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Music Week [580 - 589]

Monday, November 17, 2014

Music Week

Music: Current count 24030 [23996] rated (+34), 527 [531] unrated (-4).

Rated count topped 24,000 this week. It passed 23,000 the week of March 24, 2014, a bit less than eight months ago. That probably means June-July, 2015 for 25,000, although I wouldn't be surprised if I started to slow down. New records are down at least a hundred this year.

Francis Davis has arranged with NPR to keep his Jazz Critics Poll going for another year. Ballots have been sent out, and I have one. Even though I've listened to close to 500 new jazz albums this year, I have virtually no idea who the leading candidates are this year, let alone who will win. I barely even have a sense of who I might vote for, and that's after I went to the trouble to split out my 2014-in-progress file into two more presentable year-end lists: one for Jazz and another for Non-Jazz. Each picks up (at least initially) the text and cover scan from Rhapsody Streamnotes. As I was doing this, the first thing that occurred to me was my haphazard insertions into the list throughout the year are far from adding up to a sort. Before I declare anything even tentatively official -- the Jazz Critics Poll deadline is December 7 -- I expect to do a lot of resorting.

I still need to do quite a bit of work on the files. I'll probably reorganize them to reflect Davis' revised rules on reissue/historical. (I've moved a couple records over, but not all of them.) I also need to go back and dig up December (or post-Thanksgiving) 2013 releases, since they weren't available early enough for last year's premature ballots). Then there is the "prospect" list in the notes: technically, any record I'm aware of existing that I think might have a 2% (or greater) chance of panning out into an A-list release. This involves looking at the prospect file and various other resources.

Much more unpacking than usual this week, but nothing I'm especially looking forward to. (It occurs to me that David Friesen must be one of the best-regarded jazz musicians I've never listened to an album by, and now I got a double. Only four more names strike me as familiar, and they're not all that memorable.)

By the way, the Fred McDowell album popped up as a new digital dump, but I cited the older CD. I found the Ross Johnson set when I was looking for something newer (though probably still old) by him, and got curious.

The draft file for Rhapsody Streamnotes has about 80 records in it now. I expect I'll post it later this week, then probably do two in December as the 2014 year-end lists appear. (I will say that the two leading candidates there are St. Vincent and War on Drugs, and while neither made my A-list, neither is totally undeserving either.)

New records rated this week:

Omer Avital: New Song (2014, Motéma): bassist's generic Middle Eastern grooves plus horns (Avishai Cohen, Joel Frahm), as if that's all it takes [r]: B+(*)
Azealia Banks: Broke With Expensive Taste (2014, Prospect Park): young rapper lives fast, offers her take on her corner of the human condition [r]: B+(***)
Batida: Dois (2014, Soundway): Angolan-Portuguese DJ project, with post-African beats, electronica blips, international hip-hop raps and samples [r]: B+(**)
Freddy Cole: Singing the Blues (2014, High Note): not really a blues guy but he knows from "sad young men," and saxophonist Harry Allen helps [cd]: B+(**)
Chick Corea Trio: Trilogy (2010-12 [2014], Concord, 3CD): 3 discs of piano trio from 3 years of touring, a fine pianist when his head's not fused or lost [r]: B+(***)
Tara Davidson: Duets (2014, Addo): alto/soprano saxophonist cycles through various duet partners -- piano, guitar, bass, other saxophonits [cd]: B+(**)
Ex Cops: Daggers (2014, Downtown): feigned punk, but Amalie Bruun offers more pop aura than expected [r]: B+(*)
Marianne Faithfull: Give My Love to London (2014, Easy Sound): recruits an odd assortment of songwriters, but none measure up to Hoagy Carmichael [r]: B+(*)
Ananda Gari: T-Duality (2013 [2014], Auand): Italian drummer gets his name of a merely average Tim Berne-Rez Abbasi-Michael Formanek album [r]: B+(**)
Darius Jones: The Oversoul Manual (2014, AUM Fidelity): puts down his sax to conduct a quartet of operatic female voices through some bs mythology [r]: B-
Thomas Marriott: Urban Folklore (2013 [2014], Origin): Seattle trumpet player moving up in the world -- at least getting a world-class rhythm section [cd]: B+(*)
Tony Monaco: Furry Slippers (2014, Summit): Hammond B-3 groove merchant adds guitarist Fareed Haque, but settles for ballads in the end [cd]: B
Parquet Courts: Parkay Quarts: Content Nausea (2014, What's Your Rupture?): another throwaway EP, but their post-Velvets drone isn't wasted on shlock; it thrives there [r]: A-
Rex Richardson & Steve Wilson: Blue Shift (2014, Summit): saxophonist as solid as ever, but Richardson's trumpet should turn some ears [cd]: B+(***)
Ryan Shultz Quintet: Hair Dryers (2013 [2014], Origin): bass trumpet adds a note of gravity (and distinction) to a fusion-inclined group [cd]: B+(*)
Tyshawn Sorey: Alloy (2014, Pi): drummer-led piano trio with Corey Smythe and Christopher Tordini, mostly ambles aleatorically [cd]: B+(***)
Lyn Stanley: Potions: From the 50's (2014, A.T. Music): from the 1950s, including "Love Potion #9" but tending toward pre-rock, somehow missing ole black magic [cd]: B+(**)
Aki Takase/Alexander von Schlippenbach: So Long, Eric!: Homage to Eric Dolphy (2014, Intakt): German avant big band, led by two pianists, recalls nine Dolphy tunes [r]: B+(***)
T.I.: Paperwork (2014, Grand Hustle): enough with the gangsta shit, especially when all it takes to sell out is to hire Pharrell for some wack hooks [r]: B+(**)
Marlene VerPlanck: I Give Up, I'm in Love (2014, Audiophile): octogenarian songbird sings standards, both big band and small swing impeccable [cd]: A-
Jason Yeager Trio: Affirmation (2014, Inner Circle Music): piano trio helped by guests -- Noah Preminger looms large, but the singer is stuck with "Julia" [cd]: B
Peter Zak Trio: The Disciple (2013 [2014], Steeplechase): smart pianist, covers the greats (Monk & Silver are the standouts), writes originals that fit [cd]: B+(***)

Recent reissues, compilations, and vault discoveries rated this week:

Hailu Mergia and the Walias: Tche Belew (1977 [2014], Awesome Tapes From Africa): Ethiopian keyboardist spins enchanting, slightly cocktail-ish grooves, charming [r]: A-

Old records rated this week:

Ross Johnson: Make It Stop: The Most of Ross Johnson (1979-2006 [2008], Goner): Alex Chilton sideman's collected jokes, pranks, rockabilly primitivism [r]: B+(***)
Fred McDowell: Amazing Grace (1966 [1994], Shout!/Testament): blues primitive goes to church, finds Hunter's Chapel Singers, puts his guitar at their service [r]: A-

Grade changes:

Jerry Lee Lewis: The Knox Phillips Sessions: The Unreleased Recordings (1970s, Time-Life): [was B+(**)] A-

Unpacking: Found in the mail last week:

Malonie Carre: Forever (self-released)
Ron Di Salvio: Songs for Jazz Legends (Blujazz)
David Friesen Circle 3 Trio: Where the Light Fails (Origin, 2CD): November 17
Polly Gibbons: Many Faces of Love (Resonance, CD+DVD): February 3
Danny Green Trio: After the Calm (OA2): November 17
Maggie Herron: Good Thing (self-released)
Anthony Jefferson: But Beautiful (self-released)
Paul Jones: Short History (Blujazz)
Collette Michaan: Incarnate/Encarna (self-released): December 2
Jim Norton Collective: Time Remembered: Compositions of Bill Evans (Origin): November 17
Old Style Sextet (Blujazz)
Rich Pellegrin Quintet: Episodes IV-VI (OA2): November 17
Sonya Perkins: Dream a Little Dream (self-released)
Diane Roblin: Reconnect (self-released)
Joanne Tatham: Out of My Dreams (Cafe Pacific): December 2
Piet Verbist/Zygomatik: Cattitude (Origin): November 17

Ask a question, or send a comment.

Monday, November 10, 2014

Music Week

Music: Current count 23996 [23966] rated (+30), 531 [540] unrated (-9).

Thought the odds I might cross the 24000 rated level this week were pretty good, but despite a fairly productive week I fell a bit short. Next week for sure. Probably not tonight. Most likely tomorrow. Just a number, and in some ways a rather low one. I recall talking to John Rockwell back in the 1970s when he had twenty-some thousand LPs in his collection. If he only had the pedestrian habit of keeping lists and jotting down grades, he could have well over 100,000 by now. I only started doing this as an aide de memoire in the 1990s, when I had about 3000 LPs and less than a thousand CDs. However, as so often happens when you start to measure something, it takes on a life of its own. I doubt Cap Anson had any clue that he had 3000 hits, nor that Sam Crawford realized he retired just short (2961). Al Kaline was conscious enough of his stats that he hung on to get 3007 hits, but I remember him saying that had he realized that 400 home runs would have put him into one of those exclusive clubs, he would have hit more. (He wound up with 399.)

Didn't get any new records this past week -- the three listed below came today, and two of those have 2015 release dates. I've had to open 2015 files, not that there is anything interesting in them yet. The 2014 metafile is currently up to 2615 records (807 rated or owned). I worked a little on it last week, mostly trying to fill in some missing jazz records -- that led me to Smoke Sessions, a generally good mainstream label (if that's your bag).

The Jinx Lennon records are on Bandcamp. Liam Smith is a fan, and he turned Robert Christgau onto them, resulting in last week's Expert Witness. I (more or less) agree, although I'll add that I didn't find Lennon's outrage either comforting or cathartic. I just find so much of what's happening today to be sad and pathetic -- not least because it wouldn't take much intelligence, sensitivity, and good will to come up with very different outcomes.

I didn't tweet about the Jinx Lennon albums, mostly because my own longer write-ups aren't very coherent. Ideally, I'd take another run at the writing (if not the albums) before Rhapsody Streamnotes posts (probably next week rather than this, although I currently have 56 reviews in the draft file).

New records rated this week:

Greg Abate Quartet: Motif (2014, Whaling City Sound): alto saxophonist with mainstream quartet leaning bebop, plays fast, brilliant sound, jumps right out [cd]: A-
Allison Au Quartet: The Sky Was Pale Blue, Then Grey (2012 [2014], self-released): Toronto group, alto sax-piano-bass-drums, moody postbop with spoken word [cd]: B+(**)
Otis Brown III: The Thought of You (2014, Blue Note): drummer, would like to break out if not cross over, but gets comflicting advice/help [r]: B
Kevin Conlon/The Groove Rebellion: In Transit (2014, Blujazz): bassist-crooner, the guitar-bass-drums groove more swing than funk, nice sax too [cd]: B+(*)
Farmers by Nature: Love and Ghosts (2011 [2014], AUM Fidelity, 2CD): piano trio -- Gerald Cleaver, William Parker, Craig Taborn -- my how Taborn has grown! [r]: A-
Jean Luc Fillon: Oboman Plays Cole Porter: Begin the Night . . . (2013 [2014], Soupir Editions): along with Pianoman and Violaman, a nice little chamber jazz trio, actually too nice [cd]: B
Brad Goode Quartet: Montezuma (2013 [2014], Origin): trumpet quartet, elegant, spacious with knots of tension, poised for the trumpet to break through [cd]: B+(**)
Vincent Herring: Uptown Shuffle (2014, Smoke Sessions): alto saxophonist, leading a very mainstream quartet (Chestnut, Farnsworth), runs a little hot [r]: B+(**)
Eric Hofbauer Quintet: Prehistoric Jazz Volume 1: The Rite of Spring (2014, Creative Nation Music): Stravinsky for jazz quintet, the classical lurch modern and campy, the guitar sweet [cd]: B+(***)
Eric Hofbauer Quintet: Prehistoric Jazz Volume 2: Quintet for the End of Time (2014, Creative Nation Music): Messiaen for jazz quintet, focus cello but interesting when chaos breaks [cd]: B+(**)
Will Holshouser/Matt Munister/Marcus Rojas: Introducing Musette Explosion (2014, Aviary): accordion-guitar-tuba for folkish, semipop jazz [cd]: B+(**)
Javon Jackson: Expression (2014, Smoke Sessions): tenor saxophonist goes back to basics with a straightforward quartet, notably Orrin Evans on piano [r]: B+(*)
Jonathan Kreisberg: Wave Upon Wave (2014, New for Now Music): guitar jazz that doesn't break out of the Montgomery mode, always a comfort zone [cd]: B+(*)
Harold Mabern: Right on Time (2014, Smoke Sessions): veteran postbop pianist, never quite lost his Memphis roots, plays a trio with Webber/Farnsworth [r]: B+(*)
Michael Mantler: The Jazz Composer's Orchestra Update (2013 [2014], ECM): scores from JCOA's 1960s heyday, but outsourced to cost-effective pros [dl]: B
Delfeayo Marsalis: The Last Southern Gentlemen (2014, Troubadour Jass): trombonist leads piano-bass-drums through genteel, sombre, charming standards [cd]: B+(***)
Ross Martin/Max Johnson/Jeff Davis: Big Eyed Rabbit (2014, Not Two): guitar-bass-drums, didn't know the guitarist, and still don't [r]: B
Bette Midler: It's the Girls! (2014, East/West): girl group repertoire, great songs done respectably, but didn't she used to be a bit subversive? [r]: B
Miho Nobuzane: Simple Words: Jazz Loves Brazil (2014, self-released): Japanese pianist, picks up a Brazilian band in Brooklyn, get the vibe right [cd]: B+(*)
O'Death: Out of Hands We Go (2014, Northern Spy): Brooklyn alt-rock band with a bit of Irish, mostly filtered through folkies like Dock Boggs [r]: B+(***)
Clarence Penn & Penn Station: Monk: The Lost Files (2012 [2014], Origin): drummer-led sax quartet, ten Monk tunes, one never tires of hearing them [cd]: B+(*)
Doug Seegers: Going Down to the River (2014, Rounder): honky tonker, fell through cracks of Nashville, discovered by a Swedish tourist [r]: A-
The Spin Quartet: In Circles (2013 [2014], Origin): postbop, trumpet-tenor sax-bass-drums, all names you don't know with own albums but stronger together [cd]: B+(**)
Vince Staples: Hell Can Wait (2014, Def Jam, EP): west coast rapper with some mixtapes, got a label now but only a seven-song, 23:30 EP budget [r]: B+(*)
Touch and Go Sextet: Live at the Novara Jazz Festival (2012 [2014], Nine Winds): Lisa Mezzacappa (bass) and Vijay Anderson (drums) stir up four horn leads [cd]: B+(***)
Ernie Watts Quartet: A Simple Truth (2013 [2014], Flying Dolphin): tenor saxophonist, always recognizable, and still able to sprint through "Bebop" [r]: B+(**)

Old records rated this week:

Jinx Lennon: Live at the Spirit Store (2000, Septic Tiger): [bc]: B+(*)
Jinx Lennon: 30 Beacons of Light for a Land Full of Spite, Thugs, Drug Slugs and Energy Vampires (2002, Septic Tiger): [bc]: B+(**)
Jinx Lennon: Know Your Station Gouger Nation!!! (2006, Septic Tiger): [bc]: A-
Jinx Lennon: Trauma Themes Idiot Times (2009, Septic Tiger): [r]: A-
Jinx Lennon: National Cancer Strategy (2010, Septic Tiger): [bc]: B+(***)
Bette Midler: Live at Last (1977, Atlantic): [r]: B+(*)

Unpacking: Found in the mail last week:

Ballister: Worse for the Wear (Aerophonic): January 6
Michel Lambert: Journal des Épisodes II (Jazz From Rant): November 18
Nate Wooley/Dave Rempis/Pascal Niggenkemper/Chris Corsano: From Wolves to Whales (Aerophonic): January 6

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Monday, November 3, 2014

Music Week

Music: Current count 23966 [23933] rated (+33), 540 [543] unrated (-3).

Week didn't start until Wednesday, when I posted last Music Week, so the rate count rate was exceptionally high -- 30 is a very solid 7-day week, ridiculous for a 5-day week. Played a lot of new stuff on Rhapsody, including a couple records I had acquainted myself with on the road. While the top-rated records all got multiple spins, I didn't dawdle on the clear misses (other than Dan Weiss favorite Ex Hex).

I've especially been missing the recommendations of Jason Gubbels, so was glad to see his Third Quarter 2014 Wrap-Up -- really just a cribsheet. He tabs five records as "pretty great": Run the Jewels, Angaleena Presley, Leonard Cohen, Spider Bags, and Aphex Twin. I had three of those, but "ran the jewels" way too fast a week back to get any real feel for the record, not that I didn't like what I heard [**]. I gave Spider Bags another play: I probably have it too low [*], but not so much so that I felt compelled to regrade it. I only know about half of the "pretty goods" (including Elio Villafranca and Changari below), but only have Orlando Julius' Jaiyede Afro at A-. No major disagreements below that, although the "pretty meh" Bill Frisell was well received by my friends on the Cape (I wound up at [***]), and I dislike Jason Moran's All Rise more than my grade [*] suggests.

Thought I noticed a blip in B+(**) grades this week, so I went to the year-in-progress file to check. I assumed B+ grades would be evenly distributed, but there is a small bell curve in the middle: 168-185-162. Actually, that bump was much more pronounced last year: 222-318-262. And now that I think about it last year's distribution makes more sense: there should be fewer higher-rated records than lower, but my actual lower-rated counts are progressively attenuated as we get ever deeper into records I don't consider prospects. Consider this sequence, comparing this year's count-per-grade to last year's: [A-] 68.7%, [***] 75.6%, [**] 58.1%, [*] 61.8%, [B] 52.9%, [B-] 76.9%. The way I read this, I'm listening to less crap this year -- probably because I don't have the metacritic file to make me conscious of lousy records other people like.

By the way, adding up all these numbers shows I only have 64.2% as many records in the 2014 (738) file as in 2013 (1149 and still growing until I freeze it end of December). It seems unlikely I'll ever make that deficit up (although 1000 is probably a 50-50 proposition).

Get out and vote tomorrow. It's the only day of the year when you get to act like you live in a democracy, even though your choices aren't likely to amount to much and the powers-that-be have done all they could to rig the results. Also the day you can blame your fellow citizens for their foolish choices, as opposed to every other day when the problem is more likely to be the corruption of the system.

New records rated this week:

Allo Darlin': We Came From the Same Place (2014, Slumberland): I don't follow lyrics well enough to be sure these are as deep as they might be [r]: A-
Tony Bennett & Lady Gaga: Cheek to Cheek (2014, Interscope): Italian-Americans bonding over their roots: great songs with shlocky arrangements [r]: B+(*)
Maggie Björklund: Shaken (2014, Bloodshot): singer-songwriter from Denmark to LA, given to open spaces and melancholy with steel guitar shimmer [r]: B
Chingari [Ranjit Barot/U Shrinivas/Etienne Mbappé]: Bombay Makossa (2014, Abstract Logix): two Indians (mandolin, drums) and a bassist from Cameroon fusion with fusion jazz then sing about it [r]: B+(*)
Gary Clark, Jr.: Live (2014, Warner Brothers, 2CD): major Texas blues hopeful returns to his strong suit after that awful debut LP, then stretches too long [r]: B+(*)
Chris Dundas: Oslo Odyssey (2014, BLM, 2CD): LA pianist goes to Norway, picks up a band with a saxophonist suited to his pace, a bass great too [cd]: B+(***)
Brian Eno/Karl Hyde: High Life (2014, Warp): rough-edged guitar replaces synth for the riffwork, like Fripp minus the Frippertronics [r]: A-
Ex Hex: Rips (2014, Merge): Mary Timony leads a tight pop-punk trio, no vocal presence, second hand riffs, but they're close to irresistible [r]: B+(***)
Flying Lotus: You're Dead (2014, Warp): and you've gone to hell with a soundtrack that taunts you with talent then slams the door, repeatedly [r]: B+(**)
Fumaça Preta: Fumaça Preta (2014, Soundway): Dutch band led by Portuguese-Venezuelan drummer is rooted in garage rock but sports exotic psychedelia and more [r]: A-
Benjamin Herman: Trouble (2013 [2014], Dox): polishing up standards, stretched and strained by Daniel von Piekartz's sentimental piano and vocals [r]: B+(*)
EG Kight: A New Day (2014, Blue South): blueswoman from Georgia via Chicago stays close to classic form, which keeps her consistent [r]: B+(**)
Jerry Lee Lewis: Rock & Roll Time (2014, Vanguard): at 79 has turned full circle back to Memphis; appreciates the guest help but doesn't need it [r]: B+(**)
Logic: Under Pressure (2014, Def Jam): young rapper makes debut after four mixtapes, avoids guests, does a fair job justifying his name [r]: B+(**)
Jemeel Moondoc/Connie Crothers: Two (2012, Relative Pitch): alto sax-piano duets, free but far from rough partly because they don't aim for speed [r]: B+(*)
The New Pornographers: Brill Bruisers (2014, Matador): much viable talent, many pop hooks, often a bit bruised which isn't the problem; caring is [r]: B+(*)
Karen O: Crush Songs (2006-10 [2014], Cult, EP): Yeah Yeah Yeahs singer goes lo-fi (more like demo quality and EP-length), crude but not without interest [r]: B+(*)
Tineke Postma/Greg Osby: Sonic Halo (2013 [2014], Challenge): two alto saxes play like one (only better), spur Matt Mitchell to try to steal the show [r]: B+(***)
Bobby Previte: Terminals (2014, Cantaloupe): five pieces match SO Percussion with a guest; Greg Osby brings jazz, Nels Cline something beyond [r]: B+(*)
Sylvain Rifflet & Jon Irabagon: Perpetual Motion: A Celebration of Moondog (2013 [2014], Jazz Village): saxophonists toast Moondog, but they also drag a choir in, so texts matter? [r]: B+(*)
Pat Senatore Trio: Ascensione (2008-12 [2014], Fresh Sound): Josh Nelson plays piano in bassist-led trio, loves the lush harmonies until they're squishy [cd]: B+(**)
Elio Villafranca and His Jazz Syncopators: Caribbean Tinge: Live From Dizzy's Club Coca-Cola (2011-12 [2014], Motéme): Cuban pianist does two shows uptown, toning down that tinge [r]: B+(*)
Ezra Weiss Sextet: Before You Know It: Live in Portland (2013 [2014], Roark): live in home town Portland, the gritty horns warm up the joint, a gorgeous ballad closes [cd]: A-
Luke Winslow-King: Everlasting Arms (2014, Bloodshot): overeducated eclectic singer-songwriter can't quite figure out what to do in New Orleans [r]: B
Yelle: Complètement Fou (2014, Kemosabe): French electronica leaning toward dance-pop, not crazy at all let alone crazy enough [r]: B+(**)

Recent reissues, compilations, and vault discoveries rated this week:

Jerry Lee Lewis: The Knox Phillips Sessions: The Unreleased Recordings (1970s [2014], Time-Life): at 44(?) he drowns his mid-life crisis, threatening to kick your ass but doesn't [r]: B+(**)

Unpacking: Found in the mail last week:

Paul Dietrich Quintet: We Always Get There (Blujazz)
Aaron Goldberg: The Now (Sunnyside)
Tony Monaco: Furry Slippers (Summit)

Ask a question, or send a comment.

Wednesday, October 29, 2014

Music Week

Music: Current count 23933 [23893] rated (+40), 543 [526] unrated (+17).

Back from three weeks on the road. I did manage to file a few blog posts with link comments, but there wasn't much I could do with Music Week, or indeed much to do until I got back. The incoming mail jumped up a level while I was gone. I didn't take any new CDs with me. I did take a Chromebook and listen to Rhapsody and jotted down a few record reviews, but I didn't have a lot of time for that. (I got flak for playing Wadada Leo Smith, so wound up switching to Oscar Peterson, but I wasn't able to sort out the songbooks until I got home.)

I also fell out of the habit of writing tweet-length review lines, and it doesn't seem like it would either be fun or all that useful to try to catch up at this point. I'm due to post a Rhapsody Streamnotes before the end of October, so you'll get the reviews soon enough. I only have about 50 notes in the draft file, so it will likely be the shortest one all year, but those are the breaks.

I'll resume the grade-tweets after this post. One thing on my "todo" list is to update the Music Tracking 2014 file. One thing not on my "todo" list is to organize another Turkey Shoot on Thanksgiving. I wouldn't mind running it if someone else stepped forward (or you could, as Christgau suggested to me, self-publish it on Medium). I am leaning toward doing a metacritic file based on year-end lists (as opposed to previous years when I folded year-long review data in). And I expect there will be a Jazz Critics Poll, but don't have any details yet.

New records rated over the previous three weeks:

Jhené Aiko: Souled Out (2014, Def Jam): [r]: B+(*)
Kenny Barron/Dave Holland: The Art of Conversation (2014, Blue Note): [r]: B+(***)
David Binney: Anacapa (2014, Criss Cross): [r]: B+(*)
Samuel Blaser/Paul Motian: Consort in Motion (2010 [2011], Kind of Blue): [r]: B+(***)
Buck 65: Neverlove (2014, WEA Canada): [r]: B+(**)
Lajos Dudas Trio: Live at Porgy & Bess (2009 [2013], Jazz Sick): [cd]: B+(***)
Lajos Dudas Quartet: Live at Salzburger Jazzherbst (2012 [2013], Jazz Sick): [cd]: A-
El-P/Killer Mike: Run the Jewels (2013, Fat Beats): [r]: B+(***)
El-P/Killer Mike: Run the Jewels 2 (2014, Mass Appeal): [r]: B+(**)
Bill Frisell: Guitar in the Space Age (2014, Okeh): [r]: B+(***)
David Hazeltine: For All We Know (2014, Smoke Sessions): [r]: B+(***)
Branford Marsalis: In My Solitude: Live at Grace Cathedral (2012 [2014], Okeh): [r]: B+(**)
Angaleena Presley: American Middle Class (2014, Slate Creek): [r]: A-
Joshua Redman: Trios Live (2009-13 [2014], Nonesuch): [r]: B+(**)
Rafael Rosa: Portrait (2014, self-released): [cd]: B+(**)
Spoke: (R)anthems (2013 [2014], River): [cd]: B+(*)
Wadada Leo Smith/Bill Laswell: The Stone (Akashic Meditation) (2014, MOD Technologies): [r]: B+(*)
Marty Stuart and His Fabulous Superlatives: Saturday Night/Sunday Morning (2014, Superlatone, 2CD): [r]: B+(*)
Dann Zinn: Shangri La (2014, self-released): [cd]: B

Recent reissues, compilations, and vault discoveries rated this week:

Jerry Heldman: Revelation(s) (1973-74 [2014], Origin, 2CD): [cd]: B
Oscar Peterson: Plays the Harry Warren & Vincent Youmans Song Books (1952-59 [2014], Solar, 2CD): [r]: B+(***)
Oscar Peterson: Plays the Richard Rodgers Song Book (1954-59 [2014], Solar): [r]: B+(**)
Oscar Peterson: Plays the Irving Berlin Song Book (1952-59 [2014], Solar): [r]: B+(***)
Oscar Peterson: Plays the Jimmy McHugh Song Book (1954-59 [2014], Solar): [r]: B+(**)
Lester Young: Boston, 1950 (1950 [2013], Uptown): [r]: B+(*)

Old records rated this week:

Oscar Peterson: The Oscar Peterson Trio at Zardi's (1954 [1994], Pablo/OJC, 2CD): [r]: A-
Oscar Peterson: Plays My Fair Lady (1958, Verve): [r]: B+(**)
Oscar Peterson: Plays the Harold Arlen Song Book (1954-59 [2001], Verve): [r]: B+(**)
Oscar Peterson: Plays the Cole Porter Song Book (1959 [1990], Verve): [r]: B+(***)
Oscar Peterson: Plays the George Gershwin Song Book (1952-59 [1996], Verve): [r]: B+(***)
Oscar Peterson: Plays the Duke Ellington Song Book (1952-59 [1999], Verve): [r]: B+(***)
Oscar Peterson: A Jazz Portrait of Frank Sinatra (1959 [1990], Verve): [r]: B+(***)
Oscar Peterson: Fiorello (1960, Verve): [r]: B+(*)
Oscar Peterson Trio: West Side Story (1962, Verve): [r]: B
Oscar Peterson: The Jazz Soul of Oscar Peterson/Affinity (1959-62 [1996], Verve): [r]: B+(**)
Richmond Fontaine: Winnemucca (2002, El Cortez): [r]: B+(***)

Grade changes:

Oscar Peterson: Plays the Jerome Kern Songbook (1959 [2009], Verve): [was: B+(**)] B+(***)

Unpacking: Found in the mail last three weeks:

Greg Abate Quartet: Motif (Whaling City Sound)
Allison Au Quartet: The Sky Was Pale Blue, Then Grey (self-released)
David Borbo & Paul Pellegrin: Kronomorfic Entangled (Origin)
Nels Cline & Julian Lage: Room (Mack Avenue): advance, November 25
Freddy Cole: Singing the Blues (High Note)
Kevin Conlon/The Groove Rebellion: In Transit (Blujazz)
Michael Denhoff/Uli Phillipp/Jörg Fischer: Trio Improvisations for Campanula, Bass and Percussion (Sporeprint)
Expansions: The Dave Liebman Group: Samsara (Whaling City Sound)
Jean Luc Fillon: Oboman Plays Cole Porter: Begin the Night . . . (Soupir Editions)
Brad Goode Quartet: Montezuma (Origin)
Jonathan Kreisberg: Wave Upon Wave (New for Now Music)
Thomas Marriott: Urban Folklore (Origin)
Delfeayo Marsalis: The Last Southern Gentlemen (Troubadour Jass)
Sam Newsome: The Straight Horn of Africa: A Path to Liberation [The Art of the Soprano, Vol. 2] (self-released)
Clarence Penn & Penn Station: Monk: The Lost Files (Origin)
Rex Richardson & Steve Wilson: Blue Shift (Summit)
Boris Savoldelli/Garrison Fewell: Electric Bat Conspiracy (Creative Nation Music)
Ryan Schultz Quintet: Hair Dryers (Origin)
Pat Senatore Trio: Ascensione (Fresh Sound)
Judy Silvano with Michael Abene: My Dance (JSL): January 6
Tyshawn Sorey: Alloy (Pi)
The Spin Quartet: In Circles (Origin)
Lyn Stanley: Potions (A.T. Music)
Brian Swartz & the Gnu Sextet: Portraiture (Summit)
Natsuki Tamura/Alexander Frangenheim: Max (Creative Sources)
Touch and Go Sextet: Live at the Novara Jazz Festival (Nine Winds)
Marlene VerPlanck: I Give Up, I'm in Love (Audiophile)
Walter White: Most Triumphant (Summit)
Jason Yeager Trio: Affirmation (Inner Circle Music)
Peter Zak Trio: The Disciple (Steeplechase)
Miguel Zenón: Identities Are Changeable (Miel Music): November 4

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Monday, October 6, 2014

Music Week

Music: Current count 23893 [23870] rated (+23), 526 [521] unrated (+5).

Actually, the week for me ended on Friday, October 3.

New records rated this week:

Marcia Ball: The Tatooed Lady and the Alligator Man (2014, Alligator): sings blues, plays boogie-woogie, spins a fine yarn then goes for the filler [r]: B+(*)
François Carrier/Michel Lambert/Alexey Lapin: The Russian Concerts Volume 2 (2013 [2014], FMR): more if you want more, but start with superv Vol. 1 [cd]: B+(***)
Jack Clement: For Once and for All (2014, IRS Nashville): the late Nashville producer reclaims a few of his songs, with genteel smiling cowboy aplomb [r]: B+(***)
Neil Cowley Trio: Touch and Flee (2014, Naim Jazz): Brit piano trio for fans of EST and Jarrett continue to keep semipopular jazz respectable [r]: B+(*)
Mark Elf: Returns 2014 (2013 [2014], Jen Bay Jazz): guitarist who admires Tal Farlow backed by David Hazletine, Peter Washington, Lewis Nash dream band [cd]: B+(**)
Alice Gerrard: Follow the Music (2014, Tompkins Square): pioneering harmony woman of bluegrass belatedly strikes out on her own, ancient and ragged [r]: B+(***)
Prince: Art Official Age (2014, Warner Brothers): wondered if he was done, but give him a major label and he'll lay out some major label funk for you [r]: B+(*)
Prince/3rdEyeGirl: Plectrum Electrum (2014, Warner Brothers): "all-female power trio" means they know Cream's basslines but don't sing like Jack Bruce [r]: B+(*)
Matthew Shipp: I've Been to Many Places (2014, Thirsty Ear): yet another solo piano record, louder than ever in case you didn't get the point yet [r]: B+(*)
Tricky: Adrian Thaws (2014, !K7): discovers own name and recovers old tricks for a wide range of poses, must be some kind of midlife crisis [r]: B+(***)
Ulf Wakenius: Solo: Momento Magico (2013 [2014], ACT): solo guitar, goes for thick chords to add gravitas to an intrinsically light album [r]: B+(*)

Recent reissues, compilations, and vault discoveries rated this week:

Bambara Mystic Soul: The Raw Sound of Burkina Faso 1974-1979 (1974-79 [2011], Analog Africa): obscurities from the heart of the heart of West Africa [r]: B+(**)
The Evergreen Classic Jazz Band: Early Tunes 1915-1932 (1995 [2014], Delmark): Seattle trad jazz band with banjo and tuba, makes the old songs zing [cd]: A-
Charlie Haden/Jim Hall: Charlie Haden/Jim Hall (1990 [2014], Impulse): live in Montreal a year late for Haden's big fête, but this is more about the guitarist, drawing him out [r]: A-
The Rough Guide to Arabic Jazz ([2014], World Music Network, 2CD): rougher than need be, especially with the scene-stealing Cuban ringer the best cut by far [r]: B+(*)
The Rough Guide to Bollywood Disco (1965-93 [2014], World Music Network, 2CD): dance dance dance with a pre-disco highlight that reminds me of Chubby Checker [r]: B+(***)
The Rough Guide to the Music of the Sahara [Second Edition] (1980-2013 [2014], World Music Network, 2CD): label annoying as ever, not that they can't program a songlist [r]: B+(***)
Wild Jimmy Spruill: Scratchin': The Wild Jimmy Spruill Story (1956-63 [2014], GVC, 2CD): various singers sharing Spruill's guitar, a still vital r&b period compiled [cd]: A

Old records rated this week:

Ruby Braff: Linger Awhile (1953-55 [1999], Vanguard): early sessions led by Buck Clayton and Vic Dickenson, showing the company he keeps and progress [r]: B+(**)
Matthew Shipp/Guillermo E. Brown: Telephone Popcorn (2005 [2008], Nu Bop): piano-drums duo, half of David Ware's quartet, not quite finished [r]: B+(*)

Unpacking: Found in the mail last week:

Alessandro Collina/Rodolfo Cervetto/Marc Peillon/Fabrizio Bosso: Michel on Air (ITI)
Lajos Dudas Trio: Live at Porgy & Bess (Jazz Sick)
Lajos Dudas Quartet: Live at Salzburger Jazzherbst (Jazz Sick)
Eric Hofbauer: Prehistoric Jazz Volume 1: The Rite of Spring (Creative Nation Music)
Eric Hofbauer: Prehistoric Jazz Volume 2: Quintet for the End of Time (Creative Nation Music)
Will Holshouser/Matt Munister/Marcus Rojas: Introducing Musette Explosion (Aviary): November 1
Bill Watrous/Pete Christlieb/Carl Saunders: A Beautiful Friendship (Summit)

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Monday, September 29, 2014

Music Week

Music: Current count 23870 [23843] rated (+27), 521 [523] unrated (-2).

My brother was in town Sunday so I spent the day cooking old-fashioned "soul food" -- fried chicken and pan gravy, baked potatoes and cornbread, baked beans and creamed corn and greens with bacon -- with a flourless chocolate cake for dessert. Couldn't concentrate on processing records, so I wound up playing Coleman Hawkins, Lefty Frizzell, and Johnny Cash from the travel case. Couldn't come up with a Weekend Update either. Suffice it to say that the insane wars of the previous week are still with us, as are the usual stories of police brutality, corruption, inequality, bad economics, the subversion of democracy by the usual claque of billionaires, and that old standby -- global warming. Safe to say there'll be more of them next week (if there is a next week) and next month and next year as well.

Wasting Sunday kept the rated count under 30, but it was actually a remarkably good week quality-wise. I broke queue protocol and took the Buddy Tate reissue with me in the car even before I catalogued it, and it's kept me in a good mood all week -- not anyway near his most consistent record, but so glorious every time the sax appears. Roger Miller came up in some email correspondence -- I thought I had this particular album, so when I saw it unrated and on Rhapsody I dived right into it.

Four very different Sept. 23 releases wound up at A-: Aphex Twin, Leonard Cohen, Wadada Leo Smith, and Lee Ann Womack. I gave each at least three plays, hoping it's possible to be both first and right. Chris Monsen seems to prefer Smith's The Great Lakes Suites, which both overwhelmed me with its length and underwhelmed me with its music -- Red Hill has an air of danger and excitement I find lacking in the larger work, but Suites put a lot of talent on display, including Henry Threadgill and Jack DeJohnette. Microscopic Septet is another Monsen recommendation, languishing in my mailbox for months. Orlando Julius appeared on a Phil Overeem list (also Bo Dollis and a bunch of other records I haven't gotten to yet; worth noting that Overeem has John Coltrane's Offering: Live at Temple University on top of his "old stuff" list -- I wasn't all that impressed by it, but I often react negatively to Coltrane's last phase). Another EW person mentioned the Sun Ra. Only gave it one play, but it was a delight, and I think I tracked down all the dates (except for one of three previously unreleased cuts).

Given the extra overhead of managing the "faux blog" I may not have a Music Week (let alone a Weekend Update) post next week -- it may in fact be several weeks before I catch up. We're planning a trip east in October. Laura is flying to Boston and back from Newark, so that's tightly scheduled. I'll be driving, so that's real loosey-goosey -- I'm thinking Buffalo on the way out, and DC (and maybe Nashville) on the way back. There will be a few days on Cape Cod, but the main stretch will be six days at a friend's big country house in the NJ Appalachians. I'm hoping we can entice friends from NYC and environs to come out to visit. (One enticement is that I plan on cooking.)

I've lined up some new technology for the trip. I picked up a cheap Chromebook to replace the old Linux laptop, so I can try working in the cloud. That won't really allow me to do much in terms of programming, but maybe I'll focus more on writing. Also picked up a Bose MiniLink Bluetooth speaker, which works nicely with the Chromebook. I'll still have travel cases of CDs for the car, but may leave the boombox home and play Rhapsody when I'm stationary.

Should leave by the end of the week. Don't know when I'll get back. Best way to track whatever I post will be Twitter. Meanwhile, this week expect a Rhapsody Streamnotes (most likely tomorrow -- if not I'll have to rename files). Maybe a Mid-Week Roundup or a Book Report before I leave. If you want to get in touch during the trip, holler at me, and we'll see what makes sense. (I'm not looking to hook up with strangers, but know so many people along the way it's impossible to personally contact everyone I might want to see.)

New records rated this week:

Aphex Twin: Syro (2014, Warp): after more than a dozen year break, loses the ambient drag, speeds up the beats and kicks up the bass [r]: A-
Avi Buffalo: At Best Cuckold (2014, Sub Pop): falsetto lead, occasionally pines for the "In My Room" side of the Beach Boys [r]: B+(*)
Daniel Blacksberg Trio: Perilous Architecture (2012 [2014], NoBusiness): avant-trombone trio, varied enough, inventive even, your interest never flags [cdr]: B+(***)
Frank Catalano/Jimmy Chamberlin: Love Supreme Collective (2014, Ropeadope): sometimes flattery isn't imitation at all, just something else [cd]: B+(*)
Leonard Cohen: Popular Problems (2014, Columbia): his "golden voice" more gone than ever, his songs more biblical -- his way of feeling ancient [r]: A-
Jack Cooper: Mists: Charles Ives for Jazz Orchestra (2014, Planet Arts): big band Charles Ives, postmodern but third stream only in that it could use some swing [cd]: B+(*)
Bo Dollis Jr. and the Wild Magnolias: A New Kind of Funk (2013, self-released): a little hip-hop isn't a funk breakthrough, but the tradition is in good hands [r]: B+(***)
Open Mike Eagle: Dark Comedy (2014, Mello Music Group): west coast rapper, very laid back, soft-edged, draws you in [r]: B+(**)
Jennifer Hudson: JHUD (2014, RCA): bids to be taken seriously as a soul diva in a hip-hop world, which means . . . branding [r]: B+(*)
Orlando Julius with the Heliocentrics: Jaiyede Afro (2014, Strut): London collective hooks up with another aged African legend, compounding respective strengths [r]: A-
Just Passing Through: The Breithaupt Brothers Songbook Vol. II (2014, ALMA): aspiring Broadway songsters, big in Canada, OK but who cares? [cd]: B
Gianni Lenoci/Kent Carter/Bill Elgart: Plaything (2012 [2014], NoBusiness): piano trio -- you don't know him (who knows Italians not on ECM?) but he's been around, turns heads [cdr]: B+(***)
Medeski Scofield Martin & Wood: Juice (2014, Indirecto): neither want to be remembered for organ grooves yet that's why they're drawn together [r]: B+(*)
The Microscopic Septet: Manhattan Moonrise (2014, Cuneiform): [dl]: sax quartet + piano trio, Forrester and Johnston write 'em, the band swings 'em A-
Wadada Leo Smith/Jamie Saft/Joe Morris/Balasz Pandi: Red Hill (2014, Rare Noise): what makes this better than Great Lakes Suites is a quartet that gets out of hand and pushes him [r]: A-
Rosenna Vitro: Clarity: Music of Clare Fischer (2014, Random Act): standards singer looking for new turf -- Clare Fischer is a bit stuffy, but she makes something of that [cd]: B+(*)
Lee Ann Womack: The Way I'm Livin' (2014, Sugar Hill/Welk): imagine that Nanci Griffith had a dark side, one that drinks and sleeps with the devil [r]: A-

Recent reissues, compilations, and vault discoveries rated this week:

Rashied Al Akbar/Muhammad Ali/Earl Cross/Idris Ackamoor: Ascent of the Nether Creatures (1980 [2014], NoBusiness): avant quartet with three Muslim names you never heard of, now saved for history [cdr]: B+(***)
Aby Ngana Diop: Liital (1994 [2014], Awesome Tapes From Africa): from Senegal, some synth window dressing but overwhelmingly drums and shouted voices, tough as nails [r]: B+(***)
Sun Ra & His Arkestra: In the Orbit of Ra (1957-78 [2014], Strut, 2CD): Marshall Allen picks for Ra's centenary, more vocals than I'd pick, but you know [r]: A-
The Buddy Tate Quartet: Texas Tenor (1978 [2014], Sackville/Delmark): the new title has been used before, but with this guy the same old sax is timeless [cd]: A-

Old records rated this week:

Columbia Country Classics, Vol. 5: A New Tradition (1967-87 [1991], Columbia): first two are essential history; rest label onanism, this leaning neotrad [r]: B+(**)
Orlando Julius: Super Afro Soul (1966-72 [2007], Vampi Soul, 2CD): Nigerian saxophonist, earliest tracks suggest the Afrobeat that the later ones deliver [r]: B+(**)
Roger Miller: The Best of Roger Miller, Volume One: Country Tunesmith (1957-67 [1991], Mercury): old comp delves even deeper into pre-Doo-Wacka-Doo than the marvelous box [r]: A-

Unpacking: Found in the mail last week:

Tara Davidson: Duets (Addo): October 7
Mark Elf: Returns 2014 (Jen Bay Jazz)
The Evergreen Classic Jazz Band: Early Tunes 1915-1932 (1995, Delmark)
Milt Hinton/Ralph Sutton/Gus Johnson/Jim Galloway: The Sackville All Star Christmas Record (1986, Sackville/Delmark)
The Mike Longo Trio: Celebrates Oscar Peterson: Live (CAP): October 7
Miho Nobuzane: Simple Words: Jazz Loves Brazil (self-released): October 21
The Buddy Tate Quartet: Texas Tenor (1978, Sackville/Delmark)
Ezra Weiss: Before You Know It: Live in Portland (Roark)
Dann Zinn: Shangri La (self-released): October 1

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Monday, September 22, 2014

Music Week

Music: Current count 23843 [23814] rated (+29), 523 [528] unrated (-5).

A sub-30 week. For a while I thought it was going to be even lower. On the other hand, more A- records than usual. Much of the credit for the latter goes to Robert Christgau: the return of his Consumer Guide (or as he now prefers Expert Witness) alerted me to Homeboy Sandman and Shaver, and prodded me to check out John Hiatt's latest -- I knew it was out there, but given his last half-dozen albums I wasn't in a big hurry to file another low B+. As it was, I followed up with Hiatt's best-of, which combs those low B+ albums for a much better collection. Christgau also wrote about Iggy Azalea in his new Billboard column. I knew the name and thought her appearance on the Ariana Grande album was its high point, but hadn't put together how much I might like her.

Blog status is still uncertain. I noticed I've been getting a lot of spam comments (I hardly know any other kind), which is an indication that the database is accessible. I also heard from a reader depending on the RSS feed, wondering whether I was all right. The "faux blog" doesn't generate any RSS, so that notification avenue had been blocked. (Pretty good solution: follow me on Twitter.) So I went back and added all the missing posts to the "real blog," and have kept them in sync for the last week. That's a pain, but not understanding what happened, and having no confidence that it won't happen again, for now I lack a better solution.

Shopping advice request: I'm going to be traveling a lot soon, and I'd like to buy a small Bluetooth speaker bar, like a Bose MiniLink (strikes me as pricey) or Jambox Mini (clearly not as good). Anyone have some advice/experience? I think it should allow for a wired stereo connection (so I can plug in that IPod I foolishly bought a couple years ago), but it will mostly be used with a new Chromebook, which should make it possible to listen to Rhapsody on the road (if not in the car).

New records rated this week:

Afghan Whigs: Do to the Beast (2014, Sub Pop): too heavy for me, but otherwise impressive, suggests growth over their long hiatus [r]: B+(**)
Iggy Azalea: Ignorant Art (2011 [2012], Grand Hustle, EP): debut EP mixtape, goes straight for the snatch not trusting you yokels to respond to anything subtle [r]: B+(**)
Iggy Azalea: The New Classic (2014, Island): Australian rapper sneaks up on America via the Dirty South -- she's got a mouth and is gonna use it [r]: A-
Kevin Hildebrandt: Tolerance (2012 [2014], Summit): guitarist-led organ trio with Radam Schwartz, swings hard especially on the covers, sings some too [cd]: B+(**)
Hal Galper Trio: O's Time (2014, Origin): veteran pianist, lot more crunch and risk than those Mehldaus but also more things that don't work [cd]: B+(**)
Gerry Gibbs Thrasher Dream Trio: We're Back (2014, Whaling City Sound): Ron Carter and Kenny Barron make dreams come true, on '70s soul skewed to Wonder [cd]: B+(**)
John Hiatt: Terms of My Surrender (2014, New West): evidently included turning in his most consistent song album since Riding With the King [r]: A-
Homeboy Sandman: Hallways (2014, Stones Throw): alt-rapper, beats seem a bit off but he talks his way around them, makes sense, small pleasures [r]: A-
William Hooker & Liudas Mockunas: Live at the Vilnius Jazz Festival (2013 [2014], NoBusiness): drums-sax duo, free improvs sound like comsummate skill [cd]: A-
Imarhan Timbuktu: Alak Warled (2014, Clermont): average Saharan desert blues band, vocals never break ranks with the charming rhythmic lilt [dl]: B+(**)
Sami Lane: You Know the Drill (2014, Mixcloud, EP): Bournemouth DJ uploads a 29-minute hip-hop flow, hard stuff, for her 23 followers on Mixcloud [dl]: B+(**)
Alexander McCabe/Paul Odeh: This Is Not a Pipe (2014, Wamco): alto sax/piano duets, the latter steadying, but the sax is what you want to hear [cd]: B+(**)
Jason Moran: All Rise: A Joyful Elegy for Fats Waller (2014, Blue Note): a dance tribute to Fats Waller, impressive pianistics and a surprise sax solo, but singers are way off [r]: B+(*)
Nicholas Payton: Numbers (2013 [2014], Paytone): New Orleans trumpet legend laid down some cushy riddim tracks, decided they didn't need trumpet dubs [r]: B-
Peripheral Vision: Sheer Tyranny of the Will (2014, self-released): Canadian postbop quartet, cites Shorter and Rosenwinkel as influences, gets there [cd]: B+(*)
RED Trio & Mattias Ståhl: North and the Red Stream (2013 [2014], NoBusiness): Rodrigo Pinheiro's avant-piano trio plus vibes, not just for tinkle [cd]: B+(**)

Recent reissues, compilations, and vault discoveries rated this week:

John Hiatt: Here to Stay: Best of 2000-2012 (2000-12 [2013], New West): label/era best-of usefully reduces handful of inconsistent albums into one real solid one [r]: A-
Shaver: Shaver\'s Jewels: The Best of Shaver (1993-2001 [2013, New West): no doubt Eddy Shaver added something to his old man's songs -- guitar, also production smarts [r]: A-

Old records rated this week:

Steve Lacy/Andrea Centazzo/Kent Carter: In Concert (1976 [2006], Ictus): a trio, his most stable format, bass steadying the soprano warble [r]: B+(***)
Steve Lacy/Andrea Centazzo: Tao (1976-84 [2006], Ictus): duets, soprano sax and percussion on a cycle of pieces, constant invention with light touch [r]: B+(***)
Steve Lacy Trio: The Window (1987 [1988], Soul Note): an even better trio, original tunes, dazzling style and touch, none of the usual irritants [r]: A-
Steve Lacy Double Sextet: Clangs (1992 [1993], Hat Art): only piano and voice are doubled, and as usual voice is the problem, not just Aebi this time [cd]: B+(**)
Ron McClure Quintet: Descendants (1980 [1990], Ken): BS&T bassist, has had long, little noticed solo career, offers tasty bits of Scofield and Harrell [cd]: B+(**)
Medeski Martin and Wood: Last Chance to Dance Trance (Perhaps): Best Of (1991-1996) (1991-96 [1999], Gramavision): label best-of on their way up; the Monk-Marley segue is swell [cd]: B+(***)
Brad Mehldau: The Art of the Trio: Volume One (1996 [1997], Warner Brothers): piano with Larry Grenadier and Jorge Rossy, makes big title claim, neither nails/blows it [r]: B+(***)
Brad Mehldau: Art of the Trio: Volume 4: Back at the Vanguard (1999, Warner Brothers): like Vol. 2, back at Village Vanguard, a bit faster and sharper, not necessarily better [r]: B+(***)
Brad Mehldau: Progression: Art of the Trio, Volume 5 (2000 [2001], Warner Brothers, 2CD): I've rationalized the titles, but actually they're not quite the same, same for the music [cd]: B+(***)
Brad Mehldau: Anything Goes (2002 [2004], Warner Brothers): continuing through the trio albums, always comes close, never quite blows me away [r]: B+(***)

Unpacking: Found in the mail last week:

François Carrier/Michel Lambert/Alexey Lapin: The Russian Concerts Volume 2 (FMR): October 14
Frank Catalano/Jimmy Chamberlin/Percy Jones/Chris Poland/Adam Benjamin: Love Supreme Collective (Ropeadope): September 30
The Tommy Igoe Rhythm Conspiracy (Deep Rhythm): September 23
Darrell Katz and the JCA Orchestra: Why Do You Ride? (Leo)
Lefteris Kordis: "Oh Raven, If You Only Had Brains . . .": Songs for Aesop's Fables (2010, Inner Circle Music)
Rafael Rosa: Portrait (self-released)
Spoke: (R)anthems (River)

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Wednesday, September 15, 2004

Music Week

Music: Current count 23814 [23775] rated (+39), 528 [524] unrated (+4).

After posting Rhapsody Streamnotes last Tuesday, I kept diving into the old music, moving from Julius Hemphill to Henry Threadgill, then to Steve Lacy (still not done there). I was surprised to find that I liked the two early albums so much (both *** in Penguin Guide; I went back and replayed the 4-star all-Monk Explorations but left it at B+). And I was further surprised that none of the later albums rated that high -- though I am just filling in holes in a catalog I've previously heard much of. (Before this week I had 37 albums rated filed under Lacy's name; now 51; there are still 21 unheard albums in the database.) For the record, I previously had the following Lacy records rated A- or A (counting one filed under Roswell Rudd's name):

School Days (w/Roswell Rudd, 1963)
The Forest and the Zoo (1966)
Esteem: Live in Paris (1975)
Regeneration (w/Roswell Rudd and others, 1982)
Morning Joy: Live at Sunset Paris (1986)
Sempre Amore (w/Mal Waldron, 1986)
One More Time (w/Joëlle Léandre, 2002)
Early and Late (w/Roswell Rudd, 1962-2002)

A couple of those came out after his death in 2003. I suppose I should also note that Lacy has more low grades (B or below) than nearly any other jazz musician of his stature: I find a lot of his 1970s work to be very sloppy, and I have a lot of trouble any time he hands the mic to his wife, Irène Aëbi (although my horror has somewhat diminished with this latest batch of records). He also has a lot of solo albums that are intrinsically limited -- Only Monk (1985) is one of the B records, even though it seems like it should be better. Some more in the queue, and any time I find something more I'll give it a listen.

Not many new records: most of last week's haul came in today and barely got catalogued. Spent a lot of time with the two TUM records. It should be noted somewhere that they have the best documentation and packaging of any jazz label in the world. Also spent quite a bit of time with Lomax, whose 2010 album, The State of Black America, made that year's top-ten list. Saxophonist Edwin Bayard is key to both, one of the most powerful young players I've heard this decade.

I've kept the original tweet grade for Loudon Wainwright III below, but the database grade is somewhat more generous. Although I single out one extraordinarily bad song, it should be noted that nothing else on the album rises to the level of Older Than My Old Man Now (my top-ranked record of 2012). Also, my complaint about that "2nd Amendment Xmas anthem" isn't political (as I tweeted, "even if it's satirical and anti-gun"). Some brilliant ideas just don't work, nor do stupid ones, regardless of artistic license. (By the way, Matt Rice has a more judicious Wainwright review here.)

Music Week

Music: Current count 23775 [23744] rated (+31), 524 [523] unrated (+1).

Barely topped 30 records for an uneven week -- a couple days I did nothing, while others found me zipping through Bandcamp (mostly, but not only, Catalytic Sound) and Rhapsody. There is, after all, very little in the 2014 unrated queue -- at one point it dropped under 10 records, but two came in on Saturday and four more today so I'm up to 13. The good news, I suppose, is that what's left is relatively good: I reviewed eight actual CDs and came up with two A-, three B+(***), two B+(**), and one B+(*) -- well above the usual curve.

Rhapsody/Bandcamp also yielded two A- and eight B+(***), so I reckon this a pretty good week. At this point the Rhapsody Streamnotes draft file is overstuffed, so I'll try to get it ready to post tomorrow. Should be close to 100 records.

Music Week

Music: Current count 23744 [23701] rated (+43), 523 [530] unrated (-7).

Main thing that happened this week was that I stumbled across the Catalytic-Sound website on Bandcamp. Ken Vandermark set this up, and it currently showcases 137 albums by Vandermark and several of his closely aligned friends: Peter Brötzmann, Mats Gustafsson, Joe McPhee, and Paal Nilssen-Love. (Bassist Ingebrigt Háker Flaten has a comparable website with a good deal of overlap.) Shortly after I wrote my first Village Voice piece on Vandermark, he sent me a big box of his recordings -- I was thinking of doing something similar to my Parker-Shipp CG but never seemed to have the time -- so many of these are familiar. In fact, next RS column has a list of 80 Catalytic-Sound records I've previously reviewed/rated. Still, the site fills in some gaps, so I spent a good deal of last week picking off the Vandermark releases (I'll get back to Brötzmann et al. in due course). One problem is that not every album can be streamed completely, but the exceptions are (at present, anyway) few. Still, several omissions particularly disappointed me: the early Vandermark Quartet album Big Head Eddie (1993), and the brand new Audio One: The Midwest School (2014) -- its companion, An International Report, was the week's top find (I also gave an A- to the early Caffeine). One I have yet to get to is the 7-CD DKV Trio: Past Present box.

I suppose you could make arguments both ways as to whether omitting tracks maximizes cash returns -- the idea behind making all this music available is to sell it -- but for someone who tries to cover as wide a swath as possible and who has little time to double back, these sites are a terrific convenience and help. I wish there were more of them, and hope they stay as open as possible.

I haven't been able to update the blog this past week, although I occasionally do still receive mail about nonsense comments, so it must be sort of working some of the time. I haven't made any real progress toward moving on, and hardly know where to begin.