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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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Tuesday, August 27, 2024 Music Week
Music: Current count 42869 [42830] rated (+39), 34 [34] unrated (-0). Once again, Speaking of Which took an extra day, and I'll probably spend more time today adding to it than I spend writing here. [PS: I did wind up adding another 63 links, 2607 words.] Good reason to get this organized early, which means collecting the reviews here, and also opening up a new draft file for September, as this is the last installment in the August archive. Meanwhile, I've been playing old Motown comps, and now some Sonny Boy Williamson -- things I can enjoy immensely without having to think (or write) about. A-list shrunk back this week, with the Ottaviano coming early, and nothing else coming very close (although I may have cheated Houston Person, knowing that better albums were coming; maybe also Dyani, whose 1978 Song for Biko is a favorite). The old music offered welcome relief from the August doldrums. Phil Overeem mentioned Dyani, and I realized that my ex-LP Music for Xaba was missing from my database (memory pegged it at B+, and the YouTube recheck refined that). I noticed Person when I was looking at the late guitarist Russell Malone's discography. But before getting to the albums Malone played on, I thought I'd check out some of Person's early Prestige releases. We'll get to the later stuff, and maybe some of Malone's own work, next week. I mostly followed up recent posts from Michael Tatum, Christian Iszchak, Chris Monsen, and Dan Weiss. It's worth noting that despite critical pans damn near everywhere else, Iszchak and Tatum A-listed the Eminem album, while Weiss liked it about as much as I did (from one quick and not very focused play, I must admit). Some small progress on my house projects. After four failed attempts, I gave up and hired an electrician to install the back door light, so that's done. Key thing he did was to install a box to mount the light to, whereas the old one was hung on the vinyl siding cover. Still, the main trick was standing on a ladder while holding the dead weight of the new fixture and securing all of the wires. I'm supposed to be getting a quote on repairing the fallen plaster ceiling. So if it's reasonable, we can knock that off. I did manage to do one small project on my own: shimming a counter top to keep water from pooling and dripping. Next project will be to try to weld a broken plastic garbage can lid. I bought a tool, but I've never tried using it. Also note that the electrician looked at the loose camera wire, and decided he couldn't fix it, so I'm on my own there. Just one more chapter in the late Lewis H Lapham's Age of Folly: America Abandons Its Democracy. Takes me back to much history I lived through, starting in the late 1980s, but mostly focuses on 2001-05, during the early days of the war on the abstract noun. Sharp analysis, with many delicious turns of phrase. One could go back and mine the book for aphorisms. I should see if I can recover a few. One he uses several times is the strange belief that "money is good for the rich, but bad for the poor." I stopped by Barnes & Noble last week, for the first time I've been in a bookstore since the pandemic, possibly some years longer. I picked out three books that I wouldn't have thought of to buy had I not seen them first, so they're likely to be next up. For most of my life, I headed to bookstores 3-4 times a week, so it took considerable business malpractice to end that habit. (Borders closing was a major blow, after which B&N seemed to morph into some kind of glorified toy store. I was even under the impression that B&N had stopped carrying magazines, but they still had a fairly substantial section.) Next up should be a return to the library. I need to figure out how to make use of local library resources to do anything along the lines of the research I need. My future direction is very uncertain. But I've been getting some help recently on the Jazz Poll, which makes it more likely to continue. New records reviewed this week: 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] 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] 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] 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] 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] 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] 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] 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] 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] 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] 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] 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] 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] [08-30] 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] 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] 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] 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] 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, and vault discoveries: None. Old music: 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] 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] Unpacking: Found in the mail last week:
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