|
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
Music DatabaseArtist Search: Website SearchGoogle: |
Tuesday, September 10, 2024 Music Week
September archive (in progress). Music: Current count 42939 [42905] rated (+34), 28 [30] unrated (-2). Speaking of Which overshot its Sunday deadline once again. Not sure whether I should brag about how hard I worked (154 links, 10515 words, several lengthy comments), or make excuses for the time I spent on other things -- notably, a fairly large menu for dinner Thursday. I added a bit more today, but not much. I figure most stories will keep, but I did add some more pieces on the late jazz critic Dan Morgenstern. Big expense of time today was casting a ballot for the DownBeat Readers Poll, for which I've taken a few notes. I put very little thought into the effort, as the results are usually pretty worthless. I've already noted one vote I clearly didn't think through (Female Vocalist: Catherine Russell over Fay Victor; both have good records this year, but Victor's is my top-rated album; careerwise they're pretty comparable, with Victor taking the riskier path.) What took considerable time was reformatting the album lists, which I used to check how much I've listened to: new jazz albums: 97/110 (88.1%), historical jazz (24/32, 75.0%), blues (23/34, 67.6%), and "beyond" (28/32, 87.5%). I'll nudge those numbers up a bit in coming weeks, but the first 3-4 new jazz albums I looked up weren't readily available. One disturbing thing that emerged from the exercise was that I found four albums I had reviewed but didn't have an entry for in my database. I found all of the reviews in the Streamnotes archives. I also found this week's Patricia Brennan review back in the August archive. At my age, mental lapses like these are troubling. My eyes have also been pretty bad the last few days. I haven't gotten back to the "to do" list I started a couple weeks ago, let alone checked much off of it. We did manage to get the latest Covid boosters today, and stocked up on groceries. Plus I have this almost ready to roll out. Seems like the A-list albums this week (except for Lowe) took a lot of extra plays. Hicks, Alvin/Gilmore, and Shorter all got upgrades the day after I had them filed at B+(***). The others got re-checks. The old rap records came off a checklist of 5-mic albums as rated by The Source (in a notebook entry). Oddly enough, all four albums I hadn't heard came in sequence, from 2001-10. I've often explained that my focus shifted in the 1990s from contemporary rock/rap/pop to jazz and oldies when I grew tired and/or disgusted with "grunge and gangsta." This just shows how completely I tuned gangsta out. Much more back then that I missed, including everything by the Scarface and Bun B precursor groups (Geto Boys, UGK). I doubt I'll do a dive any time soon, but the old school beats struck a chord, and not much really offends me these days. Speaking of checklists, I compiled one based on two posts by Dan Weiss on "The Best 50 Rock Bands Right Now" (links therein). A couple of this week's records were sampled off this list, and there's still a dozen I haven't heard yet. I didn't watch the Tuesday debate, but my wife did, and stuck with it to the end. She thought Harris did fine. I overheard bits, and watched the recap on Colbert. I heard Harris say a few things I really disagree with, especially on foreign policy. Literally everything I heard Trump say was a lie, but he delivered them with relentless conviction, which seems to be all that way too many people need. Plenty of time to rehash that next week. New records reviewed this week: Dave Alvin & Jimmie Dale Gilmore: TexiCali (2024, Yep Roc): Country-folksingers from California and Texas, the former starting in the Blasters, the latter in the Flatlanders, both with long and distinguished solo careers, Gilmore with an especially remarkable voice. This starts off rather perfunctory, but gets better, and better still, with "We're Still Here" an applause line, anticipating an encore. A- [sp] Bacchae: Next Time (2024, Get Better): "Punk band from Washington, DC," Katie McD (vocals/keys), with guitar (Andrew Breiner), bass (Rena Hagins), drums (Eileen O'Grady), fourth album since 2024. B+(***) [sp] Rahsaan Barber & Everyday Magic: Six Words (2022 [2024], Jazz Music City): Saxophonist (alto, soprano, tenor), fourth album since 2011, leads a sextet with trumpet (Pharez Whitted), trombone (Roland Barber), piano, bass, and drums, through a nice set of original pieces. B+(**) [cd] Andrew Barker/William Parker/Jon Irabagon: Bakunawa (2022 [2024], Out of Your Head): Drummer, not a lot under his own name, but I remember a 2003 album with Matthew Shipp and Charles Waters fondly, also his work in Gold Sparkle Trio (also with Waters). Discogs gives him 65 credits since 1993. Of course, the bassist (also playing b flat pocket tuba and gralla here) has a great many more, and the saxophonist (tenor/sopranino) is up to 144 since 1998. Best part here is the gralla/sopranino clash. B+(***) [sp] Beabadoobee: This Is How Tomorrow Moves (2024, Dirty Hit): Filipino-born, Beatrice Kristi Ilejay Laus, grew up in London, pop singer-songwriter, third album, opened on top of UK charts, limited US breakout. Girly voice, has a soft touch that I find rather appealing, but don't quite trust, until she delivers some substance. A- [sp] Geoff Bradfield: Colossal Abundance (2023 [2024], Calligram): Tenor saxophonist, also plays bass clarinet and mbira, albums since 2003, this one mostly features an expansive 12-piece group with African percussion. B+(***) [cd] Patricia Brennan Septet: Breaking Stretch (2023 [2024], Pyroclastic): Vibraphonist, if memory serves was the Poll winner for her debut album, has since only grown more ambitious. Wrote compositions here, also plays marimba and electronics, but this is mostly a powerhouse group, with saxophonists Jon Irabagon and Mark Shim, trumpet (Adam O'Farrill), bass (Kim Cass), drums (Marcus Gilmore), and percussion (Mauricio Herrera). A- [cd] The Chisel: What a Fucking Nightmare (2024, Pure Noise): English punk band, second album. B+(*) [sp] Clairo: Charm (2024, Clairo): Singer-songwriter Claire Cottrill, born in Atlanta but grew up in Massachusetts, started with home recordings in her teens, with an EP at 15 and a full album just before she turned 20. Third album here, relaxed and engaging. B+(***) [sp] Greg Copeland: Empire State (2024, Franklin & Highland, EP): Folkie singer-songwriter from Los Angeles, three widely spaced albums (1982, 2008, 2020), the debut produced by Jackson Browne. This adds five more well-observed songs, 20:31. B+(**) [cd] Elbow: Audio Vertigo (2024, Polydor): Britpop band, debut 2001, won a Mercury Prize in 2009, 10th album, only the second I've bothered with. Not bad, but still not very interesting. B [sp] Fontaines D.C.: Romance (2024, XL): Irish post-punk band, from Dublin, fourth album since 2019, singer-songwriter Grian Chatten also has a solo album, sounds good. B+(**) [sp] Future Islands: People Who Aren't There Anymore (2024,4AD): American synthpop band, based in Baltimore, Samuel T Herring the singer-songwriter, seventh studio album since 2008, has a beat, a vibe, and some human interest. B+(*) [sp] Dylan Hicks & Small Screens: Modern Flora (2023 [2024], Soft Launch): Singer-songwriter (and novelist) from Minnesota, plays piano, called his first self-released cassette The New Dylan in 1990, has one album I've A-listed (2012's Sings Bolling Greene), a couple more that high in Christgau's estimation, though not quite in mine. I was surprised to receive this, but found it opens with a slow jazz instrumental, with horn section and cello, setting the mood before easing into a song. He sustains the jazzy vibe, reminding me of Donald Fagen, while interesting bits of songs sneak into your subconscious. A- [cd] Illuminati Hotties: Power (2024, Hopeless): Indie rock (or twee pop?) band led by Sarah Tudzin, third album. B+(**) [sp] Jon Irabagon: I Don't Hear Nothin\' but the Blues: Volume 3 Part 2: Exuberant Scars (2024, Irabbagast): Tenor saxophonist, fourth installment of a series that started in 2008 as a duo with Mike Pride (drums), added guitarist Mick Barr for Volume 2, and a second guitarist, Ava Mendoza, for Volume 3. Each album consists of one long improv piece, this one 45:52. B+(**) [bc] Jon Irabagon Trio + One: Dinner & Dancing (2023 [2024], Irrabagast): Tenor/sopranino saxophonist, also alto clarinet here, trio with Mark Helias (bass) and Barry Altschul (drums) described as "longstanding" (I didn't find any previous "Trio" album, but they shared credit for a 2013 album, and there's one with Altschul from 2010.) The "+ One" is pianist Uri Caine. B+(***) [bc] Tom Johnson Jazz Orchestra: Time Takes Odd Turns (2023 [2024], self-released): Not the minimalist composer, this one is a professor emeritus of psychology at Indiana State, has studied "effects of listening to sad music and personality styles of jazz musicians," first album, arranged for 20-piece big band plus some extras. B [sp] Allen Lowe & the Constant Sorrow Orchestra: Louis Armstrong's America Volume 1 (2023-24 [2024], ESP-Disk, 2CD): In Lowe's America, Armstrong never died but just entered some parallel dimension where he continued to evolve, along with Buddy Bolden, Jelly Roll Morton, Duke Ellington, Charlie Parker, Dave Schildkraut, Bo Diddley, Ornette Coleman, Lenny Bruce, Roswell Rudd, and hundreds of others. I've long thought of him primarily as a historian, but he plays alto sax, has been making records since 1990, and significantly picked up the pace c. 2011 (cf. the 3-CD Blues and the Empirical Truth), which seems to have been around the time he somehow figured out how to tap into this extra dimension, and claim copyright for all he found. My eyes aren't good enough to read the microprint on the CD packaging, but it's online, and entertaining with or without the music, which sounds like something altogether different. Bill James came up with a concept he called "similarity scores," which is relatively easy to calculate for baseball players, as so much of what they do can be quantified, whereas very little for musicians can. But intuitively, the jazz figure Lowe is most similar to is Henry Threadgill, as they both make music that is new yet steeped in everything that came before. A- [cd] Allen Lowe & the Constant Sorrow Orchestra: Louis Armstrong's America Volume 2 (2023-24 [2024], ESP-Disk, 2CD): Major personal peeve here is that something that was obviously intended as a single 4-CD work (the discs here are identified as "CD 3" and "CD 4," and the liner notes cited in the Volume 1 review cover them) has been split up into a pair of releases. I've spent a lot of energy the last couple years forcing poll voters to choose between related releases -- I thought the 2022 Mary Halvorson releases (Amaryllis, Belladonna) were distinct enough for an easy call, the Charles Lloyd "trilogy of trios" came out separately before they were eventually boxed, and the first two Ahmad Jamal Emerald City Nights were part of a series that lapsed into the next year -- but forcing people to split hairs between these two volumes will be tough. I'm not sure I can do it myself (although as I'm writing this, "CD 4" is sounding exceptional). One should mention somewhere here that the supporting cast, as noted on the front covers, includes "Marc Ribot, Andy Stein, Ursula Oppens, Lewis Porter, Loren Schoenberg, Aaron Johnson, & Ray Anderson," although there are others (not in the "liner notes" but in the fine cover print I can't read, which minimally includes Matthew Shipp, Ray Suhy, Elijah Shiffer, and Jeppe Zeeberg -- names I recognize as regulars and/or as more recent raves. A [cd] Shelby Lynne: Consequences of the Crown (2024, Monument): Country singer-songwriter, 16th studio album since 1989. Ended before I had anything to say, which is probably unfair, but noteworthy in itself. B [sp] Rose Mallett: Dreams Realized (2024, Carrie-On Productions): "Veteran jazz and soul singer," "living jazz legend," old enough for white hair, but nothing on her in Discogs, even for backup vocals at Motown, so this seems to be her debut album. Standards (counting BB King and Stevie Wonder), one original, striking voice, interesting arrangements. B+(***) [cd] Brian Marsella/Jon Irabagon: Blue Hour (2019-22 [2024], Irabbagast): Duo, piano/keyboards and saxes (mezzo soprano/tenor/sopranino). Interesting clashes, but can get a bit sketchy for too long. B+(*) [bc] Claire Rousay: Sentiment (2024, Thrill Jockey): Moved from Winnipeg to San Antonio, "is known for using field recordings to create musique concrète pieces," Discogs lists 26 albums since 2019, this by far the closest to a high profile label. B+(*) [sp] Bria Skonberg: What It Means (2023 [2024], Cellar Live): Canadian trumpet player, half-dozen albums since 2009, also sings (quite well), recorded this one in New Orleans, which provides musicians and inspiration -- the better part of the album. B+(**) [sp] This Is Lorelei: Box for Buddy, Box for Star (2022 [2024], Double Double Whammy): Solo album by Nate Amos, away from his group, Water From Your Eyes. B+(**) [sp] Recent reissues, compilations, and vault discoveries: Raymond Burke: The Southland Recordings 1958-1960 (1958-60 [2024], Jazzland): New Orleans clarinet player (1904-86, trad jazz, his earliest recordings are collected by American Music in 1937-1949. This picks up three sessions, most previously unreleased, later but probably little different. B+(*) [sp] Gastr Del Sol: We Have Dozens of Titles (1993-98 [2024], Drag City, 2CD): Chicago-based experimental rock group, principally David Grubbs and Jim O'Rourke, released four albums 1993-98, the dozen titles here (103 minutes) mostly previously unreleased live dates, although this includes a 17:12 EP where the group expands to ten. Vocals are rare, but some talk got picked up. The music itself leans toward avant-minimalism, but not just that. B+(**) [sp] Wayne Shorter: Celebration, Volume 1 (2014 [2024], Blue Note): First in a promised series of archival albums from the late saxophonist, a live set from the Stockholm Jazz Festival with a quartet of Danilo Perez (piano), John Patitucci (bass), and Brian Blade (drums) -- the same quartet that put Shorter back in business c. 2000 (cf. Footprints Live!). I've never been much of a Shorter fan, but this group gets him going, finally convincing me that there's something distinct to his soprano sax. A- [sp] Old music: Charles Bevel: Meet "Mississippi Charles" Bevel (1973, A&M): Google identifies him as an actor, multi-media artist, and lecturer, but Discogs credits him with two albums, this debut and one more from 2000. Easy as folk, light on the blues. B+(**) [yt] Bun B: Trill O.G. (2010, Rap-A-Lot): Houston rapper Bernard Freeman (b. 1973), started in UGK, went solo in 2005 with Trill, sold enough for RIAA Gold, kept "Trill" in all of his subsequent titles, of which this was his third. The next-to-last of The Source's 5-mic albums -- Kanye West's My Beautiful Dark Twisted Fantasy, also 2010, was the last -- starts out as another gangsta retread, but ends strong ("All a Dream" and "It's Been a Pleasure"). B+(**) [sp] Raymond Burke: Raymond Burke 1937-1949 (1937-49 [2014], American Music): Trad jazz clarinetist from New Orleans, the first batch (15 tracks from 1949) by Ray Burke's Speakeasy Boys, one track from 1937 with George Hartman's Band, others from 1942 with Vincent Cass and 1945 with Woodrow Russell. Sound is variable, but there is some real spirit here. B+(**) [sp] Lil' Kim: The Naked Truth (2005, Atlantic): Rapper Kimberly Jones, recorded four albums 1996-2005, selling 15 million, only one more album since. This was her fourth, "the only album by a female rapper to be rated five mics by The Source," runs 21 songs, 76:31, mostly filler, and not just the skits and guest shots. B [sp] Nas: Stillmatic (2001, Columbia): Rapper Nasir Jones, fifth album checks back on his 1994 debut Illmatic, justly famous, although I was warned off the stretch of albums that followed, including this one -- which, like the original, showed up recently on a checklist which added only a handful of post-2000 albums to its roster of 1990s classics. This remains haunted by gangsta myth, hooked by savvy samples. High point is "Rule," what "everyone wants." B+(***) [sp] Scarface: The Fix (2002, Def Jam South): Houston rapper Brad Jordan, joined the Geto Boys in 1989 and never really left, despite a string of solo albums from 1991 on, this his 7th. Cold-blooded gangsta rhymes, so relentless it's hard to stay offended, especially given the beats, which is what made the '90s rock. B+(**) [sp] Unpacking: Found in the mail last week:
|
