Streamnotes: June 29, 2024

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 June 26. Past reviews and more information are available here (24095+ records).

Recent Releases

Arooj Aftab: Night Reign (2024, Verve): Pakistani singer-songwriter, born in Saudi Arabia, returned to Lahore when she was 10, on to US at 19, studied at Berklee, based in New York, fifth album, got some notice in 2023 whens he shared billing on Love in Exile with Vijay Iyer and Shahzad Ismally. B+(***) [sp]

أحمد [Ahmed]: Wood Blues (2022 [2024], Astral Spirits): British quartet of Pat Thomas (piano), Joel Grip (bass), Antonin Gerbal (drums), and Seymour Wright (alto sax), originally formed as a tribute to bass/oud player Ahmed Abdul-Malik (1927-93), fourth album since 2017, unless the 4-CD Giant Beauty box came out ahead of it (looks like it did, by 4 days). I've had people tell me this is the best live band on the planet. They probably thought the same of Cecil Taylor in the 1970s. A- [sp]

Kenny Barron: Beyond This Place (2024, Artwork): Pianist, I first really noticed him as a duet partner for Stan Getz (People Time, 1991), but he started in the early 1970s (cf. Peruvian Blue, 1974), is a DownBeat hall-of-famer, one of the most storied jazz educators in history, and still pretty sharp entering 80s. Helped out here by Steve Nelson (vibes), Kiyoshi Kitagawa (bass), Johnathan Blake (drums), and especially Immanuel Wilkins (alto sax). A- [sp]

BassDrumBone: Afternoon (2023 [2024], Auricle): Mark Helias, Gerry Hemingway, and Ray Anderson: I've been filing their records under the trombonist since 1986. This one seems a bit muted, but that just brings out the craft in the BassDrum. B+(***) [cd]

Jamie Baum Septet+: What Times Are These (2023 [2024], Sunnyside): Flute player, debut 1996, Septet -- including Jonathan Finlayson (trumpet), Sam Sadigursky (reeds), Brad Shepik (guitar), and Luis Perdomo (piano) -- has four albums 2004-18, expands to nine credits here plus four more vocalists picking their spots. Choice cut is "Sorrow Song," even beyond Kokayi's words. Other vocalists don't fare so well. B+(*) [sp]

BbyMutha: Sleep Paralysis (2024, True Panther): Rapper Brittnee Moore, from Chattanooga, second album, Bandcamp page attributes it to "BIGMUTHA," but every other source goes as I have it, sometimes no-caps. B+(**) [sp]

Albert Beger/Ziv Taubenfeld/Shay Hazan/Hamid Drake: Cosmic Waves (2023 [2024], No Business): Tenor saxophonist, born in Istanbul, grew up in Israel, studied at Berklee, has a 1995 album, came to my attention with a pair of 2005 albums with William Parker under Hamid Drake's name. The others play bass clarinet and bass, for a dicey free jazz jam, with the drummer as impressive as ever. A- [cd]

Beings: There Is a Garden (2024, No Quarter): New York-based quartet of Zoh Amba (tenor sax, mostly), Steve Gunn (guitar), Shahzad Ismaily (bass, synth), and Jim White (drums). I never thought of Gunn as a jazz musician, and he doesn't have to be one when filling in behind Amba's sax or piano (even more indebted to Charles Gayle than her sax), but when she sings, he presents a Velvet Underground vibe so she can be Moe Tucker. No attempt at fusion here. Just multiplicities. A- [sp]

Alan Braufman: Infinite Love Infinite Tears (2024, Valley of Search): Saxophonist, had a few years in New York in the mid-1970s working around the lofts with Cooper-Moore and William Parker, then did something else until retirement age, when he reissued his one album (actually quite good) and some archival tapes, and started working on a new one. This follows up on the promise of 2020's The Fire Still Burns, with James Brandon Lewis (tenor sax), Patricia Brennan (vibes), Ken Filiano (bass), Chad Taylor (drums), and Michael Wimberly (percussion). B+(***) [r]

Anthony Braxton: 10 Comp (Lorraine) 2022 (2022 [2024], New Braxton House, 10CD): Alto sax legend, credited with "saxophones, electronics" here, with each composition (numbered 423-428, 432-435) running from 41:31 to 60:09. The first six are trio with Adam Matlock (accordion/voice) and Susana Santos Silva (trumpet); the last four are quartet, with a second saxophonist (James Fei) and two bassists (Zach Rowden, Carl Testa). Way too long for anything other than a glancing view, but the first trio has limited appeal: sure, the accordion isn't as grating as Braxton's bagpipe albums, but that's the direction, and the operatic vocals have no more appeal when sung over abstractions than they do over schmaltz. The quartet is similar musically but with fewer annoyances, which doesn't necessarily make it more interesting, or even listenable (though sometimes it is). Length: 490:36. B+(*) [bc]

Chris Byars: Boptics (2023 [2024], SteepleChase): Tenor saxophonist, what you might call a retro-bebopper, probably the most talented musician to first appear on Luke Kaven's early 2000s Smalls label, which also produced exceptional records by two more musicians in this sextet: Zaid Nasser (alto sax) and Ari Roland (bass). They're joined here by Stefano Doglioni (bass clarinet), John Mosca (trombone), and Keith Balla (drums). B+(**) [sp]

George Cartwright & Bruce Golden: Dilate (2024, self-released): Saxophonist and drummer, played together in the final iteration of Cartwright's group Curlew (founded 1979, but I think we're talking 2002-03 here). Sounds mostly like electronics and percussion, but all the credits have to say is: "george licked sounds; bruce nailed sounds." Some bits I really like, but others wear me down and out. B+(*) [bc]

Kim Cass: Levs (2023 [2024], Pi): Bassist, second album, composed everything here, mostly for pianist Matt Mitchell, who he's supported in the past, and is striking (as usual) here. Also with Tyshawn Sorey (drums), and (except for 3-4 tracks) flute (Laura Cocks) and euphonium (Adam Dotson). B+(***) [cd]

Ernesto Cervini's Turboprop: A Canadian Songbook (2022 [2024], Three Pines): Canadian drummer, based in Toronto, half-dozen albums since his 2015 Turboprop introduced his group name. Sextet with two saxophonists (Tara Davidson and Joel Frahm), trombone (William Carn), piano (Adrean Farrugia), and bass (Dan Loomis). Songs are sentimental favorites in his neck of the woods, but they travel well. B+(***) [bc]

Coco Chatru Quartet: Future (2024, Trygger Music): Swedish group, named for "a legendary Swedish adventurer," label for bassist Håkan Trygger, who wrote four (of eight) pieces, with two each by Daniel Kåse (drums) and Linus Kåse (alto sax), zero by Charlie Malmberg (baritone sax). Slippery postbop, somewhat understated. B+(***) [lp]

Alfredo Colón: Blood Burden (2023 [2024], Out of Your Head): Alto saxophonist, based in Brooklyn, first album, quartet with Lex Korten (piano/keybs), Steve Williams (bass), and Connor Parks (drums), original pieces plus a Son House blues. This develops impressively, in the "spiritual jazz" vein pioneered by Coltrane, Sanders, and Ayler, alongside more recent efforts by saxophonists like Nat Birchall. A- [cd]

Ivanna Cuesta: A Letter to the Earth (2023 [2024], Orenda): Drummer, from Dominican Republic, studied there and at Berklee, based in Boston, first album, composed by, also credited with electronics, with Ben Solomon (sax), Kris Davis (piano), and Max Ridley (bass) -- all terrific here. Bit of guest vocal at the end (Pauli Camou). A- [sp]

Jeremiah Cymerman: Body of Light (2022-23 [2024], 5049): Clarinet player, fifteen-plus albums since 2007, first two pieces here appear to be solo, credits including synths, percussion, sequences, bass. The other two (longer) tracks add drums (Mike Pride) and either guitar-cello or violin. Either way this mostly comes off as ambient. B+(*) [sp]

Ani DiFranco: Unprecedented Sh!t (2024, Righteous Babe): Folkie singer-songwriter, had a lot of edge when she emerged in 1990. This one doesn't particularly grab me, but probably deserves another listen. [PS: It does, as her critique is sharp as ever, but the music still doesn't grab me.] B+(*) [sp]

Welf Dorr/Elias Meister/Dmitry Ishenko/Kenny Wollesen: So Far So Good (2022 [2024], self-released): Alto saxophonist, born in Germany, based in New York, first album appears to be a Flowers for Albert thinking of Einstein not Ayler, unless it was the group called Funk Monk. Backed by guitar, accordion/electric bass, and drums, has traces of soul jazz and funk fusion, but mostly as a vehicle for distinguished saxophone. A- [bc]

Edition Redux: Better a Rook Than a Pawn (2023, Audiographic): I lost track of Ken Vandermark's projects when he pulled most of his work behind the paywall, so I jumped on this new group as soon as I noticed it: Erez Dessel (piano/synth), Lily Finnegan (drums), Beth McDonald (tuba/electronics), and Vandermark (reeds, notably baritone sax). Piano tends to lead, but the real power remains the saxophonist. B+(***) [bc]

Bill Frisell: Orchestras (2021-22 [2024], Blue Note): Guitarist, long-established, leads a trio with Thomas Morgan (bass) and Rudy Royston (drums), featured here surrounded by symphony orchestras (Brussels Philharmonic, Umbria Jazz Orchestra), his (and some other) compositions scaled up by Michael Gibbs. Quick take is that the full strings on the first disc are a turn off. Dispensing with them, the second disc is rather enaging. B+(**) [sp]

Paul Giallorenzo Trio: Play (2021 [2023], Delmark): Chicago pianist, first trio album in 2012, second with this trio of Joshua Abrams and Mikel Patrick Avery. B+(*) [sp]

GloRilla: Ehhthang Ehhthang (2024, Cocaine Muzik Group/Interscope): Rapper Gloria Hallelujah Woods, from Memphis, two albums, this one's considered her second mixtape, crunk (I've read). Lot of b&n here (as in "ain't no b in me, n"). If you can roll with that, this should rock you. B+(***) [sp]

Dayramir González: V.I.D.A. [Verdad, Independencia, Diversidad Y Amor] (2024, self-released): Cuban pianist, based in New York, has a 2008 album with Habana Entrance, not sure what else. B [sp]

Erik Griswold/Chloe Kim/Helen Svoboda: Anatomical Heart (2023 [2024], Earshift Music): Pianist, based in Brisbane, Australia, a dozen-plus albums since 2002, has a fondness for prepared piano. Trio with drums and bass. The bit of jerkiness keeps it interesting. B+(**) [sp]

Morgan Guerin: Tales of the Facade (2024, Candid): Self-described "prolific multi-instrumentalist and visionary composer," born "right outside New Orleans," studied at New School and Berklee, based in New York, side-credits since 2019, appears to have three previous albums, plays sax and related, keyboards, electric bass, and drums, but I can't find any credits here, and I'm thrown by all the vocals. B+(*) [sp]

Giovanni Guidi: A New Day (2023 [2024], ECM): Italian pianist, about a dozen albums since 2007, quartet here with James Brandon Lewis (tenor sax), Thomas Morgan (bass), and João Lobo (drums). He plays nicely, nowhere close to challenging his guest star, who nonetheless reveals that he'll probably make a great ballad album some day. B+(**) [sp]

Sarah Hanahan: Among Giants (2024, Blue Engine): Alto saxophonist, first album, quartet with Marc Cary (piano), Nat Reeves (bass), and Jeff "Tain" Watts (drums), with extra percussion on 4 (of 8) tracks. Mainstream, with considerable power, and more than a little finesse. B+(***) [sp]

Simon Hanes: Tsons of Tsunami (2024, Tzadik): California-born, based in New York, plays baritone guitar here, has mostly worked under group names (Tredici Bacci, Trigger, Shimmer, Guerilla Toss; Tsons of Tsunami was the group name for a 2013 album called Fearless Riders of the Holy Curl. He describes these compositions as "surf-based," backed with trombone, horn, waterphone, vibraphone, and drums. B+(**) [sp]

Conrad Herwig: The Latin Side of McCoy Tyner (2024, Savant): Trombonist, born in Oklahoma, studied at UNT, joined Clark Terry's 1980s band, played with Joe Henderson, Toshiko Akiyoshi, Joe Lovano, Mingus Big Band; first leader album in 1987, joined Eddie Palmieri in 1994, and recorded his initial The Latin Side of John Coltrane in 1996, since followed by Shorter, Hancock, Henderson, Silver, Mingus, and now Tyner. This one has Alex Norris (trumpet), Craig Handy (tenor/baritone sax), Bill O'Connell (piano), with the usual percussion excitement, and a special guest slot for Palmieri. B+(**) [sp]

Janel & Anthony: New Moon in the Evil Age (2024, Cuneiform): Janel Leppin (cello) and Anthony Pirog (guitar), self-released an album together in 2006, another for Cuneiform in 2012. They've since gone on to establish separate careers, but reunite here for what is effectively two albums: the first a ten-track suite of darkly engaging duet instrumentals, the second a singer-songwriter set with Leppin doing most of the singing -- jazz-influenced, no doubt, but not something one would note in a blindfold test. I find the songs a tad more appealing, but probably for the music, as I can't say much about the lyrics. B+(**) [cdr]

Mathias Højgaard Jensen: Is as Is (2022 [2024], Fresh Sound New Talent): Danish bassist, lives in Brooklyn, probably his first album as leader (Discogs has three side credits since 2019, his website has 13), all his pieces, quartet with David Mirarchi (alto sax), Jacob Sacks (piano), and Steven Crammer (drums). This is very nice: subtle and intricate postbop that sneaks up on you. A- [cd]

Malcolm Jiyane Tree-O: True Story (2020-21 [2024], New Soil/Mushroom Hour): South African trombonist, second group album. B+(**) [sp]

Goran Kajfeš Tropiques: Tell Us (2024, We Jazz): Swedish trumpet player, quite a few albums since his 2000 debut, quartet with Alex Zethson (keyboards), Johan Berthling (bass), and Johan Holmegard (drums), third group album. Has a wide, panoramic feel. B+(***) [sp]

Alex Kautz: Where We Begin (2024, Sunnyside): Brazilian drummer, based in New York, married to Mexican singer Magos Herrera (featured on two songs here), with John Ellis (tenor sax/clarinet), Chico Pinheiro (guitar), Helio Alves (piano), and Joe Martin (bass). B+(*) [cd]

Roger Kellaway: Live at Mezzrow (2023 [2024], Cellar Music): Pianist, first album 1963, first new one since 2019, with bass (Jay Leonhart) and drums (Dennis Mackrel) plus guest Roni Ben-Hur (guitar). He's always been a bop era pianist with a little stride in his style. B+(*) [sp]

Cassie Kinoshi's SEED.: Gratitude (2023 [2024], International Anthem): British alto saxophonist, plays in the Afrobeat group Kokoroko, leads the large SEED Ensemble (first album in 2019, nominated for Mercury Prize, was upper case then but lower case now), which is a skeletal big band plus string quartet, flute, tuba, and turntables. Title piece runs 21:56, is packaged with a slightly smaller group on a 5:42 piece (so 27:38 total). B+(*) [sp]

Charlie Kohlhase's Explorer's Club: A Second Life (2022 [2024], Mandorla Music): Saxophonist (alto, tenor, baritone), based in Boston, Discogs credits him on 48 albums since 1985 (many with Either/Orchestra) but Wikipedia hasn't noticed yet, third group album, an octet with tenor sax (Seth Meicht), trumpet (Dan Rosenthal), trombone (Jeb Bishop), tuba (Josiah Reibstein), guitar (Eric Hofbauer), bass, and drums. Originals plus covers from Elmo Hope, Ornette Coleman, John Tchicai, and Roswell Rudd. The bottom horns provide a lot of lift. A- [sp]

Brian Landrus: Plays Ellington & Strayhorn (2023 [2024], Palmetto): Baritone saxophonist, also plays similar instruments, plus some piccolo and flutes, backed quite capably by Dave Stryker (guitar), Jay Anderson (bass), and Billy Hart (drums), playing fourteen songs you can't go wrong with. B+(***) [cd]

Bill Laurance/The Untold Orchestra: Bloom (2022 [2024], ACT Music): British pianist, member of Snarky Puppy at least 2006-20, own albums since 2012, his keyboards leading an orchestra, conducted by Rory Storm, of 18 strings. Reflects his roots in classical music, and probably impressive as such, but quite enjoyable, too. B+(**) [sp]

Janel Leppin: Ensemble Volcanic Ash: To March Is to Love (2023 [2024], Cuneiform): Cellist, released the album Ensemble Volcanic Ash in 2022, same basic group and concept here but I'm annoyed by the typography, so this is my solution. The music can also annoy, but also can turn remarkable, even living up to this hype: "progressive chamber jazz with the steely avant-garde that descends from Julius Hemphill's 1972 LP Dogon A.D." Hemphill's secret was cellist Abdul Wadud, whose name appears in the opening "Ode." Sextet with Brian Settles (tenor sax), Sarah Hughes (alto sax), Anthony Pirog (guitar), Luke Stewart (bass), and Larry Ferguson (drums). B+(***) [cdr]

Les Savy Fav: Oui, LSF (2024, Frenchkiss): Art punk band from Rhode Island, released five albums 1997-2010, return for another 14 years later. Still a potent combination of hooks and volume. Last song is triumphant: "We were there when the world got great/ We helped to make it that way." B+(**) [sp]

Frank London/The Elders: Spirit Stronger Than Blood (2023 [2024], ESP-Disk): Trumpet player, has extensive experience in klezmer music (Klezmatics, Hasidic New Wave, Klezmer Brass Allstars, Klezmer Conservatory Band) as well as straight jazz -- here often evoking Ellington and Mingus, with tributes to Lester Bowie and Ron Miles. B+(***) [cd]

Nduduzo Makhathini: Unomkhubulwane (2024, Blue Note): South African pianist, started leading albums in 2014, got a big profile boost when Blue Note picked him up in 2020. Third album there, sings some (not fancy or dramatic, but quite agreeably), backed by Zwelakhe-Duma Bell le Pere (bass) and Francisco Mela (drums). B+(***) [sp]

Grégoire Maret/Romain Collin: Ennio (2024, ACT Music): Swiss harmonica player, eponymous debut 2012, second album with the French pianist, backed by guitar-bass-drums, with flute (Alexandra Sopp) and heavyweight vocal guests Gregory Porter and Cassandra Wilson. B+(*) [sp]

Christian McBride/Edgar Meyer: But Who's Gonna Play the Melody? (2024, Mack Avenue): Bass duo, with each musician switching to piano for two tracks. McBride is probably the most famous jazz bassist of his generation, but I had to look Meyer up: 12 years older, from Tennessee, has a distinguished career in classical music, but also ventures into bluegrass with Mark O'Connor, Béla Fleck, and Chris Thile. Often engaging, but kind of self-limiting. B+(*) [sp]

Zara McFarlane: Sweet Whispers: Celebrating Sarah Vaughan (2024, Universal): British jazz/soul singer, fifth album, standards. I don't have a good feel for how representative they are, or even much of an idea how Vaughan sung them: I was so surprised by "Inner City Blues" I stopped the record to compare Vaughan's 1972 version. Vaughan's voice is unrivaled for stature and precision, but I rather like McFalane's softer, sweeter tone, and the loose swing of her arrangements. B+(**) [sp]

Megan Thee Stallion: Megan (2024, Hot Girl): Rapper Megan Pete, fourth album (plus several EPs) since 2019, I usually like her raunch and roll, but runs long here, for mixed results. B+(***) [sp]

Fabiano do Nascimento & Sam Gendel: The Room (2024, Real World): Brazilian guitarist, several albums since 2011 -- I particularly liked 2015's Dança Dos Tempos -- here in a very nice duo with soprano sax. B+(**) [sp]

Ngwaka Son Système: Iboto Ngenge (2024, Eck Echo): Spinoff from Kinshasa (Congo) group Kokoko, emphasis on electrobeats. Six songs, 28:22. B+(**) [sp]

Che Noir: The Color Chocolate, Volume 1 (2024, Poetic Movement, EP): Rapper Marche Lashawn, from Buffalo, Discogs lists as Che'Noir, cover looks more like Chè Noir. EP is four songs, 10:58, but Discogs has more cuts, and Wikipedia has nothing, which is odd given that Discogs lists seven songs and six singles/EPs. Even at this length, this feels pretty substantial. B+(**) [sp]

Normani: Dopamine (2024, RCA): R&B singer from Atlanta, last name Hamilton, formerly of the vocal group Fifth Harmony (3 albums, 2015-17), first solo album. B+(**) [r]

Carly Pearce: Hummingbird (2024, Big Machine): Country singer-songwriter from Kentucky, fourth album since 2017, found herself in her age-marking 29: Written in Stone. This sounds pretty good -- even the Levi's jingle. B+(***) [sp]

Clarence Penn: Behind the Voice (2024, Origin): Drummer, has several albums, one original here plus a batch of soul & rock standards from the 1970s-80s, roughly Stevie Wonder to Prince, with sides of Peter Gabriel and Don Henley, employing five guest singers, with Kurt Elling the one you've heard of (but may not want to hear). B+(*) [cd]

Ken Peplowski: Unheard Bird (2024, Arbors): Supposedly another chapter of "Bird with Strings": a first recording of arrangements commissioned for Charlie Parker. The leader, playing clarinet and tenor sax, is not a very obvious choice for this project, but if the idea is simply to make Bird cornier, who is? Peplowski leads a very capable quintet with Terell Stafford (trumpet), Glenn Zaleski (piano), Peter Washington ( bass), and Willie Jones III (drums), while Loren Schoenberg conducts an orchestra of strings, harp, and oboe. B- [sp]

Ken Peplowski: Live at Mezzrow [Smalls Live Living Masters Series] (2023 [2024], Cellar Music): This is more like what he's done so consistently since 1989: tenor sax and clarinet, playing swing standards with the occasional bop reference (Monk, Hank Jones), leading a rhythm section that's been doing just that for decades: Ted Rosenthal (piano), Martin Wind (bass), Willie Jones III (drums). B+(***) [sp]

Madeleine Peyroux: Let's Walk (2024, Just One Recording/Thirty Tigers): Jazz singer-songwriter, born in Georgia but grew up in France, ten or so albums since 1996, aimed early for Billie Holiday phrasing, returns after a six-year pause with a new batch of songs that defy expectations. I could see this one being taken for Americana, if you pardon the bit of French (in my book, that's a plus). B+(***) [sp]

Tomeka Reid Quartet: 3+3 (2023 [2024], Cuneiform): Cellist, based in Chicago, helped revitalize the post-2000 AACM, and has an impressive list of albums since her 2015 Quartet, finally a MacArthur "Genius" Fellow in 2022. Same group here, with Mary Halvorson (guitar), Jason Roebke (bass), and Tomas Fujiwara (drums). Three longish pieces: sags a bit in the middle but closes real strong. A- [dl]

Dave Rempis/Tashi Dorji Duo: Gnash (2024, Aerophonic): Rempis plays his full range of saxophones (soprano/alto/tenor/baritone), with his usual fierce resolve, with Dorji pushing (and occasionally rivaling) on guitar. I'm impressed, as always, but doubt the harsh tone (or maybe the specific harmonics, or the lack of a drummer) will make this an album I return to. B+(***) [cd]

Steph Richards: Power Vibe (2024, Northern Spy): Trumpet/flugelhorn player, fifth album since 2018, backed by Joshua White (piano), Stomu Takeishi (bass), Gerald Clever (drums), and Max Jaffee (electronics/drums). B+(***) [sp]

Carla Santana/José Lencastre/Maria do Mar/Gonçalo Almeida: Defiant Ilussion (2023 [2024], A New Wave of Jazz): Electronics, alto/tenor sax, violin, bass quartet, recorded in Portugal. B+(***) [bc]

Dirk Serries/Rodrigo Amado/Andrew Lisle: The Invisible (2021 [2024], Klanggalerie): Belgian guitarist, Portuguese tenor saxophonist, English drummer, recorded in Belgium, three pieces (56:44). Amado is superb when he gets out front. B+(***) [bc]

Matthew Shipp: The Data (2021 [2024], RogueArt, 2CD): Pianist, brilliant, many albums since the late 1980s, probably has a dozen solos by now, with this one of the better ones, if you're at all so inclined. B+(***) [cdr]

Michael Shrieve: Drums of Compassion (2024, 7D Media): Drummer, played in Santana 1969-74, formed Go in 1976 with Stomu Yamashita and Steve Winwood, with later groups like Spellbinder. I recognized the name, and found him in my database, but in the New Age section, with two unheard albums (1984, 1989). Not much jazz there, but some of his many collaborators here count, starting with percussionists Jack DeJohnette, Zakir Hussain, Airto Moriera, and Babatunde Olatunji. Not just drums, but keyboards, sax (Skerik), and electronics (Amon Tobin). B+(*) [sp]

Sisso & Maiko: Singeli Ya Maajabu (2024, Nyege Nyege Tapes): Tanzanian DJ Mohamed Hamza Ally, "figurehead" of the Sisso Records label, with one of his producer/keyboardists, for a volume of high velocity, klang-and-squiggle-filled dance beats. B+(*) [sp]

Harry Skoler: Red Brick Hill (2022 [2024], Sunnyside): Clarinet player, three albums 1995-99, this is only his third since, following a Mingus study in 2022. Strong support here on vibes (Joel Ross), bass (Dezron Douglas), and drums (Johnathan Blake), with one-track guest spots from Marquis Hill (trumpet), Christian Sands (piano), and Grégoire Maret (harmonica). B+(**) [sp]

TV Smith: Handwriting (2024, JKP/Easy Action): T for Timothy, was singer-songwriter in British punk band the Adverts, released two 1977-78 albums, best remembered for the single "Gary Gilmore's Eyes," but the song I always think of is "One Chord Wonders." He formed another band, then went solo in 1983, and has recorded pretty regularly since 1992 -- way off my radar. Older now, which means slower, and anger ripened into bitterness, and therefore gravitas. B+(***) [sp]

Something Else! [Featuring Vincent Herring]: Soul Jazz (2024, Smoke Sessions): Mainstream "supergroup," alto saxophonist gets featured spotlight but Jeremy Pelt (trumpet) steals as much spotlight. Also with Wayne Escoffery (tenor sax), Paul Bollenback (guitar), David Kikoski (piano), Essiet Essiet (bass), and Otis Brown III (drums). They swing a little, swagger too. B+(*) [sp]

Anthony Stanco: Stanco's Time (2023 [2024], OA2): Trumpet player, second album, side credits back to 2011, half originals, half jazz standards from Ellington and early boppers (Parker, Monk, Dameron, Davis), half with "Time" in the title. With Randy Napoleon (guitar), Xavier Davis (piano), bass, drums, and on three cuts, Walter Blanding (tenor sax). B+(**) [cd]

Jason Stein/Marilyn Crispell/Damon Smith/Adam Shead: Spi-raling Horn (2023 [2024], Balance Point Acoustics): Bass clarinet player, has gotten steadily better since his 2007 debut, adds a stellar pianist to his recent bass-drums trio. A- [sp]

Gregory Tardy: In His Timing (2023, WJ3): One of many mainstream tenor saxophonist to emerge in the 1990s, starting out on Impulse!, but mostly recording on SteepleChase since then. But he plays clarinet here, paired with violin (Regina Carter), backed by piano-bass-drums. Sometimes the mix pays dividends, sometimes not so much. B+(*) [bc]

Thollem: Worlds in a Life, Two (2024, ESP-Disk): Pianist, goes by first name, last name is McDonas, nominally a solo album, but draws on samples from previous albums, so side credits for William Parker (bass), Michael Wimberly (drums), Pauline Oliveros (MIDI accordion), Terry Riley (vocals), Nels Cline (guitar, effects, Mega mouth). B+(**) [cd]

TiaCorine: Almost There (2024, South Scope/Interscope, EP): Rapper from North Carolina, merged her first two names together, omitting Thompson Shultz, mother is Shoshone, father has roots in Japan and Africa. She released an EP in 2020, an album in 2022, back here with eight songs, 16:38. Title is about right. B+(**) [sp]

Ryan Truesdell: Synthesis: The String Quartet Sessions (2022-23 [2024], ArtistShare, 3CD): Composer/arranger/conductor, started as Maria Schneider's assistant, made his name with "Newly Discovered Works of Gil Evans," has conducted "The Music of Bob Brookmeyer." Here he's composed a bit and arranged or at least currated a lot of new compositions for string quartet, with a few strategic guest spots. B+(**) [cdr]

Steve Turre: Sanyas (2023 [2024], Smoke Sessions): Trombonist, also plays conch shells, couple dozen albums since 1987, quite a bit of side work (Discogs lists 224 albums he played trombone on). Live sextet here with Nicholas Payton (trumpet), Ron Blake (tenor sax), Isaiah Thompson (piano), Buster Williams (bass), and Lenny White (drums). Starts with title track, which Turre wrote for Woody Shaw's The Moontrane (1974), evoking the classic trombone-augmented hard bop sextets of the 1960s. Ends with a very nice "These Foolish Things." B+(***) [sp]

Lisa Ullén: Heirloom (2023 [2024], Fönstret): Swedish pianist, born in Seoul, South Korea, over a dozen albums under her own name since 2006, more side-credits. First solo album, each side with a variation on the same three-part suite. B+(**) [bc]

Alan Walker: A Little Too Late (2024, Aunt Mimi's): Singer-songwriter, started in a group I've never heard of, the Brilliant Mistakes (three albums 1998-2008), second solo album. Plays piano, some pop craft, some strings. B+(*) [cd]

Jack Walrath: Live at Smalls (2023 [2024], Cellar Music): Trumpet player, started out with Mingus in the mid-1970s, debut album 1979, had an impressive run in the 1990s, has five albums on SteepleChase since 2008 -- quite a bit of work I should catch up on. Quintet here with Abraham Burton (tenor sax), George Burton (piano), Boris Kozlov (bass), and Donald Edwards (drums), revisiting his songbook and adding to the legacy ("A Bite of Tunisia," "Mood for Muhal," etc.). B+(***) [sp]

Neil Young & Crazy Horse: Fu##in' Up (2023 [2024], Reprise): Live album, from Tivoli in Toronto, reprising their 1990 album Ragged Glory, a pretty solid A- at the time, dropping one song ("Mother Earth"), renaming most of the rest (title song becomes "Heart of Steel"), length up 1:50. Hard to see this as necessary, but sounds good and gets better. B+(***) [r]

Denny Zeitlin: Panoply (2012-23 [2024], Sunnyside): Pianist, 86 now, has recorded since 1964, while pursuing a parallel career in psychiatry. This offers a good survey of his range, from solo pieces (2012) to a trio (2019) with Buster Williams and Matt Wilson, plus home recordings in a duo with George Marsh (drums). B+(**) [sp]

Recent Reissues, Compilations, Vault Discoveries

Louis Armstrong: Louis in London (1968 [2024], Verve): A previously unreleased BBC radio shot from July 2, 1968, billed as his "last great performance," three years before his death in 1971. He had been in decline for several years, often unable to play trumpet, but his vocals remained endearing, with a couple songs turning into big pop hits. He's credited with trumpet here, which seems good enough, his voice even better, as he runs through thirteen songs, most signature hits, a proper career summary. A- [sp]

Derek Bailey/Sabu Toyozumi: Breath Awareness (1987 [2024], NoBusiness): British guitarist (1932-2005), a major figure in the avant-garde (albeit one that I've only lightly sampled, and never really gotten the hang of), in an improv duo with the Japanese drummer. Scratchy, abstract, requires close listening, sometimes rewards it. B+(***) [cd]

Karen Borca Trio Quartet & Quintet: Good News Blues: Live at the Vision Festival 1998 & 2005 (1998-2005 [2024], No Business): One of the few bassoon players in any branch of jazz, especially in free jazz, she led groups so rarely that this is her first collection as leader, but Discogs credits her with 30 albums, many with her husband, Jimmy Lyons, also Cecil Taylor, William Parker, Joel Futterman, Alan Silva, Bill Dixon. The early set here has Parker and Rob Brown (alto sax). Brown returns for the late set, with Reggie Workman, and is stellar throughout. A- [cd]

Christer Bothén Featuring Bolon Bata: Trancedance [40th Anniversary Edition] (1984 [2024], Black Truffle): Swedish tenor sax/bass clarinet player, first albums were with Don Cherry, this was the first he led, Bolon Bata the band name, went on to a second album in 1988. Before this he lived and studied in Mali and Morocco, also playing doson n'goni and guimbri here, the large groups featuring other African instruments, and various vocals. A- [bc]

Alan Braufman: Live in New York City: February 8, 1975 (1975 [2022], Valley of Search): Saxophonist, aka Alan Michael or Alan Michael Braufman, recorded a 1975 album, Valley of Search, that he reissued to much acclaim in 2018, followed up by a new album, The Fire Still Burns, and reissue of some early tapes, like this one, a WBAI airshot with Cooper-Moore (piano), William Parker (bass), John Clark (French horn), Jim Schapperowe (drums), and Ralph Williams (percussion). B+(***) [r]

Peter Brötzmann/Toshinori Kondo/Sabu Toyozumi: Complete Link (2016 [2024], NoBusiness): Tenor sax/tarogato, trumpet/electronics, drums. Within our ten-year window for "new releases," with both of the principals recently departed, this feels more like an archival find. They had a fairly long run together in the quartet, with William Parker and Hamid Drake, named for their first album, Die Like a Dog. I always found their records a bit too abrasive, but here I'm not only not bothered, I'm feeling a bit nostalgic. A- [cd]

Nat King Cole: Live at the Blue Note Chicago (1953 [2024], Iconic): Pianist and singer (1917-65), had his first r&b hits in 1942, cracked the pop top ten in 1944 with "Straighten Up and Fly Right," hit number one in 1946 with "For Sentimental Reasons," followed by "Nature Boy," "Mona Lisa," and "Too Young" -- all in these live sets, a quartet with guitar (John Collins), bass (Charlie Harris), and drums (Lee Young). B+(**) [sp]

DJ Notoya: Funk Tide: Tokyo Jazz-Funk From Electric Bird 1978-87 (1978-87 [2024], Wewantsounds/Electric Bird): Not sure how much credit the presenter deserves here. The music is closer to disco than to funk, and has minimal value as jazz. B- [sp]

Charles Gayle/Milford Graves/William Parker: WEBO (1991 [2024], Black Editions Archive): Tenor sax, drums, bass, a major new find in the late drummer's archives, running just over 2 hours (2-CD, 3-LP). Gayle (1939-2023) was like the truest heir of Albert Ayler, pushed to extremes I found very difficult to take when I first ran into him, so my grades are scattered, and likely in need of revision -- e.g., I still have Repent (1992) as a B, but at least get Touchin' on Trane at A-. This is in the same ballpark, but perhaps better mixed to bring out the truly amazing bass and percussion. A- [sp]

Johnny Griffin Quartet: Live in Valencia 92 [The Jordi Suñol Archives 3] (1992 [2024], Storyville): Tenor saxophonist (1928-2008), distinguished himself with Thelonious Monk in the 1950s, had a major career in the 1960s, recorded consistently during the 1970s and 1980s (on widely scattered labels), enjoyed something of a comeback in the 1990s. Live set from Spain -- part of a series of archives that started with albums by Phil Woods and Mulgrew Miller -- with Hervé Sellin (piano), Reggie Johnson (bass), and Doug Sides (drums). Opens fast, closes gently. B+(***) [sp]

The Jazzanians: We Have Waited Too Long (1988 [2024], Ubuntu Music): In 1984, Dave Brubeck's son Darius organized a jazz program at the University of Natal, in South Africa. A few years later, he organized this "first multiracial student jazz ensemble from South Africa," and took them on tour, and into the studio. Best known player now is probably Zim Ngqawana (alto sax/flute). They kick off with a very infectious township jive groove. They're not all that delightful. B+(**) [sp]

Shelly Manne & His Men: Jazz From the Pacific Northwest (1958-66 [2024], Reel to Real): Drummer (1920-84), started in swing bands, quickly adapted to bebop and majored in cool jazz; played with Stan Kenton, André Previn, and Ornette Coleman; led small groups, his 1959 Black Hawk sets with Richie Kamuca and Victor Feldman are especially esteemed. Two LPs here, the first from Monterey in 1958 with Stu Williamson (trumpet), Herb Geller (alto sax), Russ Freeman (piano), and Monty Budwig (bass); the second from Seattle in 1966 has Conte Candoli (trumpet), Frank Strozier (flute/alto sax), Hampton Hawes (piano), Budwig, and Ruth Price (vocals). B+(**) [sp]

Kalaparusha Maurice McIntyre: Live From Studio Rivbea: July 12, 1975 [Rivbea Live! Series, Volume 1] (1975 [2024], No Business): Tenor saxophonist (1936-2013), born in Arkansas, grew up in Chicago (AACM, two albums on Delmark), and on to New York, where he played in the streets, subways, and lofts, first recording as Kalaparusha in 1970, with an uptick in activity around 1998. The label has done a terrific job of releasing archival tapes by Sam Rivers, who was the central figure in New York's "loft scene, so it's nice to see them building out. B+(***) [cd]

Charlie Mariano: Boppin' in Boston 1947-1953 (1947-53 [2024], Fresh Sound, 2CD): Alto saxophonist (1923-2009) from Boston, a remarkably fluid player, was very quick to jump on the bebop bandwagon -- much quicker than the bands he played in early, judging from the opening tracks here. Digital breaks this into two volumes, the first ending with a Jan. 27, 1953 session, the second from later that year, a bit more consistent. B+(**) [sp]

Ron Miles: Old Main Chapel (2011 [2024], Blue Note): Cornet player, from Denver, albums since 1987, signed with Blue Note for a 2020 album, shortly before he died at 58 in 2022. This is a live album, dating back to the trio he recorded Quiver with: Bill Frisell (guitar), and Brian Blade (drums). A decade later, this is a lovely memento. B+(***) [sp]

Charles Mingus: Incarnations (1960 [2024], Candid): The bassist recorded two sessions for Nat Hentoff's label, which immediately led to the albums Presents Charles Mingus and Mingus. In 1985, Mosaic collected those albums and outtakes for The Complete Candid Recordings of Charles Mingus, In 1990, Candid took some of those for Mysterious Blues. This albums grabs five more takes (one previously unissued). B+(**) [sp]

Louis Moholo-Moholo: Louis Moholo-Moholo's Viva-La-Black (1988 [2024], Ogun): South African drummer, moved to Europe in 1964, emerged as a prominent free jazz drummer in the 1970s. Leads a sextet here, with Sean Bergin (tenor/alto sax), Steve Williamson (tenor/soprano sax), Claude Deppa (trumpet/flugelhorn), Roberto Bellatalla (bass), and Thebe Lipere (percussion). B+(**) [bc]

Septet Matchi-Oul: Terremoto (1971 [2024], Souffle Continu): Label dedicated to "Treasures of the French Underground," this one-shot group led by Chilean-French pianist Manuel Villarroel qualifies nicely. No other names I immediately recognize, but some further research may be in order. B+(***) [sp]

Sun Ra: Excelsior Mill (1984 [2024], Sundazed/Modern Harmonic): Solo organ performance, described here as "like a cross between a demonically riffing '50s horror movie villain and a futuristic congregation leader delivering the interplanetary gospel," and indeed this instrument often evokes church and/or horror movies. I'm not particularly fond of either. B [sp]

Sun Ra & His Arkestra: Pink Elephants on Parade (1985-90 [2024], Modern Harmonic): A "small sample" of songs from Walt Disney movies, eight from two dates in 1988-89, 5 more from 5 different venues, the first 9 tracks previously unreleased. Vocals on most tracks, none slick or particularly funny, but amused? Sure. B+(***) [sp]

John Wright Trio: South Side Soul (1960 [2024], Craft): Pianist (1934-2017), born in Kentucky but moved to Chicago when he was two. First album, with bass (Wendell Roberts) and drums (Walter McCants). [sp]

Old Music

Albert Beger: The Primitive (1995, NMC): Israeli tenor saxophonist, plays some flute, first album, quartet with piano (John Bostock), bass guitar (Gabi Maier), and drums (Asaf Sirkis). B+(**) [sp]

Albert Beger Quartet: The Art of the Moment (2000, Third Ear Music): Curious lack of information on this, label name appears on some streaming sites (NMC seems more likely), quartet with guitar, bass, and drums (no idea who). Impressive saxophonist, rhythm section has some spunk, flute I could do without. Need to work on that discography. B+(*) [sp]

Christer Bothén Trio: Triolos (2003-04 [2006], LJ): Leader plays bass clarinet, ngoni, guimbri; trio with David Stackenäs (guitar) and Peter Söderberg (theorbo, lute, guitar, low budget electronics). Rather abstract, more interesting than compelling. B+(**) [sp]

Ernesto Cervini: Joy (2021 [2022], Three Pines): Toronto-based drummer, composer, several albums, also a tireless publicist for his fellow Canadian musicians (many, including guest vocalists, featured here), credits this as "inspired by Louise Penny's Gamache series of books and the qualities of goodness, decency, courage, and love that permeate them." B+(**) [sp]

Collective 4tet: Orca (1996 [1997], Leo Lab): Originally Heinz Geisser (drums), Mark Hennen (piano), William Parker (bass), and Michael Moss (reeds), for two albums 1992-93, before Moss was replaced by Jeff Hoyer (trombone), and they went on to record six more albums for Leo 1996-2009. Free jazz with chamber music intimacy. Several spots got me thinking this might be great, only to slip back into their framework. B+(***) [r]

Collective 4tet: Live at Crescent (1997 [1998], Leo Lab): Live in Belfast, no idea why. Loses a bit of edge, while retaining the complexity, which is not exactly how live albums are expected to excel. B+(**) [r]

Collective 4tet: Moving Along (2002 [2005], Leo): Recorded the same day as Synopsis. Three long pieces, in their zone, with trombone highlights. B+(**) [r]

Collective 4tet: In Transition (2008 [2009], Leo): One more album, the trombonist departed, replaced by Arthur Brooks (trumpet/flugelhorn), who plays this close to the vest, as pianist Mark Hennen takes a more pominent role. B+(***) [sp]

Welf Dorr: Funk Monk 2002 (2002 [2020], self-released): Alto saxophonist, from Germany, based in New York, led the band Funk Monk from 1996-2009, various lineups, released a Live at the Knitting Factory in 1999 but that seems to be all. Dorr salvaged this tape from Izzy Bar in July 2002, and claims all compositions, so no Monk tribute here: more horns (Antonio Dangerfield on trumpet, Melvin Smith on tenor sax, trombone on two tracks), backed by a bubbling array of keys, guitar, bass, and drums. B+(*) [sp]

Welf Dorr: Flowers for Albert (2005 [202], self-released): The saxophone/flute player/composer has laid claim to this tape, although his name appears last on the cover, after Kenny Wolleson (drums), Jonathan Finlayson (trumpet), Hock Temesgen (bass), and Shoko Nagai (piano). Title comes from David Murray's tribute to Ayler, but Dorr's preferred Albert is Einstein, seeing this as the centennial of his three breakthrough papers on physics. B+(**) [sp]

Welf Dorr Unit: Blood (2014 [2018], Creative Sources): Brooklyn group, leader plays alto sax and bass clarinet, backed by guitar (Dave Ross), bass (Dmitry Ishenko), and drums (Joe Hertenstein). Guitar runs a bit heavy. B+(*) [bc]

Welf Dorr/Dmitry Ishenko/Joe Hertenstein: Pandemic House Sessions (2020 [2021], self-released): Previous Unit reduced to a trio, recorded at the drummer's apartment. Losing the guitar gives the saxophonist a lot more breathing room. B+(***) [sp]

Marco Eneidi Quintet: Final Disconnect Notice (1994, Botticelli): Alto sax, second horn is Karen Borca's bassoon, an excellent pairing, especially when they get dicey, backed by two bassists (Wilber Morris and William Parker, who also plays some cello) and drums (Jackson Krall). B+(***) [yt]

Marco Eneidi/Glenn Spearman: Creative Music Orchestra: American Jungle Suite (1995 [1997], Music & Arts): Discogs gives title as Creative Music Orchestra, which cover and spine confirm, while other sources cite the title of the 69:05 piece the 21-piece big-band-plus-violins plays. Led by the two saxophonists (alto/tenor), Eneidi does most of the composing, arranging one piece from Cecil Talor, while Spearman wrote the final movement (26:48). Some great potential here, but could use a conductor. B+(**) [sp]

Marco Eneidi/William Parker/Donald Robinson: Cherry Box (1998 [2000], Eremite): Alto saxophonist (1956-2016), born in Portland, as a child took lessons from Sonny Simmons, moved to New York in 1981 to study with Jimmy Lyons, played with William Parker, Bill Dixon, Cecil Taylor, and Glenn Spearman. Trio here with bass and drums. Fierce leads, holding back only to let the others show off their magic. A- [sp]

Marco Eneidi/Vijay Anderson: Remnant Light (2004 [2018], Minus Zero): Alto sax and drums duo, a home-recorded tape unearthed after the saxophonist's death in 2016. B+(**) [bc]

Marco Eneidi Streamin' 4: Panta Rei (2013 [2015], ForTune): Alto saxophonist, American, active in free jazz circles since the early 1980s, picks up a like-minded group in Poland, with Marek Pospieszalski (tenor sax), Ksawery Wojcinski (bass), and Michal Trela (drums). B+(*) [sp]

Heinz Geisser/Shiro Onuma: Duo: Live at Yokohama Little John (2007 [2008], Leo): Swiss percussionist, member of Collective 4tet, Discogs list 10 albums under his name (plus 37 side-credits), in a rare drums duo. B+(*) [sp]

اسم ISM [Pat Thomas/Joel Grip/Antonin Gerbal]: Nature in Its Inscrutability Strikes Back (2014 [2015], Café Oto): British piano-bass-drums trio, the full significance of its iconography way beyond me. Three pieces, 62:47. [sp]

Maurice McIntyre: Humility in the Light of the Creator (1969, Delmark): Tenor saxophonist, first album, two suites ("Ensemble Love" and "Ensemble Fate"), the first dominated by George Hines' incantatory vocal, the latter picks up piano (Amina Claudine Myers) and more horns (Leo Smith on trumpet, John Stubblefield on soprano sax). B+(**) [sp]

Kalaparusha Maurice McIntyre: Forces and Feelings (1970 [1972], Delmark): Second album, cover has "Kalaparusha" in large type on top line, title (smaller, because it's longer) on second line, then "Maurice McIntyre" (smaller still) as third line, while the back cover credits tenor sax, clarinet, flute, and bells to "Kalaparusha Ahra Difda." Backed by guitar (Sarnie Garrett), bass (Fred Hopkins), and drums (Wesley Tyus), with vocals by Rita Omolokun. B+(**) [sp]

Kalaparusha Maurice McIntyre Quartet: Peace and Blessings (1979, Black Saint): Italian label, became a major outlet for American "loft scene" veterans (especially David Murray). This was recorded in Milan, with Longineau Parsons on trumpet (both also playing related instruments), Leonard Jones (bass), and King L. Mock (drums). B+(**) [sp]

The Ivo Perelman Quartet: Sound Hierarchy (1996 [1997], Muisic & Arts): Brazilian tenor saxophonist, debut 1989, had released four albums through 1995, three more in 1996, then nine in 1997, of which this one looks most impressive on paper: Marilyn Crispell (piano), William Parker (bass), Gerry Hemingway (drums). Flexes some muscle, but not all that interesting. B+(*) [sp]

Jack Walrath Quintet: In Europe (1982 [1983], SteepleChase): Trumpet player, played with Mingus in the 1970s (and later in various Mingus big bands), early in his career as a leader, with a relatively unknown group (Anthony Cox, on bass, is the only one I recognize), for a set in Copenhagen, playing four of his pieces. B+(*) [sp]

Limited Sampling

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

Grade (or other) Changes

Sometimes further listening leads me to change an initial grade, usually either because I move on to a real copy, or because someone else's review or list makes me want to check it again. Also some old albums extracted from further listening:

Additional Consumer News:

Verve's Finest Hour series:

  • Cannonball Adderley (2001)
  • Fred Astaire (2003)
  • Gato Barbieri (2000)
  • Count Basie (2002)
  • Willie Bobo (2003)
  • Clifford Brown (2000)
  • Betty Carter (2003)
  • The Crusaders (2000)
  • Duke Ellington (2002)
  • Bill Evans (2001)
  • Tal Farlow (2001)
  • Errol Garner (2003)
  • Stan Getz (2000)
  • Astrud Gilberto (2001)
  • Woody Herman (2001)
  • Antonio Carlos Jobim (2000)
  • Quincy Jones (2000)
  • Roland Kirk (2001)
  • Ramsey Lewis (2000)
  • Chuck Mangione (2000)
  • Carmen McBride (2000)
  • Charles Mingus (2002)
  • Wes Montgomery (2000)
  • Anita O'Day (2000) A-
  • Oscar Peterson (2000)
  • Sonny Rollins (2002)
  • Nina Simone (2000)
  • Jimmy Smith (2000)
  • Art Tatum (2000)
  • Mel Tormé (2001)
  • Sarah Vaughan (2000)
  • Dinah Washington (2000)
  • Ben Webster (2000)
  • Joe Williams (2001)

Grades on artists in the old music section.

Music Weeks

Music: Current count 36534 [36534] rated (+0), 149 [149] unrated (+0).

Excerpts from this month's Music Week posts:


Sources noted as follows:

  • [cd] based on physical cd
  • [cdr] based on an advance or promo cd or cdr
  • [lp] based on physical lp (vinyl)
  • [dvd] based on physical dvd (rated more for music than video)
  • [bc] available at
  • [r] available at (formerly Rhapsody)
  • [sc] available at
  • [sp] available at
  • [yt] available at
  • [os] some other stream source
  • [dl] something I was able to download from the web; may be freely available, may be a bootleg someone made available, or may be a publicist promo

Grades are probably self-explanatory, aside from B+, which is subdivided 1-2-3 stars, because most records that come my way are pretty good, but they're not all that good.