Streamnotes: October 31, 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 September 26. Past reviews and more information are available here (20461 records).

Recent Releases

The 1975: Being Funny in a Foreign Language (2022, Dirty Hit): English alt/indie band, fifth album since 2013, got a critical rep early which I never quite heard, but this has a sunny appeal that only comes when you craft something catchy. B+(***) [sp]

Claudia Acuña: Duo (2022, Ropeadope): Singer from Chile, based in New York since 1995, presents nine songs, featuring jazz notables like Kenny Barron, Christian McBride, Fred Hersch, Regina Carter, and Russell Malone. Remarkable singer, working in her native Spanish. I find her a bit too operatic, but one can't help being impressed. B+(*) [cd]

Ahanes: Petrichor (2021 [2022], Clean Feed): Three Greek jazz musicians -- Nicky Kokkoli (sax), Giannis Arapis (guitar), and Alex Zethson (keyboard) -- ventured to Stockholm for a winter festival, picked up three locals for this sextet: Mats Åleklint (trombone), Torbjörn Zetterberg (bass), and Nils Agnas (drums). B+(**) [sp]

The Airport 77s: We Realize You Have a Choice (2022, Jem): Indie band from Maryland's DC suburbs, guitar-bass-drums with a bit of keyb, longer follow-up to their 2021 (8 songs, 25:56) debut. Chunky rhythms, some hooks, closer to rockabilly than to punk. B+(*) [sp]

Akusmi: Fleeting Future (2022, Tonal Union): French producer Pascal Bideau, first album under this alias, plays alto sax, flute, keyboards, guitar, bass guitar, percussion, with a group that also includes saxophonist Ruth Velten, plus trombone and drums -- sort of a jazz band playing dance music riffs. B+(**) [sp]

Al-Qasar: Who Are We? (2022, Glitterbeat): Moroccan vocalist Jaouad El Garouge fronts this Paris-based, mostly French group playing mostly Arabic instruments, with Thomas Attar Bellier the composers and electric saz/guitar player, and guest spots including Lee Ranaldo and Jello Biafra. B+(***) [sp]

Alvvays: Blue Rev (2022, Polyvinyl): Canadian indie pop group, Molly Rankin sings and plays guitar, third album, nice, upbeat appeal. B+(**) [sp]

Zoh Amba: Bhakti (2022, Mahakala Music): Young tenor saxophonist from Tennessee, started this year with albums on Tzadik and 577 that I haven't heard but have heard much about. She got a feature in the New York Times recently, so she's the very definition of a rising star. Three long and noisy pieces here (60:08), easy to hear what the excitement is about, with a superb rhythm section: Micah Thomas (piano), Tyshawn Sorey (drums), and Matt Hollenberg (guitar). B+(***) [sp]

Oren Ambarchi: Shebang (2022, Drag City): Australian guitarist, started as a drummer, close to 60 albums since 1998. Basically a jangle rhythm piece (nominally four parts, 35:00), with guests adding minor coloring and Joe Talia on drums. B+(***) [sp]

Gyedu-Blay Ambolley: Gyedu-Blay Ambolley and Hi-Life Jazz (2022, Agogo): Saxophonist from Ghana, bandleader since 1973, his debut album defined a genre, Simigwa, but his roots are in high-life, which he's messed with enough to be called "the godfather of hiplife." I'm not seeing credits or dates, but this seems to be new (he is 75 this year), and not better for the postmodern effects. B [sp]

Arild Andersen Group: Affirmation (2021 [2022], ECM): Norwegian bassist, started as a George Russell protégé in the late 1960s, has had a long and fruitful career. Quartet here with Marius Neset (tenor sax), Helge Lien (piano), and Håkon Måjset Johansen (drums), the multipart title piece jointly credited, plus his own "Short Story." Remarkable balance and poise. A- [sp]

Horace Andy: Midnight Scorchers (2022, On-U Sound): Journeyman reggae singer, perhaps best known for his 1972 hit "Skylarking," nicely summed up by his 1970-76 comp Feel Good All Over, may have hit a peak with 1977's In the Light, but never let up, so he has dozens of later albums I haven't heard. The one I have heard was this year's much-touted "comeback" (after a 3-year gap) Midnight Rocker. Nice record, but this one turns up the heat considerably, earning its title. B+(***) [sp]

The Bad Plus: The Bad Plus (2021 [2022], Edition): Established as a piano-bass-drums trio in 2000, after bassist Reid Anderson and pianist Ethan Iverson had released several very strong albums, while drummer Dave King had developed a style that satisfied both jazz and rock fans without wholly belonging to one or the other. They were remarkably successful as jazz groups go, most famous for their occasional covers of rock songs (initially Nirvana's "Smells Like Teen Spirit"), filling an ecological niche that E.S.T. proved popular in Europe, but which no other American group came close to. When Iverson left in 2017, Anderson and King tapped Orrin Evans to fill the piano chair, but Evans left in 2021 to return to his own substantial, multi-faceted career. Here they take a different tack, reintroducing themselves as a pianoless quartet, with Chris Speed (tenor sax) and Ben Monder (guitar) -- well-established names in their own right, though a little too buttoned down -- playing eight songs, with Anderson and King writing four each. B+(**) [sp]

Kenny Beats: Louie (2022, XL): Producer Kenneth Blume III, first album under his name only -- he has at least four more co-credited to rappers, and is producer for many more. B+(*) [sp]

Benjamin Tod: Songs I Swore I'd Never Sing (2022, Anti-Corp): Country singer-songwriter, last name Flippo, third solo album, also has a group called Lost Dog Street Band. Original songs, but passed by for other projects, presented here as guitar-and-voice demos. B+(*) [sp]

Kristin Berardi: The Light & the Dark (2019 [2022], Earshift Music): Australian jazz singer, writes her own songs, albums since 2006. This one recorded in New York, with Ingrid Jensen on trumpet, Miro Sprague on piano, plus bass and drums, and a couple guest spots. B+(*) [cd]

Tim Berne/Matt Mitchell: One More, Please (2021 [2022], Intakt): Alto sax and piano duo, their first duo record 2017's Førage, this the fifth by my count, but the only other one I've managed to hear is 2020's Spiders, still a slight preference although most likely they're all quite close, high-level collaborations. B+(***) [sp]

Bi Ba Doom: Graceful Collision (2022, Astral Spirits): Free jazz trio, first album as such but musicians are fairly well established: Chris Pitsiokos (alto sax), Luke Stewart (bass), and Jason Nazary (drums), everyone also electronics. B+(***) [bc]

Bibio: Bib10 (2022, Warp): Electronica producer Stephen Wilkinson, from England, tenth album since 2005, has a similar number of EPs. B+(*) [sp]

Crow Billiken: If I Don't Have Red I Use Blue (2022, self-released, EP): Rapper R.A.P. Ferreira delivers a short country blues album (6 songs, 21:37). "Alvin Youngblood Hart, Skippy James, Robert Petway, Mississippi Fred McDowell, and Leroy Stewart Sr all contributed compositionally." B+(*) [bc]

Bitchin Bajas: Bajascillators (2022, Drag City): Cooper Crain, nominally a solo side project, but he has close to twice as many albums here (11 since 2010) as with his psychedelic drone group Cave (6 since 2008). It probably helps that these are conceptually simpler: four pieces ranging between 9:42 and 14:30, most attractive groove patterns drawn out. B+(**) [sp]

Björk: Fossora (2022, One Little Independent): Iceland's superstar, albums since 1993, first track got me thinking about how charming her quirky rhythms can be. Much of the rest reminded me how cloying her operatic/art song side can be. Well, not quite, as it almost works this time, and that hasn't always been the case. B [sp]

Owen Broder: Hodges: Front and Center, Vol. 1 (2021 [2022], Outside In Music): Saxophonist, one previous album plus appearances with Anat Cohen and in Cowboys and Frenchmen, mostly plays alto here, plus a bit of baritone on a piece Gerry Mulligan wrote for an album with Johnny Hodges. I wasn't much impressed by his exploration of Appalachian roots music, but this I find thoroughly delightful. I don't even feel the desire to refer back to the classics. A- [cdr]

Sarah Buechi/Franz Hellmueller/Rafael Jerjen: Moon Trail (2021 [2022], Intakt): Swiss vocalist, titles in English (except for one in French, one in German), modestly backed with guitar and bass. She sings with rare poise, although the best known standards (like "I Thought About You") can feel tortured. B+(**) [sp]

Burial: Streetlands (2022, Hyperdub, EP): William Bevan, electronica producer since 2005, niche ambient. He mostly releases EPs: this 3-track job runs long enough at 34:27 but the concept is so small we might as well label it accordingly. B [bc]

Alina Bzhezhinska & HipHarpCollective: Reflections (2022, BBE): Harpist, born in Ukraine, based in London, has at least one previous record, Bandcamp credits this to AlinaHipHarp. Credits unclear, but there is some sax (Tony Kofi), trumpet (Jay Phelps), bass, percussion, vocals (rap), and violin/viola (Ying Xue). B+(*) [sp]

Tito Carrillo: Urbanessence (2021 [2022], Origin): Trumpet player, from Chicago, second album, original pieces, played by a sextet with sax (Troy Roberts), piano (Ben Lewis), bass, drums, and congas. B+(*) [sp]

Dan Cavanagh and James Miley With John Hollenbeck: Another Life (2019-21 [2022], S/N Alliance): Two pianists, three compositions each (plus two standards and an improvisation), both also play synthesizers, plus drums. Remarkably sparkling, especially on the Jerome Kern/Radiohead opener. B+(**) [cdr]

Tyler Childers: Can I Take My Hounds to Heaven? (2022, Hickman Holler/RCA, 3CD): Country singer-songwriter, from Kentucky, has an impressive string of albums, often touching on religious themes. This one offers eight more songs on religion, some gospel and some more tentative (does God allow hunting on "His grounds"?), rendered three times each on discs labeled "Hallelujah," "Jubilee," and "Joyful Noise." The first two aren't much different, with "Jubilee" perhaps a bit brighter and clearer. The third doesn't strike me as joyful at all: darker and denser, stiff keyboard rhythm and little refrain, disturbing but I doubt I'd give it a second thought if it came to me as electronica. Not that religion doesn't disturb me when I think about it, but like Kant I usually assume it's a benign tonic for the masses (unlike Kant I don't think we really need one). B+(*) [sp]

Corey Christiansen: Standards (2022, self-released): Guitarist, from Utah, from 2000-07 worked as "senior editor ad guitar clinician" for Mel Bay Publications, and released his first album and books there. Since then he released six albums on Origin, and now this crowdfunded trio with Ben Williams (bass) and Carl Allen (drums). B+(**) [sp]

The Claudettes: The Claudettes Go Out! (2022, Forty Below): Indie band from Chicago, founded by keyboardist Johnny Iguana in 2013, singer Berit Ulseth, fifth album. B+(*) [sp]

Anat Cohen: Quartetinho (2021 [2022], Anzic): Israeli clarinet player, based in New York, has long been drawn to Brazilian music, delivered mostly by Vitor Gonçalves (piano, accordion, Fender Rhodes) here, the quartet fleshed out by Tal Mashiach (bass, guitar) and James Shipp (vibraphone, percussion, glockenspiel, analog synth). B+(**) [sp]

Tommy Crane: We're All Improvisers Now (2020-21 [2022], Whirlwind): Montreal/New York-based drummer, has a couple albums, also plays keyboards and synth bass here, augmented by occasional guests: saxophonists Charlotte Greve, Logan Richardson, and Chris Speed get one track each, guitarist Simon Angell three, electric bassist Jordan Brooks six, French horn (Pietro Amato) two. Lives up to its billing as "tranquil yet propulsive," but not to its title. B+(*) [sp]

Criolo: Sobre Viver (2022, Oloko): Brazilian singer-songwriter Kleber Cavalcante Gomes, raps some, eighth album since 2006. B+(**) [sp]

Zella Day: Sunday in Heaven (2022, Concord): Indie pop singer-songwriter from Arizona, self-released an album at 14 in 2009, second album since. B+(*) [sp]

Death Cab for Cutie: Asphalt Meadows (2022, Atlantic): Indie rock band from Washington state, debut 1997, 14th album, easy enough, but easily forgotten. B [sp]

James Devane: Beauty Is Useless (2022, Umeboshi): Electronica producer, second solo album (first was 2008), has four more in the duo En. Beats with a little extra fuzz -- wouldn't want anyone thinking this is too pretty. B+(*) [bc]

Whit Dickey Quartet: Root Perspectives (2022, Tao Forms): Drummer, worked with pianist Matthew Shipp from the early 1990s, both in and out of the David S. Ware Quartet. Produces yet another variation of that here, with Tony Malaby on tenor sax and Brandon Lopez on bass. Kicks off loud, and rarely lets up, but Malaby doesn't sound quite right: like he's straining to channel Ware. B+(**) [cd]

John Dikeman/Stefan Gonzalez/Ingebrigt Håker Flaten/Jonathan F Horne: Texas Butt Biters (2019 [2022], Astral Spirits): Sax. drums, bass, guitar, recorded in Amsterdam (Dikeman's home turf), although the others have ties to Texas. B+(*) [bc]

DJ Marz Y Los Flying Turntables/DJ Jester the Filipino Fist: Made in USA (2022, self-released): Mixtape, the DJs based in Texas (Austin and/or San Antonio), almost zero chance the samples got cleared. Looks like three cuts/one side each, the same title covering everything. The sort of thing that's only as good as it's funny. B+(**) [bc]

Dodie: Hot Mess (2022, Doddleoddle, EP): English singer-songwriter Dorothy Clark, mostly EPs since 2016 plus one album in 2021. Four tracks, 12:36. B [sp]

Charlotte Dos Santos: Morfo (2022, Because Music): Pop singer, born in Oslo, father Brazilian, mother Norwegian, studied as a jazz singer at Berklee, based in Berlin, first album after a 2017 EP. B+(***) [sp]

Dr. John: Things Happen That Way (2017 [2022], Rounder): New Orleans pianist Mac Rebennack, had a few days as a pop star in the late 1960s, after which he returned to roots and they saw him through to his death in 2019. This is revealed as his final studio album, amid controversy over post-production. A batch of mostly-country covers, unclear how much piano he plays, but on this material his voice is his calling card. Reminds me a bit of Louis Armstrong's last records, when he couldn't play trumpet, and his voice had withered, but he could still get by on charisma. B+(*) [sp]

Kaja Draksler/Susana Santos Silva: Grow (2021 [2022], Intakt): Piano and trumpet duo, from Slovenia and Portugal, both have been very active of late, including a previous duo in 2015 (This Love, on Clean Feed). Has an uncomfortably industrial feel, not expected given the instruments. B [sp]

Dry Cleaning: Stumpwork (2022, 4AD): English post-punk band, second album after an acclaimed debut, Florence Shaw vocalist (mostly spoken word). It's a vibe I'm hopelessly attracted to, even if I never seem able to parse it. A- [sp]

Jens Düppe: Ego_D (2022, Enja/Yellowbird): German drummer, has a few albums since 2004, also plays piano (like a drum), possibly everything else here, including some (but not all) of the spoken word, which starts with "the beat." B+(***) [sp]

Open Mike Eagle: Component System With the Auto Reverse (2022, Auto Reverse): Chicago rapper, born with the name Michael Eagle, eighth album since 2010, reportedly a revue of his whole oeuvre, hard for me to ascertain even though I'm something of a fan. I just enjoy the ride. A- [sp]

Eliane Elias: Quietude (2022, Candid): Brazilian pianist-singer, back in São Paulo immersed in dreamy samba. B+(**) [sp]

Brian Eno: Forever and Ever No More (2022, Verve): Cover squeezes all the spaces out from the all-caps title -- a conceit I decided not to humor after finding that my first attempt at typing the title came out wrong. One of his few albums lately to offer lyrics, but the music is drearily ambient, probably to fit the gloom of the words, but vice versa is also possible. B+(*) [sp]

John Escreet: Seismic Shift (2022, Whirlwind): English pianist, eighth album since 2008, trio with Eric Revis (bass) and Damion Reid (drums), original pieces, kicks it up a notch (or two). B+(***) [cd]

Amina Figarova: Joy (2022, AmFi): Pianist, born in Baku (now Azerbaijan), trained in classical music, moved to Rotterdam in 1988, then studied at Berklee and switched to jazz. Dozen-plus albums since 1993. Husband Bart Platteau plays flute, in a band that includes trumpet (Alez Pope Morris) and saxophone (Wayne Escoffery), with a vocal guest spot. B+(*) [cd]

Flohio: Out of Heart (2022, AWAL): London rapper Funmi Ohiosumah, billed as her debut album (although Discogs lists another, from 2020). B+(**) [sp]

Fox Green: Holy Souls (2022, self-released): Mild-mannered rock band from Little Rock, probably wouldn't have given them a second listen but for knowing the guitarist. But the extra listens helped, especially once the Howlin' Wolf tribute caught my ear, and each song on the second side came into focus. A- [sp]

Paolo Fresu/Dino Rubino/Daniele Di Bonaventura/Marco Bardoscia: Ferlinghetti (2022, Tuk Music): Trumpet/flugelhorn player, originally from Sardinia, many albums since 1985, this is soundtrack music for a documentary about famed beat poet Lawrence Ferlinghetti. With piano, bandoneon, and bass. B+(***) [sp]

John Fullbright: The Liar (2022, Blue Dirt/Thirty Tigers): Country singer-songwriter, born in/near Woody Guthrie's home town in Oklahoma, debuted at the Folk Festival there, moved on to the Turnpike Troubadours. Fourth solo album. Mixed bag of songs. When he turns to God he can get real creepy ("Stars"), but when he focuses on human foibles he can be insightful and amusing ("Social Skills"). B+(**) [sp]

Freddie Gibbs: $oul $old $eparately (2022, Warner/ESGN): Rapper Fredrick Tipton, albums since 2013. Do British rappers incorporate pound signs into their titles, or is that a peculiarly American fetish? The album itself is nowhere near that shallow. B+(***) [sp]

Gogol Bordello: Solidaritine (2022, Cooking Vinyl): Gypsy-punk band from New York, led by Ukrainian singer-songwriter Eugene Hütz, the only continuous member since their 1999 debut, although Russian violinist Sergey Ryabtsev comes close. I'm not catching every word, but the raw energy and rustic rage makes a fine soundtrack for writing my thoughts on the Ukraine War. A- [sp]

Lincoln Goines: The Art of the Bass Choir (2020-21 [2022], Origin): Bassist, seems like he's been around a while but his may be his first leader album. Employs 10 bassists, but usually in duos, with a drummer (of four total), cello on two cuts, voices on two more (one an Adam Nussbaum rap, praising Jaco Pastorius). Cites "Steve Swallow's upper register explorations" as an inspiration, so much of this sounds like guitar. B+(*) [sp]

Gunna: DS4EVER (2022, YSL/300 Entertainment): Rapper Sergio Giavanni Kitchens, from Georgia, associated with Young Thug (e.g., Slime Language 2), third album. B+(**) [sp]

Darryl Harper: Chamber Made (2022, Stricker Street): Clarinet player, has been around a while, although there is little on him in sources like Discogs (at least that I can find; he's cut a number of albums as The Onus). This starts with a "Suite for Clarinet and String Quartet" written by Ryan Truesdell. The album is filled out with pieces written by others (Stevie Wonder is the only one that qualifies as a cover), further exercising the "chamber jazz" idea. B+(*) [cd]

Paul Heaton + Jacqui Abbott: N.K-Pop (2022, EMI): Formerly of the Beautiful South, he the main writer/singer (first noticed in the Housemartins), but she added another dimension, and still helps. It's been some time since they were as good as they used to be, but stick around long enough and they'll pay off. B+(***) [sp]

Hellbound Glory: The Immortal Hellbound Glory: Nobody Knows You (2022, Black Country): Country rock band, principally Leroy Virgil, founded the band in Reno, Nevada, their first album called Scumbag Country (2008). Title refers to a 1920s song that never seems to go out of style. B+(*) [sp]

Hickeys: Fragile Structure (2022, self-released): Spanish rock group, four women, sing in English (I think), a little darker and harder than indie pop. B+(**) [sp]

Dylan Hicks & Small Screens: Airport Sparrows (2022, Soft Launch): Singer-songwriter from Minneapolis, occasional albums since 1996, has written a couple novels. B+(**) [sp]

Jason Kao Hwang/J.A. Deane [Dino Duo]: Uncharted Faith (2021 [2022], Tone Science Music/Blue Coast Music): Violin/electronics duo, started with violin solos which Deane (aka Dino) added to remotely while suffering from throat cancer, dying before release. I wasn't familiar with Deane, but Discogs credits him with a dozen albums (1986-2011). B+(**) [sp]

Dieter Ilg: Dedication (2020 [2022], ACT): German bassist, more than two dozen albums since 1989, at least if you count group efforts, especially with Marc Copland and Charlie Mariano. Solo bass, twelve original pieces, although he cites inspirations on three: Bach, Beethoven, and Nat Adderley. Solo bass albums have inevitable limits, but this one remained engaging and interesting, even while I was working on other stuff. B+(**) [sp]

Dieter Ilg: Ravel (2021 [2022], ACT): He has been leaning toward classical composers lately, with volumes on Bach and Beethoven. This trio -- Rainer Böhm (piano) and Patrice Héral (drums) plays eleven pieces by Maurice Ravel, a name but not music I know, but evidently able to craft fetching melodies. B+(*) [sp]

Eric Jacobson: Discover (2022, Origin): Trumpet player, leads a hard bop quintet, with Geof Bradfield (tenor sax), Bruce Barth (piano), bass, and drums, playing half originals, plus covers including Dizzy Gillespie and Blue Mitchell. B+(**) [sp]

Loraine James: Building Something Beautiful for Me (2022, Phantom Limb): British electronica producer, aka Whatever the Weather, fashioned this as an homage to the music of Julius Eastman, who's receiving renewed interest well after his short and troubled life (1940-90). There's a compositional sophistication here that rarely shows up in electronica, but also a layer of electronic glitz that the chamber groups that have been reviving Eastman lately haven't imagined. Makes me wonder what she might do with Harry Partch. A- [sp]

Keith Jarrett: Bordeaux Concert (2016 [2022], ECM): The best-selling pianist in jazz history has recorded nothing since his 2018 stroke, but his label has kept him current by releasing older tapes each year. This is the third solo set from his 2016 tour of Europe (following Munich 2016 and Budapest Concert). With over two dozen solo albums, I've given up on comparing them, so any grade is just a momentary impression. He is, of course, a great pianist, but he's also slowed down a bit. B+(**) [sp]

Carly Rae Jepsen: The Loneliest Time (2022, Interscope): Canadian pop singer, sixth album, light and catchy, works with a bunch of producers and gets something out of all of them. Weak spot is Rufus Wainwright's help on the title track. A- [sp]

Laura Jurd: The Big Friendly Album (2021 [2022], Big Friendly): British trumpet player, best known for her band Dinosaur, has a couple albums on her own. Group here extends the brass with euphonium and tuba, plus guitar (Alex Haines), bass, and drums, with Jurd playing some piano, plus several guest spots (strings, soprano sax, and Frode Haltli's accordion on five tracks. Has a playful feel, almost circusy. B+(**) [sp]

Ka: Languish Arts (2022, Iron Works, EP): New York rapper Kaseem Ryan, day job as a firefighter captain, named his label for first album title (2008). Came up with two short download-only albums this year, each 10 tracks, this one 28:23. Low-key, easy roll, underground. B+(***) [yt]