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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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Wednesday, July 31, 2024 Music Week
Music: Current count 42729 [42703] rated (+26), 36 [23] unrated (+13). My Mid-Year Jazz Critics Poll threw me off the usual Sunday/Monday post schedule, although the sheer quantity of news I reaped for yesterday's Speaking of Which would have been excuse enough (249 links, 11258 words before today's additions). ArtsFuse published my intro/overview essay, Diversity Brings Riches: A Mid-Year Jazz Critics Poll, on Friday, at which time I enabled the totals and ballots on my archival website:
There was a glitch early on where the points totals in the tables on ArtsFuse got mangled, so had to be fixed. I've received some feedback on the poll, but not very much. I sent a notice out to my "jazzpoll" mailing list, but as best I can figure, only about half of those messages get past the spam traps (gmail seems to be exceptionally harsh). I put out two announcements on X, but the first (link to essay) only has 164 views (1 retweet, 3 likes), and the second (link to updated Music Week) got 222 views (2 retweets, 5 likes). I also did two notices on Facebook, like this one, with 1 share and 5 likes. A Google search reveals:
Also, a couple critics published their ballots (which are all available through the link above). Chris Monsen wrote up his extended mid-year list. I also suspect that I provoked All About Jazz into polling their writers for this all-star break edition list. (As I understand it, their call went out a week after my invites, but they were first to press.) I've scarcely touched my metacritic file, but should get back to it if/when demands on my time lighten up. Its main value is as a prospecting tool, which I haven't much needed while I had so many jazz albums to search out. I'm pretty sure I'll return to it when the year-end lists start coming in, but between now and then it's likely to only be an occasional hobby. I'm also not sure I'll continue updating my Best Jazz Albums of 2024 file, although it's pretty comprehensive for now. An even more vexing question is whether I'll make a serious effort at the download links I've been accumulating. More pressing is that I've fallen behind the queue of promo CDs (although much of that mail I just opened today). I did manage to wrap up the July Streamnotes file, and to open a new one for August. Rated count is light this week, as I've had several days where I didn't want to multitask while writing, or didn't feel up to it. I also found myself tiring of looking for unheard albums that got poll votes, especially as many proved inaccessible. Still 189 left in the tracking file, so maybe I just need a break. It's tempting to just take August off. I have a lot of stuff to do around the house. Also a couple of web projects that need attention. I need to rethink my writing ambitions. There are also some health questions. I've just finished reading Amy Kaplan's Our American Israel: The Story of an Entangled Alliance. It's a pretty good general history of Israel since the 1940s, with its long drift from left to right, fought mostly on the level of myth, where the intertwined alliance brings out the worst in both. That focus often ignores real political issues -- like the American preoccupation with the Cold War and the postcolonial order of petrostates, and how Israel could somehow deny Arabs (especially Palestinians) any real agency in their fate. They are always treated as an irreconcilable other, to be fought and subdued, and there is nothing they can do about it, so they cycle endlessly between violence and conciliation, only to find that neither stance makes any difference. This fixed gaze saves Kaplan from having to give them any consideration. The section on Lebanon is pivotal, as Israel shifted direction from justifiable defense to unconscionable offense. Of course, we now know that the latter was always part of the game plan, which is part of the reason we forget how brutal the shift appeared at the time. There is a passage here describing the devastation of West Beirut that will make you think of Gaza today. By that point the right-wing had taken charge in Israel, with Begin as PM, and Sharon running the war. And as the left in America (and to some ultimately fruitless extent in Israel as well) started to have misgivings, the American right embraced the Israeli right ever more firmly. The book's coverage of Christian Zionism is the most detailed I've read, and is truly scary -- in large part because it's really hard to grasp that people can actually believe such nonsense. The book then moves on to neocon militarism, and to the war on terror (with Israel as its guiding light, and "start up" profiteer). Along the way, the focus on myth offers in-depth discussions of such cultural artifacts as the books/movies from Exodus to Schindler's List to The Late Great Planet Earth to Homeland to World War Z. New records reviewed this week: Daymé Arocena: Alkemi (2024, Brownswood): Afro-Cuban jazz singer, first appeared in Jane Bunnett's Cuban group Maqueque, fifth album since 2015, all on this British label. B+(*) [sp] Carlos Bica: 11:11 (2024, Clean Feed): Bassist, from Portugal, wide range of albums from the late 1990s on (last one was Playing With Beethoven, and I didn't much care for it). This is a quartet which can run rough or refined, with José Soares (sax), Eduardo Cardinho (vibes), and Gonçalo Neto (guitar/banjo). Has a bit of vocal. B+(**) [sp] Zach Bryan: The Great American Bar Scene (2024, Belting Bronco/Warner): Country singer-songwriter, one I've underrated in the past, and may well again, as he has a knack for making exceptional songs seem ordinary. Runs over an hour. B+(**) [sp] Chick Corea & Béla Fleck: Remembrance (2024, Thirty Tigers): Piano and banjo duo, third album together, after The Enchantment (2007) and Two (2015). No recording date(s) given, but this "last project" (which includes audience applause) was obviously recorded before pianist's death in 2021. B [sp] Jon De Lucia: The Brubeck Octet Project (2023 [2024], Musæum Clausum): Alto saxophonist, several albums, modeled on Dave Brubeck's early (1948-50) group, with trumpet, trombone, two more saxophones (Scott Robinson on tenor), piano (Glenn Zaleski), bass, and drums. Nice sense of group interplay. B+(***) [cd] Divr: Is This Water (2022 [2024], We Jazz): Swiss piano-bass-drums trio (Philipp Eden, Raphael Walser, Jonas Ruther), first album. B+(*) [sp] FUR [Hélène Duret/Benjamin Sauzereau/Maxime Rouayroux]: Bond (2023 [2024], Budapest Music Center): French-Belgian trio: clarinets, guitar, drums. Nice atmospherics B+(**) [sp] Marshall Gilkes and WDR Big Band: Life Songs (2022 [2024], Alternate Side): Trombonist, debut 2004, often drawn to big bands (Maria Schneider, John Fedchock) and Latin (Brian Lynch), third album with the German radio orchestra. Vibrant and lush, the Sabeth Pérez vocal a plus. B+(***) [sp] Ciara Grace: Write It Down (2024, self-released): Singer-songwriter, can't find much about her, had to look the album up by title as artist name didn't do the trick (found me a single, instead). First impression is I like her, though. [PS: Would have found out more had I gotten her name right, including a previous album from 2016.] B+(***) [sp] The Gringo Pistoleros: The Rise and . . . Subsequent Fall of the Texas Alien (2024, self-released): Recorded in Austin, with Cory Grinder (presumably from somewhere else) just passing through, "named in homage to the great Tim Henderson" (who? Discogs lists 11 with that name, pictures 0). B+(**) [sp] Christopher Hoffman: Vision Is the Identity (2024, Out of Your Head): Cellist, has a couple previous, core group here has keyboards (Frank LoCrasto) and drums (Bill Campbell), but four (of seven) tracks add guests: Henry Threadgill (alto sax), Ryan Scott (guitar), Anne Webber (flute), Alfredo Colón (EWI). Short (24:20). B+(*) [sp] Johnny Blue Skies: Passage Du Desir (2024, High Top Mountain): "Metamodern" country singer-songwriter Sturgill Simpson, not sure if his name is on the cover or not but it appears everywhere the record is mentioned. B+(**) [sp] Norah Jones: Visions (2024, Blue Note): Singer-songwriter, tends to be slotted as jazz given her record label, but little reason to read much into that. Her 2002 debut was a huge crossover hit, with US sales topping 11 million. Ninth studio album, co-wrote most songs with producer Leon Michels. B+(*) [sp] Pat Metheny: MoonDial (2024, BMG): Popular jazz guitarist, mostly played fusion since 1975 but has occasionally ventured off the beaten path, which in recent years has included novel instruments. Here he plays baritone guitar, not technically novel, but going deep into "the instrument's nature," he finds "resonant contemplation." B+(*) [sp] Kim Myhr & Kitchen Orchestra: Hereafter (2020 [2024], Sofa Music): Norwegian guitarist, various albums since 2005, also credited here with voice, organ, synthesizer, drum machine, and piano, with a fairly large postclassical ensemble (but no real string section). B+(*) [sp] O.: WeirdOs (2024, Speedy Wunderground): "O. (15)" at Discogs, "jazz-fusion duo from London, UK," Joe Henwood (baritone sax) and Tash Keary (drums), first album after a single and an EP, instrumental, sort of a funk-grunge synthesis. B+(*) [sp] Revival Season: Golden Age of Self Snitching (2024, Heavenly): Atlanta producer Jonah Swilley and rapper Brandon Evans, first album. B+(***) [sp] Splitter Orchester: Splitter Musik (2024, Hyperdelia, 3CD): Berlin-based composer-performer collective, founded 2010, with members of ten different nationalities, fourth album, each disc a single piece (51:47, 41:36, 78:00). Sort of an ambient industrial feel. Hard to nail down much on an album this long because it's impossible to concentrate like that, but just let it go, and you may wind up suspecting there's something to it. B+(**) [sp] Stemeseder Lillinger Quartet: Umbra II (2023 [2024], Intakt): Austrian pianist Elias Stemeseder, with German drummer Christian Lillinger, cover adds "feat. Peter Evans & Russell Hall" -- trumpet and bass. They've done this before -- not just Umbra but Penumbra and Antumbra. B+(***) [sp] Kevin Sun: The Fate of the Tenor (2022 [2024]. Endectomorph Music): Tenor saxophonist, impressive Trio debut in 2018, has been on a roll ever since, knows his history and lore. Live set here, another trio, with Walter Stinson (bass) and Matt Honor (drums). B+(***) [sp] Kenny Warren: Sweet World (2023 [2024], Out of Your Head): Trumpet player, based in Brooklyn, played in Slavic Soul Party, has several albums on his own, this one with cello (Christopher Hoffman) and drums (Nathan Ellman-Bell). B+(**) [sp] Stian Westerhus & Maja S.K. Ratkje: All Losses Are Restored (2024, Crispin Glover): Norwegian guitarist and vocalist, at least established as such in careers established in the early 2000s, but credits aren't clear here, and two voices intertwine. Hard to tell how deep the story line is, as despite considerable skill I never care enough to follow. B [sp] Wimps: City Lights (2023, Youth Riot): Punk rock trio from Seattle, fourth album since 2013, 13 songs, 26:43. B+(***) [sp] Recent reissues, compilations, and vault discoveries: Fingers: The Complete Fingers Remember Mingus (1979-93 [2024], Jazz in Britain, 3CD): British quintet -- Lol Coxhill (soprano/tenor sax), Bruce Turner (alto sax/clarinet), Michael Garrick (piano), Dave Green (bass), and Alan Jackson (drums) -- recorded Remember Mingus in 1979, the five tracks (plus "Softly, as in a Morning Sunrise") there doubled here for two CDs, and supplemented with later BBC shots for a third. B+(***) [bc] Pat Smythe Quartet: New Dawn: Live 1973 (1973 [2024], British Progressive Jazz): British pianist (1923-83), probably best known for his 1960s work with Joe Harriott; quartet here features fusion guitarist Allan Holdsworth (1946-2017), with Daryl Runswick (bass) and Soft Machine drummer John Marshall. B+(***) [sp] Old music: Mike Cooley/Patterson Hood/Jason Isbell: Live at the Shoals Theatre (2014 [2020], Southeastern): Three singer-songwriters, all started out in the Drive-By Truckers, Isbell went solo circa 2007, Hood has a couple solos albums, Cooley just one from 2012 but gets lead billing here because the theatre seems to have been his childhood dream. B+(***) [sp] Unpacking: Found in the mail last week:
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