nonesuch): Jazz singer-songwriter, widely acclaimed, has three Grammys, even a MacArthur, eighth album since 2010, most easily winning the vocal jazz category in the Francis Davis Jazz Critics Poll. While I don't doubt her technical skill, I've never gotten much out of her albums, and this one delivers less than usual. B [sp]

Shame: Cutthroat (2025, Dead Oceans): British post-punk band, fourth studio album since 2014. Agreeably trashy, until it isn't. B [sp]

Jaleel Shaw: Painter of the Invisible (2022 [2025], Changu): Alto saxophonist, originally from Philadelphia, half-dozen albums since 2005, Discogs lists 57 performance credits, has some range and isn't real consistent but finds a nice post-Coltrane vibe here and expands on it at length (11 tracks, 71:13). Mostly quartet with Lawrence Fields (fender rhodes), Ben Street (bass), and Joe Dyson (drums), with spots for Lage Lund (guitar) and Sasha Berliner (vibes), one track on piano. A- [cd]

ShrapKnel & Mike Ladd: Saisir Le Feu (2025, Fused Arrow): Hip-hop duo, Curly Castro and PremRock (Mark Debuque), from Philadelphia's Wrecking Crew, fourth album since 2020, couple more since, this one produced by Ladd, who has a rep as a spoken word artist including collaborations with jazz musicians, especially Vijay Iyer. B+(**) [sp]

Carmen Staaf: Sounding Line (2024 [2025], Sunnyside): Pianist, from Seattle, based in New York, debut 2004 but mostly side credits (most often with Allison Miller or Jenny Scheinman). Explores Monk and Mary Lou Williams here, with various accompanists: Ambrose Akinmusire (trumpet duo) to open and close, Darren Johnston (trumpet plus others) for two tracks in the middle, Ben Goldberg (clarinets, three tracks, two with Johnston), one Monk tune just adds bongos (John Santos). B+(***) [sp]

Peter Stampfel, Friends & Daughters: Song Shards: Soul Jingles, Stoic Jingles, Vintage Jingles, Prayers and Rounds (2025, Jalopy): 46 songs of sorts, as noted in the subtitle, in less than 43 minutes, done up in his own inimitable style by one of our leading semi-pop folklorists, although for once I find the style grating, possibly because the humor is all but unfathomable. I briefly glanced at the notes when I first heard of this, and they seem likely to be interesting, but since I've played it I've lost all interest. B- [sp]

Sam Stoane: Tales of the Dark West (2025, Cloverdale): Cowgirl from rural California, first album, originals plus covers of Gene Autry ("Back in the Saddle Again") and Rodney Crowell ("Even Cowgirls Get the Blues"). A- [sp]

Superchunk: Songs in the Key of Yikes (2025, Merge): Indie rock band from North Carolina, 13th studio album since 1990 (with a 2001-10 gap), Mac McCaughan the singer-songwriter. Got a reputation for political songs recently, but I'm mostly just hearing soaring guitars. B+(**) [sp]

Earl Sweatshirt: Live Laugh Love (2025, Tan Cressida/Warner): Rapper originally from Chicago, father a South African poet and political activist, mother a law professor noted as a "critical race theorist," started with Odd Future in Los Angeles, 6th studio album since 2013 (counting an Alchemist collab), but short at 24:08 (11 tracks). B+(*) [sp]

Sunny Sweeney: Rhinestone Requiem (2025, Aunt Daddy): Country singer-songwriter, sixth studio album since 2006. Terrific sound, songs include anthems, as timeless as the clichés they're built on. A- [sp]

Craig Taborn/Nels Cline/Marcus Gilmore: Trio of Bloom (2024 [2025], Pyroclastic): Keyboards (mostly electric), guitars (too, including lap steel), drums. Billed as a self-titled debut, but the names are big enough they couldn't keep them off the cover. Long (70:18). A- [cd] [09-26]

Natsuki Tamura/Satoko Fujii: Ki (2025, Libra): Japanese trumpet and piano duo, their 10th, a relatively quiet affair that breaks up a bit toward the end. B+(**) [cd]

Teyana Taylor: Escape Room (2025, Taylormade/Def Jam): R&B singer-songwriter, fourth album since 2014, two gold records so far, also has a fairly substantial acting career. Talks through a lot of this. B [sp]

Zach Top: Ain't in It for My Health (2025, Leo33): Country singer-songwriter, grew up on a rance in Washington, second album. B+(**) [sp]

Turnpike Troubadours: The Price of Admission (2025, Bossier City): Honky tonk band from Oklahoma, 7th album since 2007, a favorite of Saving Country Music, I've never been much impressed. B+(*) [sp]

Molly Tuttle: So Long Little Miss Sunshine (2025, Nonesuch): Singer-songwriter, fifth album since 2019, last two topped the bluegrass charts, but Saving Country Music reviewed but refused to grade this "sad development that the Millennial Queen of Bluegrass has gone pop" and adds that producer Jay Joyce "deserves to get chlamydia from the Tyler Childers koala." I'd have to look that one up, but offhand seems dumb and mean. I had to look Joyce up too: produced albums since 1998, mostly starting with Nashville artists like Eric Church and Patty Griffin (and more recently Ashley McBryde and Lainey Wilson) and making them slightly more pop, although it doesn't seem like he's made anyone into something alien (at least not Brandy Clark or Miranda Lambert). Here she wrote the songs here (most with fiddler Ketch Secor; two more leaned on Kevin Griffin; then there's the Charli XCX cover). They're fine (a couple better than that). B+(**) [sp]

Tyler, the Creator: Don't Tap the Glass (2025, Columbia): Los Angeles rapper Tyler Okonma, started in Odd Future, solid gold since 2011, cashes in with a short one (10 tracks, 28:50), after 2024's 52:54 Chromakopia. B+(*) [sp]

UFO Fev & Body Bag Ben: Thousand Yard Stare (2025, 1332): Rapper and beats, I've seen cover scans with the credits flipped but will go with Discogs (especially since they have a scan to prove it). B+(**) [sp]

Us3: Soundtrack (2025, Us3): British group, bill themselves as jazz-rap, debut 1993, I filed them under rap at the time, and haven't heard anything since until this, which I found a DownBeat review for. No rap here, as the title implies. B [sp]

Vega7 the Ronin/Machacha: The Ghost Orchid (2025, Copenhagen Crates): Rapper from Queens, eighth album since 2022, with Danish producer Mattæus Overgaard Jensen, prolific since 2016, second album together. B+(***) [sp]

Milan Verbist Trio: Time Change (2025, Origin): Belgian pianist, first album, trio with Toon Rumen (bass) and Jens Meijer (drums), mostly originals (covers from Ornette, Stanko, Bach, and Peacock). Has some impressive moments, but who doesn't? B+(*) [cd]

Martina Verhoeven/Luis Lopes/Dirk Serries: Invincible Time (2023 [2025], Raw Tonk): Pianist (electric), with two guitarists, one long take (50:16). B+(**) [bc]

Vlure: Escalate (2025, Music for Nations): Scottish rave-punk band, first album, although NME thinks they've "spent years honing their sound." They do have one. B+(**) [sp]

Webber/Morris Big Band: Unseparate (2024 [2025], Out of Your Head): Tenor saxophonists Anna Webber and Angela Morris, also flute, lead a conventional big band (plus vibes and guitar), which leans free but doesn't poke its head out too far. B+(***) [cd]

Wild Iris Brass Band: Way Up (2025, Ear Up): New Orleans band founded by Jeff Coffin (tenor sax) and Ray Mason (trombone), with trumpet (Emmanuel Echem), alto sax (Jovan Quallo), sousaphone (Neil Konouchi), drums (Justin Amaral), and tambourine (Ryoko Suziki). Coffin, who does a lot of side work in Nashville, has albums back to 1999 and close to 200 side credits back to 1989. B+(*) [sp]

Hayley Williams: Ego Death at a Bachelorette Party (2025, Post Atlantic): Singer-songwriter, started 2005 fronting the group Paramore (6 albums through 2023; she's the only continuous member) before releasing a solo album in 2020, this her third. So well hooked only indifference holds me back. B+(**) [sp]

Saul Williams: Saul Williams Meets Carlos Niño & Friends at TreePeople (2024 [2025], International Anthem): Spoken word artist, started doing open mic, won a poetry slam title in 1996, which led to roles in a documentary (SlamNation) and a feature film (Slam), and from 2000 on to albums, including one with saxophonist David Murray. Niño is a percussionist, who has regularly recorded with "& Friends" (since 2009). Music didn't quite grab me, but the insights/good messages of the farewell message did, like "we are all bearing witness to the horrendous acts of our government" and "we have a special responsibility because we're in the belly of the beast." B+(**) [sp]

Simón Willson: Feel Love (2024 [2025], Endectomorph Music): Bassist-composer, from Chile, based in New York, third album, quartet with Neta Raanan (tenor sax), Evan Main (piano), and Kayvon Gordon (drums). Interesting postbop, saxophonist continues to impress. B+(**) [cd]

Gaia Wilmer & Ra Kalam Bob Moses: Dancing With Elephants (2023 [2025], Sunnyside): Brazilian alto/baritone saxophonist, studied in Boston (where she met the percussionist), has worked in New York and Sao Paulo, producing several albums since 2017, mostly large groups (sextet and up). Her she takes Moses' solo tracks and builds on them, with various combinations of five more saxophonists, piano, guitar, and/or voice (Song Yi Jeon). Mixed results here, and Moses gets overwhelmed, but George Garzone remains unmistakable. B+(*) [sp]

Yoko Yates: Eternal Moments (2024 [2025], Banka): Pianist, originally from Japan, studied at Berklee and in Cambridge (UK), second album, original pieces, quintet with Jamie Baum (flute), Sam Sadigursky (clarinet/bass clarinet/alto sax), bass, and drums. B [cd]

Jubal Lee Young: Squirrels (2025, Reconstruction): Countryish singer-songwriter, never heard of him through 6-7 albums since 2004, son of Steve Young (1942-2016), another one I've barely heard of (just enough to have him redundantly listed in my country and folk files, neither of which actually graded an album). Christgau recommended this one, and it's interesting enough, and more than a little amusing. Not yet enough to send me back to the catalogs, but I wouldn't rule that out. I sat on the fence here a while, but finally decided not to give a fuck. A- [sp]

Miguel Zenón Quartet: Vanguardia Subterranea: Live at the Village Vanguard (2024 [2025], Miel Music): Alto saxophonist, from Puerto Rico, long-running quartet with Luis Perdomo (piano), Hans Glawischnig (bass), and Henry Cole (drums), celebrates their 20th anniversary with their first-ever live album, drawn from a six-day stand. They've been producing superb studio albums all along, taking Latin idioms and distilling them (and Coleman and Coltrane) into conventional quartet form all along, so it's no surprise that this is also superb. Some day I expect the whole series to get boxed up, as with Art Pepper. A [cd]

Recent Reissues, Compilations, Vault Discoveries

Bar-B-Q Killers: Part 1: The Last Shit (1986 [2025], Chunklet Industries, EP): Athens, GA garage band, three songs, 8:24. Title per cover, but Discogs lists as Chester Drawers, after the first song on what is basically a single. Group went on to release an album, Comely, in 1987. B [bc]

Marshall Crenshaw: From "The Hellhole" (2012-16 [2025], Yep Roc): Retro rocker in the early 1980s, seemed major for several striking albums, still sounds much the same, although this collection of remastered stray tracks stikes me as pretty useless. B- [sp]

Woody Guthrie: Woody at Home: Vol 1 + 2 (1951-52 [2025], Shamus): Famous folksinger (1912-67), from Oklahoma, wrote hundreds of songs, with most of his recordings in 1944-49. These previously unreleased tapes -- 22, with 13 songs that hadn't been previously released -- were recorded shortly before he was diagnosed with Huntington's Disease, which ended his career early. This is fairly minor, but interesting. B+(*) [sp]

John Lee Hooker: The Standard School Broadcast Recordings (1973 [2025], BMG): Major bluesman, born (1912?) to sharecroppers in Mississippi, left home for Memphis, wound up in Detroit in the 1940s, recording his first hits in 1948-49, and plying his trade up to his death in 2001, recording duets and guest spots with anyone who would have him, which by then was pretty much everyone (cf. The Best of Friends). While fans came and went, he managed to sound ancient and primeval in the 1950s, and even more so in the 1990s. This is a previously unreleased studio session, recorded in San Francisco, with piano-bass-drums backup (notable is his 20-year-old son, Robert Hooker, on piano), playing long, relaxed versions of 8 songs (58:17), some reworked classics and some jams. It was commissioned for "a groundbreaking educational program sponsored by Standard Oil (later Exxon)," only three of which were broadcast. Less intense, but as satisfying as anything he ever recorded. A [sp]

Jovino Santos Neto Quartet: Mais Que Tudo: Live at Kerry Hall 1995 (1995 [2025], Origin): Brazilian pianist, based in Seattle, played with Hermeto Pascoal in the 1970s, his own albums start in 1998, like many Brazilian musicians, he came to my attention through Mike Marshall's Adventure Music label. A spirited quartet with Hans Teuber (flute/sax), Chuck Deardorf (bass), and Mark Ivester (drums). B+(**) [cd]

Mark O'Leary Quartet: White Album ([2025], TIBProd.): No date given, but featured drummer Paul Motian died in 2011, so that's an outer bound. The guitarist started up c. 2000, so that narrows the window down a bit. The others -- Kenny Werner (piano) and John Patitucci (bass) -- started in the early 1990s. B+(*) [bc]

Charlie Rouse: Cinnamon Flower: The Expanded Edition (1977 [2025], Resonance): Tenor saxophonist (1924-88), played in big bands early, ranging from Bull Moose Jackson to Dizzy Gillespie (and including brief stops with Basie and Ellington), but best known for his work with Thelonious Monk (1959-70, the band continuing after Monk died as Sphere). His own work is rather mixed, including Brazilian themes: Bossa Nova Bachanal (1962) and this in 1977, expanded here past 80 minutes. B+(*) [cd]

Larry Stabbins/Keith Tippett/Louis Moholo-Moholo: Live in Foggia (1985 [2025], Ogun): British saxophonist, b. 1949, not a lot under his own name but side credits start up in 1971, joining the pianist in 1978, and the drummer by 1982, while also working in groups led by Chris McGregor, John Stevens, Tony Oxley, and Barry Guy. This same trio recorded Tern in 1982. Two long pieces here (45:34 and 27:11). In fast company here, he rises to the occasion. A- [sp]

Steve Tintweiss and the Purple Why: Live in Tompkins Square Park 1967 (1967 [2025], Inky Dot Media): Cover also notes: "NYC Free Jazz," and lists names across the top banner: Jacques Coursil (trumpet), Perry Robinson (clarinet), Joel Peskin (tenor sax/bass clarinet), Randy Kaye (drums./piano), Laurence Cook (drums), Steve Tintweiss (bass/vocals/percussion/composer/leader), James DuBoise (guest trumpet). Tintweiss played on some ESP-Disk and related albums (1966-70), and appeared on some Amy Sheffer albums in the 1980s, but had nothing under his own name until he started rifling through old tapes in 2019. Not extraordinary nor outrageous, but I take a little nostalgic joy in this primitive squelchiness. B+(**) [cd]

Zulu Guitar Blues: Cowboys, Troubadours and Jilted Lovers 1950-1965 (1950-65 [2025], Matsuli Music): Early, almost primeval roots of township jive. B+(**) [sp]

Old Music

Body Type: Expired Candy (2023, Poison City): Australian garage rock group, four women, second album after two EPs. Pretty good, but ran on well past my peak interest. B+(***) [sp]

Chris Cacavas: Chris Cacavas and Junk Yard Love (1989, Heyday): Singer-songwriter from Tucson, played keyboards and lap steel for a 1980s band of some note, Green on Red (Dan Stuart was the leader; Steve Wynn and Chuck Prophet also played at various points), started his solo career here, which appears to be up to 18 albums now, but still lacks a Wikipedia page. I looked into him after noticing a single (***) Christgau review for a 1992 album, identified as this but more likely Good Times. Solidly within their genre. B+(*) [yt]

Chris Cacavas & Junkyard Love: Good Times (1992, Heyday): Second album, the group name firmed up, easy to see from the cover how Christgau might have confused the title. One extraordinary song. I couldn't find the lyrics online, so tried to transcribe them: "I'm a saint/ I can do no wrong/ if you see me walking down the street/ just throw flowers at my feet/ and if you got something to say /well you best get on your knees and pray/ because I'm a saint/ I can't believe this crazy life I'm living/ where I can do what I want and all is forgiven/ can you see the trouble I'm in/ I'm evil but just can't sin/ if you don't believe a word I say well alright/ I'll ride on your dash one day/ because I'm a saint." Another verse, then ends with a chorus answering "he can do no wrong" to each assertion of "I'm a saint." Several more good ones. Could be a SFFR (subject for future research). B+(***) [yt]

Decius: Decius Vol. I (2022, The Leaf Label): British electronica group, Roman statuary on the cover. B+(**) [sp]

Hannah Delynn: The Naked Room Demos (2021, self-released, EP): "Stripped down and straight forward," 5 songs, 18:57. B [bc]

Hannah Delynn: Making Friends (2023, self-released, EP): Five well-crafted, nicely produced songs, 16:58. Leans toward pop, but doesn't deliver much. B [bc]

Mary Halvorson/Kirk Knuffke/Matt Wilson: Sifter (2011 [2012], Relative Pitch): Guitar/cornet/drums trio, presented this as a group eponymous album but the names, all fairly well known by then, were prominent on the front cover, and this turned out to be a one-shot grouping. B+(***) [sp]

The High & Mighty: Home Field Advantage (1999, Rawkus): Philadelphia hip-hop duo, rapper Mr. Eon (Erik Meltzer) and producer DJ Mighty Mi (Milo Berger), first album, draws some notable guest spot artists, like Eminem. B+(***) [sp]

High on Fire: Cometh the Storm (2024, MNRK Heavy): Metal group, 9th studio album since 2000, first I've tried -- only because Dan Weiss included it in his 2020-2024 top 50, and it was the last unheard album there (of 2), but note that I did (for no discernible reason) have their first album in my database. First album after a 6-year break, with a new drummer and some "Turkish folk music and Middle Eastern music" mixed into "the band's previous sludge metal and stoner metal genres." The mix isn't very integrated, more like an interlude. The metal strikes me as generic, though not especially offensive. B [sp]

Brad Mehldau: Après Fauré (2023 [2024], Nonesuch): Established himself in the late 1990s as a major jazz pianist, so I've followed him pretty regularly, balking only when he seemed to stray too far into classical and/or soundtrack music, so I skipped this (and several other albums; working backwards here as long as I can stand it). Solo piano exercise, with five pieces by Gabriel Fauré (four nocturnes and an excerpt from "Piano Quartet No. 2") along with "Fauré-like" originals. Nice enough. B [sp]

Brad Mehldau: After Bach II (2017-23 [2024], Nonesuch): Solo, picks up some scraps from the session that produced his 2018 After Bach, and adds some extra material, again mixing in a few originals modeled on. I don't hate much of it, but my patience is wearing thin. B- [sp]

Brad Mehldau/Ian Bostridge: The Folly of Desire (2022 [2023], Pentatone): Piano and voice duo, the former composing in his archest classical mode, the latter a British tenor with a long list of recordings (since 1995), and evidently some reputation among lieder aficionados. I expected to hate this, and often I do, but Bostridge does have a remarkable voice, and after he's slogged through the 11 title songs, he finally puts it to good use, with an exceptional version of "These Foolish Things." Four more songs, including two by Cole Porter (and one by Schubert) are less striking, but they could make a decent standards album. B- [sp]

Mark O'Leary/Mat Maneri/Matthew Shipp: Chamber Trio (2002 [2005], Leo): Guitar-viola-piano trio, recorded in New York, where the latter two already had several records together. Takes a while to kick in. B+(**) [sp]

Mark O'Leary/Tomasz Stanko/Billy Hart: Levitation (2000 [2005], Leo): Guitar-trumpet-drums trio. Guitar gets more traction, and the trumpet is superb, as expected. B+(***) [sp]

Mark O'Leary/Mat Maneri/Randy Peterson: Self-Luminous (2002 [2005], Leo): Guitar-viola-drums trio. The viola dominates once more, but less decisively. B+(**) [sp]

Mark O'Leary/Uri Caine/Ben Perowsky: Closure (2003 [2005], Leo): Guitar-piano-drums trio. The piano adds a jolt of energy. B+(**) [sp]

Mark O'Leary/Steve Swallow/Pierre Favre: Awakening (2000 [2006], Leo): Guitar-bass guitar-drums trio. B+(*) [sp]

Evan Parker/Ned Rothenberg: The Monkey Puzzle (1997, Leo): Duo, another one followed in 2007, former plays soprano and tenor sax, latter bass clarinet and alto sax. Parker has a lot of this sort of thing, both solo and duo. Rothenberg adds a nice balance. B+(***) [bc]

Sam Prekop/John McEntire: Sons Of (2022, Thrill Jockey): Two-thirds (or sometimes half) of Chicago indie rock band the Sea and Cake (11 studio albums 1994-2018), guitar/vocals and drums. Prekop was previously in Shrimp Boat (1987-93), which I recall from a 3-CD retrospective box issued by avant-jazz label AUM Fidelity in 2004 (Something Grand). McEntire has little else under his own name (Discogs lists a 1998 soundtrack and three singles/EPs, two with Prekop, and a compilation of Cluster), but played in Tortoise and Bastro/Gastr Del Sol, with Stereolab and Red Krayola, and has an even larger production discography. This slots as electronica, four pieces ranging 7:51 to 23:41, each flowing into the next, simple and beguiling. A- [sp]

Ned Rothenberg Double Band: Overlays (1991, Moers): Two alto saxophonists (with Thomas Chapin), two electric bassists (Jerome Harris, also on guitar, and Kermit Driscoll), two drummers (Adam Rudolph, credited percussion, and Billy Martin). The basses set up a funk current that the saxes tease at and play with like Ornette Coleman. A- [bc]

Ned Rothenberg: The Crux: Selected Solo Wind Works (1989-1992) (1989-92 [1993], Leo): Seven pieces (54:45), on alto sax (4), bass clarinet (2), and shakuhachi (1). He fills his space with wonder and fascination. B+(***) [bc]

Ned Rothenberg Double Band: Parting (1996 [2004], Moers Music): The last of three Double Band albums, released after second saxophonist Thomas Chapin's death, with Jerome Harris back on electric guitar and bass, Tony Scherr on electric and acoustic bass, and drummers Michael Sarin and Samm Bennett. Wile some of this is impressive, it can also be overwrought. B+(*) [sp]

Ned Rothenberg: Ghost Stories (1999-2000 [2000], Tzadik): Four tracks recorded in three sessions, a 6:30 shakuhachi solo, and three longer: duos with Riley Lee (shakuhachi) and Satoshi Takeishi (percussion), and the 19:41 title piece with cello (Erik Friedlander), pipa (Min Xiao-Fen), and percussion (Takeishi again). B+(*) [sp]

Ned Rothenberg Sync: Harbinger (2001-03 [2004], Animul): Plays clarinet, bass clarinet, alto sax, and shakuhachi, backed by Jerome Harris (acoustic bass, string guitar, acoustic bass guitar) and Samir Chatterjee (tabla). This is very nice. B+(***) [bc]

Ned Rothenberg/Satoh Masahiko: Decisive Action (2003-04 [2004], BAJ): Duo with piano, two sessions, Rothenberg playing clarinet, bass clarinet, alto/soprano sax, shakuhachi. B+(**) [bc]

Perico Sambeat: Ademuz (1995 [1998], Fresh Sound New Talent): Spanish alto saxophonist, also plays flute, albums since 1990, appeared on Brad Mehldau's New York-Barcelona Crossing albums, takes the lead here, with Mehldau (piano) and Mark Turner (tenor sax) prominent on the cover, along with trumpet (Michael Leonhart), guitar (Kurt Rosenwikel), bass, drums, percussion, and voice (Enrique Morente). B+(**) [sp]

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:

Steve Lehman Trio + Mark Turner: The Music of Anthony Braxton (2024 [2025], Pi): While I've rated 69 Braxton albums -- looking at the list suggests I still have a lot of work to do -- I've never gotten a good sense of him as a composer, while having no doubts as to his chops, especially on his marvelous standards albums. On the other hand, several of his students have made superb albums from his compositions, and Lehman's own work, both as alto saxophonist and composer, over the last 20+ years has few peers. He wrote two pieces here, to go with five Braxtons and one Monk, and added the tenor saxophonist to his trio with Matt Brewer (bass) and Damon Reid (drums). [was: A-] A

Music Weeks

Music: Current count 36534 [36534] rated (+0), 149 [149] unrated (+0).

Excerpts from this month's Music Week posts:

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
[os] some other stream source

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.