Streamnotes: June 27, 2022

Most of these are short notes/reviews based on streaming records from Napster (formerly Rhapsody; other sources are noted in brackets). They are snap judgments, usually based on one or two plays, accumulated since my last post along these lines, back on May 30. Past reviews and more information are available here (19720 records).

Recent Releases

070 Shake: You Can't Kill Me (2022, GOOD Music/Def Jam): Rapper Danielle Balbuena, second album, sings more here, so much so I had this noted as "art pop" before spinning it. Deeper than that. B+(***)

700 Bliss: Nothing to Declare (2022, Hyperdub): Philadelphia hip-hop ("experimental club") duo of DJ Haram (Zubeyda Muzeyyen) and Moor Mother (Camae Ayewa). First album, after an EP, doubles down on the "experimental." B+(*)

Joey Alexander: Origin (2022, Mack Avenue): Actual name Joey Sila, a piano prodigy from Bali, Indonesia, who cut a pretty good first record (My Favorite Things) when he was 11, and is back for his 6th while still just 18. Ten songs spread over 2-LP, all originals, core trio with Larry Grenadier (bass) and Kendrick Scott (drums), joined by guitar (Gilad Hekselman, 3 tracks) and tenor/soprano sax (Chris Potter, 2). He's only grown since his debut, filled out (especially with his writing), turning into a very solid, if not especially remarkable, jazz musician. Helps to be playing with stars, too. B+(***) [sp]

Harry Allen: My Reverie by Special Request (2022, TYR1102): Retro-swing tenor saxophonist, something I especially enjoy, very popular in Japan (where this was released, unsure about the label). Quartet with Dave Blenkhorn (guitar), bass, and drums, playing standard fare (including "Carioca" for a taste of Brazil). B+(**)

Harry Allen & Dave Blenkhorn: Play the Music of Phil Morrison (2022, GMAC): Morrison is a bassist-songwriter, originally from Boston, long based in Brunswick, Georgia, and he plays on this album, along with his regular trio of Keith Williams (piano) and Rudy Manuel (bass). Somehow he hooked up with Blenkhorn (a guitarist from Australia), which brought Allen onto the project. Nice enough, although I wasn't happy when they brought strings in. B+(*)

Chad Anderson: Mellifluous Excursions Vol. 1: Where You Been (2022, Mahakala Music): Drummer, has a previous solo album, with Zoh Amba (sax/flute), Warren Smith (vibes), and Barry Stephenson (bass), plus Ankhitek's sharp spoken word on two tracks. B+(***) [bc]

The Ano Nobo Quartet: The Strings of São Domingos (2021 [2022], Ostinato): From Cape Verde, a guitar quartet named after one of the island nation's famed guitarist-songwriters (1933-2004), the four guitarists only identified as: Pascoal, Fany, Nono, and Afrikanu, with one of them singing. B+(*) [bc]

Anteloper: Pink Dolphins (2022, International Anthem): Chicago group, principally Jaimie Branch (trumpet, sings some) and Jason Nazary (drums), with Jeff Parker producing and filling in elsewhere (guitar, bass, synthesizer, percussion), plus Chad Taylor (mbira) on one track (of 5). Folks like to compare this to electric Miles, which is half-true, but seems sludgier to me. B+(**) [sp]

Florian Arbenz/João Barradas/Tineke Postma/Rafael Jerjen: Conversation #5: Elemental (2022, Hammer): Swiss drummer, in several groups including VEIN since 2006, started his Conversation series in 2021 with various guests, this quartet the largest mix to date, the others playing accordion, sax, and bass. B+(***) [bc]

Auntie Flo & Sarathy Korwar: Shruti Dances (2022, Make Music): Former is Brian D'Souza, a British DJ/producer, originally from Goa, "known for taking World Music into the future." Discogs lists four previous records, possibly worth a deep dive. Korwar was born in the US, raised in India, based in London, a percussionist I've had my eye on -- his More Arriving was on my 2019 A-list. His tabla contrasts with the electronics ("meditative drones"), an intriguing synthesis but ultimately a bit thin. B+(**) [sp]

Bad Bad Hats: Walkman (2021, Don Giovanni): Indie rock band from Minneapolis, debut EP in 2012, third album, Kerry Alexander the singer. B+(*)

Bad Bunny: Un Verano Sin Ti (2022, Rimas Entertainment): Puerto Rican rapper-singer, fourth album, I figure him for reggaeton but Wikipedia also says "Latin trap." Appeal mostly in the beats, as usual. Long: 81:53. B+(**)

Band of Horses: Things Are Great (2022, BMG): Rock band, led by singer-songwriter Ben Bridwell, started in Seattle with an EP in 2005 and an LP in 2006, wound up in South Carolina -- same vector as Boeing's 787, but Boeing probably got a better tax deal from the move, as well as cheaper labor and quality control nightmares. Sixth studio album. Nice band. B+(*)

Edwin Bayard/Dean Hulett/Mark Lomax II: Trio Plays Mingus (2022, CFG Multimedia): Normally the drummer's Trio, based in Columbus, Ohio, probably the best-kept secret in American jazz, but playing a set of five Mingus classics, it's nice to be able to file this under the star saxophonist's name, and to include the bassist on the credit line. As great as Bayard is, he stays pretty close to the melodies, although the drummer takes some liberties. B+(***) [os]

Benny the Butcher: Tana Talk 4 (2022, Griselda/Empire): Buffalo rapper Jeremie Pennick, third studio album after a tall stack (2004-16) of mixtapes, including Tana Talk and Tana Talk 2. B+(**)

Yaya Bey: Remember Your North Star (2022, Big Dada): R&b singer, originally from Brooklyn, based in DC, second album, nice flow but gradually loses definition. B+(**) [sp]

Nat Birchall: Afro Trane (2022, Ancient Archive of Sound): British saxophonist (tenor/soprano), first album 1999 but his real string starts around 2009, has embraced Coltrane as thoroughly as anyone in his generation, picking up (to cite two titles) the Cosmic Language and Sacred Dimension, lacking only the intense desire to see how far he can extend the logic. Still, this is hit first title to explicitly cite Trane, appearing after one called Ancient Africa. Third solo album, where he also plays keyboards, bass, and percussion, on three originals (all with "Trane" in the title) and three covers ("Acknowledgement," "India," "Dahomey Dance"). My guess is that he loses a bit of edge in forgoing the band, but the poise and balance pays off big. A- [bc]

Bloc Party: Alpha Games (2022, Infectious/BMG): British indie band, debut EP 2004, sixth album, suggested genres like "dance-punk," but more clearly within the Britpop gamut, closer to Blur than to Oasis, less catchy than either. B

Boris: W (2022, Sacred Bones): Japanese "heavy rocks" band (to crib from their website, probably more accurate than doom metal, drone, psychedelia, noise, or experimental rock), 27th album since 1996, group name taken from a Melvins song, have some collaborations with noise artists Merzbow and Keiji Haino. Album title is supposedly a postscript to 2021's NO. I'm not getting a typical metal reaction here, but not much else either. B-

Buck 65: King of Drums (2022, self-released): Canadian rapper Richard Terfry, from Nova Scotia, Bandcamp puts him in Toronto, started 1994, went on hiatus in 2015, started to resurface in 2020. No song titles, just "Part" 1-21 (54:53). Rhymes fast and clever, over beats little evolved from his heyday. A- [bc]

Buck 65/Tachichi: Flash Grenade (2022, Black Buffalo): Canadian rappers Rich Terfly and Tyrone Thompson, the latter with a couple 1998-2002 albums, more since 2017. B+(**) [bc]

Burton/McPherson Trio: The Summit Rock Session at Seneca Village (2021 [2022], Giant Step Arts): Unnamed member of the Trio is bassist Dezron Douglas. Abraham Burton released two outstanding albums on Enja in 1994-95, then largely disappeared until he started recording again in 2014. He did, however, record a quartet album in 1998 co-led by drummer Eric McPherson, so their group seems to start there. B+(**) [cd]

Kaitlin Butts: What Else Can She Do (2022, self-released): Country singer-songwriter from Oklahoma City, released a single in 2013 ("Tornadoes and Whiskey") and an album in 2014 (Same Hell, Different Devil), then went quiet until more singles in 2019. Second album, barely (7 songs, 31:47). Strong sound and character, gets a bit heavy. B+(*)

Daniel Carter/Evan Strauss/5-Track/Sheridan Riley: The Uproar in Bursts of Sound and Silence (2018-21 [2022], 577): Carter is credited with voice on two tracks, on the third: flute, clarinet, soprano and tenor sax; Strauss plays keyboards, electric and acoustic bass, bass clarinet, and tenor sax; the others guitar and drums. Seems to have been Strauss who put the final tracks together, possibly over several years. B+(***) [cd] [08-25]

Neneh Cherry: The Versions (2022, EMI): Don Cherry's step-daughter, released a great hip-hop album in 1988 (Raw Like Sushi), two more through 1996, has occasionally resurfaced with odd projects since then (e.g., The Cherry Thing, with Norway's avant-jazz group, the Thing). This is a various artists tribute she nonetheless claims: 10 pieces (including 2 takes each of "Manchild" and "Buddy X") from those three albums, done by as many guests, some bringing the beat, some not so much. B

Cola: Deep in View (2022, Fire Talk): Canadian indie band, first album, singer-songwriter-guitarist Tim Darcy and bassist Ben Stidworthy fresh from Ought, better than average guitar strum, singer seems a bit iffy, last song a promising change of pace. B+(*)

Tom Collier: The Color of Wood (2022, Summit): Mallet player, Discogs credits him with a 1988 album, five more 2004-16. Uses three different marimbas here, not sure what (if anything) else. B [cd]

Theo Croker: Love Quantum (2022, Masterworks): Trumpet player from Florida, seventh album since 2007, uses hip-hop beats, sings some but mostly has guests for that, including Jill Scott, Ego Ella May, Jamila Woods, and Wyclef Jean. Opens with a song proclaiming "jazz is dead," but maybe he just forgot how to enjoy it? B+(*) [sp]

Cypress Hill: Back in Black (2022, MNRK): Latino hip-hop group from South Gate, near Los Angeles; a big deal when they appeared in 1991, only their third album since 2004. Haven't they heard that weed is legal, at least in California? B+(**)

Dan Ex Machina: All Is Ours, Nothing Is Theirs (2022, self-released): New Jersey band and/or singer-songwriter Dan Weiss -- not the drummer, nor the other drummer, but known to me mostly as a rock critic, although I've listened to his Bandcamp oeuvre, which remains too obscure to get listed in Discogs (but AOTY lists two albums and an EP, with a total of 3 user scores). Bandcamp page says these 17 songs were written between 2003-11, and "have been played live for more than a decade," and were "mastered in 2021," and offers shifting lineups, but doesn't come out and say when they were recorded. So we'll treat it as a new album, although it could pass for juvenilia. Gets better down the home stretch, possibly helped by slipping in a couple covers (Kurt Cobain, Lisa Walker). B+(***) [bc] [Later: A-]

Steve Davis: Bluesthetic (2022, Smoke Sessions): Mainstream trombonist, debut 1995, I should probably go back and check out his early albums on Criss Cross, but they are probably much like his recent batch. A compatible, distinguished group here: Peter Bernstein (guitar), Geoffrey Keezer (piano), Steve Nelson (vibes), Christian McBride (bass), and Willie Jones III (drums). Not so bluesy, but nice ballad ending. B+(*)

Destroyer: Labyrinthitis (2022, Merge): Canadian band, from Vancouver, fronted by Dan Bejar, 13th album since 1996. Seems like they came up with a new rhythmic fascination here, but I never paid them any heed until Kaputt (2011) got so much attention, and noticed little beyond a knack for hooks. Ends with an off-kilter ballad that is pretty nice too. B+(**)

Tetel Di Babuya: Meet Tetel (2021 [2022], Arkadia): Singer from Brazil, also plays violin, actual name Marcela Venditti (or Marcela Sarudiansky -- the name used for the song credits). Mostly in English, with one cover (the closing "Someone to Watch Over Me"), although others (like "Willow Don't You Weep") are substantially familiar. B+(**) [cd]

Donkeyazz: Play the Blues (2021, Singo): When Napster updated their web interface recently, they offered me a list of "popular jazz artists," headed by this outfit I had never heard of. (Followed by: Maureen, George Benson, Boney James, Fireboy DML, Soul II Soul, Kenny G, Gregory Porter, Nina Simone, Brian Culbertson, Herbie Hancock, Jean Turner; so 4 of 12 I've never heard of; 2 are legends with as many bad records as good; 1 perhaps could have been a legend but wasted it completely; 1 is a singer with some critical rep but nothing I like; 1 is a r&b group with 2 good records 1989-90 but has nothing since 1997; rest, as far as I know, are pop jazz hacks.) When this came up again, I figured WTF and clicked on it. I mean, there's lots of stuff I haven't heard of, and some of it might be worth hearing. But I was surprised to find that Discogs haven't heard of Monkeyjazz either, and shocked that Google has nothing on the album (not even the Napster link). Closest I came was a brief YouTube video ("Donkey Jazz - Freestyle rap/jazzy au piano"), but no vocals here, and the keyboard is vanishingly thin. By the way, Singo is a German company that provides a conduit to streaming platforms, and if you pay them enough they can impersonate a label. Presumably this placement is testimony to their ability to manipulate streaming platforms, because nothing else explains it. [PS: Oops, bad eyes read the artist credit wrong. Haven't reinvestigated.] C

Drive-By Truckers: Welcome 2 Club XIII (2022, ATO): Southern rock band, many superb albums since 1998. This seems to be one of the more measured ones, with quiet songs just ambling along. I find them gently reassuring. A- [sp]

Dubstar: Two (2022, Northern Writes): English electropop group, released three albums 1995-2000, returned with One in 2018. Steve Hillier left in 2014, leaving founder Chris Wilkie and longtime vocalist Sarah Blackwood. B+(*)

Steve Earle & the Dukes: Jerry Jeff (2022, New West): His third tribute over the last decade to the (slightly) older generation of Texas singer-songwriters, outlaws only in the sense that they stayed outside Nashville's commercial norms: Townes (Van Zandt, 2009), Guy (Clark, 2019), and now Walker. None are as satisfying as last year's tribute to his son, J.T., probably because his son was a better writer and a weaker singer. B+(**)

Ebi Soda: Honk If You're Sad (2022, Tru Thoughts): Jazz-funk group from Brighton, UK, nominally a quintet but drummer Sa Schlich-Davies seems to be the only one on all tracks. Free enough to keep you on your toes. Yazz Ahmed (trumpet) is featured guest on one track. B+(*) [sp]

Eels: Extreme Witchcraft (2022, E Works/PIAS): Indie band from Los Angeles, principally Mark Oliver Everett, who recorded two albums as E (1992-93) before naming this group in 1996. Fourteenth album, first I've bothered with. Has an agreeable sound, without bombast or other excesses. B+(*)

Empath: Visitor (2022, Fat Possum): Noise punk band from Philadelphia, Catherine Elicson the singer, second album. Sound has some appeal, but I don't hear much more. B

Everything Everything: Raw Data Feel (2022, AWAL): English art rock band, from Manchester, sixth album since 2010. Singer Jonathan Higgs leans into his falsetto, electrobeats are snappy and occasionally catchy. B+(*)

Fantastic Negrito: White Jesus Black Problems (2022, Storefront): Xavier Dphrepaulezz, b. 1968 in Massachusetts, moved to Oakland at 12, father Somali, released a record in 1996 as Xavier, switched to this moniker in 2014, fifth album as such. Often described as "black roots music," drawing on blues, soul, and funk, but not precisely defined, as if it's not necessarily rooted yet. B+(***) [sp]

Hugo Fernandez: Ozean (2022, Origin): Guitarist, (4) in Discogs, second album, quartet with electric bass, drums, and trumpet/flugelhorn -- Christoph Titz stars here. B+(***) [cd]

Flasher: Love Is Yours (2022, Domino): Indie band from DC, Emma Baker (drums) and Taylor Mulitz (guitar), both sing, neither particularly well, but they're pleasantly catchy. B+(*) [sp]

Foals: Life Is Yours (2022, Warner): British rock band, seventh studio album since 2008, Yannis Philippakis the singer, all tracks also credited to Jimmy Smith (guitar/keyboards) and Jack Bevan (drums). Half of this sounds a bit like a nod to the Spinners, and half doesn't, although they usually keep the beat going. B+(*)

Liam Gallagher: C'mon You Know (2022, Warner): Founder, with his brother Noel, of Oasis, which in England seems to be regarded as the greatest band since the Beatles, perhaps even greater, although I don't know anyone who shares that view. After Oasis broke up in 2009, he started Beady Eye. Third solo album since 2017. Sometimes impressive (e.g., "I'm Free"). B+(*)

Mary Gauthier: Dark Enough to See the Stars (2022, In the Black/Thirty Tigers): Folk singer-songwriter, often impressive. B+(***)

Binker Golding: Dream of a Dogwood Wild Boy (2021 [2022], Gearbox): British tenor saxophonist, best known for his Binker & Moses duo but has several albums on his own: this a quintet with guitar (Billy Adamson), piano (Sarah Tandy), bass and drums. I go up and down on this: an impressive player, has some terrific runs, but all seems a bit slick. B+(***) [sp]

S.G. Goodman: Teeth Marks (2022, Verve Forecast): Singer-songwriter from Kentucky, first name Shaina, second album. This didn't really register until the guitar riff that kicks off the second-side opener, the grim but defiant "Work Until I Die." B+(***)

Cameron Graves: Live From the Seven Spheres (2022, Mack Avenue): Keyboard player, two previous studio albums, member of collective West Coast Get Down, straddles jazz and whatever (website sez: "Classical, Rock and Hip-Hop"). B-

Gordon Grdina's Nomad Trio: Boiling Point (2022, Astral Spirits): Guitar/oud player from Vancouver, second album with this trio, with Matt Mitchell (piano) and Jim Black (drums). B+(**) [bc]

Gordon Grdina/Mark Helias/Matthew Shipp: Pathways (2021 [2022], Attaboygirl): Guitar/oud, bass, piano, Shipp playing hard enough to make up for the lack of a drummer. B+(***) [bc]

Tord Gustavsen Trio: Opening (2021 [2022], ECM): Norwegian pianist, albums since 1999, fifth trio album, this one with new bassist Steinar Raknes (also electronics) and long-time drummer Jarle Vespestad. Seems to be slowing down here, and when that happens one tends to lose interest. B+(*)

Scott Hamilton: Classics (2022, Stunt): Mainstream tenor saxophonist, many albums since 1977, cherry picks some melodies from classical music here, arranging them for quartet with Jan Lundgren (piano), Hans Backenroth (bass), and Kristian Leth (drums). Lovely, of course, but doesn't swing much. B+(**) [sp]

Hatchie: Giving the World Away (2022, Secretly Canadian): Australian singer-songwriter Harriette Pilbeam, second album, some say dream pop, but her bass lines reverberate somewhere between shoegaze and New Order, and she doesn't shy away from the drum machines. B+(**)

Michael Head & the Red Elastic Band: Dear Scott (2022, Modern Sky): Singer-songwriter from Liverpool, started with the Pale Fountains (1982-85), then Shack (1988-2006). Second album with this group, after an EP in 2013. B

Hercules & Love Affair: In Amber (2022, Skint/BMG): "Dance music project" by Andy Butler, an American DJ now based in Belgium. Anohni and Elin Eyþórsdóttir appear as vocalists, for a note of unnecessary drama. B

Ari Hoenig Trio: Golden Treasures (2021 [2022], Fresh Sound New Talent): Drummer, from Philadelphia, dozen albums since 1999, trio here with Gadi Lehavi (piano) and Ben Tiberio (bass), wrote three originals to go with six standards, like "Cherokee," "Sophisticated Lady," and "Doxy" (a drum solo to close). B+(*) [sp]

Honolulu Jazz Quartet: Straight Ahead: The Honolulu Jazz Quartet Turns 20 (2022, HJQ): Discogs only lists one album, from 2003, with three members still here -- Tim Tsukiyama (sax), Dan Del Negro (piano), John Kolivas (bass) -- so Noel Okimoto (drums) was a late arrival. I have another album in my database, and Google knows of at least two more. Eight originals (all four write individually), plus five covers, some of which one prays will never become part of the standards repertoire ("Scarborough Fair," "Wichita Lineman"). B [cd]

Horsegirl: Versions of Modern Performance (2022, Matador): Indie rock band, guitar-bass-drums (Nora Cheng, Penelope Lowenstein, Gigi Reece) from Chicago, first album, got the sound. B+(*)

I Am [Isaiah Collier & Michael Shekwoaga Ode]: Beyond (2021 [2022], Division 81): Chicago-based sax and drums duo, also features "Sound Healer Therapist and Poet" Jimmy Chan on the 11:29 intro. That didn't engage me, nor did the spiritual searching, but a track toward the end, "Omniscient (Mycellum)," does get it on. B+(**) [bc]

Shawneci Icecold/Daniel Carter/Brandon Lopez: Toro (2021, Underground45): Pianist, seems to have a good deal more than the two albums listed on Discogs, and more hip-hop than jazz, but this (one track, 51:09) is free jazz, with bass (Lopez) and whatever Carter feels like (sounds like trumpet, not his main instrument, then alto sax, but no faster). B+(*) [sp]

Shawneci Icecold/Daniel Carter: Familiar Roads (2021, Underground45): Piano and sax duo, nice but doesn't push very hard. B [sp]

Shawneci Icecold & Fatlip: Carte Blanche (2021, Underground45, EP): Hip-hop, appears on streaming services but hard to find further information, but presumably the jazz pianist (above) does the beats (no evident piano). Rapper is probably Derrick Stewart, ex-Pharcyde, but I'm not sure of that. Five songs, 15:45. B+(*) [sp]

Shawneci Icecold & Rob Swift: For the Heads That Break (2022, Fat Beats, EP): Hip-hop, eight short pieces, 11:27, Swift (Robert Aguilar), who started in the 1990s in the X-Ecutioners, brings the turntable spin. B+(*) [sp]

Grace Ives: Janky Star (2022, True Panther Sounds/Harvest): Indie pop singer-songwriter, second album, has some beat and quirk. B+(***) [sp]

Brian Jackson: This Is Brian Jackson (2022, BBE): Mostly known as the guy who wrote the music for Gil Scott-Heron (1971-80), has a couple albums of his own, as well as other collaborations, including a recent Jazz Is Dead. This is on a reissues label with a soft spot for 1970s jazz-funk (e.g., Roy Ayers), but is presumably new ("first solo album in over 20 years"). Still, doesn't sound new. B+(*)

Christian Jacob: New Jazz Standards Vol. 5: The Music of Carl Saunders (2021 [2022], Summit): Saunders is a trumpet player, 79, mostly played in big bands (Stan Kenton, Buddy Rich, Bill Holman, Clare Fischer) and in support of singers (list headed by Ella Fitzgerald and Frank Sinatra). This seems to be Jacob's first album -- New Jazz Standards is a label series, with previous volumes by Sam Most, Scott Whitfield, Roger Kellaway, and Larry Koonse -- a trio with Darek Oles (bass) and Joe Labarbera (drums). Nicely done. B+(**) [cd]

Jones Jones: Just Justice (2020 [2022], ESP-Disk): Avant-sax trio with Larry Ochs (tenor/sopranino), Mark Dresser (bass), and Vladimir Tarasov (drums). Fourth group record, starting with sets in St. Petersburg and Amsterdam released in 2009. B+(***) [cd]

Kathryn Joseph: For You Who Are Wronged (2022, Rock Action): Scottish singer-songwriter, third album, plays keyboards, not much else going on musically -- though just enough for her purposes. B+(*)

Just Mustard: Heart Under (2022, Partisan): Irish band, mild-mannered shoegaze I guess (or metallic trip hop), Katie Ball is the singer, backed by two guitars, bass, and drums. Second album. B+(*) [sp]

Kaleiido: Elements (2022, Exopac): Danish group, or duo: Anna Roemer (guitar) and Cecille Strange (sax), second (or third) album. Tranquil enough this could pass for ambient. B+(*)

Wiz Khalifa/Big K.R.I.T./Smoke DZA/Girl Talk: Full Court Press (2022, Asylum/Taylor Gang): Not exactly a tour de force for the rappers, so the secret ingredient seems to be Gregg Gillis (aka Girl Talk), even though his mix is much more inscrutable than the ones he served up for three superb 2006-10 mash-up albums. A-

Randall King: Shot Glass (2022, Warner Nashville): Country singer, from Lubbock, second album, major label after a self-released debut, writes some but has lots of help, photographed with a guitar but subcontracted that too. What he does have is a first-rate voice, and and the production suggests he grew up on Joe Ely, and would be happy to be mistaken for him -- as you probably would with this in a blindfold test. B+(**) [sp]

Kilo Kish: American Gurl (2022, Kisha Soundscape): Art-pop singer-songwriter Lakisha Kimberly Robinson, second album, of a mixed mind whether she wants to go deep or trashy. B+(*) [sp]

Masayo Koketsu: Fukiya (2021 [2022], Relative Pitch): Japanese alto saxophonist, solo, one 46:32 piece, a bit less ugly than Braxton's For Alto. B

Kristina Koller: Get Out of Town (2022, self-released): New York jazz singer, wrote three (of 12) songs on her debut (2017), third album offers interpretations of eight Cole Porter tunes (short at 28:42), nicely done, didn't find the credits. B+(**) [sp]

David Krakauer & Kathleen Tagg: Mazel Tov Cocktail Party! (2022, Table Pounding): New York-based clarinet player, a klezmer specialist since 1995's Klezmer Madness!, with South African pianist Tagg (also plays accordion an cello, arranges and produces), with Yoshie Fruchter (guitar) and Jerome Harris (bass) in the band, plus various guests, notably vocalist Sarah MK. B+(**) [sp]

Martin Küchen/Agustí Fernández/Zlatko Kaucic: The Steps That Resonate (2021 [2022], Not Two): Sax/piano/drums trio, the former playing soprano and sopranino, recorded at BCMF Festival in Slovenia (the drummer's home turf; the others are from Sweden and Spain). Prickly. B+(**) [sp]

Martin Küchen: Utopia (2021 [2022], Thanatosis Produktion): Swedish saxophonist (tenor/alto here, also tambora and electronics), best known for his Angles groups. This looks to be solo, leaning toward ambient. B

Lalalar: Bi Cinnete Bakar (2022, Bongo Joe): Turkish group, generate an enticing but not especially distinctive grind. Title translated to "all it takes is a frenzy." Takes a while to grow on you, as it's less about the frenzy than the steady power, the relentless flow. A-

Brian Landrus: Red List (2021 [2022], Palmetto): Baritone saxophonist, also plays bass clarinet, various flutes. Dedicates this music to "the preservation of our endangered species," with several prominent examples on the cover. He recruited a large supporting cast, and his own leads flow impeccably. B+(***) [cd]

Latto: 777 (2022, RCA): Atlanta rapper Alyssa Stephens, formerly Miss Mulatto, second album (32:54), after EPs and mixtapes (3 each). B+(**)

Avril Lavigne: Love Sux (2022, DTA/Elektra): Canadian singer-songwriter, seventh album 20 years after her bestselling debut (also newly available in a 20th anniversary edition). Most pieces co-written with John Feldmann and Mod Sun, who also co-produced with Travis Barker. Twelve fast tracks in 33:38, fierce songs that tend to confuse love and hate, perhaps because the music fits both. B+(**)

Azar Lawrence: New Sky (2021 [2022], Trazar): Tenor saxophonist, recorded three albums for Prestige 1974-76, not much else until 2008, quite a bit since then. B+(*)

George Lernis: Between Two Worlds (2021 [2022], Dunya): Drummer/percussionist, also santur, has at least one previous album. Title is a 5-part suite (24:38), plus three other pieces. Cover notes "Ft. John Patitucci," probably because he's better known than the more prominent musicians: Burcu Gulec (voice), Emiel De Jaegher (trumpet), and Mehmet Ali Sanlikol (piano/voice/oud). B+(*) [cd]

Linus + Nils Økland/Niels Van Heertum/Ingar Zach: Light as Never (2021 [2022], Aspen Edities): Folk-oriented jazz duo of Ruben Machtelinckx (guitar/baritone guitar/banjo) and Thomas Jillings (tenor sax/alto clarinet/synthesizer). debut 2014, later albums with guests, including 2017's Mono No Aware with this trio (hardanger fiddle, euphonium/trumpet, percussion). B+(*) [bc]

Charles Lloyd: Trios: Chapel (2018 [2022], Blue Note): Trios seems to be a series name, of which this live recording from Coates Chapel in San Antonio is the first: with Bill Frisell (guitar) and Thomas Morgan (bass) -- evidently drums don't work well in the chapel, but that doesn't recommend the flute, either. B [sp]

Lyle Lovett: 12th of June (2022, Verve): Country singer-songwriter, 12th album since 1986, although this one arrives a full decade after number 11, on a jazz label, with an instrumental written by Horace Silver ("Cookin' at the Continental"). Vocals follow: an offbeat original ("Pants Are Overrated"); three more standards ("Straighten Up and Fly Right"; "Gee, Baby, Ain't I Good to You"; "Peel Me a Grape"); then six more varied originals. B+(**)

Lupe Fiasco: Drill Music in Zion (2022, 1st & 15th): Rapper Wasalu Muhammad Jaco, from Chicago, eighth album since 2006. Finds it groove and hangs in there. B+(***) [sp]

Nduduzo Makhathini: In the Spirit of Ntu (2022, Blue Note): South African pianist, ten albums since 2014, this his second for Blue Note. Mostly septet with sax (Linda Sikhakhane), trumpet (Robin Fassie Kock), vibes, bass, drums, and percussion. Guests are a couple of vocalists, and alto saxophonist Jaleel Shaw, whose big solo is the album's highlight. B+(**)

Todd Marcus Jazz Orchestra: In the Valley (2019 [2022], Stricker Street): Bass clarinetist, fifth album since 2012, leads a 9-piece group: 4 reeds, 2 brass, piano, bass, drums. Big band arranging without the extra bombast. B+(*) [cd] [07-01]

Dmitri Matheny: Cascadia (2021 [2022], Origin): Flugelhorn player, born in Nashville, based in Seattle, fifth album since 1995, quintet with Charles McNeal (tenor/soprano sax), Bill Anschell (piano), bass, and drums. B+(*) [cd]

Melt Yourself Down: Pray for Me I Don't Fit (2022, Decca): London group, sixth album since 2013, draws on funk and jazz (horns, at least, and emphatic drumming). Perhaps those are just affects, but they make the album more than listenable, perhaps even promising. B+(*) [sp]

Ben Morris: Pocket Guides (2022, OA2): Pianist, based in Boulder, Colorado; first album, original compositions with a text from E.H. Gombrich. Large band: 13 strong, including cello and two violins (one doubling on mandolin, the other on Hardanger fiddle, for a Norse folk touch). Unpleasing to my ears, but cannot deny its art quotient. B- [cd]

Jamal Moss: Thanks 4 the Tracks U Lost (2022, Modern Love): Chicago DJ, better known as Hieroglyphic Being (or at least should be) and in groups like Africans With Mainframes. More than a dozen albums under his own name (most with 4 in the title). Not obvious how this relates to a 2020 album with much the same title (plus a Vol. 1), credited to Hieroglyphic Being. B+(***) [sp]

Mr. Fingers: Around the Sun Pt. 1 (2022, Alleviated): Larry Heard, from Chicago, DJ and electronica producer, records since 1985, crafts a fine groove. B+(**) [sp]

Kjetil Mulelid Trio: Who Do You Love the Most? (2021 [2022], Rune Grammofon): Norwegian pianist, based in Copenhagen, has two previous trio albums plus a solo; backed by Bjørn Marius Hegge (bass) and Andreas Skår Winther (drums). B+(**)

Muna: Muna (2022, Saddest Factory/Dead Oceans): Indie pop band from Los Angeles, three women, third album. B+(*) [sp]

My Idea: That's My Idea (2021, Hardly Art, EP): Five song (12:41) debut for Brooklyn duo of Nate Amos (from the group Water From Your Eyes) and Lily Konigsberg (who has a 2021 solo album, an earlier duo, and the group Palberta). B+(**) [sp]

My Idea: Cry Mfer (2022, Hardly Art): Full-length debut, 13 songs plus 2 "digital bonus tracks." Small voice, light touch, nice drums. B+(***)

The Mysterines: Reeling (2022, Fiction): Indie rock band from Liverpool, first album after several EPs. Got some chops, but grinds a bit hard, and I suspect they're full of it. B [sp]

Vadim Neselovskyi: Odesa: A Musical Walk Through a Legendary City (2022, Sunnyside): Urkainian pianist, based in New York and Dusseldorf, albums since 2013, this one solo. Odesa (formerly and still better known as Odessa) is the 3rd largest city in Ukraine (a bit over one million), a port on the Black Sea well to the west of Crimea, founded by Catherine the Great in 1794 on the site of earlier Greek and Tatar villages (Khadjibey). In 1897, it was the 4th largest city in Russia, with a population 49% Russian, 30% Jewish, 9% Ukrainian, 4% Polish, followed by small numbers of Germans, Greeks, Tatars, and Armenians. The main thing I associate with it was the pogroms of 1881 and 1905. Since then the population has shifted from Russian to Ukrainian (in 1939 Jews were a plurality but they were killed off by the Nazis in WWII; by 2001 Odesa was 61% Ukrainian, 29% Russian). We haven't heard much about Odesa during Putin's invasion, at least after the advance from Crimea halted short of Mykolayiv, although the port is blocked by the Russian navy. None of which matters much in listening to these rhythmically interesting pieces. B+(**) [bc]

Nova Twins: Supernova (2022, 333 Wreckords Crew): British melting pot "bass-heavy duo fusing grime and punk," Amy Love and Georgia South, second album after several EPs. Drums and guitar give them some cred among metalheads, but the bass is a whole lot funkier, and they get up in your face. A-

Angel Olsen: Big Time (2022, Jagjaguwar): Singer-songwriter based in Asheville, NC; sixth album since 2012. Slow songs, driven home by repetition, like waves seeping into your consciousness. B+(*)

Kelly Lee Owens: LP.8 (2022, Smalltown Supersound): Welsh electronic musicians, sings some, based in London, despite title this seems to be her third album. Interesting mix, but mostly downers. B

Jason Palmer: Live From Summit Rock in Seneca Village (2021 [2022], Giant Step Arts): Trumpet player, prolific since his 2014 debut, this live set a quartet with Mark Turner (tenor sax), Edward Perez (bass), and Johnathan Blake (drums). B+(**) [cd]

Tess Parks: And Those Who Were Seen Dancing (2022, Fuzz Club): Singer-songwriter from Toronto, based in London, fourth album since 2013. Has depth and resonance, with a dark overcast. B+(***)

Sean Paul: Scorcha (2022, Island): Jamaican rapper, dancehall beats, eighth album since 2000. Upbeat toaster, surprised I hadn't played him before. B+(**)

Jessica Pavone/Lukas Koenig/Matt Mottel: Spam Likely (2019 [2022], 577): Viola/electronics, drums, keytar/3 string guitar (a "keytar" is a lightweight synthesizer on a strap like a guitar). Two pieces (the other is "Binge Listen"), improvs that start with an interesting sound and expand upon it. A- [cd] [08-26]

Perfume Genius: Ugly Season (2022, Matador): Singer-songwriter Mike Hadreas, sixth album. Not someone I'm ever likely to care enough about to get into the weeds, but his use of electronics is getting better (e.g., "Hellbent"). B+(*)

Phife Dawg: Forever (2022, Smokin' Needles/AWAL): Rapper Malik Taylor (1970-2016), rapper along with Q-Tip in A Tribe Called Quest, which split up after 1998 but reunited for a final album in 2016 when Taylor died. In between, he worked on solo projects, releasing an album in 2000, and working on this over a decade, recording about two-thirds of the eventual album. They did a nice job of conjuring up the right air. B+(**) [sp]

Yunè Pinku: Bluff (2022, Platoon, EP): Asha Catherine Nandy, Malaysian-Irish, dance pop producer (and presumably singer), debuts with 4 songs, 13:54, a decent single and beatwise filler. B+(**) [sp]

Pkew Pkew Pkew: Open Bar (2022, Dine Alone): Punk band from Toronto, EP in 2013, debut album in 2016. B+(*)

PUP: The Unraveling of PUPTheBand (2022, Rise/BMG): Canadian post-punk band, acronym for Pathetic Use of Potential, same quartet since 2010 (Stefan Babcock singer), fourth album since 2013. Feels more like they're bulking up, but at some point I suppose it's natural to forget whether you're coming or going. B+(**)

Ravyn Lenae: Hypnos (2022, Atlantic): R&B singer from Chicago, last name Washington, first album after three EPs. Thin voice, slinky rhythm, could prove seductive. B+(**)

Red Hot Chili Peppers: Unlimited Love (2022, Warner): Funk rock band from Los Angeles, debut 1984, commercial breakthrough with their 5th album in 1991, releases slowed down after 2002 -- six years before this 12th album, 73:04 long, with John Frusciante back, and Rick Rubin producing. B

The Regrettes: Further Joy (2022, Warner): Band from Los Angeles, Lydia Night the singer (presumably the songwriter), seems to have started as punk or riot grrrl (list of cited influences starts with Bikini Kill, L7, and 7 Year Bitch, but also includes Lesley Gore and the Crystals/Ronettes). Third album, reminded me at first of Voice of the Beehive but wound up close to Lily Allen territory. Line I jotted down: "you're so fucking pretty it takes my breath away." Second pass could add a dozen more. A- [Later: A]

Dave Rempis/Joshua Abrams/Avreeayl Ra + Jim Baker: Scylla (2021 [2022], Aerophonic): Chicago saxophonist (alto/tenor/baritone), trio with bass and drums, plus piano/electronics. Starts with gentle mbira, takes its sweet time to develop, ends with the raw power you expect. A- [cd] [07-08]

André Rosinha Trio: Triskel (2022, Nischo): Portuguese bassist, third album, a trio with João Paulo Esteves da Silva (piano) and arcos Cavaleiro (drums). B+(**) [bc]

Alma Russ: Fool's Gold (2022, self-released): Country singer-songwriter, based in western North Carolina, second album. B+(**)

Felipe Salles/Zaccai Curtis/Avery Sharpe/Jonathan Barber: Tiyo's Songs of Life (2022, Tapestry): Compositions by Tiyo Attallah Salah-El (1932-2018), né David Riley Jones, fought in Korean War, returned to play saxophone, but wound up spending the last 50 years of his life in jail. Salles is a tenor saxophonist, was born in Brazil, came to US in 1995, teaches at U. Mass., has a half-dozen records. He arranged Salah-El's compositions, radiantly backed by piano, bass, and drums. A- [cd]

Satoyama: Sinking Islands (2021 [2022], Auand): Italian quartet, "deeply influenced by the north european jazz, contemporary classical music and world music," fourth album, members play trumpet (Luca Benedetto), guitar (Christian Russano), bass, and drums. B+(**) [bc]

Scalping: Void (2022, Houndstooth): "Bristol techno, noise and hardcore supremos," first album, has vocals ("abstract doom saying") and industrial clatter. B+(**)

Louis Sclavis: Les Cadence Du Monde (2021 [2022], JMS Productions): French clarinetist, several dozen albums since 1981. Quartet with two cellists (Annabelle Luis and Bruno Ducret) plus percussion (Keyvan Chemirani, on zarb and daf). Upbeat, with a fresh Mediterrean air. A- [sp]

Derek Senn: The Big Five-O (2022, self-released): Singer-songwriter from San Luis Obispo, three previous albums, claims he's sold out a venue in Aberdeen ("where his Americana's more popular than with the Americans"). Some topical songs (from "Quarantine" to "Texas Legislature"), some personal, at least one on the "Zeitgeist." B+(**) [bc] [Later: A-]

Shabaka: Afrikan Culture (2022, Impulse, EP): Last name Hutchings, born in London, parents from Barbados, best known for starring in the groups Sons of Kemet, Shabaka and the Ancestors, and The Comet Is Coming. Short album (8 tracks, 28:22), seems to be solo with percussion (kora, mbira, bells) added to his shakuhachi, clarinet, and bass clarinet. B [sp]

Shamir: Heterosexuality (2022, AntiFragile): Last name Bailey, grew up near Las Vegas, eighth album since 2015. First three songs have something to do with sexual identity. Not my problem B+(*)

Matthew Shipp Trio: World Construct (2021 [2022], ESP-Disk): Piano trio, with Michael Bisio (bass) and Newman Taylor Baker (drums). Shipp has recorded many albums like this, the third with this lineup for this label -- Trio albums with Bisio go back to 2009, with Baker to 2015 (before that, you mostly get William Parker and Whit Dickey). Rhythm has always been his strong suit, and you hear that most clearly when he picks up the pace. B+(***) [cd]

Josh Sinton/Tony Falco/Jed Wilson: Adumbrations (2021 [2022], Form Is Possibility): Leader plays baritone sax, alto flute, and bass clarinet; eighth album since 2011 (plus group work, like in Ideal Bread); backed with piano and drums. B+(***) [cd]

Alexander Smalls: Let Us Break Bread Together (2022, Outside In Music): Singer, seems to be his first album, if anything he's better known as a chef, with three cookbooks to his name. Not a commanding or even very compelling vocalist, he seems to ease back and let the songs do the work, like the menu composer he is. Starts with "Wade in the Water," "St. Thomas," "Watermelon Man," the title piece (reprised at the end, after "Mood Indigo"). He doesn't sing on "St. Thomas" -- John Ellis reprises the Sonny Rollins classic, and plays some fine bass clarinet later on. Ulysses Owens Jr. seems to be the one who rounded up the all-star band. B+(***) [cd]

Wadada Leo Smith: The Emerald Duets (2014-20 [2022], TUM, 5CD): Four sets of trumpet-drums duos, mostly playing Smith's compositions. The one with Han Bennink dates from 2014, the others with Pheeroan akLaff, Andrew Cyrille, and Jack DeJohnette 2019-20, with the latter one lapping over into a fifth disc. DeJohnette and Smith are also credited with a bit of piano. Dive in anywhere. A- [cd]

Wadada Leo Smith: String Quartets Nos. 1-12 (2015-20 [2022], TUM, 7CD): The AACM trumpeter really kicked it into high gear around ten years ago, when he turned 70 -- not that his previous decade wasn't remarkably productive, but since 2011 I'm counting 3 2-CD sets, 2 3-CD boxes, additional boxes of 4-5-7 CDs, and at least 10 singles, including some major comissions (e.g., Great Lakes Suites, America's National Parks). No one doubts his trumpet chops, but this is the sort of move jazz musicians take when they want to be considered seriously as a composer, and that's something I'll never be focused enough to evaluate. It probably doesn't help that I associate string quartets with classical music that drives me up the wall, but I recall listening to more abstract pieces back in the 1970s -- e.g., a 3-LP box called The Avant Garde String Quartet in the U.S.A. -- and this is at least as interesting. The pieces tend toward the 20-30 minute range, so two or three to a CD, except for "No. 11" (98:45, spread over 2 discs), leaving "No. 12" (20:33) alone on disc 7. RedKoral Quartet plays, plus harp on "No. 4" and extras on 6-8: Smith's trumpet is a plus on 6 & 8, but largely negated by Thomas Buckner's voice on 8. Comes wrapped up in one of the label's gorgeous boxes, with a nice booklet. B+(***) [cd]

Torben Snekkestad/Søren Kjaergaard: Another Way of the Heart (2021 [2022], Trost): Former plays tenor/soprano sax, trumpet, and clarinet, duo with piano. B+(*) [bc]

Elza Soares: Elza Ao Vivo No Municipal (2022, Deck): Brazilian samba star, many albums since 1960, died in January at 91 (earlier sources gave her birth as 1937, but now we see 1930). This was recorded live, a few days before her death. The songs include one from 1960, another from 1968, but also four from the last decade, which seems to have been one of her strongest. A-

Soft Cell: Happiness Not Included (2022, BMG): British electrop duo, Marc Almond and Dave Ball, recorded four albums 1981-84, one in 2002, now one more. They sound little evolved from their heyday, plastic synth melodies formed into songs that are just catchy enough. B+(**)

Sonic Liberation Front and the Sonic Liberation Singers: Justice: The Vocal Works of Oliver Lake (2021 [2022], High Two): Deummer Kevin Diehl's group, had a run of extraordinary albums starting in 2000, including a 2016 meeting with saxophonist Lake (Bombogenic). Down to five members here, plus four singers, with Lake credited as "Composer, Arranger Poet." His spoken poetry is striking enough, the multi-part vocals less so, and a sax solo (presumably Elliot Levin) reminds me where his real genius lies. B+(***) [cd]

Spanish Harlem Orchestra: Imágenes Latinas (2021 [2022], Ovation): Led by pianist Oscar Hernandez, eighth album since 2002, exactly as advertised. Thirteen members, including vocalists Marco Bermudez, Carlos Cascante, and Jeremy Bosch. B+(*) [cd]

Caroline Spence: True North (2022, Rounder): Folkie singer-songwriter from Charlottesville, Virginia; fifth album since 2015. B+(**)

Sprints: Manifesto (2021, Nice Swan, EP): Irish post-punk quartet, lead singer/songwriter Karla Chubb, backed by guitar-bass-drums. Four songs, 13:06. B+(*) [bc]

Sprints: A Modern Job (2022, Nice Swan, EP): Moves beyond punk with the spoken word opener, "How Does This Story Go?" -- the music, not the attitude. Title song reveals ambition: "I wish I had a life/ and I wish that this wasn't it." Five songs, 15:29. B+(***) [bc]

SSWAN [Jessica Ackerley/Patrick Shiroishi/Chris Williams/Luke Stewart/Jason Nazary]: Invisibility Is an Unnatural Disorder (2020 [2022], 577): A while back, I got a package of CDs on the 577 label that hadn't been released yet (4 of 5 I couldn't even find release dates for, and this one is still close to 3 months out, but the demo queue is damn near empty). This is about what I'd expect: three pieces (36:52) of medium tempo, medium noise avant tinkering. Principles play: guitar, sax, trumpet, bass, and drums. I especially like the way the guitar weaves in and out. B+(***) [cd] [09-02]

Grant Stewart Quartet With Bruce Harris: The Lighting of the Lamps (2021 [2022], Cellar): Mainstream tenor saxophonist, debut 1996 but discography picks up around 2004, quartet with piano (Tardo Hammer), bass, and drums, plus Harris on trumpet. B+(**) [cd]

Carl Stone: Wat Dong Moon Lek (2022, Unseen Worlds): Not-so-minimalist composer, studied with Morton Subotnick, had a rock band called Z'EV, divides his time between Los Angeles and Japan. Strikes me as messy, a pastiche of vocal samples. B

Bartees Strange: Farm to Table (2022, 4AD): Last name Cox, born in England to an American military family, moved to Germany and Greenland before turning to US and settling in Oklahoma. Second album. B+(*) [sp]

Vieux Farka Touré: Les Racines (2022, World Circuit): Guitarist-singer from Mali, ninth album since 2007, traces his roots, which mostly means his father, Ali Farka Touré, who did more than anyone else to bring this twist on the blues to world attention. B+(***)

Oded Tzur: Isabela (2021 [2022], ECM): Tenor saxophonist, born in Israel, studied Indian classical music under Hariprasad Chaurasia, based in New York, fourth album, since 2015, second on ECM, quartet with piano (Nital Hershkovits), bass, and drums. An brief "Invocation" and four longer pieces, the sax nicely centered and defined. B+(***)

Gebhard Ullmann/Gerhard Gschlössl/Johannes Fink/Jan Leipnitz/Michael Haves: GULFH of Berlin (2018 [2021], ESP-Disk): First four -- tenor sax/bass clarinet, trombone/sousaphone, bass/cello, drums -- released a 2014 album called GULF of Berlin. In addition to his initial, Haves adds "live sound processing" (whatever that is). B+(**) [cd]

Eddie Vedder: Earthling (2022, Seattle Surf/Republic): Former Pearl Jam honcho, third or fourth solo album (depending on whether you count a 2021 soundtrack, if not his first in more than a decade). I knew the name, but didn't make the link: Pearl Jam is a band I've never had the sightest interest in, but the sound comes back whole, and this is probably better than their average album. Not that I found any reason to care. B

Erlend Viken/Jo Berger Myhre/Thomas Strønen: Djupet (2022, OK World): Norwegian trio, playing Hardanger fiddle/octave fiddle, bass/electronics, and drums/percussion. B+(**) [bc]

Anna Von Hausswolff: Live at Montreux Jazz Festival (2018 [2022], Southern Lord): Swedish darkwave singer-songwriter, plays keyboards (especially pipe organ). Albums since 2010. B

Devin Brahja Waldman & Hamid Drake: Mediumistic Methodology (2019 [2022], Astral Spirits): Alto sax/drums duo. Starts a little slow, but doesn't leave at that. B+(**) [bc]

John Wasson's Strata Big Band: Chronicles (2022, MAMA): Bass trombonist, originally from Minnesota, studied at UNT, played in their big band and with the USAF, other big bands (best known were Stan Kenton and Woody Herman, late but I don't know how late), recordings mostly with the Dallas Brass (he also holds the position of "staff arranger for the Dallas Cowboys stadium band"). Seems to be his first album. B- [cd]

Dallas Wayne: Coldwater, Tennessee (2022, Audium/BFD): Country singer-songwriter, from Missouri, albums since 1990, this one produced by Buddy Cannon. Title song is a retread from a 2000 album. Feels like getting old. B+(*)

Weakened Friends: Quitter (2021, Don Giovanni): Indie band from Portland, Maine; second album after a couple EPs, Sonia Sturino the singer/guitarist, with Annie Hoffman (bass/vocals) and Adam Hand (drums). B+(**)

Orlando Weeks: Hop Up (2022, PIAS): From Brighton, former singer for the Maccabees (2005-15), third solo album. B+(*)

WeFreeStrings: Love in the Form of Sacred Outrage (2021 [2022], ESP-Disk): String quartet (violins: Charles Burnham and Gwen Lester, viola: Melanie Dyer, cello: Alexander Waterman) plus bass (Ken Filiano) and drums (Michael Wimberly). Dyer formed the group in 2011, but I'm not aware of any other albums. Lovely with a bit of edge. B+(***) [cd]

The Whitmore Sisters: Ghost Stories (2022, Red House): Eleanor and Bonnie Whitmore, sisters, first album together although Bonnie has six on her own (since 2004), Eleanor one (plus she plays in Steve Earle's band, and shares the spotlight on four albums with her husband Chris as the Mastersons). Roots sounds, nice harmonies. B+(**) [sp]

Tommy Womack: I Thought I Was Fine (2021, Schoolkids): Singer-songwriter from Kentucky, based in Nashville, started in a band called Government Cheese, solo albums since 1998, surprises with a couple of covers here ("That Lucky Old Sun," "Miss Otis Regrets"). A straight rocker with some stories, including one about a minister buying ice cream, and another about Elvis. B+(***)[Later: A-]

Eri Yamamoto/Chad Fowler/William Parker/Steve Hirsh: Sparks (2022, Mahakala Music): Japanese pianist, has had a close relationship with Parker (bass) since she moved to New York. Hirsh plays drums, with Fowler playing stritch and saxello, instruments which dial back his sound just enough to make clear how inventive he can be. A- [bc]

John Yao's Triceratops: Off-Kilter (2018 [2022], See Tao): Trombonist, mostly based in New York but teaches at Berklee, has some big band experience, fourth album, a freebop quintet with two saxophonists (Billy Drewes and Jon Irabagon), bass, and drums. B+(***) [cd]

Recent Reissues, Compilations, Vault Discoveries

Albert Ayler Quartet With Don Cherry: European Recordings Autumn 1964 Revisited (1964 [2022], Ezz-Thetics): Leaders play tenor sax and cornet, backed by bass (Gary Peacock) and drums (Sunny Murray), drawing on two sets in Copenhagen, one in Hilversum. B+(***) [bc]

Don Cherry: Where Is Brooklyn? & Eternal Rhythm Revisited (1966-68 [2022], Ezz-Thetics): Two albums that originally appeared in 1969, but were recorded two years apart: the first a blistering American quartet with Pharoah Sanders (tenor sax), Henry Grimes (bass), and Ed Blackwell (drums), a synthesis of the Coleman and Coltrane strands in avant-jazz; the second a mostly European nonet following his move to Sweden -- the only other American present was guitarist Sonny Sharrock, with vibes, gamelan, and bells among the extra percussion. Both have been trimmed slightly to fit on a single CD (79:51). A- [bc]

John Coltrane: Favorites [Naima/My Favorite Things/A Love Supreme] Revisited (1963-65 [2022], Ezz-Thetics): Live Quartet tracks (with McCoy Tyner, Jimmy Garrison, Elvin Jones): his most famous composition, his most signature standard, and his most inspired album, adding up to 76:24. The latter is the same Antibes performance that has been reissued many times, including as the 2nd disc in the 2002 Deluxe Edition of A Love Supreme. This all strikes me as terribly redundant, but it's hard to complain while listening -- especially the latter, which strikes me as both more faithful and more adventurous than last year's archive find (A Love Supreme: Live in Seattle). A- [bc]

Cumbia Sabrosa: Tropical Sound System Bangers From the Discos Fuentes Vaults 1961-1981 (1961-81 [2022], Rocafort, EP): Six songs, 15:53, physical is 3 x 7" vinyl, short, upbeat singles by Climaco Sarmiento, Michi Sarmiento, Afrosound, Los Golden Boys, and Peyo Torres (2). B+(**) [bc]

Los Golden Boys: Cumbia De Juventud (1964-69 [2022], Mississippi): Colombian cumbia group, founded 1960, a collection of "12 of the heaviest songs from their golden era," which evidently ends with the 1972 death of guitarist Pedro Jairo. Dates from the nine titles I was able to trace, so could be earlier and/or later. B+(***) [bc]

Bob Wilber With Dave McKenna and Pug Horton: Original Wilber (1978 [2022], Phontastic): Trad jazz sax/clarinet player, kicked career off in 1959 with a tribute to Sidney Bechet (who he had played with in the late 1940s), many more records up to his death in 2019. With McKenna (piano), Bill Crow (bass), and Connie Kay (drums), with Horton singing three songs. B+(*) [sp]

Barney Wilen: Zodiac (1966 [2022], We Are Busy Bodies): French saxophonist (1937-96), backed by Karl Berger (vibes/piano), Jean-François Jenny Clark (bass), and Jacques Thollot (drums), plays 12 short pieces (one for each zodiac sign), intended as a soundtrack but the movie never got made. B

Wire: Not About to Die: Studio Demos 1977-1978 (1977-78 [2022], Pinkflag): Outtakes from the group's second and third albums (Chairs Missing and 154), only three songs making it to the final albums, but the demos appeared as a bootleg in the 1980s and eventually wound up on "deluxe editions" of the reissues. And if you don't know those albums, you really should start with the superb On Returning comp, which picks up most of their Pink Flag debut. Still, on its own this is remarkably lean and taut, perhaps a bit softer than the punk times called for, but fresher than most contemporary indie bands. A-

Old Music

Auntie Flo: Goan Highlife (2011, Huntleys & Palmers, EP): Brian D'Souza, originally from Goa -- a colonial enclave claimed by Portugal in 1510 that India invaded and annexed in 1961 -- moved to Glasgow, and eventually to London. This was his first record, two tracks, 12:44: Indian percussion/strings, chants, some electronics, the seed of a formula. B+(*) [sp]

Auntie Flo: Future Rhythm Machine (2021, Huntleys & Palmers): First legit album, eight tracks, 33:04, three with featured guests. Still seems to be dancing around the concept. B+(*) [sp]

Auntie Flo: Theory of Flo (2015, Huntleys & Palmers): Second album, features a singer named Anbuley on six (of 10) tracks. B+(*) [sp]

Auntie Flo: Radio Highlife (2018, Brownswood): Bigger album, more guests, many from Africa, although nothing that especially strikes me as classic highlife. B+(**) [sp]

Bike for Three!: So Much Forever (2014, Fake Four): Long-distance collaboration between Buck 65 (Canadian rapper Rich Terfly) and Greetings From Tuskan (Belgian singer Joëlle Phuong Minh Lê), second album after a 2009 debut. B+(**) [bc]

Eddie Bo: Check Mr. Popeye (1959-62 [1988], Rounder): New Orleans pianist-singer, last name Bocage (1930-2009), Wikipedia says he "released more single records than anyone else in New Orleans other than Fats Domino," and he recorded for over 40 labels. But he sure sold a lot less than Domino. While these 14 cut from Ric are enjoyable, they're pretty easy to forget. B+(**)

Maggie Brown: Maggie Brown (2004, Riverwide): Country singer-songwriter, seems to be her only album -- Discogs also lists a 1970 single, but that seems unlikely; other sources get swamped by Oscar Brown Jr.'s daughter, but her discography is also spotty. That leaves me with Thom Jurek's rave review at AMG, where he begs comparison to Lucinda Williams. Seems like there should be more. B+(***)

Buck 65: Sore (2004, WEA, EP): Three mixes of the title single, plus two extra cuts (17:33 total), worth hearing. B+(*)

Buck 65: Dirtbike 1 (2008, self-released): Idea was to knock out three hour-long tapes within three months, this one the first (66:38). B+(**) [bc]

Buck 65: Dirtbike 2 (2008, self-released): Second installment, a month later. Works in more hillbilly twang. B+(***) [bc]

Buck 65 [Produced by Jorun Bombay]: Laundromat Boogie (2014, DWG): This came out a day before his last WEA Canada album (a divorce saga called Neverlove), a song cycle of laundry and dirty romance structured as a single 33:17 mix. B+(***) [bc]

Abraham Burton/Eric McPherson Quartet: Cause and Effect (1998 [1999], Enja): Tenor sax and drums, with James Hurt (piano, wrote 2 pieces vs. 3 for Burton and 1 long one for McPherson) and Yosuke Inoue (bass). Strong saxophone. B+(***) [sp]

Neneh Cherry: Man (1996, Virgin): Third album, last for a stretch out to 2012, picked up a single shared with Youssou N'Dour ("7 Seconds"), Cameron McVey co-wrote most of the songs, produced by Booga Bear, Jonny Dollar, and/or Dave Allen. She seems to have fallen into a soul diva rut. B+(*)

Hata Unacheza: Sub-Saharan Acoustic Guitar and String Music (1960s [2013], Canary): Old timey music from Africa, 18 songs from 16 artists from 7 Central African nations (mostly: the outliers are Sierra Leone to Zambia, with 9 songs from Congo or Kenya) -- the artists served twice are S.E. Rogie (who I'm familiar with) and Jean Bosco Mwenda (who I should be). Flows nicely enough, but all seems a little quaint. B+(***) [bc]

Grace Ives: 2nd (2019, Dots Per Inch): First album, at least that I know of, although the beats and synths are so sharp I'd be surprised if she didn't have some practice tapes on a shelf or in her attic. B+(***) [bc]

Jakuzi: Hata Payi (2019, City Slang): Turkish synthpop band, second album. Not exactly Krautrock, but not far removed. B+(**)

Sarathy Korwar & Upaj Collective: Night Dreamer Direct-to-Disc Sessions (2019 [2020], Night Dreamer): London-based drummer, draws on Indian percussion, second album with this fluid group (5 members here -- sax, guitar, keyboards, violin, drums -- vs. 11 for their 2018 My East Is Your West). B+(***) [bc]

Avril Lavigne: Let Go (2002, Arista): Debut album, she was 17 at the time, but with her advance had moved from Canada to Los Angeles to work with Clif Magness and the Matrix, and they turned out a big hit, selling 16 million copies, led by "Sk8er Boi." So far, so good, but the power ballads suck, and then there's this: "'Cause I'm feeling nervous/ trying to be so perfect/ 'cause I know you're worth it." B-

Avril Lavigne: Under My Skin (2004, Arista): Second studio album, another big seller (6 million worldwide). Mostly co-wrote with Chantal Kreviazuk, I find most of this absurdly heavy, but she does find a bit of clarity on a couple of punkish pieces, perhaps a way out. B- [sp]

Lowkey: Dear Listener (2008, SO Empire): British rapper Kareem Dennis, born in London, mother Iraqi, father English. I heard about him when a Zionist front group tried to get him banned from Spotify. First studio album after several mixtapes. Finding his politics, with a gruesome one on Iraq, and a more affirmative one called "I Believe." B+(**)

Lowkey: Soundtrack to the Struggle (2011, Mesopotamia Music): More political here, with six "skits" that aren't even remotely funny, though there are some nuanced stories, as well as principled and sometimes even hopeful anthems. Music is more assured, the rap fast and sharp. Early intro: "I'm a product of the system I was born to destroy." Runs long: 95:08. A-

Lowkey: Soundtrack to the Struggle 2 (2019, Mesopotamia Music): In 2012, he decided to "step away from music and concentrate on y studies." He returned with a single in 2016, and finally with this album, built around samples of Noam Chomsky, who points out: "Today's Republican Party is the most dangerous organization in human history." At the moment, I'm up to 1933 in a memoir called Defying Hitler, and the SA is already doing things few Republicans can even dream of, but the Nazis were stopped 12 years later, while it's still unclear how evil the Republicans will become, or how long it will take to stop them. The extra study may have sharpened his critique of neoliberalis (cf. "Neoliberalism Kills People"), but hasn't sharpened his beats. New events intrude, like "McDonald Trump" and "Letter to the 1%." Also reprises "Long Live Palestine," because some things haven't changed. A-

Mandela: Son of Africa, Father of a Nation [Original Soundtrack: The Essential Music of South Africa] (1954-96 [1997], Mango): Seven tracks are labeled "original score" and are connecting passages, the other 19 offer a wide sample of the exceptionally rich legacy of South African music, along with a ringer -- "Nelson Mandela" by the Specials -- that ties it all together. The 1950s cuts are especially welcome. A-

Jackie McLean/John Jenkins: Alto Madness (1957, Prestige): Two alto saxophonists, both b. 1931, Jenkins a couple months older but McLean already had a half-dozen albums, with many more to come. Jenkins was also busy in 1957 -- include Kenny Burrell, Donald Byrd, Teddy Charles, Clifford Jordan, Hank Mobley, Paul Quinichette, Sahib Shihab, and Wilbur Ware -- but nothing later until a reunion with Jordan in 1990. Backed by piano-bass-drums, McLean's title piece ran 11:48, Jenkins' two pieces added up to 13:14, and they blew through two standards (another 14:19). B+(**)

Grachan Moncur III: New Africa (1969, BYG Actuel): Trombonist, father was a bassist of some note, died June 3 at 85, played on two landmark Jackie McLean albums in 1963, which got him two Blue Note albums (1964-65; all four plus two more McLean albums Moncur played on were packaged under his name for the first 3-CD Mosaic Select box). Discography after that was rather spotty, with two BYG albums (1969-70, this is the first), a JCOA set in 1975, one on Denon in 1977, and two much later (2004-07). Quintet with Roscoe Mitchell (alto sax), Dave Burrell (piano), Alan Silva (bass), and Andrew Cyrille (drums), plus Archie Shepp (tenor sax) on the last track. B+(***)

Grachan Moncur III: Aco Dei De Madrugada (One Morning I Waked Up Very Early) (1969 [1970], BYG Actuel): Short album (4 tracks, 28:41), recorded in Paris with Fernando Martins (piano/voice), Beb Guérin (bass), and Nelson Serra de Castro (drums). B+(**)

Dudu Pukwana: Zila '86 (1986, Jika): South African saxophonist, started with the Blue Notes and went with them into exile in Europe, playing with the avant-garde but also recording some exceptional township jive (cf. In the Townships, 1973). This band seems to be a crossover attempt, with pop vocals and dance beats, but much more happening. B+(***) [lp]

RG Royal Sound Orchestra: Impact (2009 [2010], RG): Initials stand for Recaredo Gutiérrez, who is also listed as producer, with ike Lewis as orchestra director, five arrangers, and a big band ("a group of A-List Miami-based musicians"). Opens with a flamenco "Hotel California," then doubles down on "My Way." The third song, "Volare," is more of a mambo. Amusing enough, except that it turns nauseous when they take on "Yesterday" and find it's way too slow to mess with. B [cd]

Terry Riley: Poppy Nogood and the Phantom Band/All Night Flight: SUNY Buffalo, New York, 22 March 1968 (1968 [2006], Elision Fields): Live solo set, with Riley playing soprano sax, organ and "time-lag accumulator." "Poppy Nogood and the Phantom Band" was the flip side to his career-defining A Rainbow in Curved Air, expanded here to 39:48, finally released in 1996. B+(*)

Alma Russ: Next Town (2020, self-released): First album, started on fiddle and banjo before picking up guitar, has a small voice, takes a little getting used to. B+(*)

Dean Schmidt: I Know Nothing (2006 [2007], OA2): Seattle bassist, this is his first and seems to be his only album, employs 10 additional musicians, not broken down by track but not likely to have three keyboard players or two tenor saxophonists constantly on call. Three percussionists, perhaps (congas, guiro, steel pans/vibes). Schmidt seems to be a Latin afficionado. [ex-cd] B+(*) [sp]

Harvie Swartz & Urban Earth: It's About Time (1988, Gaia): Bassist, debut 1978, I know him best for his duos with Sheila Jordan, released Urban Earth in 1985, and kept the title for a group name here and on at least one more album. With Billy Drewes (soprano sax), Jay Azzolina (guitar), Yves Gerard (drums), and a couple guests, for something quasi-fusion. Later changed his name to Harvie S. B [lp]

Steve Tibbetts: Compilation: Acoustibbets/Elektrobitts/Exotibbets (1976-2010 [2010], Frammis, 3CD): Guitarist, from Wisconsin, debut 1976, recorded mostly for ECM from 1982-2018, the "Acoustibbets" don't go far beyond new age, the "elektrobitts" can have a bit of edge and a lot more beat, and the "exotibbets" flit around the world (but especially Nepal and Tibet). I don't think this career-spanning collection was ever real product, but the promo got distributed wide enough to get logged on Discogs and sold on Amazon. Could be worth a more extended dive, but not now. B+(*) [cd]

Turning Point: Matador (2005, Native Language): Jazz-funk group: Thano Sahnas (guitar), Demitri Sahnas (bass), Steve Culp (keyboards), and John Herrera (drums), with guest spots for sax and violin. [ex-cd] B- [sp]

Twice Thou: The Bank Attack (2012, The Buy Back Initiative/Music Group): Boston rapper Marco Ennis, aka E-Devious, first credits go back to 1986, called his first album Long Time Comin', then took a decade before releasing this one. Staunchly political, starts with a tribute to community group City Life/Vida Urbana before moving out to hunt some bankers. Some of the references are ripped from the headlines, but few feel dated -- especially this week. A- [cd]

Twice Thou: Trials & Tribulationships (2015, The Ennis Group): Old school rapper, moves from the simple world of politics into the more complicated intricacies of relationships. B+(***)

Twice Thou: Loose Screws: Las Aventuras de Tonito Montana (2017, The Ennis Group): Comes up with a gangsta story. B+(*) [sp]

The United States Air Force Academy Band: The Falconaires: Sharing the Freedom (2010 [2011], self-released): Other name on the cover is "Lieutenant Colonel Larry H. Lang, Commander." Big band, playing standards with a few originals mixed in, with TSgt Crissy Saalborn taking three vocals. Her "Nature Boy" isn't bad, but all the TSgt- and MSgt- and SMSgt-prefixes gives me the creeps. Nor do I take comfort in that the USAF has worse ways of "sharing the freedom." B- [cd]

The United States Air Force Band Airmen of Note: The Jazz Heritage Series 2009 Radio Broadcasts (2009, self-released, 3CD): Radio shots, way too much talk, not that the music is much better. Guest artists Kurt Elling, Allen Vizzutti, Rufus Reid. C- [cd]

The United States Air Force Band Airmen of Note: The Jazz Heritage Series 2010 Radio Broadcasts (2010, self-released, 3CD): Same, Dick Golden's talk sounding even more like recruiting ads. Guest artists: New York Voices, Joey DeFrancesco, Gary Smulyan. C- [cd]

The United States Air Force Band Airmen of Note: The Jazz Heritage Series 2011 Radio Broadcasts (2011, self-released, 3CD): Guests are Kurt Rosenwinkel, Al Jarreau, and various almuni. C [cd]

The United States Air Force Band Airmen of Note: The Jazz Heritage Series 2017 Radio Broadcasts (2017, self-released, 3CD): Guests are a step up: Steve Turre, Cyrus Chestnut, and Terell Stafford. The interview with Turre includes a bit about how he figured out how to play shells, where he admits: "I'm not gonna play 'Donna Lee' or 'Giant Steps' on the shells." C+ [cd]

Further Sampling

Records I played parts of, but not enough to grade: -- means no interest, - not bad but not a prospect, + some chance, ++ likely prospect.

Voivod: Synchro Anarchy (2022, Century Media): Canadian metal band, 15th album since 1984. [4/9] - [sp]

Music Weeks

Music: Current count 38227 [38015] rated (+212), 87 [107] unrated (-20).

Excerpts from this month's Music Week posts:

June 7, 2022

Music: Current count 38065 [38015] rated (+50), 107 [107] unrated (-0).

Fifth straight Speaking of Which. I still don't want to make a weekly practice of it, but hit a mental dead spot last week when I couldn't think of anything better to do. Had an urgent home repair to do today, and it wound up taking three hours instead of the 15-20 minutes it should have. Moreover, I'm beginning to think I should redo it before long. Much else is proving frustrating. Got some medical anxiety this week, so I don't really see clear sailing ahead.

June 13, 2022

Music: Current count 38120 [38065] rated (+55), 97 [107] unrated (-10).

It's been a very frustrating week, especially a blow to my confidence that I can manage basic tasks of household maintenance. Still trying to figure out an air conditioner problem with the temperature over 100F. Dreading tomorrow, but no reason to think I won't get through it, or feel better once it's over.

Nothing much more to say about the music below. I did bump two albums I had at B+(**) up a notch today on revisit, but I'm pretty sure that's as high as they will go.

Been trying the new Napster web interface, and so far I hate everything about it. Looks almost exactly like a Spotify clone. Given that Spotify has more music and is much more robust -- comparing Spotify's Linux app to Napster's web interface; Spotify's web interface is probably no better -- the only reasons I thought of for keeping Napster were that it was a bit better for browsing (still pretty awful) and a bit easier for song lists, and they managed to squander both advantages. Plus Napster has a unique problem: it periodically stops with a notice that my account is being used on another device. I've also had to swat down many offers to download the supposedly superior Napster app, only to find they still don't have one for Linux (though supposedly they're working on it now).

June 20, 2022

Music: Current count 38165 [38120] rated (+45), 93 [97] unrated (-4).

Feeling better this week, if not about the world, at least in my little corner of it. The mini-split air conditioner in the bedroom appears to be truly fixed, which is good for a couple more hours of sleep most nights. These days, even trivial tasks like replacing a porch light or a toilet fill valve feel like accomplishments. Finally making some progress with sorting and storing. Even managed to get the "unrated" list below 100. I have little idea where those 93 LPs and CDs actually are (other than a pile of USAF CDs), but the search is on.

Didn't have too much trouble finding new records to play this week. The demo queue is pretty close to empty, aside from two Wadada Leo Smith boxes (12-CD total, enjoying Emerald Duets today). Dave Sumner's Bandcamp reports pointed me to a lot of interesting items, as did Christian Iszchak's consumer guide (Lalalar wasn't an instant hit, but I stuck with it). Auntie Flo and Shawneci Icecold seemed interesting enough to merit a bit of a dive, even though not much came out of it. I heard about the latter because he wrote in, and I felt like doing some due diligence. I suppose I should mention that the father of one of the Nova Twins is a virtual friend of my wife's. That may have put some pressure on me to get to the record early, but I also pegged their debut, Who Are the Girls, at A-, so it was only a matter of time.

I'm hoping to do a Q&A sometime this week, although I don't currently have a lot to chew on.

June 27, 2022

Music: Current count 38227 [38165] rated (+62), 87 [93] unrated (-6).

Couldn't sleep this morning, so woke up in an exceptionally foul mood. Part of the bad mood had simply carried over from writing yesterday's Speaking of Which, which necessarily focused on the right-wing Supreme Court's renouncing the formerly "settled law" of Roe v. Wade. I've written more than a little on the subject over the years, and I scarcely wanted to rehash all that, but felt obligated to at least register the event and the temperature in the notebook I perhaps foolishly think I might want to look back on some day, as I recollect the changes I've seen.

The post took a lot out of me, and I was further disappointed not to get any reaction at all this morning, either to the regular Twitter or Facebook notices. (I normally limit my use of Facebook to following old friends and family, and normally limit my posts there to food pics.) I mean, I don't mind not getting hate mail, but occasional acknowledgments are appreciated.

The one thing that did lift my spirits is this video, where Olivia Rodrigo calls out the Supreme Court junta by name, with help from Lily Allen. (There's more info in an article here.

This is the last Monday in June, so the monthly archive is officially closed. I haven't done all of the indexing, but the rated count for the 4-week month is 212. I'll finish the indexing and add the Music Week introductions in later this week. Not a lot of work, but I'm hoping to get this out sooner rather than later. Maybe I'll have time to do some yardwork before the trash goes out.

This is probably the first week where I've listened to Spotify more than Napster. Spotify hangs less, and seems to get new records out earlier, and they seem to be a bit easier to find, although I wouldn't say they qualify for a blue ribbon. On the other hand, at least one record below I found on Napster after failing on Spotify.

Also picked up one record under "limited sampling," and it reflects a change in how I'm handling the category. Previously I used it for records where only a few cuts were available on Bandcamp or streaming, but I listened to everything that was available. For Voivod, I simply hit reject 4 tracks in. It wasn't even that I couldn't stand the record; I just got tired of it, and decided I wanted to move on. Good chance there will be more like that in the future. May even encourage me to check out some videos, on the theory that they probably represent choice cuts. I've decided to score such records as rated in the tracking and metacritic files, but I'm not counting them in the rated totals. I may have to fiddle with the tracking stats, as that's where I look to see how many rated records I have each year.

I'm adding some mid-year lists to the metacritic files, starting with those compiled at AOTY, adding in (sometimes informal) lists I'm picking up from Expert Witnesses on Facebook (one with a public link is from Alfred Soto. Few of the lists are ranked, and I'm paying no heed to those that are. Each mention is marked with '+', which is temporary until the EOY lists appear. (I added a couple more -- GQ, Treble, Vulture -- until my eyes gave out. Links are in the legend file files.)

In old music, made some further progress in digging out the unrated albums. Was surprised to find a couple winners there.

Don't know what comes next. I'm too exhausted right now to give it any thought.


Everything streamed from Napster (ex Rhapsody), except as noted in brackets following the grade:

  • [cd] based on physical cd
  • [lp] based on physical lp (vinyl)
  • [bc] available at
  • [sp] available at
  • [os] some other stream source