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An occasional blog about populist politics and popular music, not necessarily at the same time. LinksLocal Links My Other Websites Music Politics Others Networking Music DatabaseArtist Search: Website SearchGoogle: Recent Reading
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Thursday, July 25, 2024 Music Week
Music: Current count 42703 [42668] rated (+35), 23 [15] unrated (+8). [07-26]: The Mid-Year Jazz Critics Poll is public now. ArtsFuse has published my essay, Diversity Brings Riches: A Mid-Year Jazz Critics Poll, which includes the leader board (top 50 New Releases, top 20 Rara Avis). I've unlocked the complete results on my jazzpoll website:
ArtsFuse has a comment facility. Thus far I've seen one comment, and tried replying to it. I'm tracking these comments in my notebook. I'm hoping they'll give me some fodder for my FAQ file. You can also query or comment direct to me. Later today I'll send out a notice to the Jazzpoll mailing list: the usual links, of course, but also an appeal for voters to do some publicity of their own, possibly writing pieces about what they've learned from poll. I'm also looking ahead to the end-of-year poll. This has been a valuable practice run for what could be a much more ambitious task. One thing I would like to do between now and then is to redesign the website to make it into a better integrated whole. This might wind up with putting all of the data into a single multi-year database, so we can track voters, artists, etc., over multiple years. I'm also curious about more statistical analysis. But even before that, we have to identify the missing pieces, and the questions they raise. If you are interested and willing to do some work, you can figure out how to get in touch. By the way, according to my tracking file, I have rated 633 albums so far this year, of which 427 (67.4%) are jazz. So I'm not doing a very good job of easing into retirement. I'm slowly decompressing after deep burial in the work of running my Mid-Year Jazz Critics Poll. The website is up, but the results won't be public until ArtsFuse publishes my introductory essay -- which I turned in on Tuesday, so it shouldn't be much longer. After some initial panic, I finally counted 90 ballots, which is a bit more than half of the 159 ballots we received for the 2023 Poll. A couple dozen more invitees wrote back with apologies, mostly due to the very limited voting period I allowed and other demands on their time, but several just didn't like the idea (while expressing an interest in year-end voting -- I know of other critics who just don't like the idea of polls and lists in general, but they had taken themselves off my mailing list). Voters were asked to vote for up to 10 "new releases" (first releases of new music recorded no earlier than 2014) and up to 5 "rara avis" (reissues or newly released music from 2013 or earlier). The 90 critics voted for 366 "new releases" and 109 "rara avis" albums. If memory serves, 3 albums got votes in both, and 3 more received one vote in the wrong time frame, so the total number of albums that received votes was 472, which is 5.24 per voter. I'd hazard a guess that about half of those records got 1 vote each. Also, at least half of them weren't in my tracking file before the poll, so were new to me. I've added them all now, and over the last 3-4 weeks I've listened to a lot of jazz I wasn't previously aware of (including all 5 A- records this week, and most of the high B+ records too). As I've probably mentioned, I find lists most useful as a means for checking what I do and do not know. Donald Rumsfeld once made the distinction between "known-unknowns" and "unknown-unknowns." Well, I keep the former are on a list as such, leaving only the latter as still unaccounted-for unknowns. So, thanks to the last few weeks, I now know much more about what I don't know. When the results are published, so can you. As part of this exercise, I went ahead and prematurely compiled a Best Jazz Albums of 2024 file. (I didn't bother compiling the companion Best Non-Jazz list, because I didn't need it, and didn't want to bite off the extra work, least of all in maintenance -- indeed, I may not maintain the Jazz file until the need arises come November.) The most notable thing here is that the A-list has already reached 60 albums, whereas for recent full years, it has never grown beyond 87 albums. I can imagine three possible explanations for this bounty: this is a really great year for new jazz; I'm much better informed this year than ever before; and/or I'm growing soft and addled in my old age. Still, I've retained enough wits to discriminate between these 60 A/A- albums and 108 with B+(***) grades, and another 193 with lower grades. (Let's see: in 2023, that split was 85 A/A-, 225 B+(***), 532 lower, so comparing this year so far to last gives us: 70.5%, 48.0%, 36.2%.) So, sure, that's skewed pretty significantly. But I can't think of anything to do about it. The grading scale was never conceived of as a curve, and it's too late to change much now. While working on the essay, I slowly pieced together a Speaking of Which, which wound up straddling the Republican Convention, Biden's withdrawal, and Kamala Harris's clinching of the Democratic nomination. The domestic politics did at least take my mind away from the international situation, which as far as I can tell is still very much out there -- especially the atrocities in and around Israel. One story I avoided was Netanyahu's speech to Congress. I thought the most telling moment there was when Biden praised and gave thanks to Joe Biden, and Republicans stood and applauded. Of course, it wasn't Biden they were applauding. Nor were they really showing how supplicant they are to Netanyahu (although they clearly are). They mostly relished how Netanyahu's embrace disgraced Biden and his administration. As I've noted many times before, the only time Republicans are up for a "bipartisan" deal is when they see it as a wedge between the Democratic leaders and their base. All of Washington may be in thrall to Israel, but it's not a good look for the self-anointed leaders of the free world. Of course, I didn't really finish with last week, so next week's Speaking of Which will start as soon as this Music Week posts. And as I'm unlikely to be done on Sunday, next Music Week should again be delayed -- perhaps enough to give me most of a week (as long as I wrap up before the end of July, I'll be happy.) After that, I hope to slow down a bit, and take stock. I have lots of projects to work on around the house. I have some doctor stuff on tap. I also have a new website to think about. And I need to rethink the whole writing life. Besides, August is usually pretty miserable here in Wichita. Meanwhile, a couple mid-year lists to check out:
New records reviewed this week: أحمد [Ahmed]: Giant Beauty (2022 [2024], Fönstret, 5CD): Five more shows, each on its own disc each a single piece 44:15-49:40 long, from five consecutive nights in Stockholm (August 10-14, so after the April 2 Glasgow date on Wood Blues). Too intense to play straight through, possibly redundant if you're satisfied with Wood Blues, but something where you can just pick a disc at random when the mood strikes. A- [sp] Alliance [Sharel Cassity/Colleen Clark]: Alliance (2024, Shifting Paradigm): Supposedly a group name, but two of the four women pictured on the cover are named in smaller print at the bottom: Cassity plays flute and alto/soprano sax, Clark drums, along with Hannah Meyer (piano) and Carmani Edwards (bass). A very sprightly hard bop outing. B+(**) [sp] Beholder Quartet: Suspension of Disbelief (2024, Sachimay): Streaming sources list this as Beholder Trio, but cover says Quartet, as does a previous album -- a still earlier trio is simply credited to Beholder. Group of Dan DeChellis (piano), John Philip Tomasic (guitar), Jeffrey Slater (electric bass), and Zach Martin (drums). DeChellis has albums back to 1998, including a 1999 trio with Tomasic, and a later series of albums with avant saxophonist Gary Hassay. Very interesting album, even in the slow spots. A- [sp] Oddgeir Berg Trio: A Place Called Home (2024, Ozella): Norwegian pianist, home is the island of Rolla, which is pretty far north, fifth trio album since 2018, with Audun Ramo (bass) and Lars Berntsen (drums). B+(*) [sp] Isaiah Collier & the Chosen Few: The Almighty (2023 [2024], Division 81): Saxophonist, from Chicago, group is a quartet with piano-bass-drums, but aims higher, starting off with a gospelized Dee Alexander vocal, then a spiritual spot for Ari Brown. Three more tracks: more yearning, more vocals, more rafters-raising saxophone. B+(**) [sp] Nick Dunston: Colla Voce (2022 [2024], Out of Your Head): Bassist, fifth album since 2019, also credit for "post-processing," on what is billed as "a warped narrative of sorts, hurtling from acoustic universe to electric universe, string to scream, raw to produced, New York to Berlin, and real to surreal." The strings and voices give it an air of opera, but very warped indeed, and I'd add, saved by the drums. B+(**) [cd] Isabelle Duthoit & Franz Hautzinger: Dans le Morvan (2021 [2024], Relative Pitch): French clarinetist, also credited for voice (which is more like audible breathing), in a duo with the Austrian playing quarter tone trumpet. Second duo album, very sketchy. B+(*) [sp] Nick Finzer: Legacy: A Centennial Celebration of JJ Johnson (2024, Outside In Music): Trombonist, eighth album since 2012, quartet with Renee Rosnes (piano), Rufus Reid (bass), and Lewis Nash (drums), all veterans of Johnson's 1980-90s groups. B+(***) [sp] Gregory Groover Jr.: Lovabye (2023 [2024], Criss Cross): Tenor saxophonist, from Boston, name sounds like a smooth jazz alias (well, maybe not as much as Euge Groove), but he studied and teaches at Berklee, has his debut on a mainstream label, and lined up a batch of stars for backing: Joel Ross (vibes), Aaron Parks (piano), Vicente Archer (bass), Marcus Gilmore (drums) and Matthew Stevens (guitar on 3 tracks). 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 Joăo 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] Jo Harrop: The Path of a Tear (2024, Lateralize): British singer-songwriter, slotted jazz but not necessarily so, third album, has a nice feel and touch, and songs. B+(***) [sp] Xaver Hellmeier: X-Man in New York (2022 [2023], Cellar Music): German drummer, based in Munich, but went to New York to study with Joe Farnsworth, which set him up for a first album recorded in Van Gelder Studios with what must be his dream band: Jeremy Pelt (trumpet), Eric Alexander (tenor sax), David Hazeltine (piano), and Peter Washington (bass). I've long admired that group (and Farnsworth), but it's been a while since they've put their skills to such inspired use. A- [sp] اسم ISM [Pat Thomas/Joel Grip/Antonin Gerbal]: Maua (2022 [2024], 577): London-based piano-bass-drums trio, at least one previous album, they also form the core of the quartet known as [Ahmed]. Two pieces, the 41:15 title track, plus a 6:22 extra, with a very nice Bösendorfer grand that may have slowed the group down a bit, just to relish the sound. Title means "flowers" in Swahili. Not as dramatic as the [Ahmed] albums, but this should help Thomas get recognition as one of jazz's top-tier pianists. A- [dl] Tobias Klein/Frank Rosaly/Maria Warelis: Tendresse (2022 [2024], Relative Pitch): Bass/contrabass clarinetist, originally from Germany (Saarbrücken), based in Netherlands, not much as leader but side credits since 1997 (most often in the group Spinifex). Backed here with drums and piano. 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] The New Wonders: Steppin' Out (2024, Turtle Bay): Trad jazz septet, led by Mike Davis, who plays cornet, sings, and composed or arranged everything. Second album. B+(***) [sp] Carlos Nińo & Friends: Placenta (2022-23 [2024], |International Anthem): Based in Los Angeles, "an internationally celebrated producer, arranger, composer, musician, radio host, DJ, music consultant, writer, poet, and event organizer," "involved in the production of more than 100 records," although the only groups I recognize are Build an Ark and Hu Vibrational, and they're both a tad obscure. Fourth group album on this label -- Discogs shows earlier ones back to 2009 -- a sprawling (77:07) jumble of synths, flute (André 3000), horns, rhythm, voices. B [sp] Omawi [Marta Warelis/Onno Govaert/Wilbert De Joode]: Waive (2023, Relative Pitch): Piano-drums-bass trio, fairly abstract in an intimate framework. B+(**) [sp] Hery Paz: River Creatures (2023 [2024], Porta Jazz): Tenor saxophonist, from Cuba, second album, trio with Nate Wooley (trumpet) and Tom Rainey (drums). B+(***) [sp] Frank Paul Schubert/Michel Pilz/Stefan Scheib/Klaus Kugel: Live at FreeJazz Saar 2019 (2019 [2024], Nemu): German free jazz saxophonist (alto/soprano), a couple dozen albums since 2005, here in a group with bass clarinet, bass, and drums, joint improv on a piece called "Where Is Charles?" -- no answer or further explanation offered, not that any is needed. B+(***) [cd] SML: Small Medium Large (2022-23 [2024], International Anthem): Quintet of Anna Butterss (electric bass), Jeremiah Chiu (synths), Josh Johnson (sax/electronics), Booker Stardrum (drums), and Gregory Uhlmann (guitar), pieced this together from four sets of improv, with an ear toward finding an irresistible groove. B+(***) [sp] Space: Embrace the Space (2024, Relative Pitch): Swedish piano-bass-drums trio, Lisa Ullén, Elsa Bergman, and Anna Lund. Second album, improv pieces, pretty tight. B+(***) [sp] Natsuki Tamura/Satoko Fujii: Aloft (2023 [2024], Libra): Trumpet and piano duo, husband and wife, many records together (mostly in larger groups, all the way to big bands), but this is the basic mix, and very striking when they grab your attention. B+(***) [cd] Terton [Louie Belogenis/Trevor Dunn/Ryan Sawyer]: Outer, Inner, Secret (2023 [2024], Tzadik): Tenor/soprano sax, bass, drums trio. B+(***) [sp] Marta Warelis/Andy Moor: Escape (2022 [2024], Relative Pitch): Polish pianist, has been making the rounds since 2017, here a duo with one of the Ex guitarists. B+(**) [sp] Recent reissues, compilations, and vault discoveries: Cannonball Adderley: Burnin' in Bordeaux: Live in France 1969 (1969 [2024], Elemental Music): Alto saxophonist, a hard bopper who actually scored some crossover r&b hits, probably did his best work in the late 1950s, but had a strong series of albums with Riverside in the early 1960s, more mixed results later on with Capitol, before he died at 46 in 1975. So this is rather late in his career, a quintet with his brother Nate Adderley on trumpet, Joe Zawinul on keyboards, Victor Gaskin on bass, and Roy McCurdy on drums. A solid but not exceptional set, in a very nice package. B+(**) [cd] Cannonball Adderley: Poppin' in Paris: Live at L'Olympia 1972 (1972 [2024], Elemental Music): A bit later, after Joe Zawinul left for Weather Report, with George Duke adding some funk on keyboads, Walter Booker the new bassist, Ray McCurdy back on drums, and brother Nat the stand out on cornet. B+(***) [cd] Atrás del Cosmos: Cold Drinks, Hot Dreams (1980 [2024], Blank Forms Editions): Reportedly the first free jazz group to come out of Mexico, but not much known about they: this reissue is their only album in Discogs (which doesn't have the original), nor is there much evidence of members Ana Ruíz (piano), Henry West (sax), Evry Mann (drums), or Claudio Enriquez (bass). Opens with heavy piano (think Cecil Taylor), adds in the sax, then evolves into their own milieu. A- [sp] 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] Gerry Mulligan: Night Lights (1962 [2024], Philip): Baritone saxophonist, in a laid back mood with Art Farmer (flugelhorn), Bob Brookmeyer (valve trombone), Jim Hall (guitar), bass, and drums. B+(*) [sp] The Oscar Pettiford Memorial Concert (1960 [2024], SteepleChase): A concert organized in Copenhagen shortly after the bassist's death at 37, features a number of local acts -- Erik Mosenholm Trio, Max BrÜel Quartet, Bengt Hallberg Trio (plus Alice Babs), Jazz Quintet '60 (with Svend Asmussen on violin), Louis Hjulmand Quartet -- finishing with Stan Getz (backed by Hallberg's Trio). Nice evening. B+(*) [sp] Old music: Beholder: Claim No Native Land (2017, Sachimay): Trio of Dan DeChellis (piano), Philip Tomasic (guitar/loops/effects), and Zack Martin (drums/electronics), seems to be their first album, nothing in Discogs on any of the group albums, although DeChellis and Tomasic had a trio album with a different drummer in 1999, and Tomasic had a solo guitar album the same year. B+(*) [sp] Beholder: The Cicada Sessions (2022, Sachimay): Again, no doc here, other than same trio lineup, more varied, ends a bit ambient. B+(**) [sp] Beholder Quartet: Omni Present (2023, Sachimay, EP): The piano-guitar-drums trio expands a bit, adding Jeffrey Slater on electric bass. Just a proof-of-concept 15:52 single. 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. B+(***) [sp] Unpacking: Found in the mail last week:
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