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An occasional blog about populist politics and popular music, not necessarily at the same time. LinksLocal Links Social Media My Other Websites Music Politics Others Networking Music DatabaseArtist Search: Website SearchGoogle: Recent Reading
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Monday, August 31, 2015 Music Week
Music: Current count 25408 [25368] rated (+40), 429 [426] unrated (+3). Christgau makes a big point about never writing about an album until he is sure what he thinks about it, including a firm grade. I've never been so certain about anything, or at least about music, so I've always regarded my grades as provisional approximations. That doesn't mean that I don't take due diligence. I very rarely grade an album A- on one play, although I also rarely give a second play to a B+(*) to give it a chance to rise of fall a notch, or a B- to see how bad it really is. Still, it seems like the line between B+(***) and A- is unusually cloudy this week. The Barry Altschul album and a couple of the old Hat discs are pretty solid, but all the rest of the A- records are borderline. Some of the B+(***) come close, too -- in particular, it's tempting to bump up everything Ellery Eskelin does, while on the other hand, I rarely get excited enough by Paul Bley and/or Jimmy Giuffre. I finished digging through the ECM records on MPE. They only go back to March (or maybe later, as the label's German and US release dates aren't always the same), so there are still some 2015 ECM releases I missed -- notably everyone's favorite, Jack De Johnette's Made in Chicago. Despite the "[dl]" notation below, everything I rated was based on streaming, and the user interface requires me to login again every time I finish an album, so there's a built-in bias against second plays. The only ECM record I downloaded was Elina Duni's, and I haven't tried burning a copy yet, but it struck me as something I'd be willing to do a little work to hear again. (She's an Albanian folk singer, but works with a first-rate Swiss jazz group, Colin Vallon's piano trio.) Falling just short of that are two other B+(***) albums by Gary Peacock and Stefano Battaglia -- good records, but not as exceptional. Jerry Bergonzi's new record is probably the most borderline of all. I must have played it six, maybe as many as eight, times, and every time I was ready to file it as a high B+ I'd hear something special -- always from the tenor saxophonist. The problem is he get diluted with a second horn -- no knock on Phil Grenadier, whose trumpet sparkles throughout, but I prefer Bergonzi's trios and quartets, albums like Tenor Talk and Simply Put. After Christgau declared Stuff Like That There Yo La Tengo's "loveliest album ever," I almost reflexively considered it an A-, but then I looked up Fakebook in my database and was reminded that I had only given it a B+(*) -- the best thing about their covers album was that it showed that they owned some of the same esoteric records I did. Aside from the Hank Williams, this new batch of covers is even more esoteric, sometimes a plus, sometimes not. And while it is lovely -- it reminded me of one of those later, hitless Everly Brothers albums -- much of the middle wasn't especially distinguished. But it ends on a song so good I started having second thoughts. Just didn't follow up on them. Going into the week, it wasn't clear what I would do down in the old music section, but last week I had followed the new Gary Peacock album with an older Paul Bley duet, Partners -- a 4-star from the Penguin Guide list, and that got me to looking at what else Rhapsody had from Bley that I hadn't heard before. That's when I discovered that Rhapsody had added a sizable chunk of the Hatology (aka Hat Hut and Hat Art and Hat Now) catalogue. Hat was one of a handful of European labels that rescued avant-jazz in the late 1970s -- the only more important label, at least for American avant-gardists, was Black Saint/Soul Note (in Italy), with DIW (Japan) coming a bit later, and Leo (UK) and FMP (Germany) focusing more on European artists. Checking back through my database, I had previously rated 72 Hat albums, and had another 109 in the "shopping" list. To give you a taste, all of the following are rated A- or higher ([A] so marked):
So that's 26 A/A- records, before I added six this week (plus one more after the cutoff, so next week). Possible I'm loosening up the curve: I'd expect the percentage of A-/A records to decline over time, having cherry-picked the best prospects early on. Indeed, it has: the legacy share is 36.1% (26/72), whereas this week's haul is down to 28.5% (6/21). I expect it will drop further as I keep tapping into this resource. By the way, I've run across a couple cases where cuts are missing. If that seems minor, I may just hedge, but Mal Waldron & Steve Lacy: Live at Dreher Paris 1981 was reduced from 4CD to three cuts (all takes of "Round Midnight"), so there's nothing a critic can do about that. Also, I haven't found much here that predates the launch of the Hatology (or as they prefer to style it, "hatOLOGY") label. There are several weird things about Hat's business model. One is that they tout their releases as "limited editions" -- usually that means a run of 3000 units -- so their most popular titles tend to run out of print, while they periodically binge and put the rest on deeply discounted sales (I've picked up a lot of titles for $5 or less over the years). Currently Hatology is used both for new releases and reissues of out-of-print titles. One pair of grades is worth breaking down. The two Joe McPhee discs are both solo, one coming in at A-, the other B-. As near as I can figure it, McPhee's 1976 album Tenor was his answer to Anthony Braxton's 1969 For Alto, an album often held to be brilliant as well as uncompromising -- Penguin Guide awarded it one of their crowns -- but which I've always found to be plug ugly (I gave it a D based on an LP I no longer own). Tenor takes the same approach and, given the larger horn, digs even deeper. If I were to revisit For Alto (and I do have the CD somewhere) I would probably bump it up some, but I found myself anxious for Tenor & Fallen Angels to end long before it did. On the other hand, As Serious as Your Life varies the instruments -- McPhee is also a superb trumpet player (actually, pocket cornet here), and will astonish you on crashing piano, and he adds some electronics to a couple cuts so he actually has a beat to bounce off, so it winds up being a very different album. The Tony Coe album is another Penguin Guide 4-star that I found while looking for Hat releases -- he has a couple of them, a long association with Derek Bailey and/or Tony Oxley, an avant side far removed from his roots with Humphrey Lyttelton in Britain's trad jazz movement. Could be this swing album sounded even better as a break from all the avant-jazz. At any rate, I found it delightful. One more thing to note: with the author's permission, I've revamped the Michael Tatum archive. Hopefully in the future we'll add some more old pieces, but for now it has all of the A Downloader's Diary columns (including his latest), all properly indexed, a total of 978 albums. New records rated this week:
Recent reissues, compilations, and vault discoveries rated this week:
Old records rated this week:
Unpacking: Found in the mail last week:
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