Streamnotes: November 25, 2025

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 October 27. Past reviews and more information are available here (26782 records).

New Music

Aesop Rock: I Heard It's a Mess There Too (2025, Rhymesayers): Underground rapper Ian Bavitz, regular releases since 2000, this a surprise quick release after May's Black Hole Superette. Not as glib as he was decades ago, but the added weight helps move the mess. A- [sp]

Rodrigo Amado: The Bridge: Further Beyond (2023 [2025], Trost): Consistently outstanding tenor saxophonist, from Portugal, albums since 2000, second album with this international quartet, where bassist Ingebrigt Håker Flaten, drummer Gerry Hemingway, and especially pianist Alexander von Schlippenbach provide much more than backup. Their 2023 album Beyond the Margins was easily the year's best — not only topping my list, but winning El Intruso's poll and showing up all the others (including ours). This one is a bit less commanding, but the group's strengths are still much in evidence. A- [bc]

Annahstasia: Tether (2025, Drink Sum Wtr): Singer-songwriter from Los Angeles, last name Enuke, first album. Showed up on a jazz vocals list, but she's more folkie, maybe a touch of Joni Mitchell, deeper voice. B+(*) [sp]

Armand Hammer & the Alchemist: Mercy (2025, Backwoodz Studioz/Rhymesayers): Duo of Billy Woods and Euclid, both stars in their own right, eighth album since 2013, second with the Alchemist producing. The group albums have often seemed a bit murkier than their solo albums, and this is no exception, but the slow grind certainly has sonic appeal. B+(***) [sp]

Ashnikko: Smoochies (2025, Parlophone): Rapper-singer Ashton Casey, from North Carolina, second album after some EPs (from 2017) and a mixtape (2021). I love the beat and the energy here, but not quite enough to overcome my lack of focus on the songs. Nor does the album cover make me want to show it off. B+(***) [sp]

Ata Kak: Batakari (2025, Awesome Tapes From Africa): Real name Yaw Atta-Owusu, left his native Ghana in 1985 for Germany (and later Canada), recorded one and only album in 1994, Obaa Sima, which remained obscure even there until Brian Shimkovitz picked up a copy and, when he turned his blog into a label, reissued it in 2015. This appears to be a new album, making it his second, the initial hip-hop/highlife mix skewing towards boom-bap and dance grooves. Six songs, 26:19. B+(***) [sp]

Martin Bejerano: The Purple Project: Reimagining the Music of Prince (2025, Figgland): Pianist, some electric keyboards, fifth album since 2007, side credits include Roy Haynes and Russell Malone, plays 10 Prince songs, with Nicole Yarling (vocals), Kurt Hengstebeck (bass), and David Chiverton (drums). Some great songs here, but none improved, or even reimagined in interesting ways, so the minor annoyances add up. B- [cd]

Bitchin Bajas: Inland See (2025, Drag City): Chicago group, primarily a side project for Cooper Crain (of Cave), with Dan Quinlivan and Rob Frye, with more than a dozen albums since 2010, including collaborations with natural Information Society, Bonnie Prince Billy, and Olivia Wyatt. This is their basic instrumental groove album. B+(***) [sp]

Theo Bleckmann: Love and Anger (2024 [2025], Sunnyside): Jazz singer, from Germany, based in New York since 1989, exceptional skills, has a wide range of work since 1992, significantly expanding the range of vocal jazz (Charles Ives and Kate Bush are two examples), and adding arty vocal dimensions to chamber jazz groups and big bands. While I'm always impressed, I often find very little in his albums that I actually enjoy — here just the closing "Precious Lord." Backed by piano-bass-drums trio (Mike King, Matt Penman, Ulysses Owens Jr.), with spots of guitar (Ben Monder) and/or sax/flute (Timo Vollbrecht). B [cd]

Lena Bloch/Kyoko Kitamura: Marina (2022 [2025], Fresh Sound New Talent): Russian saxophonist, tenor and soprano, moved through Israel and Europe to the US, winding up in Brooklyn. Several albums since 2014. Kitamura is a vocal improviser, also based in Brooklyn, with several albums since 2012, plus notable work with Anthony Braxton and William Parker. They are backed by piano (Jacob Sacks), bass (Ken Filiano), and drums (Michael Smith). B+(**) [cd]

Bloomers: Cyclism (2022-23 [2025], Relative Pitch): Free/chamber jazz trio with trumpet (Anne Efternøler) and two clarinets (Maria Dybbroe, also on alto sax, and Carolyn Goodwin, also bass clarinet). Songs titles are place and dates, "each dedicated to an important historical event in the struggle for women's freedom" — including the 1818 birthdate of Amelia Bloomer, "whose name became synonymous with the liberational cycling garment for women in the 1800s." B+(***) [sp]

Christer Bothén: Christer Bothén Donso N'goni (2022-23 [2025], Black Truffle): Swedish musician, in his 80s, most often plays clarinets but has taken an interest in African instruments, and only plays donso n'goni on this record. B+(**) [bc]

Patricia Brennan: Of the Near and Far (2024 [2025], Pyroclastic): Vibraphonist, from Mexico, based in Brooklyn, follow up to her poll-winning Breaking Stretch, has had a big year already with appearances on new albums by Mary Halvorson (A-), Dave Douglas (**), Tomas Fujiwara (A-), Adam O'Farrill (A-), Dan Weiss (***), and Arturo O'Farrill (***). Original pieces, a large group conducted by Eli Greenhoe, with piano (Sylvie Courvoisier), guitar (Miles Okazaki), bass (Kim Cass), drums (John Hollenbeck), electronics (Arktureye), three violins and a cello. Much of this is very nice, even what seems like an excess of strings. B+(***) [cd] [Later: A-]

Danny Brown: Stardust (2025, Warp): Detroit rapper, actual last name Sewell, sixth album since 2010. Other than fast, not sure what "hyperpop" means, but the word crops up often viz. this album. Too fast for me to follow, but the electroclash catches my fancy. B+(***) [sp][Later: A-]

David Broza & Omer Avital: Brozajazz: Paris Alhambra (2024 [2025], Magenta): Israeli singer-songwriter, b. 1955 in Haifa, grew up in England and Spain, lived 17 years in New Jersey before returning to Israel. Thirty-some albums, plays guitar and sings from his repertoire, backed by a jazz group led by Avital (bass), with Eden Ladin (piano), Itamar Borochov (trumpet), and Itay Morchi (drums). First I've heard of him, a long (112 minutes) live set with an enthusiastic audience, holds up well. [BDS alert: Broza has a reputation as a peace activist, but his website features a link to a "Wartime Diaries" podcast, where "Israel's leading artists began crisscrossing the country in a joint effort to lift morale." The blurb talks about the Oct. 7, 2023 Gaza revolt, with no mention of anything Israel has done since, or had done before. Needless to say, the grade below, like all of mine, reflects the music only. While in general I support BDS, and think that had the BDS movement been stronger and more effective, Israel might have veered away from its path to genocide. But I have continued to review albums by Israeli jazz artists, for various reasons, including that I personally don't want to be judged by the criminal acts of my government, and also because I believe that art given to the world breaks free from the limits and faults of its creators.] B+(***) [sp]

Carrier: Rhythm Immortal (2025, Modern Love): Brussels-based electronica producer, seems to be one of many aliases for Guy Brewer (Covered in Sand, delete_everything, Tradecraft). B+(*) [sp]

Juan Chiavassa: Fourth Generation (2024 [2025], Whirlwind): Drummer, from Argentina, first album as leader, recorded this in New York, hard to really treat it as a debut album given that his group consists of John Patitucci (bass), George Garzone (tenor sax), and Leo Genovese (piano/rhodes), with featured credits for Mike Stern (guitar) and Pedrito Martinez (congas), maybe just on the "bonus track." Hard to mistake the saxophonist. B+(***) [cd]

Brìghde Chaimbeul: Sunwise (2025, Tak:til): Scottish smallpipes player, grew up as a native gaelic speaker on Isle of Skye, has several albums since 2019, sings some. B+(*) [sp]

Paul Cornish: You're Exaggerating! (2025, Blue Note): Pianist, from Houston, first album, although he has side credits back to 2017, starting with groups Blue Iverson and Thumpasaurus, and work with Terrace Martin and Joshua Redman. Trio with bass (Joshua Crumbly) and drums (Jonathan Pinson), with a guest guitar spot for Jeff Parker. B+(**) [sp]

The Cosmic Tones Research Trio: The Cosmic Tones Research Trio (2025, Mississippi): Group from Portland, second album, includes: Roman Norfleet (alto/soprano sax, alto clarinet, flute, vocals, percussion); Harlan Silverman (cello, flute, modular synth, bass, vocals, percussion); Kennedy Verrett (piano/rhodes, duduk, vocals). B+(*) [sp]

Kara-Lis Coverdale: From Where You Came (2025, Smalltown Supersound): Canadian electronica composer/producer, based in Montreal, has a half-dozen albums since 2014. This one feels like soundtrack fodder, atmosphere undergirded by dramatic structure, but little fun. B [sp]

Joy Crookes: Juniper (2025, Insanity): British (Bangladeshi-Irish) neo-soul singer-songwriter, started with YouTube covers at 13, moved on to an EP in 2017 and an album in 2021, a Mercury Prize nominee. Second album, catches my ear, gets better on multiple replays. A- [sp]

Eddie Daniels: To Milton With Love (2025, Resonance): Clarinet and saxophone player, in his 80s, debut 1966, quickly developed an interest in Brazilian music, which he's pursued recently with tributes to Egberto Gismonti and Ivan Lins. Here he recreates Milton Nascimento's 1969 CTI album, Courage, with Anthony Wilson (guitar), Josh Nelson (piano), Kevin Axt (bass), Ray Brinker (drums), and the Lyris String Quartet. B+(**) [sp]

Dave: The Boy Who Played the Harp (2025, Neighbourhood): British rapper David Orbosa Omoregie, third album since 2019, also a 2023 EP with Central Cee. Masterful lyricist, with a conscience. One line noted: "ten years in the game and I won't lie, it's gettin' difficult." But looking easy. A- [sp]

Deena: This Is the Time (2025, self-released, EP): Singer-songwriter, last name Schoshkes, best known for the Cucumbers (with John Fried, 1983-2004, plus an album in 2023). Just three songs, 10:32. B+(*) [bc]

Grey DeLisle & Friends: It's All Her Fault: A Tribute to Cindy Walker (2025, Brooklyn Basement): DeLisle (or Griffin or Van Oosbree) is a singer-songwriter, comedian, and actress (including her claim as "the most prolific voice actress in American animation history, having performed over 1500 cartoon voices since 1996"). I don't know how consistently her 8 previous albums hew country, but titles include Homewrecker and Driftless Girl. Obviously, the songwriter here comes from the deep country, as do most of the 13 women she counts among her friends — she only puts her name to one song, and that is a duet with Brennen Leigh, so this tends to get filed under "various artists." B+(**) [sp]

Sam Dillon: My Ideal (2024 [2025], Cellar Music): Mainstream tenor saxophonist, several albums, more credits back to 2010, quartet with piano (David Hazeltine), bass (Alexander Claffy), and drums (Rodney Green). B+(**) [sp]

Stella Donnelly: Love and Fortune (2025, Dot Dash): Singer-songwriter from Australia, third album since 2019, first one (Beware of the Dogs) was pretty impressive. B+(**) [sp]

Chandler Dozier: Bakersfield East (2025, self-released, EP): Country singer-songwriter, from North Carolina, seems to be his first album, we'll call it an EP at 6 songs (21:13), including a Hank William cover ("Move It on Over"). Good voice, trad virtues. B+(***) [sp]

Jakob Dreyer: Roots and Things (2025, Fresh Sound New Talent): German bassist, based in New York, second album, 15 originals plus one standard, quartet with Tivon Pennicott (tenor sax), Sasha Berliner (vibes), and Kenneth Salters (drums). B+(***) [cd]

Amir ElSaffar: New Quartet Live at Pierre Boulez Saal (2023 [2025], Maqām): Iraqi-American trumpet player, born in Chicago, albums since 2007, often with an Arabic tinge. Member names are on cover: Tomas Fujiwara (drums), Tania Giannouli (microtonal piano), and Ole Mathisen (tenor sax). B+(***) [sp]

Peter Evans/Being & Becoming: Ars Ludicra (2024 [2025], More Is More): Trumpet player, first caught our attention in Mostly Other People Do the Killing, was also the first to leave that group. Third group album, with Joel Ross (vibes/synth), Nick Jozwiak (bass/synth), and Michael Shekwoaga Ode (drums), plus some guest flute on one track. B+(***) [sp]

R.A.P. Ferreira & Kenny Segal: The Night Green Side of It (2025, Ruby Yacht/Alpha Pup): Underground rapper, started as Milo (2011-18), prolific since 2019, shared an album with the producer in 2017. B+(***) [bc]

Irving Flores Afro-Cuban Sextet: Armando Mi Conga (2025, Amor De Flores Productions): Pianist from Mexico, based om Sam Doegp, has a couple previous albums, recorded this one in New York with some Latin jazz luminaries, including Giovanni Hidalgo (congas), Horacio "El Negro" Hernandez (drums), John Benitez (bass), and Brian Lynch (trumpet). B+(*) [sp]

Adam Forkelid: Dreams (2024 [2025], Prophone): Swedish pianist, several albums, this one is solo, all original pieces, lacks the big rhythm boost I tend to favor but sticks with you. B+(***) [cd]

Hannah Frances: Nested in Tangles (2025, Fire Talk): Singer-songwriter, from Chicago, second album, has elements that remind me of Joni Mitchell and Kate Bush, but not enough to really pan out. B [sp]

Satoko Fujii Quartet: Burning Wick (2025, Libra): Japanese pianist, well over 100 albums, this is more/less her core group, with Natsuki Tamura (trumpet), Hayakawa Takeharu (bass), and Tatsuya Yoshida (drums). B+(***) [cd]

Marcus Gilmore: Journey to the New: Live at the Village Vanguard (2024 [2025], Drummerslams): Drummer, has a lot of side credits since 2005 (Clark Terry, Vijay Iyer) but this counts as his debut. Sextet billed as a collective, with Morgan Guerin (EWI), David Virelles (piano), Emmanuel Michael (guitar), Rashaan Carter (double bass), and Burniss Travis (electric bass and sound design). B+(*) [bc]

David Greenberger & the Hi-Ho Barbers: Ginger Ale (2025, Pel Pel): Spoken word artist, also plays bass guitar, started on radio with Duplex Planet, has more than a dozen albums since 2003, most starting with him quoting monologues collected in nursing homes, sort of like reading Studs Terkel with scattered musical accompaniment. The Hi-Ho Barbers were an amalgam of name fragments: Robyn Hitchcock (guitars), Mark Greenberg (drums), Paul Cebar and Kelly Hogan (chorus vocals). More of the latter than usual, filling a gap I never noticed before, but the extra musicality doesn't hurt. A- [cd]

Steve Gunn: Daylight Daylight (2025, No Quarter): Singer-songwriter, from Pennsylvania, based in Brooklyn, has a couple dozen albums since 2007, including a recent jazz album with Beings. This one is slow, pretty and very self-contained. B+(**) [sp]

John Gunther: Painting the Dream (2024 [2025], Origin): Saxophonist (soprano, tenor, flute, bass clarinet, electronics), from Denver, second album, trio with Dawn Clement (piano/rhodes, electronics, sings some) and Dru Heller (drums). Original pieces (except one from Ron Miles), into expressionism. B+(**) [cd]

Lafayette Harris Jr.: All in Good Time (2025, Savant): Pianist, from Philadelphia, first album in 1993 on Muse, last couple on Savant, this with bass and drums plus "special guests" Houston Person (tenor sax) and Jeremy Pelt (trumpet). B+(**) [sp]

Joshua Hedley: All Hat (2025, New West): Country singer-songwriter, plays fiddle, third album since 2018 (but Discogs also credits him with A Tribute to Bob Wills from 2000), With Ray Benson producing, this one revives his Western Swing interest. Loose, with a grin as wide as his brim. B+(**) [sp]

Carrie Jackson: Jersey Bounce (2025, Arabesque Jazz): Standards singer, from New Jersey, has an r&b/gospel background, has a 30-year career, only one previous album I've found on Discogs, possibly more. Big voice, swings, backed by Radam Schwartz (organ), bass, drums, guitar, trombone (Ku-Umba Frank Lacy) and tenor sax (Rodrigo Romero). B+(**) [sp]

Nicholas Jamerson: The Narrow Way (2025, Cloverdale): Country singer-songwriter, from Kentucky, has a couple previous solo albums, several more in the duo Sundy Best. Intimate settings, two duets with his sister Emily Jamerson. But I'm not sure "hell's full of hippies" is as scary as he thinks. B+(**) [sp]

Jazzwrld & Thukuthela: The Most Wanted (2025, Waltz Music Group/Empire): South African amapiano duo, first album, don't know much else. B+(**) [sp]

Jess Jocoy: Cul-De-Sac Kid (2025, self-released): Country singer-songwriter from suburban Seattle, third album, songs have some depth. B+(**) [sp]

Jung Stratmann Quartet: Confluence (2025, self-released): Korean pianist Sujae Jung and German Wolf Robert Stratmann, based in New York, have a couple previous releases (but not on Discogs), working here with Steve Cardenas (guitar) and Marko Djordjevic (drums). B+(*) [cd] [12-03]

The Kasambwe Brothers: The Kasambwe Brothers (2025, MASS MoCA): Very little info here, but what I gather is that they're three brothers originally from Malawi (or maybe Mombassa, or maybe that's where they first recorded), that they've been playing for almost 40 years (since 1987), but that they've only just "made their first trip to the United States to take part in a residency at MASS MoCA during which they will record their first full-length album at Studio 9 and perform in the Hunter Center!" This is presumably that album, using homemade instruments, playing music that sounds old and timeless. A- [sp]

Tyler Keith: I Confess (2025, Black & Wyatt): Garage/punk singer-songwriter, started in the Neckbones (1995-99), worth checking out if your tastes run to fast, hard, and primitive; later bands include the Preacher's Kids and the Apostles. This is in a similar vein, but even more junked up. B+(*) [bc]

KeiyaA: Hooke's Law (2025, XL): Singer-songwriter Chakeiya Richmond, from Chicago, started playing alto sax and into jazz before switching to neo-soul, self-releasing her debut album in 2020. Second album, a very tricky thing. B+(*) [sp]

Lagon Nwar: Lagon Nwar (2025, AirFono): French group, with Reunionese singer Ann O'aro and Burkinabe drummer-singer Marcel Balboné, along with saxophonist Quentin Biardeau and bassist Valentin Ceccaldi, came to my attention on a jazz list but could have been Afropop. B+(***) [sp]

Cate Le Bon: Michelangelo Dying (2025, Mexican Summer): Welsh singer-songwriter, moved to Los Angeles in 2013, seventh studio album since 2009, someone I've been aware of but never paid much attention to. I'm not noticing words, but I'm getting a nice layered vibe, which shifts tone on a piece that features John Cale. B+(**) [sp]

Brennen Leigh: Don't You Ever Give Up on Love (2025, Signature Sounds): Country singer-songwriter, from Texas, steady stream of albums since 2002, which started good and just keep getting better. She is quick to take the gloss off the title song, following it with many more break up songs like "Dumpster Diving," "A Reason to Drink," "Thank God You're Gone," and "How's the Getting Over Me Going," emerging at the end with "I'm Easy to Love After All." Indeed. A- [sp]

Dave Liebman/Billy Hart/Adam Rudolph: Beingness (2023 [2025], Meta/Defkaz): From two live sets at the Stone, Liebman plays soprano sax and wood flutes, with Hart on his drum set and Rudolph on hand drums, piano, thumb pianos, keyboards, gongs, dakha de bello, with live electronic processing. B+(**) [os]

Russ Lossing: Proximity Alert (2025, Blaser Music): Pianist, from Ohio, debut 1990, has close to 20 albums, this a trio with Mark Helias (bass) and Eric McPherson (drums), playing his own original pieces. Fine pianist, strong group. B+(**) [sp]

Demi Lovato: It's Not That Deep (2025, Island): Dance-pop singer-songwriter, started as a Disney teen actor, ninth studio album since her 2008 debut went gold. B+(*) [sp]

Seth MacFarlane: Lush Life: The Lost Sinatra Arrangements (2025, Verve): Probably better known as an actor than singer, possibly better known still for his work with cartoons like Family Guy and American Dad, but he has ten or so albums since 2011, citing Sinatra as his model. That gave him a chance to look through Sinatra's library, where he found unused arrangements, mostly from Nelson Riddle, of songs perfectly at home there. He lives in them comfortably, close enough for all practical purposes. B+(***) [sp]

Nicolas Masson: Renaissance (2023 [2025], ECM): Swiss saxophonist (tenor/soprano), ten or so albums since 2002, this a quartet backed by Colin Vallon (piano), Patrice Moret (bass), and Lionel Friedli (drums). B+(**) [sp]

Joe McPhee & Strings: We Know Why the Caged Bird Sings (2021 [2025], RogueArt): A major free jazz figure since 1969, just plays tenor sax and offers some spoken words here, backed by viola (Mat Maneri), cello (Fred Lonberg-Holm), and double bass (Michael Bisio), a younger generation he's well acquainted with. B+(***) [cdr]

Roscoe Mitchell/Michele Rabbia: In 2 (2024 [2025], RogueArt): Duo, the venerable saxophonist (bass and sopranino here), and percussion/electronics. B+(**) [cdr]

Mobb Deep: Infinite (2025, Mass Appeal): New York hip-hop duo from the gangsta 1990s, Havoc and Prodigy, seven albums 1993-2006, one more from 2014, this 9th album coming 11 years later. Name-dropping Tupac and Biggie, who overshadowed them but are still locked in their identity. They lament: "they don't make 'em like us no more." No need. B [sp]

Roberto Montero: Todos Os Tempos (2025, Vaicomtudo Music): Brazilian guitarist, based in Los Angeles, seems to be his first album, various supporting cast. B+(*) [cd]

Thomas Morgan: Around You Is a Forest (2024 [2025], Loveland Music): Bassist, Discogs credits him with 154 credits since 2000, of which 17 are counted as his albums, but his name appears first on none of them, so this is arguably his debut. He plays bass on the first piece, but his main "instrument" is WOODS, a program written in SuperCollider with a recursive acronym (for WOODS Often Oscillates Droning Strings). This is followed by eight more pieces, each with a guest feeding sound into the program. Those guests are people he's worked with over the years (Bill Frisell, Dan Weiss, Craig Taborn, Henry Threadgill) plus some notables (Gerald Cleaver, Ambrose Akinmusire, Immanuel Wilkins, the poet Gary Snyder). Seems a bit scattered at first, but the many facets seem to be the point. [PS: While I generally feel that music should be evaluated free from its conception, Morgan's story did much to sell me on the process.] A- [cd]

Gurf Morlix: Bristlecone (2025, Rootball): Alt-country singer-songwriter, associated with Blaze Foley early on, then with Lucinda Williams, moving on to his own albums from 2000 on. I didn't pick up the political overtones Christgau has applauded until I double-checked, but by then I was already struck by solid this feels. A- [sp]

Maren Morris: Dreamsicle (2025, Columbia): Country singer-songwriter, from Texas, three obscure albums 2005-11 before she went gold/platinum on Columbia in 2016. With Jack Antonoff producing (among many others), this moves more into mainstream pop, or maybe I'm just responding to the hooks. "Deluxe Edition" includes an extra single, "Be a Bitch." B+(***) [sp]

Van Morrison: Remembering Now (2025, Exile/Virgin): Legend, since 1967 has never gone more than 2 years between albums, creative peak was in the early 1970s, extending to 1982 with Into the Music and Beautiful Vision, but he's so singular and magical all he has to do is remind you of his old self. Of course, he's been less reliable lately, although 2016's Keep Me Singing and even more so 2012's Born to Sing are outstanding. This 47th studio album has more than a few moments of wonder. B+(**) [sp]

The Mountain Goats: Through This Fire Across From Peter Balkan (2025, Thirty Tigers): Alias for singer-songwriter John Darnielle, 23rd album since 1994, seems to have evolved into a band, with John Wurster (drums) joining in 2007, Matt Douglas (piano/keyboards since 2015; he also does string & woodwind arrangements here), and various bassists — Cameron Ralston is new, as are Mikaela Davis (harp) and Ben Loughran (synths). Starts with a dubious instrumental, but gets better and better after that. A- [sp]

Camila Nebbia/Gonçalo Almeida/Sylvain Darrifourcq: Hypomaniac (2025, Defkaz): Tenor saxophonist from Argentina, has been pumping a lot of records out recently — this is the 10th I've heard since 2020, found while looking for yet another. Backed with bass and drums. Starts and ends strong. B+(**) [bc]

Camila Nebbia/Marilyn Crispell/Lesley Mok: A Reflection Distorts Over Water (2024 [2025], Relative Pitch): Tenor sax, piano, and drums trio. Another typically strong free sax record. B+(***) [bc]

Camila Nebbia/Michael Formanek/Vinnie Sperrazza: Live at Blow Out (2024 [2025], Soundholes): Tenor sax, bass, and drums, live from a club in Oslo, recorded by Stålke Liavik Solberg, three numbered pieces where the opener runs 29:02, the rest add up to another 12:50. Superb once again. B+(***) [bc]

Willie Nelson: Workin' Man: Willie Sings Merle (2025, Legacy): At 92, he can still sing other folks' songs better than they did, even familiar ones from such unimpeachable sources as Haggard. My only reservation is that his interpretive effort was zero, even on a song like "Okie from Muskogee," which even Merle had trouble singing with a straight face. Pure chops, and not just the singer but the band. At this point I'm not even sure Lefty Frizzell would be an overreach. Still, I wish he'd do James Talley. How can he pass up a title like Are They Gonna Make Us Outlaws Again? A- [sp]

Ninajirachi: I Love My Computer (2025, NLV): Australian electronic DJ/producer Nina Wilson, stage name cites a Pokémon character. First album after singles (starting 2017), EPs and a mixtape. Credit is for sampler and production, but music has vocals throughout, with a cartoon metallic thrash that reminds one of Skrillex, and possibly Avalanches. B+(**) [sp]

John O'Gallagher/Ben Monder/Andrew Cyrille/Billy Hart: Ancestral (2024 [2025], Whirlwind): Alto saxophonist, many albums since 2002, some quite impressive. With guitar and two drummers here. Here again he rises to the occasion. A- [cd]

Tom Ollendorff: Where in the World (2025, Fresh Sound New Talent): British guitarist, has a couple previous albums since 2021. Mild-mannered quartet with piano (Aaron Parks), bass, and drums, playing original pieces. B+(**) [cd]

Jake Owen: Dreams to Dream (2025, Good Company): Country singer, from Florida, eighth album since 2006, fine voice and trad airs. B+(**) [sp]

Raphaël Pannier Quartet: Live in Saint Louis, Senegal (2024 [2025], Miel Music): French drummer, studied at Berklee and based in New York, has two previous quartet albums, this one with Yosvany Terry (alto sax), Thomas Enhco (piano/rhodes), and François Moutin (bass), plus Khadim Niang & Sabar Group: eight drummers from Senegal. B+(***) [cd]

Ted Piltzecker: Peace Vibes (2024 [2025], OA2): Vibraphone player, half-dozen albums since 1985, some large gaps (12, 17 years), some smaller (4, 5), two originals plus his arrangements of mostly bop-era jazz standards. Sextet with trumpet (Brad Goode), bass, drums, Brazilian and Peruvian percussion. B+(**) [cd]

Recognize Ali & Stu Bangas: Guerilla Dynasty 3 (2025, 1332/Brutal Music/Greenfield Music): Underground rapper Nii Ayitey Ajin Adamafio, from Ghana, working sith Boston-based producer Stuart Hudgins. B+(**) [sp]

Recognize Ali & Tragedy Khadafi: The Past the Present and the Future (2025, Greenfield Music): Producer started as Percy Chapman, then MC Percy, then Intelligent Hoodlum (for a 1993 album), then adopted his current moniker around 2000, working with Killah Priest and Capone-N-Noriega. Old style turntablism, underground, Muslim, political, encyclopedic. Some helpful advice: "love 'em, pray for 'em, but fuck 'em." A- [sp]

Red River Dialect: Basic Country Mustard (2024 [2025], Hinterground): English neo-folk band, David Morris the singer-songwriter-guitarist, eighth album since 2005. Mostly intimate, but backed with a full band, which fits needs. B+(***) [sp]

Vernon Reid: Hoodoo Telemetry (2025, Artone/The Players Club): Guitarist, I remember him first as a rock critic but his Wikipedia page doesn't even mention that, starting his "early career" with Ronald Shannon Jackson's Decoding Society. He has some other jazz credits, but is best known for the rock group Living Colour, and perhaps for his Yohimbe Brothers duo with DJ Logic. Varied program, funk but not just, some things I like, others I don't care for. B [sp]

Dave Rempis/Jason Adasiewicz/Chris Corsano: Dial Up (2025, Aerophonic): Saxophonist (the whole gamut) with two more strong live sets, one from Chicago, the other Milwaukee, both with vibes and drums. Some terrific saxophone, as usual, but the vibes don't help much. B+(***) [cd] [12-26]

Rosalía: Lux (2025, Columbia): Spanish singer-songwriter, her third album (Motomami) was a big worldwide hit, which is also garnering much praise (93/13 at AOTY). I'm less convinced this time, as the orchestrations tend to veer into something like opera. B+(*) [sp]

Ted Rosenthal Trio: Classics Reimagined: Impromp2 (2024 [2025], TMR): Pianist, debut 1990, made an appearance in the Maybeck Hall solo series, looking at his side credits, Randy Sandke and Ken Peplowski are prominent. I grew up with an intense distaste for classical music, which he quickly disarms with a Chopin that reminds me of boogie woogie, and ends with a Chopin waltz, touching on Beethoven and Brahms, Mussorgsky and Rachmaninoff, Satie and Elgar and Dvorak. The trio has bass (Noriko Ueda) and drums (Quincy Davis or Tim Horner), plus guest spots for Peplowski (clarinet) and Sara Caswell (violin). Only the violin riles up my allergies, and just barely. B+(**) [cd]

Bobby Rozario: Healer (2024-25 [2025], Origin): Young guitarist, so presumably not the only one in Discogs (1965 credit with Sam Butera, a few more including Bette Midler and Phil Cody). But not his first album: I have one from 2023 in my database, which I liked. Long list of supporting musicians here, including some Latin Jazz eminences, and some vocals. He fits in well, and ties them together. B+(**) [cd]

Saint Pierre: Luck and Gravity (2025, Mutchcrud Music): Husband and wife team Julia & Danny St. Pierre, from Texas via California, seems to be their first album, press refers to Saint Pierre Band but album cover omits "Band," although they certainly have one, very straightforward rock with big gestures. Almost good enough to overcome my general disinterest in a style that reminds me first of the Eagles (but brighter and chirpier, probably because they aren't assholes). B+(***) [sp]

Brandon Sanders: Lasting Impression (2025, Savant): Drummer, has at least one previous album, variable cast here, including Stacy Dillard (tenor sax on 6 tracks), Warren Wolf (vibes on 3), Jazzmeia Horn (2 vocals), with Eric Scott Reed (piano) and Eric Wheeler (bass) on 7 (of 8) tracks. B+(**) [cd]

Scheen Jazzorkester & Ståle Storløkken: Double Reality Beyond Space and Time (2024 [2025], Grong): All compositions by Storløkken, a "synth wizard" from Norway with occasional albums as far back as 2002 and many side credits since 1991, including work with Motorpsycho, Supersilent, Elephant9, and Krokofant. The 12-piece big band, with 10 previous albums since 2013, gives him a lot to work with. A- [cd]

Sara Serpa/Matt Mitchell: End of Something (2023 [2025], Obliquity): Jazz singer-songwriter, skilled high voice, draws more on classical models than swing (which is virtually absent). Backed by a fine pianist. B+(*) [cd]

Mark Sherman: Bop Contest (2025, Miles High): Vibraphonist, first albums appeared in 1980, has a fairly steady stream since. Bop-oriented quintet here, with veteran players Donald Vega (piano), Ron Carter (bass), Carl Allen (drums), and Joe Magnarelli (trumpet/flugelhorn). Two originals, covers from Oliver Nelson and Cedar Walton, a couple standards. B+(**) [cd]

Amanda Shires: Nobody's Girl (2025, ATO): Singer-songwriter from Texas, plays violin, ninth album since 2005, plus collaborations with Rob Picott, Bobbie Nelson, Jason Isbell, and the Highwomen, and side credits that include John Prine, Todd Snider, and Luke Combs. While I've seen arguments that she was ex-husband Isbell's better half, I don't have much of an impression of her. I still don't, but this sounds quite accomplished, the arrangements impeccable, strings included, the voice winning and words (when I notice) a plus. A- [sp]

Nick Shoulders: Refugia Blues (2025, Gar Hole): Country singer-songwriter, from Fayetteville, Arkansas, fifth album since 2018, trimmed the music back, sometimes puts the politics forward. B+(**) [sp]

Deborah Shulman: We Had a Moment (2025, Summit): Standards singer, sixth album since 2004, recording dates unlisted but three songs date back to early work with Terry Trotter (piano), the other 7 from "the last couple of years," with "longtime pianist and arranger" Jeff Colella. B+(*) [sp]

Laura Ann Singh: Mean Reds (2024 [2025], Out of Your Head): Jazz singer-songwriter, first album, backed by Scott Clark (drums), Adam Hopkins (bass), John Lilley (sax), and Bob Miller (trumpet). Ballad moments recall Sheila Jordan, but noise breaks are something else. B+(**) [sp]

Skrillex: Hit Me Where It Hurts X (2025, Atlantic/Owsla, EP): Techno producer Sonny Moore, started as singer in a post-hardcore band before switching to electronics, which tend to be fast, hard, chaotic, and cartoonish. People I respect love him, and I can see some of the appeal, but he can get real irritating real fast. This, at least, is short, on time (5 songs, 17:27), also on substance. B [sp]

Enoch Smith Jr.: The Book of Enoch Vol. 1 (2025, Misfitme Music): Pianist, several albums since 2011, trio with bass (Kai Gibson) and drums (David Hardy). One original, but opens with two public domain gospels, followed by an Andrae Crouch. B+(*) [cd]

SML: How You Been (2024-25 [2025], International Anthem): Second group album by Anna Butterss (bass), Jeremiah Chiu (synths), Josh Johnson (sax/electronics), Gregory Uhlmann (guitar), and Booker Stardrum (drums), most with notable parallel solo work. Recorded live in various venues. The intense rhythm pieces are super appealing. The ambient pieces slightly less. A- [sp]

Todd Snider: High, Lonesome and Then Some (2025, Aimless): Folk singer-songwriter, started with Songs for the Daily Planet in 1994, passed through a period on John Prine's label — I saw him once, opening for Prine — into a string of superb albums at least up through 2012. Since then he's been erratic, aside from a live album where his shtick is as brilliant as his songs, but even when he's cryptic and/or harsh, he's worth listening to. A- [sp]

Snocaps: Snocaps (2025, Anti-): New group effort by twin sisters Katie and Allison Crutchfield, formerly of PS Elliot (2007-11), more recently in separate bands (Waxahatchee and Swearin'), along with MJ Lenderman (of Wednesday, plus a highly regarded solo album) and Brad Cook (producer, plays some bass and drums). Makes it all seem so easy. A- [sp]

Spinifex: Maxximus (2025, Trytone): "European international modern fusion quintet based in the Netherlands," a dozen albums since 2011, the "core band" (a sextet since 2017) directed by Tobias Klein (alto sax), with John Dikeman (tenor sax), Jasper Stadhouders (guitar), Gonçalo Almeida (bass), Philipp Moser (drums), and Bart Maris (trumpet), with extra depth here: vibes (Evi Filippou), cello (Elisabeth Coudoux), and violin (Jessica Pavone). Extra length, too, with 6 pieces running over 71 minutes. B+(***) [cd]

Split System: No Cops in Heaven/Pull the Trigger (2025, Legless, EP): Actually, just a single, two songs, 6:13. Garage punk band from Melbourne, mostly singles since 2022, but Discogs shows a live album and two compilations, which I've heard but hadn't remembered — both graded B+(***). B+(**) [bc]

Split System: Live in Stockholm 2023 (2023 [2025], Legless): Australian punk group, fast and furious, they have a bunch of singles since 2022, enough to field 16 songs here, averaging a bit less than 3 minutes. I wasn't really in the mood, but this is intense, relentless, and as consistent as any punk album I've heard in quite some while. A- [bc]

Mavis Staples: Sad and Beautiful World (2025, Anti-): Started in her father's gospel group, the Staple Singers, breaking out as a solo artist in 1969, up to 86 now. Widely scattered covers, only two I recognized instantly, and they are standouts. A- [sp]

Kevin Sun: Lofi at Lowlands (二) (2024 [2025], Endectomorph Music): Tenor saxophonist, quickly (2018) established himself as one of the best, has lately taken to experimentation with postproduction on his improv trio tracks. He released one EP-length (23:13), batch in May, and returns here with a slightly longer (7 tracks, 29:28) edition, with the Chinese for "(2)" added to the title. (I missed the number on the previous EP, so need to go back and correct that. Parens might have helped.) I don't much like the concept here, but he's a terrific musician, and this starts off quite engaging. B+(**) [sp]

Chad Taylor Quintet: Smoke Shifter (2024 [2025], Otherly Love): Drummer, has anchored Chicago Underground Duo (etc.) since 1998, has led a few albums and played on 150 more, including powerhouses from Fred Anderson to James Brandon Lewis. Quintet with Jonathan Finlayson (trumpet), Bryan Rogers (tenor sax), Victor Vieira-Branco (vibes), and Matt Engle (bass). Exciting at first, but winds up in a bit of a postbop rut. B+(**) [sp]

Pat Thomas: Hikmah (2024 [2025], TAO Forms): British avant-pianist, started appearing around 1990 with Derek Bailey (Company), Lol Coxhill, and Tony Oxley, but his profile increased significantly in recent years, especially with the quartet Ahmed. This is one of several recent solo albums. B+(***) [cd]

Tortoise: Touch (2025, International Anthem): Chicago group, originally just bass (Doug McCombs) and drums (John Herndon), conceived of themselves as "post-rock," adding Dan Bitney and John McEntire for their 1994 debut, with a series of guitarist before settling on Jeff Parker in 1998. Eighth studio album, this one coming after a 9-year break. Instrumental, well practiced grooves. B+(**) [sp]

Maxine Troglauer: Hymn (2024 [2025[, Fun in the Church): Bass trombonist from Germany, first album, with a fairly major contribution by Peter Evans (trumpet, pocket trumpet), backed by piano, bass, and drums. B+(**) [sp]

Carolyn Trowbridge: Found Memories (2025 [2026], self-released): Austin-based vibraphonist, side-credits since 2009, first album as leader, quintet with flute (Alex Cole), guitar, bass, and drums. B [cd] [01-09]

Premik Russell Tubbs & Margee Minier-Tubbs: The Bells (2025, Margetoile, EP): Actually just a single, 6:42, kind of cute if you're into Xmas cheer. B [cd]

Jeff Tweedy: Twilight Override (2025, dBpm): Singer-songwriter, started with Uncle Tupelo (1990-93), since then has led Wilco (14 albums through 2024) while recording occasionally under his own name (4 albums 2017-20), now this, which actually a triple running nearly 2 hours. First song I noticed was the very last ("Enough"), at which point I saw I had the damn thing on shuffle (which I've started to use in the car, but generally abhor). I turned shuffle off, and picked up from about 7 songs in, so I may have missed one or two, and heard some others twice. Enough good songs here that a single-CD might bump it up a notch or two, but nothing bad to drag it down, and this is about where I usually land with him. B+(**) [sp]

Kalia Vandever: Another View (2025, Northern View): Trombonist, based in New York, fourth album, quartet with Mary Halvorson (guitar), Kanoa Mendenhall (bass), and Kayvon Gordon (drums). Nice, steady record. B+(***) [sp]

Kenny Wheeler Legacy: Some Days Are Better: The Lost Scores (2024 [2025], Greenleaf Music): Trumpet (actually mostly flugelhorn) player from Canada (1930-2014), moved to England in 1952, put in some years with the bop generation there (Tubby Hayes, Ronnie Scott) before participating in the founding of the UK avant-garde, only to wind up as an esteemed postbop composer on ECM. So this big production — featuring the Royal Academy of Music Jazz Orchestra, Frost Jazz Orchestra, and a long list of "special contributions" including saxophonists Evan Parker and Chris Potter — isn't much of a surprise. B+(**) [sp]

Cameron Winter: Heavy Metal (2024, Partisan): Singer-songwriter, from Brooklyn, fronts the band Geese, which has four albums since 2018, with a growing critical and popular reputation, although I have yet to hear it. I'm not hearing much here either, just tortured riffing and ululating. Doesn't really register as metal, but that's hardly a saving grace. [PS: I've been informed that the title refers to high density metallic elements, and not to the music style, which come to think of it seems more like a juxtaposition of two terms than an adjective-noun construct, or even an alloy. I couldn't find a clear dividing line between heavy and not-so-heavy metals: I would have guessed iron/nickel, silver, or gold, but I've seen them all listed. Still, most lists focus more on toxicity than weight, with lead and mercury the obvious examples, and uranium even more so.] B- [sp]

WNC WhopBezzy/70th Street Carlos: Out the Blue (2025, WNC): Baton Rouge, Louisiana rapper, has a previous album from 2018. Pretty hard core. B+(**) [sp]

Beatie Wolfe & Brian Eno: Luminal (2025, Verve): Wolfe is a "conceptual artist, composer, producer, activist" from London, much of which seems to appear as museum set pieces. She has three 2013-17 albums, and this year three collaborative albums with Eno: this one appeared at the same time as Lateral, which was credited first to Eno, and the later Liminal, which seems to be some kind of remix or merger or synthesis. Vocals are presumably hers. B+(**) [sp]

Brian Eno & Beatie Wolfe: Lateral (2025, Verve/Opal): Came out the same day as Luminal, no vocals, both with keyboards, although Eno also is credited with guitar. Better than average ambient, but nothing new about that. B+(*) [sp]

Beatie Wolfe & Brian Eno: Liminal (2025, Verve/Opal): Third duo album this year, appeared several months after the first two, billed as some sort of synthesis of the two previous efforts but titles are new, and Wolfe's vocals get her lead credit again. Seems slower and darker than Luminal, but that's sort of the attraction. B+(**) [sp]

Stephane Wrembel: Django New Orleans II: Hors Série (2025, Water Is Life): French jazz guitarist, has had Django Reinhardt on his mind since he titled his 2005 debut Gypsy Rumble. Since then he has five Django Experiment albums, and more including a previous Django New Orleans (2023). Whereas the previous one was mostly traditional New Orleans pieces (plus "Dinah," "Caravan," and one Reinhardt), this one branches out, with Piazzolla, Jobim, Gainsbourg, and "Nature Boy," plus a couple originals. Sarah King sings, and the cross-cultural spicing is tasty, including pandeiro, sousaphone and washboard. B+(***) [sp]

Recent Reissues, Compilations, Vault Discoveries

Alts 'N Outs: The Other Side of Blue Note (1958-64 [2025], Blue Note): Lazy product, compiling six alternate takes from the label's the label's most vital period, one each from Cannonball Adderley, Sonny Clark, Art Blakey, Jimmy Smith, Grant Green, and Wayne Shorter (sessions which by my reckoning produced one A, four A-, and one B+). I don't find this very useful, but it's enjoyable enough for your time. B+(**) [sp]

Ray Barretto Y Su Orquesta: Celia · Ray · Adalberto: Tremendo Trio! (1983 [2025], Craft): Unclear how to parse the cover, which top left starts with the first names of the stars (Cruz, Barretto, Santiago), and bottom right cites the band, which gains the upper hand on the back cover, then loses it to "Celia, Ray & Adalberto" on the label. Credits, at least on Discogs, mention the principals only in passing: the congalero/bandleader Barretto directed/produced; Santiago for backing vocals (but not for his leads, which are every bit as prominent as Cruz's). In the end, the music belongs to the band, as the singers barely stand out. B+(*) [sp]

Big L: Harlem's Finest: Return of the King (1992-99 [2025], Mass Appeal): New York rapper Lamont Coleman, released one album (Lifestylez Ov Da Poor & Dangerous) before being shot dead at 24 in 1999, followed by a couple of posthumous releases. Part of the Nas label's "Legend Has It" series. I've heard a couple albums in the series without wondering about recording dates — no surprise that still-living old-timers like Slick Rick, Ghostface Killah and Mobb Deep sound like they always did, so those albums could have been crafted from old tapes. But Coleman's clearly were, with dates given for his gree styles, and also for a 1995 pairing with Jay-Z. But this isn't strictly a reissue: new stuff has been added and/or old stuff has been merged (e.g., Mac Miller, who was 7 when Big L died, and who died in 2018, makes an appearance). B+(***) [sp]

Nahawa Doumbia: Vol. II (1982 [2024], Awesome Tapes From Africa): Singer from southern Mali, released three records on AS in 1981-82, plus later ones on Syllart (reissued by Stern's Africa). This label reissued Vol. 3 in 2011, Vol. 1 in 2019, and here the fill the gap. Not obvious why they waited. B+(***) [sp]

Melvin Gibbs: Amasia: Anamibia Sessions 2 (2006-25 [2025], Archetext): Bass guitarist, in the 1980s played in the avant-funk Defunkt and in Ronald Shannon Jackson's avant-fusion band, the Decoding Society, and later was one of the principals in Harriet Tubman, along with side gigs with Henry Rollins, Arto Lindsay, DJ Logic, Bill Frisell, Sonny Sharrock, and John Zorn. Three tracks here with Pete Cosey (guitar) date from 2006, while the other three seem to be recent. B+(**) [sp]

Joseph Kamaru: Heavy Combination 1966-2007 (1966-2007 [2025], Disciples): A major Kenyan musician (1939-2018), ethnically Kikuyu, style Benga, although he's broader than that, with "afro-funk, disco grooves, and folk style laments." Remastered by a grandson also named Joseph Kamaru, who is now based in Berlin and records as KMRU. A- [sp]

Rahsaan Roland Kirk: Live in Paris (1970): Lost ORTF Recordings (1970 [2024], Transversales Disques): Tenor saxophonist, also played manzello and strich, often at the same time (he's also credited with soprano, alto, flute, and clarinet here). At this point he was well into his Atlantic period, which was less consistent than the early-1960s work on Mercury, but continued to stretch out in the spiritual and cultural space Coltrane opened up. Sextet with trombone, piano, bass, drums, and percussion. Strong form here. B+(***) [bc]

Rahsaan Roland Kirk: Vibrations in the Village: Live at the Village Gate (1964 [2025], Resonance): Previously unreleased sets originally recorded for a documentary, with Kirk playing his usual everything, backed by bass, drums, and revolving pianists (Horace Parlan, Melvin Rhyne, Jane Getz). B+(***) [cd]

Rahsaan Roland Kirk: Seek & Listen: Live at the Penthouse (1967 [2025], Resonance, 2CD): This one sprawls onto a second CD, but isn't that much longer (84 minutes vs. 78). Group is more obscure, with Rahn Burton (piano), Steve Novosel (bass), and Jimmy Hopps (drums). But the medleys are brighter here, the originals on the second disc cook, and his vocal to close is an unexpected delight. A- [cd]

Mike LeDonne's Groover Quartet: Turn It Up!: Live at the Sidedoor (2004-24 [2025], Cellar Music, 2CD): Pianist, but plays Hammond B3 organ in this long-running quartet, with Eric Alexander (tenor sax), Peter Bernstein (guitar), and Joe Farnsworth (drums). This double album offers two live sets, one from way back in 2004 (at Cory Weeds' Cellar Jazz Club), the other recent, from the Side Door Jazz Club in Old Lyme, CT. B+(**) [sp]

Makaya McCraven: PopUp Shop (2015 [2025], International Anthem, EP): Drummer, side credits from 2003, own albums pick up around 2012. This is one of four simultaneous EPs (also available on 2-CD as Off the Record), a fusion swing set with guitar (Jeff Parker), bass guitar (Benjamin J Shepherd), and vibes (Justefan). Five songs, 21:40. B+(**) [sp]

Makaya McCraven: Hidden Out! (2017 [2025], International Anthem, EP): Six songs, 23:14, from two sets in June, one with guitar (Jeff Parker) and double bass (Junius Paul); the other with trumpet (Marquis Hill), sax (Josh Johnson), and Paul again. This moves into our "new" (as opposed to "vault") timeframe, which just goes to show how arbitrary such dates are. B+(*) [sp]

Makaya McCraven: The People's Mixtape (2025, International Anthem, EP): Four pieces, 21:10, with Marquis Hill (trumpet), Junius Paul (bass guitar), Joel Ross (vibes), and Jeremiah Chiu (modular synth). B+(***) [sp]

Makaya McCraven: Techno Logic (2017-25 [2025], International Anthem, EP): Five pieces, 22:17, mostly with Theon Cross (tuba, electronics) and Ben LaMar Gay (cornet, voice, percussion, synths, electronics, diddley bow), with later overdubs by McCraven. B+(**) [sp]

Makaya McCraven: Off the Record (2015-25 [2025], International Anthem): This rolls all four EPs up into a single CD packaged — a compilation, but as I recall released a week before the constituent EPs, so should we treat this as "new music" and the EPs as reissues? — which is handy for those of us who prefer what now seems to be considered archaic (or at least dépassé) technology. I can't speak to whether that makes a difference in how one hears this music, but I can imagine broader patterns emerging. As it is, I'm just extrapolating from the streamed EPs. I've read somewhere McCraven considers himself a "beat scientist." That seems fair. B+(**) [sp]

Ø: Sysivalo (2014-17 [2025], Sähkö): Unfinished work by Finnish electronica producer Mika Vainio (1963-2017), mostly short drone and/or blip pieces that add up to over an hour. B [sp]

Jean Schwarz: Unreleased & Rarities (1972-2002) (1972-2002 [2025], Transversales Disques): French ethnomusicologist, composer, electronic music pioneer, with a couple dozen albums in this period. This is the first I've heard from him, although he has on occasion intersected with jazz musicians (notably Michel Portal and Don Cherry). A bit scattered, but some interesting pieces. Probably worth a deeper dive. B+(***) [bc]

Horace Silver: Silver in Seattle: Live at the Penthouse (1965 [2025], Blue Note): Pianist, initially led the Jazz Messengers, the genre-defining hard bop group that went through many editions led by drummer Art Blakey. Silver continued to lead 5/6-piece groups, drawing on many of the same musicians as Blakey, but where he was unique was in composing some of the catchiest tunes ever to come out of jazz. His Blue Notes from 1956-66 were often classic. This previously unreleased live tape features Woody Shaw (trumpet) and Joe Henderson (tenor sax), with Teddy Smith (bass) and Roger Humphries (drums), stretching out on five of hi better known tunes. A- [sp]

François Tusques/Intercommunal Free Dance Music Orchestra: Après La Marée Noire: Vers Une Musique Bretonne Nouvelle (1979 [2025], Souffle Continu): French pianist, recorded his debut Free Jazz in 1965, recorded Intercommunal Music in 1971, leading to the group which registered four volumes 1974-82, and possibly a couple more albums like this one. Front cover has no artist credit, so I'm following Discogs. Back cover has three lines of credits, with "Sonneurs Traditionnels" in between. The Celtic component comes from bombarde (an oboe) and binioù koz (a small bagpipe) but you also get darbuka (a middle eastern drum) and congas. A- [bc]

X-Cetra: Summer 2000 [Y2K 25th Anniversary Edition] (2000 [2025], Numero Group): Pre-teen girl group from Santa Rosa, CA, three 11-year-olds, one just 9, singing over trip-hop tracks by Achim Treu, produced by Robin O'Brien (mother of two members, with a real but obscure discography of her own, centered around home taping experiments). Original 8-song CDR is expanded here to 11 songs, 28:21. As I understand it, they aimed for something like the Spice Girls, but what I hear is closer to Kleenex/Liliput. A- [sp]

Zig-Zag Band: Chigiyo Music Kings 1987-1998 (1987-98 [2025], Analog Africa): "Trailblazers of Zimbabwe's Chigiyo Sound," which I've seen described as "a vibrant fusion of reggae, traditional rhythms, brass arrangements and mbira-inspired guitar," with "raw, soulful Shona vocals." Discogs lists three 1989-92 albums by this group. This finds its groove, and keeps the energy up. A- [sp]

Old Music

Ashnikko: Weedkiller (2023, Parlophone): Ashley Casey's first studio album (33:05), after a 2021 mixtape (25:24), less explicitly dance-pop than her new album, the hard edges contributing to a genre list that includes "nu metal, trap metal, industrial pop, and hyperpop." B+(**) [sp]

Big L: Lifestylez Ov Da Poor & Dangerous (1995, Columbia): New York gangsta/horrorcore rapper Lamont Coleman (1974-99), first and only album before he was killed in a drive-by shooting, sold well, as did his posthumous The Big Picture. I never liked the philosophy, but the big, hard beats had their attractions, as they do here. And I do get "I Don't Understand It." Hardly anyone did. B+(***) [sp]

Big L: The Big Picture: 1974-1999 (1997-99 [2000], Rawkus): Posthumous album, includes a 1998 single, completed by manager Rich King and various producers, including DJ Premier and Ron Browz. B+(**) [sp]

Don Cherry/Jean Schwarz: Roundtrip (1977): Live at Théâtre Réccamier, Paris (1977 [2023], Transversales Disques): Trumpet player, started with Ornette Coleman and Albert Ayler, moved to Denmark and expanded his horizons to and beyond Africa. Schwarz is a French avant-fringe composer, has a coupele dozen albums since 1974. He is credited here with: tape, synthesizer, treatments, on a live set that also features Michel Portal (bass clarinet/sax/bandoneon), Jean François Jenny Clark (bass), Naná Vasconcelos (percussion), with Cherry on pocket trumpet, ngoni, whistles, and vocals. B+(***) [bc]

Ella Fitzgerald: Live at the Concergebouw 1961 [The Lost Recordings] (1961 [2017], Fondamenta): This showed up on a 2025 ballot, so perhaps there is a newer reissue, but as best I can figure out, this was released in 2012 by Solar in Spain as The 1961 Amsterdam Concert, the remastered and released under this title in 2017 by the French label, as part of their The Lost Recordings series. Opens with Norman Granz introducing the band — Lou Levy (piano), Herb Ellis (guitar), Wilfred Middlebrooks (bass), and Gus Johnson (drums) — for a 9:07 warm up, before the singer enters with her familiar songbook. B+(**) [sp]

Melvin Gibbs: Anamibia Sessions 1: The Wave (2022, Editions Mego): Not clear to me what the relationship is between this album and its 2025 successor, this being an ambient drone album that struggles to catch let alone hold one's attention. B- [sp]

The Staple Singers: The Staple Swingers (1971, Stax): Roebuck "Pops" Staples and his four children, most notably youngest daughter Mavis, who moved to the front during the 1960s, as the group moved from gospel to civil rights to secular soul. Wikipedia divides their discography between "early albums," which run from Savoy to Vee Jay to Riverside to Epic to their first two albums on Stax, and "charted albums," which starts here (9 r&b, 117 pop). The differences here were that, following Mavis' solo album, Al Bell produced with the Muscle Shoals crew, and Pervis dropped out in favor of Yvonne. Half of this is quite good, which makes you wonder about the rest. Cover features playground swings. B+(*) [sp]

The Staple Singers: Be Altitude: Respect Yourself (1972, Stax): Even more of a commercial breakthrough, with three singles: "Respect Yourself" (12), "I'll Take You There" (1), and "This World" (38). The singles do stand out, which makes the rest sound like filler, but not quite. B+(**) [sp]

The Staple Singers: Be What You Are (1973, Stax): Three more singles, but only one ("If You're Ready") a top-10 hit. Pretty steady. B+(*) [sp]

The Staple Singers: City in the Sky (1974, Stax): As consistent as any of their Stax albums, but lacking an obvious hit. B+(**) [sp]

Mavis Staples: Mavis Staples (1969, Volt): Fourth child of Roebuck "Pops" Staples, who organized his family into a gospel group in 1948 (when Mavis was 9), moving them into secular soul in the 1960s, as Mavis became their singing star. She stayed with the group, eventually billed as "featuring," but recorded this solo album in 1969, a second in 1970, more from 1979, 1989, 1993, and 1996 before landing on Anti- in 2004, with an album every few years since. Al Bell and Steve Cropper produced this set of covers. B+(**)

Mavis Staples: Only for the Lonely (1970, Volt): Second solo album, short (9 songs, 29:04), produced by Don Davis, who turns up the strings. Strong vocals, on less obvious songs. B+(*) [sp]

Tortoise: Millions Now Living Will Never Die (1995 [1996], Thrill Jockey): Post-rock band from Chicago, second album (not counting the remix of their 1994 debut), named by The Wire as their record of the year, dumped on by Robert Christgau with a scornful B-. Core group of four (Dan Bitney, John Herndon, Douglas McCombs, John McEntire) plus new guitarist David Pajo. I'm finding it in between, nicely centered, ambient with some extra heft but nothing remotely amazing. B+(***) [sp]

Tortoise: Tortoise (1994, Thrill Jockey): First album, Bundy K. Brown was the guitarist at the time. Strikes me as a bit more tentative. B+(*) [sp]

Stephane Wrembel: Django New Orleans (2022 [2023], Water Is Life): French guitarist, a Django Reinhart specialist, put this band together in New York to record traditional New Orleans pieces à la Hot Club de Paris. Sarah King sings several of them, starting with "Dinah." She has a voice suited to the period, but really excels on "Joshua Fit the Battle of Jericho." B+(***) [sp]

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:

Cecil McBee: Mutima (1974 [2025], Strata-East/Mack Avenue): Bassist, hasn't led many albums but side-credits start in 1963 and per Discogs number 463, was especially busy in the 1970s with Pharoah Sanders and Sam Rivers, slowing down around 2000. Opens with a long bass solo, followed by a short vocal bit (not to my liking, and no credit I can see), then a sextet piece with trumpet (Tex Allen) and two saxophonists (Allen Braufman and George Adams). Second side opens with another long bass solo, and again ends with a group blast. [was: B] B+(*) [sp]

Music Weeks

Music: Current count 45202 [45048] rated (+154), 1 [22] unrated (-21).

Excerpts from this month's Music Week posts:

November 3, 2025

Music: Current count 45079 [45048] rated (+31), 14 [22] unrated (-8).

I'm a week past my 75th birthday now. Which is to say I'm older than either of my grandfathers ever got. One was born in 1868, so our three generations span 157 years. He was 68 when he died, well before I was born. The grandfather I knew wasn't born until 1894. He was the definition of an old person when I was a child, and he died at 70 in 1964, when I was 13. My father was 77 when he died, in 2000, a few months after I moved back to Wichita. He suffered a stroke a decade earlier, which significantly impacted what was left of his life. I'm fortunate enough to be somewhat oblivious to the ailments they had to deal with. I still have pretty good hearing, and I can get through a long day without nodding off. But I'm getting less and less done, and it's getting more and more frustrating.

My big project last week was fixing birthday dinner. This was a 13-dish Indonesian Rijsttafel, mostly dishes I had never made or even tasted before. I went very light on the chilies, but I murdered a lot of garlic, ginger, galangal, shallots, turmeric, tamarind, lemongrass, lime leaves, macadamia nuts (in lieu of kemiri), peanut, shrimp paste, and coconut milk along the way. Many of the dishes followed the same logic: grind up a "flavor paste," then fry it in some oil. Add coconut milk and whatever your main ingredient is, and cook it until the sauce is reduced, sometimes all the way to an oil that adds a final crispness to the meat. I did this with chicken, pork, lamb, beef, eggplant, string beans, and I had several more variations planned that I didn't get around to.

In addition to the "plan" cited above, I wrote up some narrative on this dinner last week. I expected I would take that and turn it into a Notes on Everyday Life post, but didn't manage to do that. Partly that's because I was thinking that even though I had cooked and written enough for a substantial post, I should add some more value to it. I should dig through my old notebooks and come up with some history of the "birthday dinner" tradition (loosely described from memory last week). Also, I still had extra groceries from my shopping, and wanted to use some of them up (although a lot of the more perishable items hit the garbage bin early). I didn't manage the research, or the post, but I've been cooking quite a bit this week, including (on top of several days of leftovers):

1. Shrimp: I had thawed out a pound, thinking I'd do a sambal, but I wound up turning them into scampi.
2. Pork loin: I put it in a velvet marinade (erroneously, as it turns out), and boiled it for a Chinese pork & peanuts dish.
3. Duck: I had a half duck, roasted from Thai Binh. I chopped it up and did an "Aceh style" Indonesian curry, throwing in a can of chickpeas.
4. Eggplant: Little purple ones, which I cut up, fried, and cooked in coconut milk. For good measure, I added some peanut sauce.
5. Pork belly: I boiled it, then a few days later I turned it into Chinese twice-cooked pork, with a green bell pepper.
6. Chicken livers: I couldn't find an Indonesian recipe, so I just floured and sauteed them with onion and bacon. I had some leftover small Yukon potatoes, so I diced and cooked them the same way.

Finally, I made a Chinese fried rice to go with the pork & peanuts, including bell pepper, zucchini, eggplant, Chinese sausage, egg, and almonds in the mix. When I later made the twice-cooked pork, I took the leftover fried rice, some more leftover rice, what was left of the pork & peanuts, and the leftover potatoes, and mixed them all up with more scallions.

I think I still have some eggplant, cabbage, carrots, potatoes, squash, and water chestnuts left, as well as things safely stashed away in the freezer (ground pork, squid, fish, crabs). I'm slowly hoping to reduce the freezer stash, imagining I can come up with a series of "clearance special" dinners. But I don't get many opportunities, and rarely take the sort of liberties I took this week. Still more fun than housework, or website work, or writing.

Of those, housework is likely to weigh heaviest on my mind this next week. We need a new roof, which seems like a big and fateful decision. I expect to have four bids by the end of the week, and no obvious decision. Still, I've managed to put a lot more thought into it than I did when buying a car a few months ago. The roof, at least, will be hired out, so just a shopping job. Except maybe for the carport, where we're likely to need some structural support, and the attic, which is of no real concern to the roofers. I did break down and hire out a small plumbing project last week: the kitchen faucet head developed a serious leak, so I bought another one, and had someone else install it. I used a plumber I'm talking to about a bigger, more daunting job. I still have some work under the sink, but it shouldn't be hard.

Many more projects waiting in the wings, taking forever to get done. But I did finally make a bit of progress toward the 20th Annual Francis Davis Jazz Critics Poll. I set up the website a few weeks ago, but needed to edit the invite and voter notes files. I got the former done today, and the latter good enough to work for now. I sent a message to the volunteer helper mailing list tonight, on the state of the poll. I hope to send a message to the voter email list soon after this. The invites should go out by November 15, with a deadline of December 21. With the website in fairly good shape, as least as regards this year's poll, the next big thing is to review the invite list, and see if I can come up with better email tools. The latter isn't an urgent need, as my server change earlier this year has been much for the better, but there is still room for improvement.

I'm also thinking about setting up a third email list, one for publicists and other interested non-voters. Anyone who wants to get in on that should send me a message. I'd also welcome any tips on prospective voters. Also any questions/suggestions on the website. I've been spinning my wheels for weeks trying to figure out the exact level of detail that would be optimal to each specific component.

Back to a fairly normal level of new music this week. I'm pretty close to current with unheard promo CDs, but I've still made little effort with catching up with downloads (or, indeed, with downloading files I have links for). The 2025 tracking file currently shows 1101 albums rated (out of 3203 listed; jazz only 655 of 1217.) I expect jazz will get a big kick when the ballots start coming in, and non-jazz will eventually catch up as I compile the less reliable EOY aggregate. Usually that kicks off around Thanksgiving.

That's enough for now. It's very late, and I have a very early morning to contend with tomorrow.

November 12, 2025

Music: Current count 45120 [45079] rated (+41), 16 [14] unrated (+2).

I spent much of last week struggling with the feeling that I should post something on my Substack, but my original idea of a birthday dinner history was largely usurped by my planning document, and the rest would have required more research than I had time for. Besides, with the elections, I thought it might be good to offer some reaction, so I returned to an early idea, which was to every so often offer a grab bag of bits on various topics, which like Jeffrey St. Clair's Roaming Charges could end with short bits of "Booked Up" and "Sound Grammar." The latter could even be a bit more than simple lists, as I had album reviews and book notes I could draw on. I also had the draft file for Loose Tabs, although I figured that for the newsletter, I should consolidate points from the general sprawl and chaos of archival notes.

Seemed straightforward enough, but as of Sunday I barely had two introductory paragraphs, but at least we settled on concept and title: Notes on Everyday Life, without the irony of trying to turn out focused essays. When I got up on Monday, I had a choice to make: rush out Music Week, and clear my cache of music reviews, or postpone and force myself to write. I chose the latter, and sent it out this evening. I don't know how often I'll do things like this, but if you sign up, you'll get first crack on some music, books, and news links. Sure, they'll show up on the website sooner or later — actually pretty soon, as I'm archiving the posts here, including today's Notes on Everyday Life. And while the big selling point is email delivery, the websites are more authoritative, as I've already fixed one mistake I made. (I said Robert Christgau had passed on Gurf Morlix's A Taste of Ashes, but he gave it a ** grade, same as mine.) Also note that since my post, I received word that DeJohnette won the DownBeat Readers Poll Hall of Fame vote, evidently just a couple days before he died. Lots more deserving people still outside, but he did earn the nod.

The other reason I held Music Week back was I wanted to speak in the past tense about sending out a mass voter email introducing the 20th Annual Francis Davis Jazz Critics Poll. I finally got that done late this evening (further delaying this post). The website has been set up for a while, and the invitations have been drafted. I've also set up, but haven't used yet, a third email list, jpmedia. I'm going to start adding publicists to it, and send out an update in a couple days. Anyone able to help publicize the poll who would like to be included in the list please get in touch with me. I spent a good deal of time today compiling an initial list of 34 names, but those are nearly all publicists, most from my "trash" directory.

Another thing that slowed me down was writing an answer to a question about my "recent reading." Nearly everything else in my Q&A queue is a pitch for me to listen to some album. It doesn't hurt to ask, but those are best answered in Music Week. Still, lack of traffic there makes missing things easy.

I was too exhausted Wednesday night to rush this out, then got distracted Thursday, pushing this into evening. Seems like everything takes forever these days. Interesting batch of records this week. My only real thought is that I kept coming up just short with hip-hop albums, which left me doubting my cognitive skills, as I never quite kept pace with lyrics that are probably worth more effort: Danny Brown, Armand Hammer, RAP Ferreira, maybe Ashnikko. Easy to counter that the country and jazz albums, Snocaps, Mountain Goats, and Mavis Staples are more my speed these days. But they are really good albums, which signify to me right now.

Next week I need to focus on some house work (e.g., new roof), hopefully without bobbling the jazz poll too badly. My update of the metacritic file has been very hit-and-miss, but we should be seeing some end-of-year lists soon (looks like 4 at already at AOTY). I imagine I'll track them when/if I find time.

November 17, 2025

Music: Current count 45155 [45120] rated (+35), 12 [16] unrated (-4).

So much stuff up in the air right now I'll need a moment to map it out. One thing that's taking a lot of my time is work on or related to the house. We had a hail storm blow through town in early September, which did some significant and much trivial damage. It was followed by swarms of insurance adjusters and roofing companies squabbling over which was which, and who's on the hook for how much of it. The insurance company decided we had $25k of damage, but they only had to pay $10k to cover it. One roofing company contended that the damage was really $45k, but they offered to do something for $16k. Two more companies submitted slightly lower bids, figuring that the insurance was done and just trying to soak up the cash. More came sniffing around, and for one reason or another made themselves scarce: was it me they didn't want to deal with, or the house? One never knows for sure, but my old paranoia has been kicking in.

So was my own peculiar view on what is important and what isn't. We spent a lot of time talking about attic ventilation, but I've had a 25-year itch to do something else with the attic space — not to finish it, but at least to make it accessible, and possibly useful as storage space. Also the carport, which has a patio on top, with rails around the perimeter that aren't quite straight. So I've come up with two construction projects that dovetail into roof work but I'll have to do myself: one is to lay down some more decking in the attic, raised above a lot of blown-in insulation; the other is to square away the patio railing. I have a guy lined up to help me with those two projects. I also finally decided on a roofer. Now I need to get my projects done approximately the same time the roofer shows up. That's a challenge, but I've been putting a lot of thought into it, and hopefully soon some actual work.

Then there's a dozen more home projects of various size and urgency. No point listing them here, but just know that there are many, most trivial and a few not, mostly things I can put off doing but some turn into emergencies rather quickly. Right now I interrupt this paragraph to drag trash and recycle bins to the curb. By the time I returned, I had to attend to a few more chores. This everyday life is always like that. Not leaving me much time to write about it as I had intended.

But by far the biggest time sink in my life this past week has been the 20th Annual Francis Davis Jazz Critics Poll. I sent out a mass email to prospective voters on Nov. 12, basically affirming that we are live and open for business. While that email list is easy for me to send to, it presents problems for many recipients. What I've found works better (but still, I can't tell but don't doubt, imperfectly) is to run my invitation letter through a mail merge program and generate a batch of letters that I can then send out one-by-one. The program that spits out the letters works fine. My SMTP service doesn't, so I have to not only hit "edit" and "send" for each letter, I have to space those out so my service vendor doesn't think I'm spamming the world. I wanted to hold off on doing all that until I had time to review the invite list and do some further research to qualify more voters. I didn't get any of that done, at least in time to meet my self-imposed November 15 deadline. So I ran with what I had, and generated 287 invites. I deleted 2 of them, and held back another half-dozen (thinking I'd like to add more personal notes to them), and started sending the rest, a couple hours into November 16. I finished about 20 hours later. So that's done. I got one bounce, which I resent to an alternate address. Since then, I've gotten a small amount of mail back: 4-5 ballots, a dozen-plus promises to vote, and 3-4 notices of no intention to vote.

I mentioned that in addition to the jazzpoll email list, I have a jpadmin list for people who are interested in helping out with various tasks — the bare minimum is listening to me rant, a sounding board I do very much appreciate. I've added one name to that list. I've only sent them one update since last week, but another one will be forthcoming after I get this posted. I also mentioned that I wanted to set up another list to update publicists and media about the poll. I call that jpmedia, and have initialized it with 30+ names/addresses, but haven't sent anything out yet. My main question for both of those lists will be to solicit suggestions as to who else we should invite. But we made enough progress with international contacts last year to give me a good feeling about this list. So I should probably hold back the panic.

From this point up to the December 21 deadline, I can possibly slack off a bit, and just let the ballot accumulate. (Without checking, I have 2 counted and 4 more in my inbox. I should get those returned tomorrow.) Still, I have things I can do along the way: fix any problems with the website; vet and invite a few more voters; think about the ArtsFuse article package; see if I can come up with ways to get more publicity for the poll; work on redesigning the old website, as well as filling in missing pieces (some of which Francis Davis sent me a year ago). I'll write more about these things in weeks to come.

With all this happening, along with my general slowdown, there is little chance I'll do any significant writing the rest of this year. The core ideas, of course, are still floating around my head. What happens next is anyone's guess. Meanwhile, I'll probably kill what little spare time I can find — mostly blah spots when I'm not feeling up to serious work but can still do something rote and brainless — adding data to my EOY aggregate file. I have to date only added one EOY list, and I doubt I'll be able to keep up, but I'd be surprised if I don't put some effort into it. I also expect I'll whip up my usual EOY lists for jazz (not updated since shortly after the mid-year poll) and non-jazz (just set up, with no real contents yet, although I was very surprised to find the A-list non-jazz outnumbering jazz 85-73, both of which are abnormally long for this point in the year).

I didn't get this up on Monday, so I'm resuming here on Tuesday (no new records, although there are some drafts in the monthly archive, linked at the top). I had some more things to mention, and just ran out of steam.

First, I need to release a Loose Tabs later this week. I've been collecting stuff as we go on — not a lot, and not very consistently — and it's piled up to the point where some stories are beginning to decompose and maybe even reek. (The first section is on the election, followed by the shutdown. I wrote a bit about both in my Nov. 12 Notes on Everyday Life newsletter. I also wrote about Dick Cheney and Jack DeJohnette there. Now I need to add Todd Snider. In the meantime, see Robert Christgau's Big Lookback.) I'll try to knock that out later this week. I doubt I can do justice to Snider. I've never been much good with lyrics, but he has many memorable ones. One that sticks in my mind is "in America we like our bad guys dead." That sums up a lot of what's wrong with this country. (That's from "Tension," which goes on to note that "Republicans/ that's what scares people these days/ that, and uh, Democrats.")

A big chunk of this week's A-list came from Christgau's Consumer Guide: November, 2025. That came out the same day as my NOEL post, so I included a checklist of what I had heard previously and what I hadn't (and in some cases wasn't even aware of — the Todd Snider and Gurf Morlix albums were in that category, as well as one of two African albums; the other I heard on a Phil Overeem tip, one of many nearly every week). Given that this week's report was cut short two days by my delay last week, I'm surprised that the rated count hit 30. But with ballots and EOY lists coming in, 'tis the season for moving fast and disregarding subtlety, confident that the major things you missed during the year will knock you over anyway.

This got me wondering how my attention this year stacks up against last year. This year, my tracking file shows I have 1159 albums rated so far. In 2024 that number was 1524, but as that includes albums rated after last year's freeze date (Mar. 31, 2025), it should be reduced by at least the number of late ratings in the 2024 file (79, so 1445). This year's total is 80.2% of last year's total. We are currently 320 days into 2025, so 87.6% through the year, which suggests that I'm down 7.4% from last year, but a more realistic gauge of the year would be February through January, as typically 80% or more of January reviews are of previous year records. (That's a swag, but wouldn't be too hard to check here. To be totally accurate, you'd also have to factor in reviews of 2024 albums in February and March, before the March 31 freeze date.) Shifting January (31 days) into the previous year means we're 289 days into 2025, so 79.1% done. That means I'm on very close to the same trajectory as in 2024: extending the current rate of 1159 albums over 289 days to a full year would bring me to 1465 albums, which would be +20 from 2024. I imagine there is some kind of function that could turn that number into a probability that I match last year's total, but lacking that, all I can do is guess, something like 85%. Nine months ago I would have guessed much less, something like 15%. So, like a Todd Snider concert, doubt this year's run of reviews is much more than an improbable "distracrtion from our impending doom." His death is a sobering reminder of how suddenly 85% can collapse to zero.

November 26, 2025

Music: Current count 45202 [45155] rated (+47), 1 [12] unrated (-11).

This is a couple days late. While I'm nowhere near as likely as my father was at my age to nod off, I'm finding it nearly impossible to get any serious work done after midnight, or even much before. So when I find myself failing a self-imposed deadline, increasingly I leave it for a fresher tomorrow.

Last week, I resolved to publish Loose Tabs before my next Music Week. Since I number my blog posts — this goes back to the convention of an earlier generation of blog software called "s9y" (or "serendipity") — it becomes awkward to change directions. Besides, I didn't want to change. I had no desire to hold back comments on the elections past Thanksgiving. On the other hand, it didn't wrap up easily. Sunday passed unfinished. I finally posted 10292 words on Monday. I figured I'd do Music Week on Tuesday, and didn't even get started until after midnight. I was sharp enough then to effect my cutoff, but not to write an introduction. I punted again, and didn't get started until 9 PM Wednesday. We're now in a Cinderella race to see if I can post this tonight before I turn to pumpkin.

I suppose I should mention that these delays aren't just good old fashioned writer's block, which I am often prone to. I spent prime time Saturday shopping for wood for my attic project: 5 sheets of plywood, 26 2x4s, 4 sheets of foamular, 4 sheets of underlayment, 48 feet each of 2x6 and 1x4 for the railing frame. On Sunday, we started using some of that, decking the center swath of the attic: not a huge part of the project, but a critical staging ground for further work. And Monday I made dinner for guests returning from a trip to Wales and Bosnia. I had little time to prepare, so I went with something simple but flexible and usually quite good: a big phat thai, with a water chestnut salad on the side, and for dessert the oatmeal stout cake, but substituting store-bought butter pecan ice cream. I was distracted enough on Monday I left nearly all of my email for Tuesday. Which during poll season takes some time to get through.

The 20th Annual Francis Davis Jazz Critics Poll is coming along nicely. By the time I finally caught up with my email, I had 24 ballots counted, with 149 new jazz albums named, and a surprise (to me, anyhow) leader. I've made little progress on a second round of invites, but have asked my email lists for recommendations. I just haven't had time to check out the 200-300 extra names I already have collected, let alone look for new ones. Still, I'm sure there are some good people we're missing.

I'm afraid I'm feeling kind of schizzy about the poll. On the one hand, I want to push it to succeed beyond all expectations, and on the other I'm tempted to drop it and walk away. The obvious facts are that it's going to run my life between now and the first week of January, and that I'm not going to be able to get anywhere near as much done on or with it as I would like. And there's very little I can do about any of that.

One thing I do know is that the next week is going to be especially unproductive. We're going to try to work on the house tomorrow, and get as much done as possible before it gets much colder and possibly snowy this weekend. But I'm also going to try to cook something: just a trad family meatloaf using stuff I don't have to shop for. Then on Monday we'll have guests from Boston for a couple days. I'll need to cook something on Monday. Should be another good excuse to push Music Week back toward the middle of the week.

How much I can listen to by then is anyone's guess, but I should at least run across more jazz albums I hadn't heard of. Aside from the Kirk set and maybe SML, this week's top records were complete surprises. Hopefully I can get my ballot settled by next week. The first step is to assemble the jazz and non-jazz EOY files.

Notes

Sources noted as follows:

• [cd] based on physical cd
• [cdr] based on an advance or promo cd or cdr
• [bc] available at bandcamp.com
• [os] some other stream source
• [sp] available at spotify.com

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.