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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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Tuesday, August 20, 2024 Music Week
Music: Current count 42869 [42830] rated (+39), 34 [34] unrated (-0). Delayed a day, because that's how long the week's Speaking of Which took (219 links, 12161 words, before whatever I add today). Probably just as well, given that (as I noted yesterday) my week was light, which I can only partly blame on time out to cook a nice dinner on Saturday. I made no attempt to count calories, which ingredients suggest were astronomical, but can now report that my weight is down 0.2 lbs today, compared to a day or two before, so maybe I can afford to indulge on the rare occasions when I can line up some willing guests. I've been bemoaning my inability (and sometimes incompetence) at getting routine maintenance tasks done around the house. One of those came crashing down after dinner on Saturday: a big chunk of plaster-on-lath ceiling in one of the upstairs bedrooms. I've been aware of a crack growing there at least since 2005, viewing it with increasing alarm over the past few months. I even started to plot out possible ways to fix it. After the first pieces broke away, I got up and tore out some extra, so now I have about a 4 sq. ft. patch of exposed lath. In some ways it's less troubling (certainly less ominous) now, especially as I can gauge the thickness of the plaster (about 3/8-inch, the state of the lath (ugly but dry), and how solid what's remaining is (looks like I'll wind up doubling the size of the patch, but nothing else is likely to fall down on its own). In the past, I would have figured out how to fix this, but we've started looking for help. Same for some other small projects. Barely topped 30 albums below, but the A-list -- after only one album each of the last two weeks -- came roaring back. I'm also pretty caught up with the demo queue, although I still have a lot of albums in hand for September into mid-October. I spent some time re-checking older albums, so came up with a couple re-grades. I guess I can finally mention now that Fifth Column Filmworks has a web page with a 4:52 trailer for a feature documentary about saxophonist Sam Rivers, based on the extraordinary 764-page book, The Sam Rivers Sessionography by Rick Lopez. I considered using "we" in the opening line, because this film was originally my idea, but about all I did was to introduce Rick, an internet friend for over 20+ years, and Mike Hull, my nephew and the filmmaker who previously directed and produced Betrayal at Attica, dump some starter money into the project, and let them work it out. New records reviewed this week: Okaidja Afroso: Àbòr Édín (2024, Chechekule): Singer-songwriter and traditional dancer from Ghana, has a couple previous albums. B+(*) [sp] John Alvey: Loft Glow (2022-23 [2024], Jazz Music City): Nashville-based drummer, first album, wrote first song, local-based band members added two more, plus some jazz covers (Benny Golson, Ron Carter, John Stubblefield), nice postbop group with a little swing. B+(**) [cd] [08-25] Charlie Apicella & Iron City Meet the Griots Speak: Call to Action/Call to Prayer (2022 [2024], OA2): Guitarist, his Iron City group has mostly played funk-fusion since 2008, but his griots are from another musical planet, mostly veterans of the old NYC loft scene, like Daniel Carter, William Parker, and Juma Sultan. B+(**) [cd] Art Baden: How Much of It Is Real (2023 [2024], Rainy Days): Tenor saxophonist, born in Russia, first album, also plays bass clarinet and flute, leads a quartet with Joe Locke (vibes/keyboards), Jay Anderson (bass), and Jeff "Tain" Watts (drums, recorded in his studio). B+(**) [cd] George Dearborne: Lotta Honky Tonkin' Left in Me (2024, Wingate): Country singer, from Beaumont, Texas, started out as a drummer in the 1970s, started leading bands in the 1990s, released his first album in 2020. No original songs, but most are new to me (exceptions: Doug Sahm, Merle Haggard). B+(**) [sp] Jeff Evans Porkestra: Willow Pillow (2024, self-released, EP): Evans is "a seasoned figure in Atlanta's roots and alt-country scene," seems to have had a previous group called Chickens and Pigs, calls this "a musical rewrite" of their 2021 album Guitars Food Music Beer Dog, which I can find no corroborating evidence for (although Spotify has three other Chickens and Pigs albums, none in Discogs). Six songs, 22:31. B+(***) [sp] Claudia Gibson: The Fields of Chazy (2024, self-released): Austin-based folk singer-songwriter, second album, has some appealing songs. B+(**) [sp] Russell Haight: Go Forth (2023 [2024], OA2): Saxophonist (tenor pictured), studied at Texas, was based in Austin until moving to Saratoga Springs and Skidmore college. Has a previous album, also a book on Odd-Meter Etudes for Saxophone. Quartet with Sean Giddings (piano), bass, and drums. Original pieces. Strong on upbeat pieces. B+(***) [cd] Joel Harrison & Alternative Guitar Summit: The Middle of Everywhere: Guitar Solos Vol. I (2024, AGS): Harrison, a notable guitarist in his own right, is credited as producer here, with eleven other guitarists doing the heavy lifting. No recording dates given, but AGS has at least existed for 14 years, so they're probably working off some backlog. Only two names don't ring a bell for me, but check yourself: Fareed Haque, Nguyen Lê, Nels Cline, Liberty Ellman, Anupam Shobhakar, Camila Meza, Kurt Rosenwinkel, Anthony Pirog, Cecil Alexander, Miles Okazaki, Henry Kaiser. Not ambient exactly, but insider plays I suspect are more to impress each other than to excite fans. B+(*) [cd] Hyeseon Hong Jazz Orchestra: Things Will Pass (2023 [2024], Pacific Coast Jazz): Korean composer and band leader, based in New York and/or Seoul, has a previous album from 2017, leads a conventional big band with saxophonist Rich Perry getting a "featured" credit. B+(**) [cd] Ice Spice: Y2K! (2024, 10K/Capitol/Dolo): Rapper Isis Gaston, first studio album (10 songs, 23:17) after a well-received EP in 2023 (13:08, then 16:01, then finally in a 24:15 "deluxe edition," which is the one I liked). B+(***) [sp] Eric Jacobson: Heading Home (2023 [2024], Origin): Trumpet player, based in Chicago, couple previous albums, this a postbop quintet with Geoff Bradfield (tenor sax), Bruce Barth (piano), bass, and drums. B+(*) [cd] Boldy James/Conductor Williams: Across the Tracks (2024, self-released): Rapper James Clay Jones III, several albums per year since 2020, various producer/collaborators, this one is Denzel Williams, from Kansas City, coming off joints with Stik Figa and Conway the Machine. B+(**) [sp] Kirk Knuffke: Super Blonde (2023 [2024], SteepleChase): Cornet player, albums since 2007 range from free to mainstream, often superb either way. This one is mostly standards, sharply etched, with a mainstream rhythm section of two bassists (Jay Anderson and Thommy Andersson) and drums (Adam Nussbaum). A- [sp] David Liebman & the CNY Jazz Orchestra: If a White Horse From Jerusalem . . . (2022 [2024], CNY Jazz Arts Foundation): This should probably be filed under Bret Zvacek, who is music director of the Syracuse-based Central New York Jazz Orchestra -- spine credit is just CNY Jazz Orchestra -- a conventional big band -- but the featured soprano saxophonist gets top billing on the cover. Zvacek composed the title suite (4 parts, 25:27), with others arranging the rest of the program, including covers of "Somewhere" and "Where or When." B+(**) [cd] Lux Quartet: Tomorrowland (2023 [2024], Enja/Yellowbird): Co-led by Myra Melford (piano) and Allison Miller (drums), with Dayna Stephens (tenor sax) and Scott Colley (bass). Relentlessly inventive postbop, the pianist can delight and dazzle, the sax more tentative but substantial,the rhythm always en garde. A- [cd] Matt Mitchell: Zealous Angles (2024, Pi): Pianist, one of the best to have emerged in the last decade, presents a trio of Chris Tordini (bass) and Dan Weiss (drums), playing a batch of original pieces. B+(***) [cd] ØKSE: ØKSE (2023 [2024], Backwoodz Studioz): Free jazz quartet with an electronic twist -- "sound chemist" Val Jeanty plays electronics, while bassist Petter Eldh also wields sampler and synths, along with saxophonist Mette Rasmussen and drummer Savannah Harris -- but four (of eight) pieces also feature guest rappers: Elucid, Billy Woods, Maassal, and Cavalier. Remarkable on all counts. A- [sp] Jonathan Powell: Mambo Jazz Party (2022 [2024], Circle 9): Trumpet player, from Florida, based in New York, has played in Latin jazz bands, leading this one, a powerhouse outfit. B+(***) [cd] Alvin Queen Trio: Feeling Good (2023 [2024], Stunt): Drummer, born in New York, credits start in 1970, picking up after he moved to Switzerland in 1979. Trio with Carlton Holmes (piano) and Danton Boller (bass), playing standards, and doubling down on Cedar Walton. B+(*) [sp] Ayra Starr: The Year I Turned 21 (2024, Mavin Global Holdings): Pop singer-songwriter, born in Benin, grew up in Lagos, titles so far note her age -- debut was 19 & Dangerous. B+(**) [sp] Linda Thompson: Proxy Music (2024, Storysound): Much beloved as the better half of a 1970s duo with then-husband Richard Thompson, spotty solo career since then with several decade-plus breaks, no longer sings but co-wrote a batch of songs, performed by various family and friends, with son Teddy Thompson most involved. B+(*) [sp] Tinashe: Quantum Baby 2024, Nice Life): R&B singer-songwriter, born in Kentucky but grew up in California, last name Kachingwe, seventh album since 2014, single "Nasty" her biggest since 2014's "2 On." B+(**) [sp] Piet Verbist: Flamenco Jazz Summit: El Mar Empieza Aquí (2023 [2024], Origin): Belgian bassist, has several albums, none particularly like this foray into Spanish flamenco, represented with bansuriney (Carmelo Muriel), guitar (Carlos Cortés), and drums (Juan Sainz), mixed with piano (Milan Verbist) and alto/soprano sax (Tom Van Dyck). B+(***) [cd] Recent reissues, compilations, and vault discoveries: África Negra: Antologia Vol. 2 (1979-90 [2024], Bongo Joe): Band, established in the early 1970s by Horacio and Emidio Pontes, in the formerly Portuguese colony of São Tomé and Principé, islands in the Atlantic of the west coast of Africa, fitting midway between Nigerian highlife and Congolese soukous. A- [sp] Phil Haynes' 4 Horns and What?: The Complete American Recordings (1989-95 [2024], Corner Store Jazz, 3CD): Drummer, mostly associated with the late trumpet player Paul Smoker (on all three sets here), also with Ellery Eskelin (tenor sax, on the first two sets) and Herb Robertson (on the last two, credited here with "multi-brass"). Other horns here include Andy Laster (alto/bari sax/clarinet/flute on all three sets), Joe Daley ("low brass" on the first), and John Tchicai (tenor sax on the third). It's a formula that generates a lot of excitement. A- [sp] Old music: Okaidja Afroso: Jaku Mumor (2022, Chechekule): From Ghana, earlier album has a nicer flow. B+(**) [sp] Ellery Eskelin/Drew Gress/Phil Haynes/Paul Smoker: Joint Venture (1987, Enja): Free jazz group, artist names -- tenor sax, bass, drums, trumpet -- on cover but appears conceived as an eponymous group album, first of three albums through 1993, although their intertangled histories continued much longer. Starts with two covers, a slow "Day Dream" and a "Just in Time" which picks up momentum before getting into the originals. B+(***) [bc] Rosie Tucker: Lowlight (2015, self-released, EP): Singer-songwriter from Los Angeles, first album if you count it -- nine songs, 23:26, as best I can figure was 17 at the time, very much on her own. Her latest album sent Christgau back to her 2019 "debut," which I will get to in due course, but this one is very impressive in its own right, with several songs I'm tempted to quote not just lines but verses from, including two where she advises guys to look for love elsewhere, with one turning to suicide instead. A- [sp] Rosie Tucker: Never Not Never Not Never Not (2019, New Professor): With 11 songs, we'll call this a proper album, but still only runs 26:40, with only one song topping 3:04. She also has band backup here, but maybe the new songs needed that -- they're not as immediately striking, nor are they obviously not. B+(***) [sp] Rosie Tucker: Sucker Supreme (2021, Epitaph): Fourteen songs, 35:43, semi-major label dropper her after one album, music continues to develop, lyrics get harder to follow, or maybe just more complex and elusive. This seems to be the consensus pick among her albums, but I don't quite get it. B+(***) [sp] Grade (or other) changes: Chappell Roan: The Rise and Fall of a Midwest Princess (2023, Amusement/Island): I played this last year, wrote virtually nothing on it, so must not have been paying much attention, losing the single "Red Wine Supernova" after the later ballad fare, which on closer inspection turns out to be pretty good, too. [was: B+(**)] A- [sp] Rosie Tucker: Utopia Now! (2024, Sentimental): I played this when it came out, and liked it but didn't get much. Christgau picked it, went into her back catalog, and was even more smitten by Sucker Supreme. Various others have seconded his approval. So I figured odds were good that I had been hasty, and her previously unreported Lowlight raised my expectations even higher. Working forward confirmed her smarts and added chops and (less often) hooks, but as her increasing chops brings extra clutter, I'm getting less and less satisfaction out of her records. When I played this last night, I wound up inclined to save myself the paperwork by leaving my original grade. Playing it again today, I'm finally hearing lots of interesting stuff, but I'm still not enjoying it enough -- perhaps her voice, the time shifts, other little things I don't have any idea how to characterize. But her rep is certainly earned. [was: B+(**)] B+(***) Unpacking: Found in the mail last week:
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