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An occasional blog about populist politics and popular music, not necessarily at the same time. LinksLocal Links My Other Websites Music Politics Others Networking Music DatabaseArtist Search: Website SearchGoogle: Recent Reading
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Monday, August 12, 2024 Music Week
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. New records reviewed this week: 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] 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] 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] 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] 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] 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] 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] 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] 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).
Karen Jonas: The Rise and Fall of American Kitsch (2024, self-released): Country singer-songwriter from Virginia, seventh album since 2014. B+(*) [sp] 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] 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] 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] Megan Moroney: Am I Okay? (2024, Columbia Nashville): Country singer-songwriter, second album, seems pretty good, quite consistent. 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] 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] 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] 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] 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] Recent reissues, compilations, and vault discoveries: 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] Old music: 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] 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: 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] 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] 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] Unpacking: Found in the mail last week:
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