Friday, July 3, 2026

Music Week

July archive (in progress).

Music: Current count 46219 [46191] rated (+28), 16 [14] unrated (+2).

My advance was published on Notes on Everyday Life Music Week (7:1) (archived here). You can get it delivered to your inbox by subscribing.

As I noted there, most of my time continues to get sucked up in running the Francis Davis Jazz Critics Mid-Year Poll. Deadline is July 5. I've set myself the goal of publishing a week after counting to write up and publish the results. I hope to keep it fairly simple, and let the data speak for itself. Otherwise I'll just find fault with everything, and wind up in a horrible state. I've already worried much too much about how many ballots we can get. (The past two mid-year polls produced 90 and 113, vs. 159 and 177 from the previous year-end polls. Last year we were down to 168, so a slight decline from 113 is probable. With 90 ballots counted so far, it's hard to tell whether we're on track or not.)

One positive note is that I've sent out more invites than ever before. On the other hand, I have a longer list of people I'm aware of but don't have email addresses for. And there are many more unknowns who are most likely qualified enough. It's a big job to figure this out, and I never seem to have the time or energy to do it. The negative note is that a lot of regular voters have bowed out, mostly figuring they haven't listened to enough as yet. I've tried to stress that this is a cooperative project, improved by small incremental efforts by everyone. Still, it's a tough sell.

In case you're interested, the ballots are already available online, as well as lists of all albums that have received votes. The totals will appear when we publish the poll results at ArtsFuse, in mid-July.

However, other things have chew up large chunks of my time this week (hence, the much lower rated count). My brother-in-law, Mark Shepherd (73) died last week, and the funeral was on July 1. Mark has long been part of a community here that restores classic cars, and they effectively staged a show in the mortuary's parking lot, then a parade from there to the cemetery. Our niece and nephew from Washington drove down for the funeral, so I tried to entertain them, including a comfort food dinner. So scratch one day cooking, and two more visiting, during which I didn't listen to anything I had to write about. Guests are gone now, but things are only slowly getting back to normal. Although "normal" seems an odd word to use for anything these days.

Some quick notes on records below:

  • I almost never get promos aside from jazz, but De Vitry was a rare country album, and an excellent one. (Asher Brinson's Midnight Hurricane was another). However, I accidentally reviewed it several weeks in advance of release date. In the past, I tried holding back advance reviews, but it got to be too cumbersome, and nobody much seemed to care. But I held this review back from the advance because it's not yet available.
  • I revisited the Messthetics album because it has since gotten so much support that I questioned my negative reaction. Although I've bumped it up a bit, I'm not really doubting myself. I'm a bit clearer now, especially that the Fugazi rhythm section isn't the problem; it's just the guitarist.
  • I used to like Emperor X a lot, so I jumped at seeing a new album, then quickly found I really wasn't in the mood (possibly for anything rock). Since then I've seen numerous raves from critics I generally like (e.g., Dan Weiss ranks it 7 on his The 40 Best Albums of 2026 So Far; much on this list I should check out when I'm done with the jazz poll). A better-than-average candidate for an upgrade, although I wouldn't bet on it.
  • Sad Daddy is being promoted by a publicist whose junk mail always gets spam-trapped. I dug this message out for no good reason, then figured why not give the sound of Eureka Springs a try? Only later did I discover that Melissa Carper is part of the group: she has several good records, with Borned in Ya (2024) my pick hit.

My only plans for 4th of July is that some friends are coming over for leftovers. Plus whatever the poll reveals. I imagine we'll hear nonstop fireworks tomorrow evening. I've been hearing them on occasion most of today, but it seems to me that the volume is down considerably this year. Not sure whether folks are simply not in the mood to celebrate, or if incomes have become so precarious few people are willing to literally blow up their savings.

New records reviewed this week:

Julian Argüelles: Echo Fields (2026, Escapade): English saxophonist (tenor/soprano), albums since 1991, trio with Larry Grenadier (bass) and Jorge Rossy (drums). B+(**) [bc]

Barcelona Art Orchestra & Miguel Zenón: Expressions: Concerto for Alto Saxophone and Orchestra (2025 [2026], Miel Music): Barcelona-based group, has at least one previous album, led by Néstor Giménez (piano), Lluc Casares (tenor sax), Joan Vidal (drums), and Lluis Vidal (piano), each composing a section here, featuring the alto saxophonist. B+(*) [sp]

Patricia Brennan/Sylvie Courvoisier: Talamanti (2024 [2026], Antlia): Mallets player, from Mexico, based in New York, won our debut poll in 2018, finished 1st and 2nd overall with her last two albums, in a duo here with the Swiss pianist. Piano-vibes duos are rather common, partly due to similar tones, but also because the vibes focus the piano as a percussion instrument. You get a taste of that early here, but then the piano meanders into its own less-but-still-interesting space. B+(***) [sp]

Ron Carter & Yotam Silberstein: Duets (2026, Jojo): Bass and guitar duo: the 89-year-old bassist almost certainly holds some kind of record for most albums appeared on; while he's still best known for his 1960s work with Miles Davis, one could probably construct a whole CG from his duo work, and delight in doing so. (Pick hit would be Chemistry, his 2016 duo with Houston Person.) The guitarist has appeared regularly since 2008, with a soft tone and delicacy that I find pleasant but rarely give a second thought. But this brief set (2 originals, 7 standards, 34:02) raises pleasant to pleasure. A- [cd]

Maya De Vitry: All My Faith (2026, Mad Maker Studios): Folkie singer-songwriter based in Nashville, four previous albums since 2019. Sound reminded me first of Joy of Cooking, then Joni Mitchell (but warmer). That may be enough for now. I'll take the faith on faith. A- [cd] [07-24]

Duchess: A Marvelous Party (2025 [2026], Anzic): Vocal trio, fourth album (including one live) since 2015, all three with notable solo careers: Amy Cervini, Hilary Gardner, Melissa Stylianou. Favors older songs with harmonies reminiscent of the Andrews Sisters, and swinging arrangements by Oded Lev-Ari. B+(**) [sp]

Emperor X: Unified Field (2026, Bar/None): Singer-songwriter Chad Metheny, albums since 1998, first one I really noticed was Western Teleport (2011). Several strong song on the way out. B+(**) [sp]

Nick Fraser: Areas (2026, Elastic): Canadian drummer, close to 100 credits since his 1997 debut album, has several albums with Tony Malaby (tenor sax) and Kris Davis (piano), who return here, along with John Kameel Farah (electronics). B+(*) [bc]

Hannah Gill: I Like the Sunrise (2026, Turtle Bay): Standards singer, several albums since 2023, backed by guitar-bass-drums, with Ricky Alexander (sax). B+(**) [bc]

Devin Gray/Andrea Parkins/Frank Gratkowski: Hz of Gold (2021 [2026], Rataplan): Drummer, fair number of albums and side-credits since 2006, in an improv trio with electronics/accordion/wurlitzer and saxes/flutes/clarinets. B+(*) [sp]

Alden Hellmuth: Tether (2026, Leiter): Alto saxophonist from Connecticut ("she grew up surrounded by the legacy of the great saxophonist Jackie McLean"), based in New York, second album, seems to be a quartet with two basses (Logan Kane and Miller Wrenn) and drums (Justin Brown), but also "additional instrumentation" (trumpet, piano, voice, guitar, sound design, lots of effects). B+(***) [sp]

The Joymakers: A Texas-Sized Band (2026, Turtle Bay): Austin-based ten-piece trad jazz outfit, named for a 1920s Texas band of the same name, led by arranger Colin Hancock, who also plays cornet, alto & baritone sax, mellophone, kazoo, and is one of several singers. B+(**) [sp]

Goran Kajfeš Subtropic Arkestra: & Avin Omar (2026, We Jazz, EP): Swedish trumpet player, leading a group that includes two saxophonists (one is Jonas Kullhammar), keyboards, guitar, bass, and drums, featuring the Kurdish-Swedish vocalist, leads off with a trad Kurdish piece ("Suleymanieh") that is pretty captivating. Three songs (23:38), the first of three planned EPs with vocalists. B+(***) [bc]

La La Lars: Lilla Lars (2026, Gothborgen, EP): Swedish drummer Lars Skoglund, has four albums as La La Lars since 2017, many side credits since 1998, trio here with Carl Bagge (piano) and Johan Berthling (bass), four songs (18:00). B+(*) [sp]

James Brandon Lewis Quartet: Omni (2025 [2026], Intakt): Tenor saxophonist, possibly the best and certainly the most accomplished of any near his age (42), has won two of our jazz polls, often splitting his vote among multiple projects. Sixth quartet album on this Swiss label, with Aruán Ortiz (piano), Brad Jones (bass), and Chad Taylor (drums). Still keeps you on edge. A- [sp]

Virginia MacDonald: In Search Of . . . (2024 [2026], Cellar): Canadian clarinetist, first album (although Discogs gives her a share of a Canadian Jazz Collective album), side credits especially with Michael Dease and Caity Gyorgy. Backed by piano (Geoffrey Keezer), bass, and drums, with voice on two tracks. B+(***) [cd]

Nduduzo Makhathini: The Myth We Choose (2026, Blue Note): South African pianist, various local labels from 2009, picked up by Blue Note in 2020, fourth album there. He has some credentials as a "traditional sangoma header," which may be context I cannot begin to fathom. Sounds sedated to me, with many vocals I can make no sense of. But the piano has grown on me a bit. B+(*) [sp]

Michael Marcus Quartet: Next Stop Down (2024 [2026], ESP-Disk'): Reeds player, albums since 1991 including the Cosmosamatics (with Sonny Simmons), plays tarogato, soprano and tenor sax here, with "featuring" credits for Rod Williams (piano), Ricky Rodriguez (bass), and Allan Mednard (drums). B+(***) [cd]

Tal Mashiach: Who's Around? (2026, Anzic): Guitarist-bassist, has a previous album as well as appearance in Anat Cohen's Quartetinho. Original pieces, musicians come and go, with only the drummer on most cuts. First impression is rather scattered. Unclear whether multiple plays might elevate that to eclectic. B [cd]

Chris Potter: Alive With Ghosts Today (2025 [2026], Edition): Tenor saxophonist, got an early start in 1994, impressive soloist, albums can be uneven. Original pieces here, inspired by John Brown's 1859 uprising, played by a septet featuring Bill Frisell (guitar), with clarinet, trombone, violin, bass, and drums. B+(*) [sp]

Sad Daddy: Ozark Shine (2026, Catfish Music/Free Dirt): Arkansas group, Bandcamp page says Eureka Springs, fifth album since 2010, multiple singers, four songwriters: Brian Martin (guitar), Melissa Carper (bass), Joe Sundell (banjo), and Rebecca Patek (fiddle) — Carper also has a solo career with several notable albums. B+(**) [sp]

Harry Skoler: Echoes (2026, Red Brick Hill): Clarinetist, debut 1995, not many albums since, this one a quartet featuring Bill Frisell (guitar), with bass (Dezron Douglas) and drums (Johnathan Blake). B+(**) [sp]

SML: Spontaneous Music Live (2025 [2026], International Anthem): Los Angeles-based jazz quintet, third album, two pieces (23:46 + 24:34), selected and mixed from a three-night stand (credit Bryce Gonzales, who mixed Jeff Parker's live EVA IVtet albums). Close-knit group, most also known for their solo efforts: Anna Butterss, Jeremiah Chiu, Josh Johnson, Booker Stardrum, Gregory Uhlmann. Groove is somewhat minimalist, but the differences matter. A- [sp]

Matthew Stevens: Matthew Stevens (2026, Candid): Canadian jazz guitarist, half-dozen albums since 2015, varying cast beyond bass and drums, with Josh Johnson (alto sax) on most tracks, including two vocals, and some Joel Ross vibes. Originals, with a Sonny Sharrock cover. B+(*) [sp]

Soojin Suh: Prism of Existence (2026, Endectomorph Music): Korean drummer, has several previous albums, this a trio with piano (Jaehun Kang) and bass (Hoo Kim), recorded over four sessions (but dates not given). B+(**) [sp]

Martin Wind: Stars (2025 [2026], Newvelle): German bassist, close to 30 albums since 1993, the title may well refer to the talent he lined up here: Kenny Barron (piano), Anat Cohen (clarinet), Matt Wilson (drums). A mix of originals and standards, with "The Stars Fell Down on Alabama" especially delectable. A- [sp]

Recent reissues, compilations, and vault discoveries:

Either/Orchestra & Ethiopian Guests: Nalbandian L'Ethiopien/The Ethiopian [Éthiopiques 32] (2011 [2025], Buda Musique): Large band from Boston, founded by saxophonist Russ Gershon, released albums 1986-2010, website touts their "40th anniversary season," but this live tape, following up their 2004 Live in Addis [Éthiopiques 20], seems to be the only new release. B+(***) [sp]

Evan Parker/Paul Rogers/Louis Moholo: Tebugo (1992 [2025], Jazz in Britain): Live tape from the Vortex in London, tenor and soprano sax, bass, and drums. Takes a while to warm up, but delivers in the end. B+(***) [bc]

Old music:

None.

Grade (or other) changes:

The Messthetics and James Brandon Lewis: Deface the Currency (2026, Impulse!): Guitar-bass-drums trio had a couple albums (2018-19) before they joined up with the powerhouse tenor saxophonist. I filed the early albums under rock as the bassist (Joe Lally) and drummer (Brendan Canty) came from Fugazi, although guitarist Anthony Pirog had a fringe-jazz resume (two albums with Henry Kaiser, one a conduction of Terry Riley, a couple more I've heard but don't particularly recall). Time to move them into the jazz file, but I'm not all that pleased. The saxophonist makes a strong effort, but the guitarist rarely if ever matches him, nor is he very complementary. It's not quite accurate to say that the rhythm section rocks: they move freely, but their energy mostly expresses itself in speed and volume, which can come off as clunky. My disappointment was such that I probably overreacted at first. [was: B] B+(**) [sp]

Unpacking: Found in the mail last week:

  • Colin Heshmat: Elastic Groove (HMC) [07-23]
  • Andrew Kim: Lineage (Origin) [07-24]
  • Bob Nell & Michael Bisio Trios: We Are Here (Origin) [07-24]
  • Rebecca Rafla: Fundamentally Unfinished (Rebecca Raffla Music) [06-22]
  • Armand Sangalang: Waypoints (Calligram) [08-07]
  • Claudio Scolari Project: Lines of Now (Principal) [04-24]
  • Clark Sommers: WaBaSH (Calligram) [08-07]

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