Wednesday, November 12, 2025

Music Week

November archive (in progress).

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.

New records reviewed this week:

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]

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]

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] [11-21]

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]

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]

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]

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] [11-14]

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]

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]

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]

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]

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

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]

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]

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]

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]

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]

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]

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]

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]

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]

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]

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]

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]

Recent reissues, compilations, and vault discoveries:

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]

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]

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]

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]

Unpacking: Found in the mail last week:

  • Lena Bloch/Kyoko Kitamura: Marina (Fresh Sound New Talent) [11-14]
  • Juan Chiavassa: Fourth Generation (Whirlwind) [10-10]
  • Satoko Fujii Quartet: Burning Wick (Libra) [11-21]
  • Jung Stratmann Quartet: Confluence (self-released) [12-03]
  • Ted Rosenthal Trio: Classics Reimagined: Impromp2 (TMR) [10-17]
  • Mark Sherman: Bop Contest (Miles High) **
  • Carolyn Trowbridge: Found Memories (self-released) [01-09]

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