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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, September 17, 2024 Music Week
September archive (in progress). Music: Current count 42976 [42939] rated (+37), 23 [28] unrated (-5). Another week, another day delayed, as Speaking of Which ran into overtime. When I finally called time late last night, it had run to 290 links, 15664 words, which is the most words and 2nd most links since I twiddled with the software to automatically post counts at the end of the files. I'll probably fix some typos and add a few minor bits by the time I post this tonight, and they will be flagged as usual, but I don't expect to put much more work into it. What I am doing new this time is to go ahead and open a draft file before I finish Music Week. The downside is that the new one will appear ahead of Music Week in the blog roll, but the headline will be marked (draft) to indicates that I'm not done working on it. I'll drop that marking when I decide the piece is to be posted, and mark later additions and major edits with my red change bars, as I've been doing. I work in a local copy of the website, and update the public copy when I have something to post. But sometimes I have reason to update without having a new post. This new approach just saves me the trouble of hiding posts that are still in draft stage. I figure there's no harm in whatever glimpses readers may find. Regularly updated files, like the music lists, will also be more up-to-date, which means they will run ahead of Music Week. (This has always been the case, but it's less evident if I only update for blog posts.) Big haul of A-list records this week. Several came from Robert Christgau's latest Consumer Guide, which had an unusually large number of albums I hadn't heard and took kindly to -- and perhaps most importantly, spurred me to finally check out the Kate Nash record, which I wound up liking more than anyone else. Note that the three songs he picked out are the the least string-driven, including both of the ones that Thaae didn't claim co-credit on. I loved the string stuff from the start, then only latched onto this tryptich after several plays, although they did help push it from A- to A. I'll admit that it's possible that without the CG, I'd have left Smither and Wade at B+(***). Several albums I previously graded:
I haven't returned to any of them, but I did belatedly revisit Zach Bryan and bumped its grade from B+(***) to A-. Others I'll get to in due course. Amy Rigby was a previous Christgau B+, but I say it's at least as good as Smither and Wade. Much pre-CG speculation focused on Anderson, LL Cool J, MJ Lenderman, and Sabrina Carpenter -- the latter I already had at B+(***). Two more records overcame my anti-EP prejudices, basically by blowing them to smithereens. Only A-listed jazz album this week was a delightful surprise from the most down-home of the Marsalis clan, although there are other fine records in the B+(***) niche. I've been maintaining the EOY Jazz file, so I'm perhaps overly conscious of far above historic norms this year's A-list is (73 albums, which is a typical year-end figure, one that would extrapolate to a totally unprecedented 100+ number. (By the way, I've been finding a lot of mistakes in my bookkeeping lately, including three albums from last week that I failed to add to the EOY Jazz file. If you see something amiss, please let me know.) I have a rather uneasy relationship to Substack. I have a couple subscriptions I've been comped, and one more my wife pays for but where I'm still treated as a freeloader. I know of a half-dozen more ones by music writers that I regularly click on, but haven't subscribed to, and there are probably several times that many mostly political writers I'd enjoy reading when/if I could. But the first new one I immediately subscribed to is one launched by the terrific jazz critic Tim Niland. Here's his first batch of Music Capsules. By the way, his 822-page book of "selected blog posts 2003-2015" is still available. The next few weeks for me are going to be, well, complicated. I doubt I'll be writing much, and may completely blow the usual schedules. Nothing dire. Just lots of distractions and other things to do. New records reviewed this week: Gino Amato: Latin Crsossroads (2024, Ovation): Pianist, Discogs gives him one credit (arranger), leads many musicians (including strings) and singers through a set of Latin-tinged standards from "Blackbird" to "Green Flower Street" via Monk and "Aranjuez." B+(*) [cd] Laurie Anderson: Amelia (2024, Nonesuch): Spoken word artist, started with Big Science in 1982, the first of several remarkable albums, back here with the story of pioneering aviator Amelia Earhart on her ill-fated attempt to fly around the world in 1937. A- [sp] Eric Bibb: Live at the Scala Theatre Stockholm (2024, Repute): Easy-going blues singer-songwriter, originally from New York, first album 1972, lives in Stockholm, evidently for some time, so the choice of venue isn't so strange. B+(**) [sp] Peter Case: Doctor Moan (2023, Sunset Blvd.): Singer-songwriter, from Buffalo, debut 1986, I thought his 1993 album Sings Like Hell was pretty good, but the dozen or so since, until this one showed up on a blues list. Plays piano, and sings, like hell, but not the same way. B [sp] Dawn Clement/Steve Kovalcheck/Jon Hamar: Trio (2021 [2024], self-released): Piano-bass-guitar trio. I have Clement listed as a singer, but she doesn't here. B+(*) [cd] Coco & Clair Clair: Girl (2024, Nice Girl World): Atlanta duo of Taylor Nave and Claire Toothill, third album since 2017, synthpop with some rap, most sung, short (9 tracks, 24:03) but nearly every song tantalizes, confirming the line "my girl and I just made a hit." A- [sp] Buck Curran: One Evening and Other Folks Songs (2021-22 [2024], Obsolete/ESP-Disk): Singer-songwriter, plays guitar, several albums since 2016, first I've heard, based on title I filed this under folk (hype sheet confirms: "freak folk") but it doesn't really belong anywhere: a second vocalist, sometimes the lead, Adele Pappalardo, complicates the "singer" part, and keyboardist Jodi Pedrali spreads out the music, with ambient instrumentals in the mix. The alternate "Black Is the Color" has some prog appeal. B+(*) [cd] Zaccai Curtis: Cubop Lives! (2024, Truth Revolution Recording Collective): Pianist, studied in Boston, based in New York, brother Luques Curtis is a notable bass player (present here, along with three percussionists). B+(**) [bc] The Vinny Golia Quintet 2024: Almasty (2024, Nine Winds): Saxophonist, all weight plus many clarinets, very prolific since his debut album 1977 -- most on his own poorly promoted label, so my own exposure has been limited. Free jazz quintet here with Kris Tiner (trumpet/flugelhorn), Catherine Pineda (piano), Miller Wrenn (bass), and Clint Dodson (drums). B+(**) [bc] Hot Club of San Francisco: Original Gadjo (2024, Hot Club): Gypsy jazz group, or a fair facsimile of one, inspired by Django Reinhardt and Stéphane Grappelli's Hot Club de Paris, on their 15th album since 1993. B+(**) [cd] Ill Considered: Infrared (2024, New Soil): British jazz group, active since 2017, improvises freely over deep world grooves. This seems a big darker than usual, though not without some moments. B+(**) [sp] Ive: Ive Switch (2024, Starship Entertainment, EP): Korean girl group, six women, two listed as rappers, first single 2021, has a 2023 album, second EP (if I'm parsing this correctly), six songs, 18:13. They all sound like hits. A- [sp] Julie: My Anti-Aircraft Friend (2024, Atlantic): Shoegaze band from Los Angeles, first album after an EP and several singles. Fills a niche. B+(*) [sp] MJ Lenderman: Manning Fireworks (2024, Anti-): Guitarist, singer-songwriter from Asheville, North Carolina, is the great-grandson of saxophonist Charlie Ventura, has a couple solo albums and a band gig in Wednesday, which had a much-admired album in 2023. This one's also gotten a lot of hype. Seems lean at first, but fleshes out midway, mostly because the guitar gets denser, until eventually it's all that remains. (PS: When I added this to my EOY file, I found it on the line next to Adrianne Lenker's even more hyped Bright Future. Both are "good" albums hold little that I find interesting and/or pleasurable.) B+(***) [sp] LL Cool J: The FORCE (2024, Def Jam): Rapper James Smith, first album (1985) went platinum, second album doubled that, third (Mama Said Knock You Out) probably his peak, got into acting early, landing a long-running role in NCIS in 2009, as the albums thinned out: just one in 2013, now this one. Title an acronym for "Frequencies of Real Creative Energy." Produced by Q-Tip, who really keeps it moving. A- [sp] Delfeayo Marsalis Uptown Jazz Orchestra: Crescent City Jewels (2023-24 [2024], Troubadour Jass): The famous family's trombonist stays closest to home, especially in spirit, with a big band (and then some). "Ooh Poo Pah Doo" (Kermit Ruffins vocal) never needed this kind of firepower, but it's wonderful to behold. Only "Lil Liza Jane" returns to that vein, but the more generic standards are often delightful -- notably what may be the best "'Round Midnight" (Tonya Boyd-Cannon vocal) I've heard. A- [cd] Chad McCullough: In These Hills, Beyond (2023 [2024], Calligram): Trumpet player, started in Seattle, recording for Origin from 2008, until he moved to Chicago, started a new label, and seems to have fallen in with a new group of musicians who are pushing him much further out on the postbop spectrum: Bram Weijters (piano/keyboard), Dave Miller (guitar), John Christensen (bass), Kobie Watkins (drums). B+(***) [cd] Kate Nash: 9 Sad Symphonies (2024, Kill Rock Stars): British pop singer-songwriter, fifth album since 2007, all great, but I was slow getting to this, partly because I was warned off, and partly because it's been a while. Turns out there are ten songs (not 9), averaging a very unsymphonic 3:51 (total 38:30). I don't process sung words fast enough to rule on their sadness, but there's nothing mopey here: her phrasing is sharp and crisp, and most of the music is very sprightly. True that it's dominated by strings with pizzicato fillips, but only one violinist is credited. Nearly everything else comes from producer Frederik Thaae, whose credit reads: "keyboards, orchestra direction, percussion, programming (all tracks); background vocals (track 4), guitar (5, 10)." The effect is more Pet Shop Boys than Beethoven or Wagner. The delirious swirl of synth strings parts for the two songs that Thaae didn't co-write, but they too are remarkable. I don't keep a singles list, but if I did, "Millions of Heartbeats" would be near the top. Also "Vampyre" and "My Bile," and possibly "Ray" and "Misery." And maybe more. A [sp] Amy Rigby: Hang in There With Me (2024, Tapete): Singer-songwriter, started in the 1990s in a group called the Shams, went solo, released a series of brilliant albums, including duos with pub rock veteran Wreckless Eric (who produced here), although they've been spread out since 2005's Little Fugitive. I'm glad to have this one. A- [sp] Jeff Rupert: It Gets Better (2021 [2024], Rupe Media): Tenor saxophonist, teaches at University of Central Florida, recorded with Sam Rivers in the 1990s, has an album from 2009, several more since, including a joust with George Garzone. He sounds pretty mainstream here, but what else would you do with a dream rhythm section of Kenny Barron (piano), Peter Washington (bass), and Joe Farnsworth (drums)? B+(***) [cd] Otis Sandsjö: Y-Otis Tre (2021-23 [2024], We Jazz): Swedish saxophonist (mostly tenor, but also baritone, clarinet, flute, keyboards, drums), based in Berlin, two previous Y-Otis albums since 2018, here with Petter Eldh (bass, electronics) and Dan Nicholls (drums, keyboards). B [sp] Claudio Scolari Project: Intermission (2023 [2024], Principal): Italian drummer, debut 2004, also plays (or programs) synth here, leading a quartet with trumpet (Simone Scolari), electric bass (Michele Cavalca), and a second drummer (Daniele Cavalca, also into synths and keyboards). B+(***) [cd] Kenny Wayne Shepherd Band: Dirt on My Diamonds: Volume 1 (2023, Provogue): Blues-rock guitarist-singer, debut album 1995, this is his 11th. B [sp] Nala Sinephro: Endlessness (2024, Warp): Born in Belgium, father a saxophonist from Martinique/Guadeloupe, plays pedal harp, modular synthesizer, keyboards, and piano, second album seems viewed as jazz, whereas I filed her first one under electronica, the shift reflecting new prominence of saxophone (mostly Nubya Garcia, also James Mollison). B+(***) [sp] Chris Smither: All About the Bones (2024, Signature Sounds): Folk singer-songwriter, released two albums 1970-71, one in 1984, then every couple years from 1991 on. I've heard most of them, and enjoyed many, but never got excited about him. Not about this one either, but it's going down so easy and pleasantly that I'm pretty satisfied. A- [sp] Superposition: II (2024, We Jazz): Finnish jazz group, second album, names: Linda Fredriksson (alto/bari sax), Adele Sauros (soprano/tenor sax), Mikael Saastamoinen (bass), Olavi Louhivuori (drums), all with separate song credits. B+(**) [sp] Verraco: Breathe . . . Godspeed (2024, Timedance, EP): Colombian DJ/producer, has one album (2020) and a half-dozen EPs, this one 4 tracks, 21:14. Nice one. B+(***) [sp] Morgan Wade: Obsessed (2024, Ladylike/RCA Nashville): Country singer-songwriter, fourth album since 2018, last couple albums have been most impressive. This one sounds fine, but the preponderance of slow ones lulled me into apathy -- until I realized how many different songs caught my attention on one spin or another. A- [sp] Gillian Welch/David Rawlings: Woodland (2024, Acony): Folk singer-songwriters, Welch grew up in a show biz family in New York before parting for Nashville in 1992, with a striking debut album in 1996. Rawlings played guitar on that album, and their partnership grew from there, with releasing albums under his name from 2009, and under both names in 2020. B+(***) [sp] Recent reissues, compilations, and vault discoveries: Alan Tomlinson Trio: Loft 1993 (1993 [2024], Scatter Archive): British trombonist (1947-2023), had an album in 1981, mostly played with Barry Guy (LJCO) and Peter Brötzmann, trio here with Dave Tucker (guitar) and Roger Turner (drums). B+(**) [bc] Unholy Modal Rounders: Unholier Than Thou 7/7/77 (1977 [2024], Don Giovanni, 2CD): Village folkies Peter Stampfel and Steve Weber started recording old folk songs as Holy Modal Rounders in 1964, releasing two albums on Fantasy that are now beloved classics. Weber played guitar and straight man, while Stampfel's antic vocals were even scratcher than his fiddle, and they just got weirder, even altering their name in 1976 when they joined with Michael Hurley and Jeffrey Fredericks for one of the greatest albums ever, Have Moicy!. This live date picks up some songs from there, plus a nice mix of older tunes, some trad, plus covers given their unique spin -- "Goldfinger" I've heard before, but "I Must Be Dreaming" (the Coasters or Robins, not Neil Sedaka) is even better. A [sp] Old music: Ahmad Jamal: Ahmad's Blues (1958 [1994], Chess): Pianist (1930-2023), born Frederick Russell Jones in Pittsburgh, changed his name on his conversion to Islam in 1950, recordings start with Okeh in 1951, his January 1958 trio At the Pershing: But Not for Me was widely regarded as a breakthrough. Same trio here -- Israel Crosby (bass) and Vernell Fournier (drums) -- at the Spotlite Club in DC, in September. B+(***) [sp] Unpacking: Found in the mail last week:
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