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Music Week [70 - 79]

Monday, September 18, 2023

September archive (in progress).

Music: Current count 40883 [40847] rated (+36), 28 [27] unrated (+1).

New releases have started to pick up after the late-summer doldrums, so it's been easier to find things to listen to. One help was Robert Christgau's September Consumer Guide. Four full-A albums, three of them hyped enough I got to them previously: Olivia Rodrigo (A last week), Ashley McBryde and Speedy Ortiz (below, but written up, and commented on in Facebook, before the CG appeared). Both got multiple plays, with diminishing returns. Not that I can't hear why other people like them so much, but my own pleasure wore thin fast. I'm hardly the only guy to get cranky as he gets old, but felt it here.

Nothing wrong with the Bobbie Nelson/Amanda Shires album, but doesn't strike me as a big deal either. Nor do I find comparisons to brother Willie's Stardust or Lady Gaga's Bennetts very helpful. As a jazz critic, I listen interpretations of standards all the time, so I need to be more discerning (or maybe again I'm just being cranky). On the other hand, I thought the Muldaur/Thompson record added something significant, albeit not revolutionary, to the original duets.

The rest are below, aside from the ones I had previously dealt with: Rodney Crowell (**), Gloss Up (**), Killer Mike (***), Janelle Monae (A-), Thelonious Monk (B+), and Noname (A-, though I found several places where I hadn't updated the original *** grade). I might have given up too fast on the first two, but haven't rechecked. Discogs doesn't give a release date for my Monk box (3-CD), and the outside of the box doesn't help, but inside there's a hint that it came out in 1988. I can't find anything I wrote on it, so it was probably pre-2003. I also didn't grade the individual discs, as I sometimes did later -- but there's little to differentiate this set.

I also picked up some suggestions from Brad Luen's Countrypop Life: Love and Theft. I still haven't tackled Morgan Wallen (or Bailey Zimmerman), and everyone else I'm either up or down on, but it's a good guide. I'll also note that I have tabs open for Christian Iszchak, Sidney Carpenter-Wilson, and Steve Pick -- none of which I've exhausted.

I also took a look at Magnet's "30 for 30" lists by Dan Weiss and Thomas Reimel. Not very useful as checklists, as I've heard everything on the Weiss list, and I've only missed 2 items on Reimel's (although I had to look more up, as who remembers bands like Guided by Voices and Interpol?). I tried jotting down a list myself (or two, one comparable for non-jazz, one with zero overlap for jazz): in the notebook. I spent less than an hour on each, so they're pretty iffy -- especially the jazz one. I'd be delighted if Magnet had any interest in running my list. (I was assuming they had no interest in jazz, but I now see a review of Rempis Percussion Quartet's Harvesters in their Essential New Music section -- as well as another Guided by Voices album I haven't heard.)

The new Lehman album is in a tight race with James Brandon Lewis's For Mahalia, With Love for jazz album of the year. It took me longer to get comfortable with, but that's the kind of prickly record it is. The other Lehman thing is one of the first things I noted in my infrequent "Limited Sampling" section, panned with a U-, so I was very surprised when it came through. By the way, the aforementioned Harvesters is currently a top-five jazz album this year.

The Mike Clark album was another surprise -- not the first time he's surprised me, but he's got one of those names that gets easily mixed up with many others. Before I played Clark, I came within a hair of giving his long-time collaborator Eddie Henderson an A-, but afterwards this is the place to hear him.

Still starting each day off with something old from the stacks. This morning: Tampa Red. Playing a new-old François Carrier/Tomasz Stanko box at the moment, which is sublime background.

Another Speaking of Which yesterday (5894 words, 103 links). Got a late start Friday, as I spent Thursday cooking a small dinner for a friend's birthday. Just had a single dish: phat thai, something I make fairly often, as it's easy to keep the rice noodles in the pantry, shrimp in the freezer, eggs and scallions in the refrigerator (I buy fresh scallions every trip to the grocers, as they're always useful), peanuts, and the basic sauce ingredients. (We don't care much for the bean sprouts.) As it was a special occasion, I added a package of frozen sea scallops, and chunks of country ham I trimmed off the shank bone. For dessert, flourless chocolate cake. Couldn't be simpler, or better.

Many oft-procrastinated projects await this week. The most important, and most daunting, one is getting mail working on the server. Weather around here is forecast to be neither hot nor cold, but rather wet.

New records reviewed this week:

The Chemical Brothers: For That Beautiful Feeling (2023, Virgin EMI): British techno duo, Tom Rowlands and Ed Simons, have been doing this a long time (debut 1995). Takes some time warming up, then overdoes it. B+(*) [sp]

Mike Clark: Kosen Rufu (2022 [2023], Wide Hive): Drummer, like Eddie Henderson (who plays trumpet here) started with Herbie Hancock in the early 1970s, giving him a reputation for fusion that he's often strayed from. Besides Henderson, band here is an inspired mix: Skerik (tenor sax), Wayne Horvitz (keybs), Henry Franklin (bass), and Bill Summers (percussion). Hard bop, I guess, but not as throwback, some surprises here. A- [cd]

Dave and Central Cee: Split Decision (2023, Neighbourhood, EP): British rappers, Dave Omoregie and Oakley Caesar-Su, two previous albums each (Dave's are much better), dropped this 4-song, 16:23 EP. B+(**) [sp]

The Handsome Family: Hollow (2023, Loose): Husband-and-wife duo, Brett and Rennie Sparks, he from Texas and she from Long Island, he the singer (although he never seemed like a natural), eleventh studio album since 1994. They have a distinctive sound, but this seems slightly more refined, comfortable, and fascinated with the world. A- [sp]

Eddie Henderson: Witness to History (2022 [2023], Smoke Sessions): Trumpet player, b. 1940, long career starting with Herbie Hancock's Mwandishi fusion band, over two dozen albums as leader, several times that many side credits, notably since 2010 in the Cookers. Marks his 50th anniversary as a leader with this quintet: Donald Harrison (alto sax), George Cables (piano), Gerald Cannon (bass), and Lenny White (drums). Bright, powerful mainstream jazz. B+(***) [sp]

Irreversible Entanglements: Protect Your Light (2023, Impulse!): Jazz group with poet-vocalist Camae Ayewa (aka Moor Mother), eponymous debut 2017, core group: Aquiles Navarro (trumpet), Keir Neuringer (alto sax), Luke Stewart (bass), Tcheser Holmes (drums). Cosmic vibe rivals Sun Ra, but deadly serious words, and shooting star horns, and MVP bass. A- [sp]

Laufey: Bewitched (2023, AWAL): Singer from Iceland, last name Jónsdóttir, mother Chinese, a classical violinist, second album, has some reputation in jazz but writes most of her material, most personal ballads ("the magic in the love of being young"). Does, however, include a cover of "Misty." B+(*) [sp]

Steve Lehman/Orchestre National de Jazz: Ex Machina (2023, Pi): Alto saxophonist, a Braxton student, has a long list of outstanding albums from 2001, including complex octets and his African fusion Sélébéyone. ONJ is a venerable French organization, dating from 1986, directed since 2019 by Frédéric Maurin. I haven't followed them, but at least in this iteration, they're not just a budget big band. Maurin not only directed, but wrote 5 (of 11) pieces, as clever and tricky as Lehman's. This took me longer than usual, but surely will rank as one of the year's best. A- [cd]

Ashley McBryde: The Devil I Know (2023, Warner Music Nashville): Country singer-songwriter, fourth album since 2018. Her songwriting remains sharp as ever, but the drums hit you hard from the beginning (Christgau on her second album: "Nashville rock at its bigged-up schlockiest, with McBryde belting to match"). It's not all like that, but the half that is wears me out. And once that happens, the paean to whiskey and country music no longer seem so sharp. B+(**) [sp]

Mitski: The Land Is Inhospitable and So Are We (2023, Dead Oceans): Mitsuki Laycock, born in Japan with an American father who worked for the US State Department and dragged her around the world before settling in New York. Seventh studio album since 2012. One of the year's top-rated albums (Metacritic: 92/19), yet I find it almost totally opaque, requiring intense concentration to discern its artfulness -- orchestral shifts, background choirs, a real voice. B+(*) [sp]

Victoria Monét: Jaguar II (2023, RCA): Pop singer-songwriter from Atlanta, first album after the 2020 EP Jaguar. B+(**) [sp]

Megan Moroney: Lucky (2023, Sony Music Nashville): Country singer-songwriter (with help), from Georgia, first album, advance single won a CMT music award for "female breakthrough video of the year." Two self-deprecating songs feel ironic. Maybe she is lucky? B+(***) [sp]

Jenni Muldaur/Teddy Thompson: Once More: Jenni Muldaur & Teddy Thompson Sing the Great Country Duets (2021-23 [2023], Sun): Maria Muldaur's daughter and Linda Thompson's son: she released albums in 1992 and 2009, he has a few more since 2000. They teamed up for a 4-song EP of Porter Wagoner and Dolly Parton duets in 2021, followed by another of George Jones and Tammy Wynette. Those are rolled up here, along with four more from Loretta Lynn and Conway Twitty. Aside from jazz (sometimes even there), we tend to deprecate repertory, but these sound great, near perfect till they ad lib a bit on "Pickin' Wild Mountain Berries," where they show more chemistry than Loretta and Conway could ever muster. A- [sp]

Bobbie Nelson and Amanda Shires: Loving You (2021 [2023], ATO): Credit order given front, back, and center, but some sources insist on crediting the singer first, instead of the pianist, whose death last year gives the album meaning, as well as an excuse for a set of standards. Brother Willie drops in for a duet on "Summertime," which would be welcome on a mixtape of the fifty (maybe even thirty) best covers of the song ever. B+(***) [sp]

Pretenders: Relentless (2023, Rhino): Chrissie Hynde, twelfth group album, band has turned over since 1978, although original drummer Martin Chambers returned, and guitarist James Walbourne co-wrote this batch of songs. B+(*) [sp]

Joshua Redman: Where Are We (2023, Blue Note): Saxophonist (tenor certainly, usually some soprano), second generation, made a big splash with his 1992 debut. This one features vocalist Gabrielle Cavassa (front cover credit), backed by Aaron Parks (piano), Joe Sanders (bass), and Brian Blade (drums), with several guest spots. The songs come first, nice enough but not exceptional, the sax secondary, but every bit as nice. B+(**) [sp]

Doug Richards Orchestra: Through a Sonic Prism: The Music of Antonio Carlos Jobim (2022 [2023], self-released): Arranger and conductor, based in Richmond, running a standard big band with guitar, plus vocalist Laurie Ann Singh. Standard stuff, but very nicely, and credibly, done. B+(**) [cd]

Jeff Rosenstock: Hellmode (2023, Polyvinyl): Singer-songwriter, fifth album, influenced by punk rock, not as austere, but noisy enough. B+(*) [sp]

Speedy Ortiz: Rabbit Rabbit (2023, Wax Nine): Singer-songwriter Sadie Dupuis, plays guitar and synthesizer, plus a band that has completely turned over since their 2013 debut. Fourth album. Probably something there, but not for me. B+(*) [sp]

Chris Stamey: The Great Escape (2023, Car): Pop singer-songwriter, from Chapel Hill, North Carolina; played in the Sneakers with Mitch Easter, but is best known for the dBs, with Peter Holsapple. Scattered records, first in 1982, more since 2013. Cover features a Pontiac GTO (1967?). B+(*) [sp]

Teddy Thompson: My Love of Country (2023, self-released): British, but only one song here was written by a countryman, his father Richard Thompson. The others are what you'd expect: American, mostly country music hits, not what I think of as obvious classics but things I recognize, like "I Fall to Pieces," "Satisfied Mind," and "You Don't Know Me." B+(**) [sp]

Tirzah: Trip9love (2023, Domino): British singer-songwriter, third album since 2018, produced by Mica Levi, similar to trip hop with more distortion. B+(*) [sp]

Alex Ventling/Hein Westgaard: In Orbit (2021 [2023], Nice Things): Pianist ("home in both Switzerland and New Zealand" but based in Trondheim), in a duo with guitar. B+(**) [bc]

Maddie Vogler: While We Have Time (2022 [2023], Origin): Alto saxophonist, based near Chicago, first album, all original compositions, sharp postbop sextet with trumpeter Tito Carrillo especially notable, plus guitar, piano, bass, and drums. B+(**) [cd]

Morgan Wade: Psychopath (2023, Ladylife/RCA): Country singer-songwriter, from Virginia, second album, fine voice, solid-plus writing, a bit too much guitar-heavy production but not as annoying as McBryde. Christgau says this "exemplifies Nashville's evolution away from down home country toward a less regional style of autobiographical pop." That doesn't sound like a good idea to this old-timer, but the middle ground can still be fertile for someone with the talent to work it. A- [sp]

Recent reissues, compilations, and vault discoveries:

Atmosphere: Sad Clown Bad Dub II (2000 [2023], Rhymesayers Entertainment): Minneapolis underground rap duo, still going, here with a new remaster of the 2003 authorized version of a bootleg. I figure they had three A- 1997-2002 albums. The beats and rhymes jump like they did back in that first flush of youth, but they don't all land. B+(**) [bc]

John Blum: Nine Rivers (2013 [2023], ESP-Disk): Pianist, from New York, studied at Bennington with Bill Dixon and Milford Graves, also Borah Bergman and Cecil Taylor. Only a handful of records. This one is solo, harsh, dissonant, the first sounds suggesting prepared. B+(**) [cd]

Pharoah Sanders: Pharoah (1976 [1977], India Navigation): Tenor saxophonist (1940-2022), first album 1964, but during that period was closely engaged with John Coltrane, in a project that combined free and spiritual jazz. He recorded for Impulse! to 1973, then like many jazz musicians of the era, wasn't able to find another major label until 1998. This one came out on a small but important American label. Three pieces (40:20), with guitar (Tisziji Munoz), harmonium or organ, bass, and drums/percussion, with a vocal on "Love Will Find a Way." First side finds its groove. Second is a bit less successful. B+(***) [sp]

Pharoah Sanders: Pharoah [Expanded Edition] (1976-77 [2023], Luaka Bop): This 2-LP reissue adds two live takes of the first-side piece, "Harvest Time," one from Middelheim, the other Willisau, with a quartet -- Khalid Moss (piano/electric), Hayes Burnett (bass), and Clifford Jarvis (drums) -- and the box includes a booklet I'll never see. B+(***) [bc]

Old music:

Steve Lehman: Xenakis and the Valedictorian (2020, Pi, EP): Early in the 2020 lockdown, Pi Recordings asked their artists to help fill the void with digital-only releases. Lehman contributed this "concise EP" (10 pieces, 9:06) of solo practice sessions, "recorded in the passenger seat of my 2011 Honda CR-V, from March 25 to April 15, 2020." The mathematician-composer Xenakis was on his mind, as he was thinking of his mother, unable to visit on her 80th birthday. She had "introduced me to an incredibly wide array of musicians and musical styles" -- he provides a list, but nothing nearly as far out as her choice of "Bohor" as theme music for his 10th birthday party. I hated the 46 seconds Pi made public on their Bandcamp page, but this turns out to be really remarkable. I'm even a bit reminded of an experience I had with Xenakis long ago, where I left with a visceral impression of what the eye of a tornado must sound like. A- [dl]

Jenni Muldaur: Jenni Muldaur (1992, Reprise): Geoff & Maria Muldaur's daughter (b. 1965), got this one shot at recording a big-time studio album, with producer Russ Titelman pulling out all the stops: tapping David Sanborn for a sax spot, Andy Fairweather Low for a bit of slide guitar, letting Donald Fagen arrange the Brecker brothers for another. Nothing per sé bad, but not much personality emerges. B [sp]

Grade (or other) changes:

Otis Spann: Otis Spann Is the Blues (1960, Candid): Surprised, when Candid reissued it last year, I had this graded so low. Then I remember that the one I liked better was Walking the Blues (also 1960). [was: B] B+(**) [cd]

Unpacking: Found in the mail last week:

• Jeff Coffin/Jordan Perlson/Viktor Krauss: Coffin/Perlson/Krauss (Ear Up) [09-15]
• Caroline Davis' Alula: Captivity (Ropeadope) [10-13]
• Tomas Fujiwara: Pith (Out of Your Head) [09-15]
• Carlos Henriquez: A Nuyorican Tale (self-released) [09-15]
• Elsa Nilsson's Band of Pulses: Pulses (Ears & Eyes) [10-06]
• Brad Turner Quintet: The Magnificent (Cellar) [09-22]
• Peter Xifaras: Fusion (Music With No Expiration) [10-01]

Ask a question, or send a comment.

Monday, September 11, 2023

September archive (in progress).

Music: Current count 40847 [40811] rated (+36), 27 [34] unrated (-7).

I rushed through another Speaking of Which Sunday (5873 words, 91 links). As I noted there, I started working on a books post, so got a late start, but still managed to write quite a bit. One item of possible interest here is that I collected several links on the Olivia Rodrigo album, reviewed below. It's currently rated 86/17 at AOTY, which puts it as 25 on the year, so behind Boygenius, Caroline Polachek, Foo Fighters, and Young Fathers among albums with 17+ reviews.

I added a link to Molly Jong-Fast: [09-05] Can Joe Biden ride "boring" to reelection?. I had included several links about Biden's weak polling numbers, even though I regard such stories are generally worthless. But they reflect a severe misunderstanding of politics (cliché: "the art of the possible") and government (which should be boring to all but the most dedicated wonks). While it's always easy to blame the American people for their ignorance, shouldn't we start with the media, who are actually paid to report on things they show little evidence of (or interest in) understanding? Biden's fate in 2024 is going to depend on people getting better informed (and smarter) than they evidently are now.

I've also added a postscript on Biden's diplomatic trip: more specifically on how it's misreported and misunderstood. As much as I've been pleasantly surprised by Biden's domestic policy accomplishments, I've been alarmed by his foreign policy (his "reworking of global relationships"), especially how completely most of the Democratic Party has fallen into line behind Ukraine as America's war party (a reputation they earned in WWII, which then tricked them into taking the lead in the Cold War).

You might also want to take a look at this picture of Trump and his fans.

My listening scheme is mostly an extension of last week's checklists, picking up stragglers, and moving on. I did get to the end of DownBeat's jazz albums ballot, with only a John Zorn album unheard. Reissues/historical were harder to find, but I picked up a few of those, too. But also, new releases get an uptick in September.

Bassist Richard Davis died last week, so I took a look there, which led me to Elvin Jones, and then to Bennie Wallace.

Sometime last week, I commented on a Chris Monsen Facebook post, regarding James Brandon Lewis's For Mahalia, With Love (reviewed here, a couple weeks back). I figured the comment was lost, but it popped up again, so let's preserve it here:

By the way, "These Are Soulful Days," the bonus disc in the 2CD set but only a download code with the 2LP, is one of the best sax-with-strings things ever. On the other hand, the gospel pieces, fine as they are, sent me searching back for David Murray's "Spirituals" and "Deep River."

New records reviewed this week:

Jon Batiste: World Music Radio (2023, Verve): Keyboard player, sings, seventh album, could probably do anything, so is tempted to try everything, the radio concept tying together twenty pieces that mostly feature happy beats and varied hooks. B+(**) [sp]

Billy Childs: The Winds of Change (2023, Mack Avenue): Pianist, from Los Angeles, has composed classical music as well as jazz, 18th album since 1985. Quartet here with Ambrose Akinmusire (trumpet), Scott Colley (bass), and Brian Blade (drums). B+(**) [sp]

Theo Croker: By the Way (2023, Masterworks, EP): Trumpet player, from Florida, debut 2006, some crossover moves, did this five track (21:57) with British singer-songwriter Ego Ella May and producer D'Leau. Slight soul-funk, dressed up with nice trumpet. B+(*) [sp]

Open Mike Eagle: Another Triumph of Ghetto Engineering (2023, Auto Reverse): Underground rapper, ninth album, short at 25:28, but still has lots to mull over. B+(***) [sp]

Darrell Grant's MJ New: Our Mr. Jackson (2023, Lair Hill): Pianist, born in Pittsburgh, grew up in Denver, studied at Eastman, moved to New York (where he joined Betty Carter's group), wound up teaching in Portland. Scattered records, starting with mainstream Criss Cross in 1994. This one is dedicated to drummer Carlton Jackson (1961-2021), who anchors this quartet with Mike Horsfall (vibes) and Marcus Shelby (bass). B+(**) [cd] [10-06]

José James: On & On (2023, Rainbow Blonde): Jazz singer, from Minneapolis, dozen albums since 2008. Six (of seven) songs co-written by Erica Wright (Erykah Badu); the most prominent songwriter on the other is Isaac Hayes. B+(*) [sp]

Bobby Kapp: Synergy: Bobby Kapp Plays the Music of Richard Sussman (2023, Tweed Boulevard): Drummer, credits go back to 1967 with Marion Brown and Gato Barbieri, have picked up a bit since 2015 with Matthew Shipp and Ivo Perelman. Sussman, who plays piano here, has a comparably long but thin discography, leading a couple 1978-79 records for Inner City. Group here: Zach Brock (violin), Aaron Irwin (clarinet/bass clarinet), Abraham Burton (tenor sax), John Clark (French horn), and Harvie S (bass), with Scott Reeves as conductor. B+(**) [cd]

Pascal Le Boeuf: Ritual Being (2016-19 [2023], SoundSpore): Pianist, from Santa Cruz, also records with his saxophonist brother Remy as Le Boeuf Brothers. Pieces here are built on vigorous strings, either with Friction Quartet, the 5-piece Shattered Glass ensemble, or violinists Todd Reynolds and Sara Caswell, with Linda May Han Oh (bass), Justin Brown (drums), and on some cuts Remy Le Boeuf (alto sax) and/or Ben Wendel (tenor sax). B+(***) [cd]

Vince Mendoza/Metropole Orkest: Olympians (2023, Modern): From Connecticut, played keyboards but has mostly worked as a big band arranger and conductor, since 1997 mostly with the Dutch Metropole Orkest. B- [sp]

Joni Mitchell: Joni Mitchell at Newport (2022 [2023], Rhino): Major folkie singer-songwriter in her first period (1968-74, through Court and Spark), after which she got jazzier and more obscure, up to her 2000 standards album Both Sides Now, with subsequent albums in 2002 and 2007. She gets vocal help here from Brandi Carlisle and others, focusing on her best-known songs, plus a cover of "Summertime." But sometimes more help isn't better. B [sp]

Todd Mosby: Land of Enchantment (2022 [2023], MMG): Guitarist, title the state motto of New Mexico, album recorded in California, opens with five originals, including a nod to Georgia O'Keefe, adds one more between covers of "Norwegian Wood" and "By the Time I Get to Phoenix." B [cd]

Jean-Michel Pilc: Symphony (2021 [2023], Justin Time): French pianist, had a couple earlier albums but came into prominence in 2000. Solo. B+(*) [sp]

Darden Purcell: Love's Got Me in a Lazy Mood (2023, Origin): Standards singer, based in DC, couple previous albums, sang for the Airmen of Note. Nice, clear voice, backed with guitar (Shawn Purcell), piano (Todd Simon), bass, drums, and Joe Locke on vibes (6 of 11 cuts). B+(**) [cd] [09-15]

Olivia Rodrigo: Guts (2023, Geffen): Second album, her debut at 17 was attention-grabbing, and this one, where the production goes big and where she pops through the cracks to claim it all, is even more impressive. A mere two plays through what may well be the record of the year. A [sp]

Romy: Mid Air (2023, Young): Singer-guitarist in The XX, Romy Madley Croft, the last of the trio to spin off a solo album. Dance pop, strong beats, rich tones but trimmed back a bit, very catchy, romantic interests female, but not too close. Fred Gibson (Fred Again) conspicuous among the collaborator. A- [sp]

SLUGish Ensemble: In Solitude (2023, Slow & Steady): Steven Lugerner, plays bass clarinet, baritone sax, and alto flute here, second album with this densely layered sextet, with piano, synthesizer, guitar, bass, and drums -- most prominently the guitar (Justin Rock?). B+(**) [cd] [09-15]

Smoke DZA & Flying Lotus: Flying Objects (2023, The Smoker's Club, EP): Rapper Sean Pompey, debut 2009, Discogs lists 21 albums, nearly as many EPs, this part of a flurry of five such releases. Five tracks, 14:11, including features for Conway the Machine, Black Thought, and Estelle. B+(*) [sp]

Speaker Music: Techxodus (2023, Planet Mu): DeForrest Brown Jr., originally from Alabama, self-described "Ex-American theorist, journalist, and curator," produces electronic music "representative of the Make Techno Black Again campaign," several albums (one from 2020 I like is Black Nationalist Sonic Weaponry, but beware that Discogs has this album listed under that title), also has a book, Assembling a Black Counter Culture. B+(**) [sp]

Melissa Stylianou: Dream Dancing (2018 [2022], Anzic): Jazz singer, from Toronto, sixth album since 1999, all standards (including two Jobims), backed by Gene Bertoncini (a delight on guitar) and Ike Sturm (bass). B+(**) [sp]

Ulaan Passerine: Sun Spar (2021 [2022], Worstward): Guitarist Steven R. Smith, from California, many records since 1995, both under his own name and various aliases/groups -- four starting with "ulaan." Ensemble here adds organ, banjo, violin, alto flute, bass clarinet, French horn. Achieves the minimal level of exotica evidently aspired to. B [sp]

Sachal Vasandani & Romain Collin: Still Life (2022, Edition): Jazz singer, born in Chicago, early albums (from 2007) as Sachal, this his second duo with pianist Collin. Wrote the title song, has a credit in a second, Collin wrote one, the others non-traditional standards (Elizabeth Cotten to Billie Eilish via Paul Simon and Peter Gabriel). B- [sp]

Claudia Villela: Cartas Ao Vento (2023, Taina Music): Brazilian jazz singer, based in Santa Cruz since the mid-1980s, has a handful of albums since 1996, this the first one she's recorded in Brazil. B+(***) [cd]

Hein Westgaard Trio: First as Farce (2022 [2023], Nice Things): Guitarist, from Norway, based in Copenhagen, recorded this "debut" in Sweden -- he appears to have a couple duo albums they're not counting. With Petter Asbjørnsen (bass) and Simon Forchhammer (drums). I'm impressed by the complementary thrash that often erupts from the occasional background noodling. A- [cd]

Ben Wolfe: Unjust (2021 [2023], Resident Arts): American bassist, debut 1996, support at various times includes Nicholas Payton (trumpet), Immanuel Wilkins/Nicole Glover (sax), Joel Ross (vibes), Addison Frei/Orrin Evans (piano), and Aaron Kimmel (drums). Some nice combinations. B+(***) [sp]

Lizz Wright: Holding Space: Live in Berlin (2018 [2022], Blues & Greens): Jazz singer, from Georgia, grew up in church, where her father was minister and musical director. Seventh album since 2003, with Chris Bruce (guitar), Bobby Sparks (keybs), Ben Zwerin (bass), and Ivan Edwards (drums). B+(**) [sp]

Bobby Zankel/Wonderful Sound 8: A Change of Destiny (2022 [2023], Mahakala Music): Alto saxophonist, long based in Philadelphia, has a side credit from 1977 but debut as leader was 1992, and he's remained relegated to small avant labels, scattered from Krakow to Little Rock. He did a Wonderful Sound 6 album in 2017, and builds on that here, with a second alto sax (Jaleel Shaw), trombone (Robin Eubanks), violin (Diane Monroe), piano (Sumi Tonooka), bass (Lee Smith), and drums (Pheeroan Aklaff), plus singer Ruth Naomi Floyd. Of course, I prefer the blazing sax runs. B+(***) [09-22]

Recent reissues, compilations, and vault discoveries:

Brian Blade Fellowship: Live From the Archives: Bootleg June 15, 2000 (2000 [2022], Stoner Hill): Drummer, group named from his 1998 debut album, group with Myron Walden (alto sax/bass clarinet), Melvin Butler (tenor/soprano sax), Jon Cowherd (piano), Kurt Rosenwinkel (guitar), and Christopher Thomas (bass). I don't particularly see the point of this. B [r]

Charlie Parker: The Long Lost Bird Live Afro-Cubop Recordings (1945-54 [2023], RockBeat): Nice packaging. The music comes from six widely scattered sources, including guest spots with Woody Herman, Stan Kenton, and Machito, and an early quintet with Dizzy Gillespie. Sound is variable, as is the "cubop" quotient, though the "Manteca" with Machito overcomes all my reservations. [Previously released on CD in 2015, now on vinyl.] B+(***) [r]

Old music:

Johnny Cash: American V: A Hundred Highways (2003 [2006], American): When Rick Rubin stepped in to record Cash in 1994, the idea was less to cement his legend than to just keep him going, after Columbia dropped him in 1986, and Mercury in 1991. He was only 62, but had less than a decade left, and he spent it singing whatever songs took his fancy, in the simplest of arrangements, his voice still unique but losing its force. Four volumes appeared before he died in 2003, and this -- the only one I missed -- and American VI were released later. American IV was the pick -- the others struck me as various shades of B+ -- but the more time passes, the more fortunate these recordings feel. B+(***) [r]

Richard Davis: One for Frederick (1989 [1990, Hep): Bassist (1930-2023), not a lot of albums under his own name -- Discogs lists 33, but only 13 list him first -- has a huge list of side-credits, starting with Don Shirley in 1955 and Sarah Vaughan in 1957, with 1964 an early peak (Eric Dolphy's Out to Lunch and Andrew Hill's Black Fire), and even a few "beyond" albums, like Van Morrison's Astral Weeks (of which Greil Marcus wrote: "Richard Davis provided the greatest bass ever heard on a rock album"). This one was live at Sweet Basil, co-credited to "and Friends," a sharp quintet with Cecil Bridgewater (trumpet), Ricky Ford (tenor sax), Roland Hanna (piano), and Freddie Waits (drums, the Frederick of the title, who died November, 1989, after this was recorded in July). B+(***) [sp]

The Fugs: The Fugs' Second Album (1966 [1994], Fantasy): Folk-rock group founded 1964 by poets Ed Sanders and Tuli Kupferberg, with Ken Weaver on drums, with others joining on occasion -- most famously Peter Stampfel and Steve Weber. They released a 1965 album on Broadside/Folkways titled The Village Fugs Sing Ballads of Contemporary Protest, Point of Views, and General Dissatisfaction, which a year later was reissued as The Fugs' First Album, along with a second album, just The Fugs, but rechristened here. Both pick up spare tracks. They held together until 1969, recording one more album for ESP-Disk, an unreleased album for Atlantic, and three for Reprise (eventually boxed as Electromagnetic Steamboat: The Reprise Recordings). This album even cracked the charts at 95, so their indifference to commercial success wasn't totally unreciprocated. Big pieces here are the not-quite-ironic-enough "Kill for Peace" and a stab at new age exotica called "Virgin Forest" (11:17). Bonus tracks include some live cuts and end with a whimper on "Nameless Voices Crying for Kindness." [sp]

Elvin Jones and Richard Davis: Heavy Sounds (1968, Impulse!): Heavy that drummer and bassist should share billing credit, but they claim it with an 11:33 duet on "Summertime." The other five cuts (30:23) add Billy Greene on piano and Frank Foster, really tasty on tenor sax. A- [sp]

Elvin Jones: Poly-Currents (1969 [1970], Blue Note): Drummer (1927-2004), one of the Jones Brothers (with Thad and Hank), played with Sonny Rollins (A Night at the Village Vanguard) in the late 1950s, but is most famous for the 1960-66 John Coltrane Quartet, and echoes followed him ever after. This is one of a bunch of 1968-73 records for Blue Note. Five tracks, first three with Candido Camera (congas), Wilbur Little (bass), and saxophonists George Coleman, Joe Farrell (also English horn and flute), and Pepper Adams (baritone). The last two cuts trim down a bit. Needless to say, the drummer puts on a show. B+(***) [sp]

Richard Thompson: (Guitar, Vocal): A Collection of Unreleased and Rare Material 1967-1976 (1967-76 [1976], Island): English folkie, guitarist first, singer-songwriter in a duo with wife Linda 1974-82, solo for 40+ years after. This picks up scattered bits starting with six songs with Fairport Convention, then adds some outtakes with or without Linda, including one new track. Seems like a hodgepodge, where the artist only starts to reveal himself toward the end. [NB: Issued in UK by Island 1976, as 2-LP; reissued in US by Carthage in 1984, and by on CD Hannibal in 1989.] B [sp]

Richard Thompson: Mirror Blue (1994, Capitol): Eighth studio album, about par for the course. B+(**) [sp]

Richard Thompson: Mock Tudor (1999, Capitol): Another solid record. B+(**) [sp]

Bennie Wallace: Big Jim's Tango (1982 [1983], Enja): Tenor saxophonist, from Tennessee, fifth album since 1978, a trio with Dave Holland and Elvin Jones, playing four originals plus one Cole Porter. Mainstream player, always loved his tone, especially on mid-tempo pieces, but even there this rhythm section keeps him on his toes. [PS: Album cover from 1995 CD reissue.] A- [sp]

Unpacking: Found in the mail last week:

• Sara Serpa & André Matos: Night Birds (Robalo Music) [09-29]
• Hein Westgaard Trio: First as Farce (Nice Things) [09-01]

Ask a question, or send a comment.

Monday, September 4, 2023

September archive (in progress).

Music: Current count 40811 [40767] rated (+44), 34 [27] unrated (+7).

Huge Speaking of Which last night: 135 links, 8610 words. Started Thursday, and let some things like the baseball memoir, the note on Golda Meir, and the Hobsbawm introduction just flow. Also added the Jimmy Buffett obituary late, after I found the note on his politics. By then I had gone back for a few of his records, below.

Looking back over it, I see a dozen spots where I should (or at least could) write much more. I've made some minor edits, but it certainly needs much more.

The only thing that kept the rated count from cratering was working off a checklist, in this case the unheard records from Brad Luen's 2003 poll results (in the notebook), hence a lot of 2003 releases under Old Music. I've hit everything that got ranked, but very few of the single-vote records. The records rarely got more than one play, so they piled up pretty fast. Aside from the Pet Shop Boys, which a second play would most likely lift to full A, Marcelo D2 made the grade the fastest.

I got another food plate, if you're into that. The diet is going fitfully, but I believe I'm entitled to clean up leftovers and dated pantry items. It was orders of magnitude better than the microwave fish from the night before, or whatever I had last night and have already blotted from memory.

After taking it apart and reassembling it, the upstairs CD player finally decided to start working, but only after I ordered a replacement -- something I found pretty embarrassing. But it is the last such model still available (an Onkyo), and the last unit Amazon had in stock, so I figure I'll keep it as a collector's item. Next day, the downstairs CD player reverted to its bad habit of instantly withdrawing the tray before I could put a new disc in, so if I shoot it, I'll already have a replacement.

After much nagging, I filled out a ballot for the DownBeat Readers Poll. My notes are here. Note that I'm only picking from the ballot choices they offer, which miss a lot of worthy albums (at least 80% of my A-lists: 2022 and 2023) and a great many notable musicians (especially from Europe, but also more avant or more retro than their MOR niche).

The demo queue continues to grow, and I'm probably farther behind than I've been a decade (give or take). One reason I've let it slide is that only 5 (of 35) are out yet, and most won't be released until October. The pending list is sorted by release date, but my basket isn't, so sometimes I slip up and jump the gun (as with Birnbaum, below; future dates noted at the end of the review).

Still no indexing on last month's Streamnotes. Expecting more 100°F weather this week. It's often hot here until the last week of September.

New records reviewed this week:

Adam Birnbaum: Preludes (2023, Chelsea Music Festival): Pianist, several albums since 2006, in a trio with Matt Clohesy (bass) and Keita Ogawa (percussion), playing Bach preludes. B+(**) [cd] [10-10]

Jaimie Branch: Fly or Die Fly or Die Fly or Die ((World War)) (2022 [2023], International Anthem): Trumpet player, sings some, adds some keyboard and percussion, died at 39 shortly after recording this somewhat unfocused album. Mostly quartet with Lester St. Louis (cello), Jason Ajemian (bass), and Chad Taylor (drums) plus extra credits for all, and various guest spots -- Rob Frye plays bass clarinet on three tracks, Nick Broste trombone on two of those. B+(***) [sp]

Scott Clark: Dawn & Dusk (2021-22 [2023], Out of Your Head): Drummer, has at least one previous album, composed these pieces with lyric help from vocalist Laura Ann Singh. Strong instrumental stretches, with JC Kuhl (bass clarinet/tenor sax), Bob Miller (trumpet/flugelhorn), Adam Hopkins (bass), and the always excellent Michael McNeill (piano). B+(**) [cd]

Kris Davis Diatom Ribbons: Live at the Village Vanguard (2022 [2023], Pyroclastic, 2CD): Canadian pianist, based in New York since 2001, impressed me early, especially with 2008's Rye Eclipse, eventually rising in DownBeat's polls, and winning the Jazz Critics Poll in 2019 for Diatom Ribbons. The latter album, with its fusion elements (various guitars, Val Jeanty's turntables, vocals and spoken word), threw me at the time (or maybe, without a CD, I just didn't give it enough time, but I did recheck it during the poll). But this new one isn't a live take on the original. It's new material -- incorporating pieces by Wayne Shorter, Geri Allen, Ronald Shannon Jackson, Conlon Nancarrow/Eric Dolphy -- played by a slimmed down but fully functional band, with Jeanty, Julian Lage (guitar), Trevor Dunn (bass), and Terri Lyne Carrington (drums), with several vocal samples (Messiaen, Stockhausen, Sun Ra, Paul Bley). It opens up and stretches out (53:42 + 51:09), which among other luxuries gives the pianist more time to claim the spotlight. Which she does. [PS: Back in early JCG days, I noticed that nearly all of my featured Duds had just appeared on the cover of DownBeat. Davis finally made the September 2023 cover, a rare exception to a rule that has proven remarkably robust.] A- [sp]

Homeboy Sandman: Rich (2023, Dirty Looks): New York rapper Angel Del Villar III, lots of records since 2007, this another short one (11 tracks, 26:29). Always loose, some of this feels too flip, like when all he can come up with is "I rap real well." Choice cut is "Then We Broke Up," where he even finds some horns. B+(**) [sp]

Superposition: Glaciers (2019-22 [2023], Kettle Hole): Duo of piano/keyboard players Todd A. Carter and Michael Hartman, who also work in some percussion and toys. Second album (or "debut") under this name, but they have worked together for 30 years, including in an ambient/drone band called Liminal. Nice textures, ambient plus something. B+(**) [cd]

Recent reissues, compilations, and vault discoveries:

Sonny Stitt: Boppin' in Baltimore: Live at the Left Bank (1973 [2023], Jazz Detective): Alto saxophonist, a bebopper from his start in the late 1940s, took a lot of grief as a "Bird imitator," but invented as much as he stole, and really who cares? He was always up to play, especially in his early-1960s duo albums with Gene Ammons, but his best albums came in 1972 for Muse, when he slowed down a bit. This previously unreleased tape comes from that period: a quartet with Kenny Barron (piano), Sam Jones (bass), and Louis Hayes (drums). A- [sp]

Old music:

Art Ensemble of Chicago: The Meeting (2003, Pi): Down to four -- Malachi Favors (bass), Famoudou Don Moye (drums), Roscoe Mitchell and Joseph Jarman (reeds), everyone percussion -- with the recent death of Lester Bowie. He is missed. B+(*) [sp]

Art Ensemble of Chicago: Sirius Calling (2003 [2004], Pi): Moving on, still a quartet, streaks of brilliance with a lot of ambling along. B+(*) [sp]

Art Ensemble of Chicago: Chi Congo (1972, Decca): Now-legendary Chicago quintet, they recorded a massive amount in 1967-72, much of it in France, like this album, before they landed on Atlantic for a couple 1972-73 albums, then ECM from 1978 to 2001 (aside for a 1986-90 burst in the Japanese label DIW). B+(**) [sp]

Art Ensemble of Chicago: Live in Paris (1969 [2003], Charly, 2CD): Two long pieces (49:34 and 42:02), each originally split on LP, not sure when BYG originally released them but Part 2 came out in Japan in 1975, they were collected on 2-LP by Affinity in 1980, and later reissued on CD here and by Fuel 2000 in the US. Current digital editions have them split up again, but each part refracts the whole and vice versa. As usual, everyone doubles on percussion, with Roscoe Mitchell and Joseph Jarman on all manner of flutes and reeds. Singer Fontella Bass is also credited, a nice bit toward the end. B+(**) [sp]

Art Ensemble of Chicago: Live Part 1 (1969 [1975], BYG): "Oh, Strange," credited to Jarman and Bowie. B+(**) [sp]

Art Ensemble of Chicago: Live Part 2 (1969 [1975], BYG): "Bon Voyage," credited to Bowie. B+(**) [sp]

Art Ensemble of Chicago: Live in Berlin (1979 [1998], West Wind, 2CD): One 80:10 stretch, sensibly split over 2-CD, the set pieces (if indeed that's what they are) flowing into one long medley. B+(*) [sp]

Baba Zula/Mad Professor: Ruhani Oyun Havalan (Psychebelly Dance Music) (2003, Doublemoon): Turkish group, sing and play traditional instruments augmented with electronics for "a unique psychedelic sound," with Mad Professor mixing dub style, and a couple dancers listed among group members. B+(***) [sp]

Bobby Blue Bland: Blues at Midnight (2003, Malaco): Blues/soul singer (1930-2013), his 1957-69 Duke Recordings the peak of several essential compilations ranging from 1952-59 (The "3B" Blues Boy) to 1973-84 (The ABC-Dunhill/MCA Recordings). After leaving MCA in 1984, he got picked up by Malaco and cut nine more albums, ending with this one -- touted as "a return to form." I've never followed him album-by-album, but the first thing clear here is that he never lost his voice (despite an occasional disconcerting gargle). This one flows easy. B+(**) [sp]

Brooks & Dunn: Red Dirt Road (2003, Arista Nashville): Country duo, Kix Brooks and Ronnie Dunn, debut 1991, ninth album (of eleven through 2007, plus Reboot in 2019), most went top-ten country. Wikipedia says "neotraditional" but, nah! I'm not sure who came first, but they were part of a wave that amped country guitars and drums up to fill arenas. They also groomed their songs to appeal to the mass conservative audience, without quite becoming assholes about it. (GW Bush and Barack Obama both used their "Only in America" as campaign songs.) Most striking thing here is how their women are feisty enough to dump them but never do. They count themselves lucky, as well they should. B [sp]

Jimmy Buffett: A White Sport Coat and a Pink Crustacean (1973, ABC): Dead at 78, he recorded 29 (or 51) albums, sold over 20 million, and probably made more money merchandising his lifestyle (per Wikipedia, his net worth was $550 million). Only thing of his I ever checked out was a 2003 best-of, but I always loved this title -- a play on a Marty Robbins title he didn't bother trying to turn into a song. Agreeably loose, maybe even a bit sloppy. B+(***) [sp]

Jimmy Buffett: Living and Dying in 3/4 Time (1974, ABC): As folksy and sloppy as before, but somehow he misplaced . . . songs, I think. B [sp]

Jimmy Buffett: Havana Daydreamin' (1976, ABC): Skipping a couple, another pleasant set from the Key West Chamber of Commerce. B+(*) [sp]

Jimmy Buffett: Changes in Latitudes, Changes in Attitudes (1977, ABC): His country shtick seems to be in decline, but he's been working on his songs, coming up with a signature one in "Margaritaville" -- although note that the chart it topped was called US Adult Contemporary (it hit 8 on Billboard Hot 100, 7 on Cash Box). This was his first album to rise as high as 12 on the pop charts (2 on country). B+(**) [sp]

Jimmy Buffett: Son of a Son of a Sailor (1978, ABC): Actually, a minor correction to the above: I did own a copy of this, but it never got copied into my database. A second platinum album, peaked at 10 (6 country), heights he didn't return to until the 1990s. His hit single this time was "Cheeseburger in Paradise," which like "Margaritaville" he converted into a chain of restaurants. B+(*) [sp]

John Cale: Hobo Sapiens (2003, EMI): Welsh singer-songwriter, started in avant-classical in the 1960s, played electric viola in Velvet Underground, had various high points in the 1970s, which ultimately established the sound he's still working with here, more engagingly than was his norm (most remarkably "Letter From Abroad"). B+(***) [sp]

Constantines: Shine a Light (2003, Sub Pop): Canadian indie rock band, five albums 2001-08, released a couple reunion singles since. Second album. B+(*) [sp]

Rodney Crowell: Fate's Right Hand (2003, DMZ/Epic): Country singer-songwriter, moved from Houston to Nashville and made a splash with his 1978 debut. This was his eleventh, during a stretch of eight albums with eight different labels, most charting around 30. Choice cut: "Preachin' to the Choir." B+(***) [sp]

The Darkness: Permission to Land (2003, Atlantic): English rock band, first album, leans toward metal but a bit soft and malleable. Broke up after second album (2005), regrouped in 2012, with five albums since. There was a day when I might have cut them more slack (or maybe I did, given how annoying the singer's screech is). B [sp]

DonaZica: Composição (2003, Tratore): Brazilian group, principally singers Anelis Assumpção, Iara Rennó, and Andreia Dias (reportedly the lead), first of two albums (although I've run across Rennó elsewhere). Looking them up, I got confused by a samba dancer known as Dona Zica (actual name Euzébia Silva de Oliveira, who died at 89 the same year this appeared). Catches your ear, in a typically slippery mode. A- [sp]

Kathleen Edwards: Failer (2003, Zoë): Canadian folkie singer-songwriter, father was in the State Department, so she grew up around the world. First album, of five through 2020. B+(*) [sp]

Entropic Advance: Monkey With a Gun (2003, Symbolic Insight): Wesley Davis (bios+a+ic) and Noise Poet Nobody (James Miller?), released ten albums 1998-2014, of dark ambiance, light noise, captured sounds, some vocal. B+(**) [sp]

Barry Guy/Evan Parker: Studio/Live: Birds & Blades (2001 [2003], Intakt, 2CD): Bass and tenor/soprano sax, one set recorded at Radiostudio DRS Zürich, a second a day later at Sphères Bar Buch & Bühne, also in Zürich. Long history, dating back to the late 1960s when they, foremost among a few others (like Derek Bailey and Paul Rutherford) introduced avant-jazz to Britain. This is a generous sample of what what these remarkable musicians have been doing for decades. A- [sp]

Corey Harris: Mississippi to Mali (2003, Rounder): Bluesman, appeared in the mode established by Taj Mahal in the 1970s, cultivating those old delta blues for hip moderns, which garnered him a MacArthur in 2007. This came out about the time Ali Farka Touré was being treated as John Lee Hooker's long-lost cousin. That's the sort of connection Harris could revel in, but the mix here barely connects. B+(*) [sp]

King Geedorah: Take Me to Your Leader (2003, Big Dada): Alias for rapper Daniel Dumile (1971-2020), formerly of KMD, also recorded as Viktor Vaughn but is best remembered as MF Doom. He was born in London, moved to Long Island while young, built his career in US, then was denied re-entry after a tour of Europe in 2010. I never quite got his cosmology, but the slinky beats and sense of surprise were irresistible. B+(***) [sp]

The Knife: Deep Cuts (2003, V2): Swedish electronic duo, Olof and Karin Dreijer (brother and sister) -- she later broke off as Fever Ray, while he recorded, less successfully, as Oni Ayhun. Second album. B+(**) [sp]

Linkin Park: Hybrid Theory (2000, Warner Bros.): Rap-metal group, first album, huge hit with 30 million copies sold worldwide, albeit with very little love from critics I follow. I cheated here by leaving the room while this played, the distance dimming the volume and dulling the words (if not dull enough already), but leaving basic impressions: palpable anger, and enough melodic sense to provide hooks. Clearly not my thing, but better than expected. B+(*) [r]

Linkin Park: Meteora (2003, Warner Bros.): Second album, worldwide sales dropped off to 27 million. Listened to this one in the same room, which made it louder and a bit clearer, and only marginally more tedious. B+(*) [r]

Patty Loveless: On Your Way Home (2003, Epic): Country singer-songwriter, original name Ramey but had just divorced a husband named Terry Lovelace when she recorded her debut in 1987. Has a pure country voice for a very traditional sound, later moving even further into bluegrass, recording steadily up to 2009, nothing since. B+(**) [sp]

Marcelo D2: Looking for the Perfect Beat [A Procura Da Batida Perfeita ] (2003, Mr. Bongo): Brazilian rapper Marcelo Maldonado Peixoto, previously had a group called Planet Hemp. Second album, title originally in Portuguese, translated for reissue by Mr. Bongo (2003). I can't speak to the words, but the beats really jump. A- [sp]

Metric: Old World Underground, Where Are You Now? (2003, Last Gang): Canadian electropop band, first album (of nine through 2023), Emily Haines the singer-keyboardist, with James Shaw on guitar. B+(**) [sp]

My Morning Jacket: It Still Moves (2003, ATO): Indie rock group from Louisville, Jim James the singer, nine albums 1999-2021, this their third. Long album, sometimes plaintive with faint echoes of Neil Young. B [sp]

The New Pornographers: Electric Version (2003, Matador): Canadian indie band, second album, three members also have notable side projects (Neko Case, Carl Newman, Dan Bejar). Came in 18 in Brad Luen's 2003 poll, highest of any album I missed, the likely explanation being that I thought their debut sucked, this one wasn't as well-regarded, and I've never cared much for their later albums, or for those side projects. But sure, it is very snappy, with hooks and, well, what else? B [sp]

Pernice Brothers: Yours, Mine & Ours (2003, Ashmont): Indie rock band led by Joe Pernice, formerly of Scud Mountain Boys, and brother Bob among others. Third album. Sounds pretty, but feels trivial. B+(*) [sp]

Pet Shop Boys: Pop Art: The Hits (1985-2003 [2003], Parlophone, 2CD): A 35-song best-of, focusing on 7-inch versions, so nothing very long (5:10 max). Most songs I instantly recognize and totally love, including five songs from Very, but the few I don't recognize are pretty amazing, too. Good chance more plays would raise this grade. A- [sp]

Steely Dan: Everything Must Go (2003, Warner Bros.): Four outstanding albums 1972-75 when they were still a band, fell off a bit in 1976 as Donald Fagen, Walter Becker, and some studio support, found a new niche -- longer songs, jazzier -- with Aja and Gaucho 1977-80. Not much to show for solo careers, other than Fagen's brilliant The Nightfly (1982), so they reunited in 2000 for a pretty good record (Two Against Nature), then ended with this (Becker died in 2017). Still, not much here beyond trademark sound. B+(*) [sp]

T.I.: Trap Muzik (2003, Atlantic/Grand Hustle): Atlanta rapper Clifford Harris, second album (has eleven through 2020, has had a pretty checkered career beyond the music). Trap has something to do with selling drugs, but you can just go with the flow here, and occasionally catch the odd beats. B+(**) [sp]

TV on the Radio: Young Liars (2003, Touch & Go, EP): Indie/art rock band from Brooklyn, self-released a demo album in 2002, this EP (5 songs, 25:13), then went on to release five albums 2004-14, most critically acclaimed -- I'm even on record as liking Dear Science and Nine Types of Light, but don't remember any more than that. This hints at something more, but hard to tell what. B [sp]

Ying Yang Twins: Me & My Brother (2003, TVT): Crunk duo from Atlanta, Kaine (Eric Jackson) and D-Roc (D'Angelo Holmes), debut 2000, third album. Relentless, cartoonish bangers, can be sampled on the Crunk Hits volumes. Christgau gets the spirit: "Way more fun than most bitch-ass motherfuckers." High point: "Naggin' Part II (The Answer)." Then the down of "Armageddon." B+(***) [sp]

Unpacking: Found in the mail last week:

• Afro Peruvian New Trends Orchestra: Cosmic Synchronicities (Blue Spiral) [10-01]
• Ron Blake: Mistaken Identity (7ten33 Productions) [10-13]
• John Blum: Nine Rivers (ESP-Disk) [09-01]
• Bowmanville: Bowmanville (StonEagleMusic) [10-01]
• Arina Fujiwara: Neon (self-released) [10-02]
• George Gee Swing Orchestra: Winter Wonderland (self-released) [11-01]
• Ivan Lins: My Heart Speaks (Resonance) [09-15]
• Todd Mosby: Land of Enchantment (MMG)
• Madre Vaca: Knights of the Round Table (Madre Vaca) [11-21]
• Colette Michaan: Earth Rebirth (Creatrix Music) [10-15]
• Mark Reboul/Roberta Piket/Billy Mintz: Seven Pieces/About an Hour/Saxophone, Piano, Drums (2004, ESP-Disk): [09-01]

Ask a question, or send a comment.

Monday, August 28, 2023

August archive (final).

Music: Current count 40767 [40728] rated (+39), 27 [19] unrated (+8).

Another big Speaking of Which yesterday. Too bad I've never been able to find a shrink who can explain why I've sat on my political book idea for two (or twenty) years with nothing to show for it, then knock out a pretty coherent outline in less than five hours. In my experience, shrinks can help you out of extreme panic attacks, but beyond that are useless. Beyond that, you need friends.

One thing I should have mentioned is the Student Debt Release Tool, from the Debt Collective. If you have outstanding loans, check it out.

Went to doctors last week, and lab results are grim. No idea how I'm going to deal with this. (Well, maybe half an idea.)

Also grim is my CD player. I replaced the belts, and put it back together again, and now I'm getting the same "error" flashed on the front panel, as it's locked up and refuses to eject the tray. Best guess is the sensor isn't detecting the presence or absence of discs. Plan is to take it apart again and see if the tray is misaligned or the skimpy cable isn't set right. Beyond that, it probably goes into the trash. A few years back, I wanted to set up an electronics bench so I could repair equipment like this. Now that seems beyond my grasp.

Short list of new records reviewed this week. I have more in the promo queue now than I've had at any point this year, but almost all of them are September/October releases -- including the James Brandon Lewis and Todd Sickafoose albums I jumped the gun on. I made up for that shortfall by following a couple of checklists. The first was one I had compiled some time ago based on Will Friedwald: The Great Jazz and Pop Vocals Albums. Phil Overeem mentioned this list in relation to a course he's teaching, and discussion turned to a Barb Jungr record I hadn't found at the time. I found it this time, and wound up playing most of her oeuvre.

I didn't find anything in Soto's list that added to the 17 albums already on my A-list, although they did lead me to a second Electronic album that I liked a bit better -- the listed album came in at B+(***). Still, it was an interesting exercise.

The second checklist was one I compiled based on Afred Soto's post: My 50 favorite albums. Turned out there were quite a few albums on his list that I hadn't heard (or at least rated), so I wound up spending most of the week filling in the blanks. Thus far, only one record has eluded me: DJ Sprinkles: Midtown 120 Blues. (I did find some Spotify playlists, but they were defunct, with links broken.)

I also jotted down the years of the records. I've long suspected that most of the records one feels strongest attachment to are ones that came out in one's teens and twenties. That's true of me, and I suspect that explains most of our divergence. Soto's records fall into these age bands: 1970-79 (6), 1980-84 (7), 1985-89 (8), 1990-94 (11), 1995-1999 (2), 2000-04 (4), 2005-09 (6), 2010-present (4). I don't have a comparable list, but in my unsorted 1000 Records list, more than half of my rock/r&b records came from the 1960s and 1970s (255/407, or 62.6%; if you throw in rap and techno, and count all of them as post-1979, it becomes 255/459, or 55.5%).

I had the idea of throwing together a comparison list, taking as rules: one album for each year there were albums on Soto's list (so the same age spread); no more than three compilations (Soto had Bryan Ferry/Roxy Music, Wire, Dolly Parton), counted by source end date; no more than one jazz album (Soto had Miles Davis). I'm not sure that other genre matches would help much: Soto has 2 Brazil, 0 other world/latin, 3 rap, 3 country, 8 r&b, 2 (or maybe more) electronica, the rest pop/rock (of which Sugar is most metal). My biggest shift would be less r&b, which I thought went into decline after 1980 and became increasingly muddled, not that I wasn't able to find exceptions.

I also want to cite Brad Luen's 2003 poll results. He has been doing annual polls in the Expert Witness Facebook group, decided to do 2003, and rounded up 39 ballots (which don't seem to be available). I didn't vote, but I do have a 2003 list published (untouched since Jan. 1, 2005). Back in the day, I also compiled a 2003 poll (10 voters, 7 for Buck 65's Talkin' Honky Blues, which came in 7th in Luen's poll). I doubt I need to checklist the results, as I've heard nearly all of them, but the exceptions start at 24 with DonaZica's Composição, which got a boost recently with a Rod Taylor guest post on Luen's Substack: Sixteen 21st century Brazilian albums. Taylor's list deserves a checklist, but my grasp of Brazilian music is so lame I doubt it will do me much good. (Looking down at the poll results, there are more, like Yin Yang Twins at 27, Linkin Park at 37, King Geedorah at 40, Kathleen Edwards at 41, Constantines at 42, Brooks & Dunn at 50, etc. [PS: In scanning the list, I missed The New Pornographers: Electric Version at 18. I just assumed I had heard it, like the rest of the group's instantly forgettable albums.]

I don't often link to music, but Dan Ex Machina posted a single to mark Trump's latest arrest.

August Streamnotes done but not indexed yet. Monthly rated list dropped way down to 131.

New records reviewed this week:

Barb Jungr and Her Trio: My Marquee (2023, Marquee): British singer, writes some songs but mostly interprets other singer-songwriters, especially Bob Dylan. Twenty-seven albums since 1985. Backed by piano-bass-drums trio, she does six songs plus two medleys, taking vintage rock pieces and treating them as proto-standards. Most successful is a medley interleaving three Yardbirds hits ("Heart Full of Soul/Shapes of Things/For Your Love"). B+(**) [sp]

James Brandon Lewis Red Lily Quintet: For Mahalia, With Love [Expanded Edition] (2023, Tao Forms, 2CD): Tenor saxophonist, formed this group for his poll-winning 2021 album Jesup Wagon, reconvenes with Kirk Knuffke (trumpet), Chris Hoffman (cello), William Parker (bass), and Chad Taylor (drums), to play his arrangements of a set of trad. gospel pieces tied to Mahalia Jackson, but with no vocals, as nothing else can be as sanctified as his instrument. The digital album ends there (9 tracks, 71:32), and as long as it stays on track, it's as inspired as any gospel program since David Murray's Spirituals. The 2-CD package adds a second album, These Are Soulful Days, a suite (8 tracks, 47:24) that starts out as an interesting strings piece, played by Lutoslawski Quartet, with Lewis joining in and eventually dominating -- about as good as sax-with-strings gets. [There's also a 2-LP package of the album proper, with a download code for the bonus.] A- [cd] [09-08]

Evan Parker/Matthew Wright Trance Map+ Peter Evans/Mark Nauseef: Etching the Ether (2022 [2023], Intakt): Soprano sax and electronics duo, their names above the group name, as with their previous Crepuscle in Nickelsdorff, with extra guests below the group name (new ones this time: trumpet and percussion. (There's also a duo album on FRM, but I haven't heard it.) B+(**) [sp]

Rachael & Vilray: I Love a Love Song (2022 [2023], Nonesuch): Vocal duo, Rachael Price and Vilray Bolles, who also plays guitar and claims most of the writing credits, but doesn't publicize his surname. Front cover lists much of the band. B+(*) [sp]

Sebastian Rochford/Kit Downes: A Short Diary (2022 [2023], ECM): Drums and piano duo, the former -- drummer in Sons of Kemet and various other groups -- also the composer. Very quiet, the drummer almost inaudible. B [sp]

Todd Sickafoose: Bear Proof (2023, Secret Hatch): Bassist, looks like only his third album (since 2000) solely under his own name -- Discogs mostly lists live Ani DiFranco albums from 2004-09, when she was jazzing up her sound (Mike Dillon and, later, Allison Miller were also credited). Eight musicians, including Jenny Scheinman (violin), Ben Goldberg (clarinet), Kirk Knuffke (cornet), and Miller (drums). B+(**) [cd] [09-29]

Kate Soper Feat. Sam Pluta: The Understanding of All Things (2022, New Focus): Composer, mostly filed under classical, plays piano, singer for Wet Ink Ensemble, was a Pulitzer finalist for her chamber opera Ipsa Dixit. Pluta works in electronics, which Soper speaks and sings over, sometimes alarmingly. B- [sp]

Aki Takase: Carmen Rhapsody (2023, BMC): Bizet opera done up by jazz trio with piano (Takase), cello (Vincent Courtois), and sax (Daniel Erdmann), with mezzo soprano Mayumi Nakamura popping in and out. Needless to say, I could do without the latter, but after the initial bad taste, I found it fitting in with the flow. B+(**) [sp]

Aki Takase/Alexander von Schlippenbach: Four Hands Piano Pieces (2021 [2023], Trost): Piano duo, married but both have huge solo careers, as well as several joint duo or larger group albums. But this one feels awkward at first, banging chords, but it does get a bit more interesting toward the end. B [sp]

Recent reissues, compilations, and vault discoveries:

Julee Cruise: Floating Into the Night (1989 [2023], Sacred Bones): Singer (1956-2022), originally from Iowa, moved to New York, started working with David Lynch and Angelo Badalamenti as a vocal coach for Isabella Rossellini in Blue Velvet. First album, with Lynch writing lyrics and Badalmenti doing the music and orchestration, tied into Lynch's Twin Peaks. Billed as dream pop, but not without a few kinks. B [sp]

Sonic Youth: Live in Brooklyn 2011 (2011 [2023], Silver Current): Seminal New York guitar band, started with an EP in 1982, ended in late 2011 with the separation of Kim Gordon and Thurston Moore after 27 years of marriage. Last concert was in São Paulo in November 14, following this August 11 performance outdoors, in Williamsburg facing the East River. In recent years they've released a couple dozen live tapes, but I've had little interested in sifting through them. But they've singled this one out, remastered it, and offer it as 2-LP or 2-CD (82:40). More noise than I'd like, especially on the encore, but in controlled doses it made them stand out. B+(***) [sp]

Old music:

808 State: Ex:el (1991, ZTT/Tommy Boy): English electronica group, from Manchester, first album 1988, this their fourth (of seven through 2002) and most popular (4 in UK). B+(**) [sp]

Aaliyah: Age Ain't Nothing but a Number (1994, Blackground): Last name Haughton, released three gold records, this first one when she was 15 -- also the age, in what seems even more bizarre today, she married R. Kelly, although that story is messier than I care to get into -- before dying at 22 in a plane crash. Kelly produced, his "new jack swing" a mix of funk and hip-hop, tempered by the young singer. It sold three million copies in the US, three more million elsewhere. B+(*) [sp]

Aaliyah: One in a Million (1996, Blackground): Second album, age 17, another big seller, runs 17 songs, 73:10, seems to be coming her own but this is very much a producers' showcase, with most of the songs written by Missy Elliott and Timbaland. It does capture the sound of the times, which as someone who grew up decades earlier has always struck me as a bit muddled, but she comes through clearer than most. B+(**) [sp]

Aaliyah: Aaliyah (2001, Blackground): One more big hit record, most of the lyrics this time by Stephen Garrett, the music by various committees, and four producers, not that I can discern much variation, just relentless craft. B+(**) [sp]

Change: The Glow of Love (1980, RFC/Warner Bros.): Post-disco group, inspired by Chic, formed in Bologna, Italy, with David Romani, Paolo Gianollo, and Mauro Malavasi doing most of the songwriting and producing, Jacques Fred Petrus running the business, and lots of movable parts, including Luther Vandross and Jocelyn Brown singing two songs each. B+(**) [sp]

Duran Duran: Rio (1982, Capitol): English new wave band, MTV stars of the early 1980s as their first three albums (1981-83) went multi-platinum. After that they coasted, but never more than four years between albums (until 2021's Future Past took six; a new one is scheduled for October 2023). Title song was as catchy as they ever got. Nothing else here comes close, and in the end I wonder whether there was anything to them in the first place. B- [r]

Electronic: Electronic (1991, Factory): Duo of Bernard Sumner (Joy Division/New Order) and Johnny Marr (Smiths), Sumner the vocal lead, both play guitars and keyboards, Marr also bass. First of three albums (1991-99), sounds much like New Order, nothing to sniff at, but lacks the same magic -- even when the Pet Shop Boys join on two tracks. B+(***) [sp]

Electronic: Raise the Pressure (1996, Parlophone): Second album, Sumner and Marr are joined here by Karl Bartos, from Kraftwerk, who co-wrote six songs. Soundwise, it doesn't make a lot of difference, other than some extra squiggles in the background, and more background vocals. In other words, less overtly New Order, still built on the same strengths, but a bit more nuanced and nicer. A- [sp]

Everything but the Girl: Walking Wounded (1996, Atlantic): English duo, singer Tracey Thorn and multi-instrumentalist Ben Watt, ten albums 1984-99 plus a new one in 2023, each with solo albums before 1984 and after 2000, and also memoirs. This is their ninth album, possibly their bestseller. Nice, steady beat, would take more study, especially for a group I've heard next to nothing by. B+(***) [sp]

Amy Grant: Heart in Motion (1991, A&M): Singer-songwriter, started on the gospel label Myrrh in 1977, sixth album (1985) got picked up for distribution by A&M and went platinum, with this more pop-oriented album ("mingled with Christian values") an even bigger hit. I've had zero interest in CCM (Contemporary Christian Music) since it emerged as a marketing niche, but my rare encounters suggested it was basically arena rock with sanctified (or at least sanitized) lyrics, so as mind-numbing as metal without even the pretense of subversion. This has some of that ("You're Not Alone" is so over the top it's almost good), then winds down with some more gracious ballads (best is "Hope Set High," despite Jesus). B [sp]

The Human League: Dare (1981, A&M): English new wave (synthpop) band, third album after their 1979 debut, a breakthrough hit in the US as well as UK. Formally this has some interest, but I still find it hard to like. B- [sp]

Ice Cube: AmeriKKKa's Most Wanted (1990, Priority): West coast gangsta godfather, O'Shea Jackson, first solo album while still a member of N.W.A. -- group disbanded after their second album in 1991, but he returned for their 1999-2002 reunion, and a couple times since then. Big album at the time, hard beats, sharp jolts. I'm certainly not hanging on every word. B+(**) [sp]

Barb Jungr: Every Grain of Sand: Barb Jungr Sings Bob Dylan (2002, Linn): English singer, father Czech, mother German, writes some but has many songbook albums, including more on Dylan. Tempting up to the home stretch, where the song selection hits a couple pet peeves. B+(***) [sp]

Barb Jungr: Waterloo Sunset (2003, Linn): Three originals, nine covers, mostly rock singer-songwriters from the Everly Brothers ("Cathy's Clown") to Richard Thompson, including two Dylans and the remarkable title song from Ray Davies. B+(**) [sp]

Barb Jungr: Love Me Tender (2004 [2005], Linn): Moving on to Elvis Presley, including two more Dylan songs that Presley covered, and one new song by Jungr and producer Aidan York. Everything is done at such a crawl you may already be dead for "Peace in the Valley." B+(*) [sp]

Barb Jungr: Just Like a Woman (Hymn to Nina) (2008, Linn): "All songs previously recorded by Nina Simone," but none written by her, and Jungr doesn't have the voice, the phrasing, or the piano to make the connection. She does, however, find three more Dylan songs. B+(*) [sp]

Barb Jungr: Man in the Long Black Coat: Barb Jungr Sings Bob Dylan (2003-11 [2011], Linn): Another Dylan tribute, this one rolling up the covers on her albums since 2002's Every Grain of Sand -- no duplicates, while adding four new ones (or outtakes?). Almost a best-of, except when it isn't. B+(***) [sp]

Barb Jungr: Hard Rain: The Songs of Bob Dylan & Leonard Cohen (2014, Kristalyn): Six more Dylan songs, along with five from Cohen (two co-credits with Sharon Robinson). The latter tend to be played down, but she throws some back into the former, especially "It's Alright Ma." B+(**) [sp]

Barb Jungr: Shelter From the Storm: Songs of Hope for Troubled Times (2016, Linn): Philipp Ther, in How the West Lost the Peace, repeatedly refers to 2016 as annus horribilis, the combined effect of Brexit and Trump, so Jungr has some company in recognizing "troubled times." She co-wrote three songs with pianist Laurence Hobgood ("featuring" on the cover), but went to Dylan for a title (also for "All Along the Watchtower"), Cohen for "Sisters of Mercy," Joni Mitchell for "Woodstock," and wound up with Peter Gabriel and David Bowie ("Life on Mars?/Space Oddity" -- nice idea for another album). B+(*) [sp]

Barb Jungr/John McDaniel: Come Together: Barb Jungr & John McDaniel Perform the Beatles (2016, Kristalyn): McDaniel is an American pianist, sings some, is best known as music director for The Rosie O'Donnell Show, which netted him a couple Grammys. Beatles songs have an almost singularly shabby track record as jazz vehicles, but jazz isn't really the point here. The mostly late-period songs are cannily selected for diva performance, ranging from "Eleanor Rigby" to the medley of "Somewhere" and "The Long and Winding Road," closing with "In My Life." B+(**) [sp]

Barb Jungr: Bob, Brel, and Me (2019, Kristalyn): Bob is Dylan, of course, good for five more songs here, along with five by Jacques Brel (translated into English by Robb Johnson), and five originals. Even the Dylan songs are running low. B [sp]

The London Suede: Dog Man Star (1994, Nude/Columbia): Britpop group, Suede in the UK, the qualification used only in the US. Debut 1993, second album here, released five albums through 2002, took a decade off and returned with four more 2013-22. B [sp]

Kylie Minogue: Fever (2002, Capitol): Australian dance-pop star, debut 1988, has sold over 80 million units worldwide, but didn't chart above 53 (her debut) in the US until this eighth album when platinum, peaking at 3. The beat, especially on the opener ("More More More") is enticing, but winds up feeling a bit empty. B+(**) [sp]

Róisín Murphy: Overpowered (2007, EMI): Irish singer-songwriter, grew up in Manchester, debut 2005 with three EPs leading to the album Ruby Blue, followed by this album, which sold well in the UK. Electropop, although it sometimes falls below functional dance-pop levels. B+(*) [sp]

Sinéad O'Connor: I Do Not Want What I Haven't Got (1990, Ensign): Irish singer-songwriter (1966-2023), second album, a huge hit. I didn't care for her debut album or for her best-of, but this feels varied and masterful, if a bit beyond my ken. B+(***) [sp]

Alexander O'Neal: Hearsay (1987, Tabu): R&B singer, debut 1985, this his second (and bestselling, although 1991's All True Man came close) album, with occasional later albums, up to 2010 (or 2017?). B+(**) [sp]

René & Angela: Street Called Desire (1985, Mercury): R&B duo, René Moore and Angela Winbush, recorded four albums 1980-85, the first three for Capitol, this their first gold record, but went separate ways afterwards: Angela recorded three more albums, both having success in songwriting and production (René contributing to Michael Jackson; together they had written songs early on for Janet Jackson). Starts disco, but emphasis is on the funk, extending to a Kurtis Blow rap. [Spotify adds extra cuts, which I didn't manage to separate out.] B+(***) [sp]

René & Angela: René & Angela (1980, Capitol): First album, seven originals are decent enough, but I wouldn't say they have great chemistry. The cover is wildly unfortunate ("Hotel California"). B [r]

Unpacking: Found in the mail last week:

• Benjamin Boone: Caught in the Rhythm (09-15]
• Mike Clark: Kosen Rufu (Wide Hive) [09-08]
• Scott Clark: Dawn & Dusk (Out of Your Head) [08-25]
• David Ian: Vintage Christmas Trio Melody (Prescott) [09-22]
• Steve Lehman/Orchestre National de Jazz: Ex Machina (Pi) [09-15]
• Astghik Martirosyan: Distance (Astghik Music) [10-06]
• Billy Mohler: Ultraviolet (Contagious Music) [10-13]
• Jessica Pavone: Clamor (Out of Your Head) [10-06]
• Simon Willson: Good Company (Fresh Sound New Talent) [10-13]
• Superposition: Glaciers (Kettle Hole) [08-14]

Ask a question, or send a comment.

Monday, August 21, 2023

August archive (in progress).

Tweet: Music Week: 32 albums, 1 A-list,

Music: Current count 40728 [40696] rated (+32), 19 [22] unrated (-3).

Another big Speaking of Which yesterday (8215 words, 134 links, words slightly below last week's record, but links are up). Since posting, I added a link to a piece on Stephen Miller's America First Legal suit against Target for losing money in a right-wing anti-woke boycott. I saw this story early in the week, and meant to link to it, but missed it in the round up rush.

I figured there was no chance I'd hit 30 albums this week, both due to distractions and a (probably seasonal) shortfall of tips, but I found some priority jazz albums in my tracking file, and they led me to some more, with the Lucas Niggli oldies pushing me over the top. I've long wanted to hit 100% of Intakt's back catalog.

I wound up the week with zero A- records, but thought Noname and Margaret Glaspy merited another spin (or as it turns out, three each). Noname was the easier promotion, but the best Glaspy songs are quite solid, and my main reservation is that sometimes my mind wanders. Similar exposure might have promoted Neil Young, or either or both Ivo Perelmans, but I chose not to go there. I think those grades are solid enough.

I finally did the indexing for July Streamnotes. I barely average 30 records per week in July, so I guess this has been going on longer than I thought. Sometimes it feels like a pointless grind, but like Speaking of Which, it's one of the few things I can do these days without too much strain.

Lots of useful information in Philipp Ther's How the West Lost the Peace, but it doesn't really live up to the promise of the title. It certainly is true that the West's single-minded pursuit of neoliberal capitalism caused harm every step of the way, but equally important was the blind spot that grew unaware as "defense." That Russia, having been excluded from integration with Europe both militarily and economically, and coming up on the short end of both sticks, would revive imperial longings now seems inevitable, even if completely foolish. Ther understands this on some level, but in the end comes down so emphatically on the side of Ukraine that he offers no exit path.

I was thinking I would read Christopher Clark's Revolutionary Spring: Europe Aflame and the Fight for a New World, 1848-1849 next, but had to go to the doctor today, and wanted to carry a smaller book. Scrounging through my old shelves, I found a 1962 paperback of EJ Hobsbawm's The Age of Revolution: 1789-1848, which leads up to that period. I bought it ages ago (the paperback price is $1.25), but don't recall ever actually reading it, but now I have to admit that the first chapter is one of the most brilliant pieces of historical writing I've ever encountered. I doubt I'll be able to put it down (even though I just read a pretty good short overview of the French Revolution in David A Bell's Men on Horseback: The Power of Charisma in the Age of Revolution).

Correction: The Doug MacDonald album I reviewed last month as Big Band Extravaganza was actually titled Edwin Alley, and credited to Doug MacDonald Trio. Big Band Extravaganza was reviewed in January. Both reviews are so cryptic I doubt anyone noticed, but I've seen several hints that I screwed up, and balancing the books finally proved it.

New records reviewed this week:

Anitta: Funk Generation: A Favela Love Story (2023, Republic, EP): Brazilian singer-songwriter, Larissa de Macedo Machado, has several albums since 2013, this turns out to be a very short one (billed as a single, but 3 songs, 7:33), dance rhythms clicking. B+(**) [sp]

Itamar Borochov: Arba (2022 [2023], Greenleaf Music): Trumpet player, born in Israel, based in Brooklyn, fourth album since 2011 (Arba is Hebrew for four). Really nice trumpet, backed by piano (Rob Clearfield), bass (Rick Rosato), and drums (Jay Sawyer), with a bit of oud and some vocal effects. B+(***) [cd] [09-09]

Grian Chatten: Chaos for the Fly (2023, Partisan): Frontman for Irish post-punk rockers Fontaines D.C. tries a solo album, very different in style and pace. B+(**) [sp]

Claire Daly With George Garzone: VuVu for Frances (2021 [2023], Daly Bread): Baritone saxophonist, side credits back to 1990, only a handful of albums as leader. Garzone lends his tenor sax to broaden out the leads, a nice set of standards which rarely gets rowdy, backed by piano (Jon Davis), bass (Dave Hofstra), and drums (David F. Gibson). B+(**) [sp]

Dazegxd & Quinn: DSX.FM (2023, DeadAir, EP): Young beat producer, with young rapper Quinn Dupree. Scattered at first, but finds a crude groove. Seven tracks, 13:43. B+(*) [sp]

Kent Engelhardt & Stephen Enos: Madd for Tadd: "Central Avenue Swing" & "Our Delight" (2020 [2023], Tighten Up, 2CD): Alto sax and trumpet, the former a mainstay of the Cleveland Jazz Orchestra, running a full blown big band playing Tadd Dameron songs and a few originals, situating them in the transition from swing to bop. Several vocals by Erin Keckan are treats. B+(***) [cd]

Tianna Esperanza: Terror (2023, BMG): First album, 22, hard to piece together a coherent biography: British grandmother Paloma McLardy was in the Slits and the Raincoats, but she's mixed race, grew up on Cape Cod, through a litany of terrors she recounts in the presumably autobiographical title song (or if not, she has a pretty grim imagination). Comparisons to Nina Simone are apt, starting with the voice, but she's picked up more history than her publicity lets on. Could be an album that sticks with you, or misses. B+(***) [sp]

Miya Folick: Roach (2023, Nettwerk): Singer-songwriter from Los Angeles, studied acting at NYU before returning to USC. Second album. One review describes this as her "quarter life crisis." Most impressive when her anger rises, as in "Get Out of My House." B+(**) [sp]

Frog Squad: Special Noise (2023, Mahakala Music): Jazz group from Memphis, principally David Collins (guitar, vibes, keys, percussion) and Khari Wynn (bass), with a couple label ringers like Chad Fowler and Aaron Phillips joining in. Group has at least two previous albums, including Frog Squad Plays Satie. They lay it on pretty thick here. B+(*) [sp]

Margaret Glaspy: Echo the Diamond (2023, ATO): Singer-songwriter, from California, based in New York, third album since 2016 (Emotions and Math, a Christgau A-). She is at her best defending her "Female Brain," which in that case came up with something a bit funkier than usual. A- [sp]

Gloss Up: Shades of Gloss (2023, Quality Control): Memphis rapper Jerrica Russel, second album this year. B+(**) [sp]

K-Lone: Swells (2023, Wisdom Teeth): British electronica producer Josiah Gladwell, second album. B+(*) [sp]

Kimbra: A Reckoning (2023, self-released: Pop singer-songwriter from New Zealand, full name Kimbra Lee Johnson, fourth album. B+(**) [sp]

Låpsley: Cautionary Tales of Youth (2023, Believe): English pop singer-songwriter Holly Lapsley Fletcher, dressed up her middle name to look Scandinavian, third album. This slips up on you. B+(**) [sp]

Pat Metheny: Dream Box (2021-22 [2023], Modern): Guitarist, active since 1976, mostly in fusion bands I don't much care for, although he has other interests that sometimes bear fruit. This one is solo, quietly elegant. B+(*) [sp]

Lucas Niggli Sound of Serendipity Tentet: Play! (2023, Intakt): Swiss drummer, couple dozen albums since 1993, surprised there is no Wikipedia page for him, as his albums with Ali Keïta and Jan Galega Brönnimann are personal favorites. Large group here, but not many horns (tenor sax, tuba, flute), with organ, accordion, violin, celesta, melodica, bass, double drums, and voice/electronics (Joana Maria Aderl). B+(**) [r]

Noname: Sundial (2023, self-released): Rapper Fatima Warner, second album after a breakout mixtape, subtle beats under a torrent of words, some from guests who threaten politics. Before I got to this I heard cries of "antisemitism" just because Jay Electronica dropped a verse that namechecked Farrakhan -- far from the only preacher who wishes God's wrath on others, but the one whose name automatically elicits instant opprobrium -- and delved into the murky prophecies of Armageddon. (Perhaps even more politically incorrect these days, he says "a joke like Zelenskyy.") More explicitly political is the later verse by Billy Woods, recalling his childhood with revolution in Africa, or for that matter the closer with the more liberal Common. All reflect back on racism, which I figure is fair game, especially done this seductively, in a brief 31:54. A- [sp]

Arturo O'Farrill: Legacies (2023, Blue Note): Pianist, son of Cuban bandleader Chico O'Farrill, based in New York, typically records with the Afro Latin Jazz Orchestra, but drops down to a trio here, with Liany Mateo (bass) and Zack O'Farrill (drums). One original, one track by his father, the rest jazz standards, including Monk and Powell, Rollins and Hancock. B+(*) [sp]

Okonski: Magnolia (2020-21 [2023], Colemine): Trio, with Steve Okonski (piano), Michael Isvara "Ish" Montgomery (bass), and Aaron Frazer (drums). First album, all pieces jointly credited. B+(*) [sp]

Genesis Owusu: Struggler (2023, Ourness/AWAL): Rapper/singer, born in Ghana, grew up in Australia, second album. B+(**) [sp]

Ivo Perelman/Aruan Ortiz/Lester St. Louis: Prophecy (2023, Mahakala Music): Tenor sax, piano, and cello, two long improv pieces (55:10) recorded in Brooklyn. Their Brazilian and Cuban sources, with their African and Iberian roots, may enter a bit more than usual, as they feel each other out. B+(***) [bc]

Ivo Perelman/James Emery: The Whisperers (2023, Mahakala Music): Duo, tenor sax and guitar, thirteen improv pieces recorded in Brooklyn. Emery goes back to the 1980s, played in String Trio of New York, a duo with Leroy Jenkins, and various others. B+(***) [bc]

Bobby Rozario: Spellbound (2019-21 [2023], Origin): Guitarist, mother a semi-classican Indian vocalist, father a Brazilian drummer, grandfather a band master in the Brazilian Army, bio jumps around a lot without explaining where he landed. Strong Latin beat in much of this, several vocals, but something more. John McLauglin is almost certainly an influence, but that's just a starting point. B+(***) [cd] [08-26]

Tamara Stewart: Woman (2023, self-released): Country singer, born in Australia, based in Nashville, Discogs lists two 2001-05 albums, website offers three more recent efforts (2012, 2018, 2023), a lyric places her at 44. B+(**) [sp]

David Virelles: Carta (2022 [2023], Intakt): Cuban pianist, moved to Canada after 2001, studying and playing with Jane Bunnett, and on to New York in 2009. Eighth album, a trio with Ben Street (bass) and Eric McPherson (drums), both prominently credited on the cover. B+(**) [r]

Recent reissues, compilations, and vault discoveries:

Anthony Branker & Ascent: Spirit Songs (2004 [2023], Origin): Composer, born in New Jersey, parents from Trinidad and Barbados, has a 1980 debut album but discography really starts up with Spirit Songs in 2005. This appears to be a prequel, dusted off as a tribute to the late drummer, Ralph Peterson Jr. Sextet with Ralph Bowen (tenor/soprano sax), Antonio Hart (alto/soprano sax), Clifford Adams Jr. (trombone), Jonny King (piano), John Benitez (bass), and Peterson. B+(***) [cd] [08-26]

George Cartwright: The Ghostly Bee (2005 [2023], Mahakala Music): Saxophonist, best known for his 1984-2003 group Curlew, plus scattered releases under his own name since 1979. This one appeared on Innova, a quintet with guitar (Davey Williams), keyboards (Chris Parker), bass, and drums, organized as two long "suites" (77:37 total, all improvised). B+(*) [bc]

George Cartwright: A Tenacious Slew (2007 [2023], Mahakala Music): Another reissue, originally on Innova. Includes a bit of poetry by Anne Elias. B+(*) [bc]

Neil Young: Chrome Dreams (1974-77 [2023], Reprise): Demo album, considered for release in 1977, leaked in the 1990s as a bootleg, so now is official, 16 years after the release of another album, Chrome Dreams II. Most songs solo, but some are fleshed out with a band, notably "Like a Hurricane." Most of the songs appeared on his next four albums, up to 1980, with a couple stragglers. Those four albums run { A-, A, A+, A- } in my book, so this should too, but adds little, and feels a bit tentative. B+(***) [r]

Old music:

Lucas Niggli Zoom: Spawn of Speed (2000 [2001], Intakt): Swiss drummer, albums since 1993, this the first of four with this trio of Nils Wogram (trombone) and Philipp Schaufelberger (guitar). One of those odd three-legged stools that looks wobbly but somehow holds up. B+(**) [sp]

Lucas Niggli Zoom: Rough Ride (2002, Intakt): Second album by this trombone-guitar-drums trio. B+(*) [sp]

Lucas Niggli Drum Quartet: Beat Bag Bohemia (2007 [2008], Intakt): Three drummers plus Rolando Lamussene on djembe, mbira, voice, percussion. B+(**) [sp]

Unpacking: Found in the mail last week:

• Roberto Magris & the JM Horns: High Quote (2012, JM)

Ask a question, or send a comment.

Monday, August 14, 2023

August archive (in progress).

Music: Current count 40696 [40662] rated (+34), 22 [12] unrated (+10).

I published another substantial Speaking of Which last night (8500 words, 115 links), probably the longest this year (or for that matter, since I started the title on June 18, 2021. I used the old "I can't figure out how to write about this, but here's sort of what I was thinking" trick for the long intro on why the longer you stretch out the Russo-Ukraine War, the worse it is for everyone.

I got off to a very slow start this week, partly because I made a fairly fancy Chinese dinner on Tuesday. I had gone to Thai Binh for some pantry items (hoisin sauce, ground bean sauce, dark soy sauce) and wound up picking up some eggplant, baby bok choy, and two packages of pork: a fresh ham, and a chunk of pork side. I made red-cooked ham with the former, twice-cooked pork with the latter: two of my favorite dishes, and they both turned out splendid. I sliced and broiled the eggplant, and topped it with spicy peanut sauce. The bok choy were parboiled and stir-fried. I substituted velveted shrimp for ham in my usual fried rice. And made pineapple upside down cake for dessert. Pretty painful, but very delicious.

I did some tests, then sent my Fujitsu ScanSnap ix1300 scanner back to Amazon. Some nice features -- I especially like feeding photo prints in from the front, which is very fast -- but the scans were of mixed quality, and most importantly I never got it working with my Linux computer (despite it being on the SANE compatibility list), so the workflow sucked. Probably the best scan I got out of it was my parents' wedding picture. I have a HP OfficeJet which can do flat-bed scans, but doesn't work well either. I wish I had sent it back in time, as it's probably the worst purchase I've ever made. Still on my list of things to do is to call HP and try to get some answers, why like the printer is recognized but refuses to print anything. Also why I can do test scans using Xsane, but not final scans. Also haven't fully resolved my email problem, but I did get one question. Could use some more.

Right now, the top technical task is to get my wife's Linux computer running again, after a boot error. Could be that the hard drive is toast. I ordered some parts for any eventuality, and will get to that tomorrow. One pleasant surprise was being able to pick up a 1TB SSD for $60. Last one I bought was a quarter that size for a bit more. Also ordered a KVM switch, as all my old ones are PS2/VGA medusae.

I did finally get the belts for my CD changer (from Greece, it turns out), so now if only I can remember how to reassemble it. That'll clear up some major clutter, as I had to take literally everything out of the box to get to the bottom belt.

One technical win is that dug into the C++ program that converts my music database input files to produce the web pages in my index. I wanted to make it possible to pass HTML entities through, so I could embed them in my source files. (I'm still stuck using the Latin-1 codeset, where the program converts all of the non-ASCII characters to HTML entities, as well as "&" to "&" -- which was my problem.)

I had a bit less trouble finding music to listen to this week. Robert Christgau's August Consumer Guide came out. The new records (see reviews below) mostly landed at B+(**), as did many of the ones I had already gotten to (my grades in brackets):

• Amaarae: The Angel You Don't Know (Golden Child '20) [A-]
• Amaarae: Fountain Baby (Interscope) [A-]
• Miles Davis: Bitches Brew Live (Columbia '11) [B+(***)]
• Fokn Bois: Coz of Moni 2 (Fokn Revenge) (Pidgen Music '14) [B+(**)]
• Lori McKenna: 1988 (CN/Thirty Tigers) [A-]
• Nia Archives: Sunrise Bang Ur Head Against the Wall (Hijinx/Island) [B+(*)]
• Palehound: Eye on the Bat (Polyvinyl) [B+(**)]
• SZA: SOS (Top Dawg Entertainment) [B+(**)]

That leaves a new Wreckless Eric album I haven't found yet. I'll also note that Greg Morton offered a stinging rebuke to the Lori McKenna album on Facebook (link hard to find, but somewhere in here). As someone with no children of my own, I took "Happy Children" to be a nice sentiment, but as an unhappy child myself, Greg's review hit a personal chord.

Beyond that I mostly checked out albums from Pitchfork's The Best Music of 2023 So Far, and their recent Out This Week columns. Neither were great sources for A-list albums -- Bambii is my favorite of the high B+ albums. I'll also note that Anohni topped Phil Overeem's latest list, explaining "Even if I wasn't a Missourian, where cruelty is our state adjective, it would have knocked me out." I gave it two plays to make sure I wasn't knocked out, but it's not unusual for me to register the melodrama but not the context. I'll also note that back when I lived in St. Louis, I started pronouncing the state name "mis'-ery" (sometimes preceded by "state of"). That was no more far-fetched than the locals' butchering of the city's many old French placenames (e.g., Grav-oise, Carondo-lette, De-boliver, the River Despair).

I got a lot of incoming mail this week, most of which doesn't actually drop until September (or sometimes October). I tracked down a Henry Hey download after noticing him on the Pete McCann album, but couldn't find anything on the album -- turns out it's not released until October -- so I held off on it. Pretty good piano trio. I have a lot of download links saved away. I should go through them and check out a few, but it often seems like more hassle than it's worth.

New records reviewed this week:

Rauw Alejandro: Playa Saturno (2023, Duars Entertainment/Sony Music Latin): Puerto Rican reggaeton star, fourth album, following 2022's Saturno. B+(**) [sp]

Anohni and the Johnsons: My Back Was a Bridge for You to Cross (2023, Secretly Canadian): English singer-songwriter, originally Antony Hegarty, debut 2000 as Antony and the Johnsons, trans from an early age but didn't change name to Anohni until a 2016 solo album. A very emotional singer, this waxes and wanes, impressively at times. B+(**) [sp]

Bambii: Infinity Club (2023, Innovative Leisure, EP): Toronto-based DJ, Kirsten Azan, first EP, eight tracks (counting a short intro), 19:08, beats and vocals, some rapped. B+(***) [sp]

The Baseball Project: Grand Salami Time (2023, Omnivore): Alt-rock side project formed in 2008 with two guys who had fronted minor bands (Scott McCaughey and Steve Wynn), another who could have but was in a major band instead (Peter Buck), Wynn's wife Linda Pitmon (drums), and more recently Mike Mills (bass). Fourth album, nine years after 3rd, seems less focused on trivia and, with Mitch Easter producing, more on song flow, but I'm not sure that's a plus. B+(**) [sp]

Blue Lake: Sun Arcs (2023, Tonal Union): Texas-born, Denmark-based Jason Dungan, plays "self-built zithers, drones, clarinets, slide guitars and drum machines." Third album, all instrumental, not billed as jazz, not electronic, may draw on folk but not obvious from where, so I wound up filing it in my little-used new age file, where it settled in nicely. B+(**) [sp]

Christian Dillingham: Cascades (2021 [2023], Greenleaf Music): Bassist, first album, but has a Grammy (played on a Kirk Franklin gospel album), wrote ten original pieces here, with Lenard Simpson (alto/soprano sax), Dave Miller (guitar), and Greg Artry (drums). B+(***) [cd] [09-01]

Dream Wife: Social Lubrication (2023, Lucky Number): London-based pop/punk band, Rakel Mjöll the singer (from Iceland via California), third album. B+(***) [sp]

Jad Fair and Samuel Lock Ward: Happy Hearts (2023, Kill Rock Stars): Half of Half Japanese plus a singer-songwriter I never heard of, but Ward has several dozen DIY albums, including at least nine volumes of The Lame Years, as well as close to a dozen group efforts like the Eggnogs, Kickass Tarantulas, and Admiral Cadaver & the New Pricks. This is as offhanded and minor as ever, needing more concentration that I care to muster, but I hear it's worth the trouble. B+(**) [sp]

Girl Ray: Prestige (2023, Moshi Moshi): British indie rock trio, third album, fond of disco riffs. B [sp]

Home Is Where: The Whaler (2023, Wax Bodega): Emo band from Palm Coast, Florida; second album, each preceded by an EP. Reminds Pitchfork of Modest Mouse, which is close but rougher and more volatile here. B+(**) [sp]

John La Barbera Big Band: Grooveyard (2023, Origin): Conductor and arranger, b. 1945, originally played trumpet, worked with Buddy Rich and others, brother of Pat (tenor/soprano sax) and Joe (drums), both present here. Conventional big band with a few extras. B+(*) [cd] [08-26]

Lil Tjay: 222 (2023, Columbia): New York rapper Tione Jayden Merritt, third album, first two peaked at 5. B+(**) [sp]

Lindstrøm: Everyone Else Is a Stranger (2023, Smalltown Supersound): Norwegian electronica producer, first name Hans-Peter, first couple albums were duos with Prins Thomas (2007-09). Four tracks (36:59). B+(**) [sp]

Damon Locks/Rob Mazurek: New Future City Radio (2023, International Anthem): From Chicago, Locks is a visual and sound artist with a couple Black Monument Ensemble albums, offering a verbal pastiche here that Mazurek fleshes out with trumpet and electronics. B+(*) [sp]

Pete McCann: Without Question (2022 [2023], McCannic Music): Guitarist, debut 1998, nice mainstream sound but I note that he also played in the Mahavishnu Project. Varied quintet, with Steve Wilson especially strong (alto/soprano sax), a standout solo by pianist Henry Hey, plus Matt Pavolka (bass) and Mark Ferber (drums). B+(***) [cd]

Haviah Mighty: Crying Crystals (2023, Mighty Gang): Canadian rapper, debut mixtape 2010 (at 18), second studio album. B+(**) [sp]

Blake Mills: Jelly Road (2023, New Deal/Verve Forecast): Singer-songwriter based in California, plays guitar, has a long list of side and production credits. B [sp]

Matt Otto: Umbra (2022-23 [2023], Origin): Tenor saxophonist, has a couple albums, one as far back as 1998. Nice, steady mainstream tone, default trio, adds guitar and Rhodes on five (of nine) tracks, plus trumpet (Hermon Mehari) on three of those. B+(**) [cd] [08-26]

Ted Piltzecker: Vibes on a Breath (2022 [2023], OA2): Vibraphonist, from Denver, fifth album since 1985, leads a septet with two brass and two saxes, so his own instrument tends to get buried. B+(*) [cd] [08-26]

Yunè Pinku: Babylon IX (2023, Platoon, EP): Electropop singer-songwriter, Malaysian-Irish, based in London, second EP (six songs, 23:25). B+(**) [sp]

Knoel Scott/Marshall Allen: Celestial (2022 [2023], Night Dreamer): Two alto saxophonists, the former also sings and plays flute, joined Sun Ra in 1979, only has a couple albums on his own. Allen boarded the Arkestra 25 years earlier, and at 98 is still at the helm of the ghost band. The pair are backed by piano (Charlie Stacey), bass (Mikele Montolli), and drums (Chris Henderson), on five cosmic tracks (36:59). B+(***) [sp]

Travis Scott: Utopia (2023, Cactus Jack/Epic): Houston rapper Jacques Webster II, fourth album, all bestsellers. Impeccable flow, rarely rising to the level where it demands my attention. No idea whether it would rise or sink if I did manage to focus on it. B+(**) [sp]

Snooper: Super Snõõper (2023, Third Man): Punk trio from Nashville, three previous EPs, started as a duo of guitarist Connor Cummins and visual artist/singer Blair Tramel, beefed up for this first album. B+(***) [sp]

Techno Cats: The Music of Gregg Hill (2023, Cold Plunge): One of many recent tributes to the Michigan composer, this a postbop quintet: Chris Glassman (bass trombone), Nathan Borton (guitar), Xavier Davis (piano), Javier Enrique (bass), and Michael J. Reed (drums). B+(*) [cd]

Kris Tiner/Tatsuya Nakatini: The Magic Room (2023, Epigraph): Trumpet player, based in Bakersfield, in a duo with percussion. B+(**) [cd]

TisaKorean: Let Me Update My Status (2023, Jazzzy): Houston rapper Domonic Patten, Wikipedia credits him with a bunch of singles and four mixtapes since 2017, but Discogs barely noticed him. The jerky rhythms and muffled words (rhymes?) are tough going, and not clearly worth the trouble. B [sp]

Tujiko Noriko: Crépuscule I & II (2023, Editions Mego, 2CD): Japanese ambient electronica producer, sings, Tujiko her surname. Long and uneventful. B [sp]

Veeze: Ganger (2023, Navy Wavy): Detroit rapper, second album/mixtape. Sludgy, surreal, long (21 tracks). B+(*) [sp]

Recent reissues, compilations, and vault discoveries:

Nastyfacts: Drive My Car + 2 (1981 [2022], Left for Dead, EP): Per Robert Christgau: "three white male NYC teens with their 18-year-old senior partner, black female composer-vocalist-bassist Kali Boyce. All three kick ass and then some." That shortchanges some details, like the skids and crashes on the title romp, or the male interjections on the closer. I might cavil about the length (7:38), but this is pretty tightly packed, with each song building on the previous. A- [bc]

Taylor Swift: Speak Now (Taylor's Version) (2023, Republic): I'm pretty indifferent to this series, which may be why I'm filing this under "reissues" even though I take them at their word that they're all new recordings. Both sides of the dispute are rich, and Taylor's only getting richer. I've heard the originals, but don't remember them enough to nitpick, and I'm not interested enough to go back. As a first approximation, I'd say they're pretty even, with a bit more excess baggage on the new ones, but they've tracked my original grades. This, her third album, was the first I graded A-, and I'm hearing it all again. Except this time I have a better picture of how big she promised to become in "Mean." A- [sp]

Old music:

Džambo Aguševi Orchestra: Brasses for the Masses (2020, Asphalt Tango): Macedonian brass band, the leader plays trumpet. B+(**) [sp]

Mighty Sam McClain: Give It Up to Love (1993, Audioquest): Soul-blues singer from Louisiana (1943-2015), sang in church, recorded some singles in the 1960s but no albums until 1986, and this seems to have been his breakthrough. A slow grind with organ and guitar. B+(***) [sp]

Kris Tiner: In the Ground and Overhead: 14 Miniatures for Muted Trumpet (2020, Epigraph, EP): Trumpet player, recorded these short solo pieces (14:29) "while in residence at Montalvo Arts Center in the forested foothills of the Santa Cruz Mountains." B+(*) [sp]

Unpacking: Found in the mail last week:

• Farida Amadou/Jonas Cambien/Dave Rempis: On the Blink (Aerophonic) [10-10]
• Anthony Branker & Ascent: Spirit Songs (Origin) [08-26]
• Michael Echaniz: Seven Shades of Violet (Rebiralost) (Ridgeway) [09-08]
• Kent Engelhardt & Stephen Enos: Madd for Tadd: "Central Avenue Swing" & "Our Delight" (Tighten Up) [08-25]
• Bobby Kapp: Synergy: Bobby Kapp Plays the Music of Richard Sussman (Tweed Boulevard) [09-01]
• John La Barbera Big Band: Grooveyard (Origin) [08-26]
• Pete McCann: Without Question (McCannic Music) [08-04]
• Matt Otto: Umbra (Origin) [08-26]
• Ted Piltzecker: Vibes on a Breath (OA2) [08-26]
• Darden Purcell: Love's Got Me in a Lazy Mood (Origin) [09-15]
• Bobby Rozario: Spellbound (Origin) [08-26]
• Brandon Sanders: Compton's Finest (Savant) [08-25]
• Techno Cats: The Music of Gregg Hill (Cold Plunge) [08-14]
• Kris Tiner/Tatsuya Nakatini: The Magic Room (Epigraph) [08-04]
• Vin Venezia: The Venetian (Innervision) [10-20]
• Maddie Vogler: While We Have Time (Origin) [09-15]
• Bobby Zankel/Wonderful Sound 8: A Change of Destiny (Mahakala Music) [09-22]

Ask a question, or send a comment.

Monday, August 7, 2023

August archive (in progress).

Music: Current count 40662 [40636] rated (+26), 12 [14] unrated (-2).

I published another Speaking of Which yesterday (5691 words, 93 links). Could have written much more, but couldn't find the time, and by Sunday evening the will was flagging as well.

I have even less to say about this week's music, or for that matter this past week. I'm making minor progress on my technical projects, but still have a lot more to do. Posting this early will open up some time on Monday. One thing I did get done last week was a trip to Thai Binh, as I was running low on hoisin sauce. While there, I picked up some pork and eggplants, so I need to cook dinner on Tuesday, and make time for all that entails. At last, a project with a reasonable expectation of completion.

Christian Iszchak wrote a longer review of Flang Dang. I heard the mid-1970s albums when they came out, but haven't played them in ages, and probably only have them on vinyl (if that). I had the record in my tracking file, but hadn't pursued it. But I had checked out a couple of his more recent albums. I also remember his earlier group, Amen Corner, but didn't register anything by it in my database.

I didn't get July's indexing done (or at least I don't remember doing it), so maybe next week.

New records reviewed this week:

Aline's Etoile Magique: Eclipse (2023, Elastic): Violinist Aline Homzy, from Montreal, based in New York. Quintet with vibes, guitar, bass, and percussion, plus some guest spots. B+(**) [cd] [08-25]

Bdrmm: I Don't Know (2023, Rock Action): British shoegaze band, Ryan Smith the vocalist, second album. Influences "drawn from a wider range of sounds," blended together nice but indecisively. B+(*) [sp]

Gordon Beeferman/Michael Evans/Michael Foster/Shelley Hirsch: Glow (2021 [2023], Tripticks Tapes): Keyboard player, half-dozen albums back to 2001, with drums and tenor/soprano sax, with Hirsch's improvised vocals. B+(*) [bc]

Will Bernard & Beth Custer: Sky (2023, Dreck to Disk): Guitar and clarinet duo, with Custer singing a couple (like "John Brown's Body"). Low key and down home. B+(*) [cd] [09-05]

Geof Bradfield Quintet: Quaver (2021 [2023], Calligram): Tenor saxophonist, born in Houston, based in Chicago, albums since 2008 plus a fair number of side credits. Quintet with Russ Johnson (trumpet), Scott Hesse (guitar), Clark Sommers (bass), and Dana Hall (drums). B+(***) [cd]

The Clientele: I Am Not There Anymore (2023, Merge): British indie rock band, founded 1991 but first album not until 2000, this only their second since 2010. B+(*) [sp]

Bethany Cosentino: Natural Disaster (2023, Concord): Singer for Best Coast, four albums 2010-20, first solo album, amps up the pop riffs, finding excitement in topical events that would bum most people out. B+(***) [sp]

Ember: August in March (2023, Imani): Brooklyn trio, fronted by Caleb Wheeler Curtis (strich, trumpet, reed trumpet -- never heard of the latter, but his native instrument is alto sax), with bass (Noah Garabedian) and drums (Vincent Sperrazza), group has a 2021 album with Orrin Evans. One of many terrific free sax trios this year, with a neat twist. A- [cd] [08-11]

Foo Fighters: But Here We Are (2023, Roswell/RCA): Grunge band from Seattle, formed 1994 by ex-Nirvana drummer Dave Grohl, who switched over to guitar and vocals. Eleventh studio album, fifth I've heard, having skipped the last three. No rush on this one either, but it showed up on three mid-year lists, and is probably the highest-rated non-metal album that I hadn't bothered with (86/31 at AOTY). Starts off tolerable enough, but the anguish is communicable. B- [sp]

Michael Foster: The Industrious Tongue of Michael Foster (2022, Relative Pitch): Saxophonist (tenor/soprano), produces his inevitable solo album, aided by sampler and oscillators, featuring more tongue effects than outright blowing. B+(*) [sp]

Leo Genovese/Demian Cabaud/Marcos Cavaleiro: Estrellero (2023, Sunnyside): Piano-bass-drums trio, the first two Argentines who studied at Berklee, with Cabaud moving on to Portugal, where he met the drummer. B+(**) [sp]

Georgia: Euphoric (2023, Domino): British pop singer Georgia Barnes, third album. B+(***) [sp]

The Ghost: Vanished Pleasures (2023, Relative Pitch): Tenor/soprano saxophonist Michael Foster, leading a free jazz trio with bass (Jared Radichel) and drums (Joey Sullivan). Quite a few albums since 2013, a couple under this name (but with different players). B+(***) [sp]

Cory Hanson: Western Cum (2023, Drag City): Los Angeles-based singer-songwriter, third album, previous titles The Unborn Capitalist From Limbo and Pale Horse Rider. Leads with guitar, which remains dominant even when buried in the band sound. B+(*) [sp]

J Hus: Beautiful and Brutal Yard (2023, Black Butter): British rapper Momodou Jallow, parents Gambian, third album. B+(**) [sp]

Mike Jones Trio: Are You Sure You Three Guys Know What You're Doing? (2022 [2023], Capri): Pianist, goes back to the 1990s, with Penn Jillette (bass) and Jeff Hamilton (drums). Standards, everything from "Perdido" to Jobim, closing with an original. B+(**) [cd] [08-18]

Andy Fairweather Low: Flang Dang (2023, Last Music): Welsh singer-songwriter, recorded three low-key but remarkably catchy albums 1974-76, but virtually nothing after 1980 up to 2006 (exception is the 1983 Moments of Madness, credited to Local Boys). Since then he's turned out several live albums, coasting on his reputation, such as it is. But it appears the lockdown got him to concentrate, to write some new songs and play everything but the drums. The label calls this "a remarkable return to form," but it's also a disarmingly engaging return to basics. A- [sp]

Lowcountry: Lowcountry (2023, Ropeadope): A group of Gullah singers and storytellers from South Carolina, led by trumpeter/composer Matt White and percussionist Quentin E. Baxter, talk and sing some, rooted in one of the few American communities that retains much of its African past, framed by a a string quartet and a jazz combo, including ringer Chris Potter on tenor sax. B+(***) [cd]

Chad McCullough: The Charm of Impossibilities (2022 [2023], Calligram): Seattle-based trumpet player, albums since 2009 including several groups. Cut this one in Chicago, with Jon Irabagon (tenor/soprano sax), Larry Kohut (bass), and Jon Deitemyer (drums), with Tim Hagans co-producing. Credits Olivier Messiaen's "Techniques of My Musical Language," while finding his own. A- [cd]

Jesper Nordberg: Trio (2023, Gotta Let It Out): Danish bassist, first album, trio with violin (Stefan Pōntinen) and Ruhi Erdogan (trumpet). Good use of these pairings. B+(***) [bc]

Kresten Osgood/Bob Moses/Tisziji Muñoz: Spiritual Drum Kingship (2022 [2023], Gotta Let It Out): Two drummers plus electric guitar. The latter is an American, born in Brooklyn, released an album on India Navigation in 1978, but didn't really produce much until the late 1990s, when he recorded albums with Moses, Pharoah Sanders, Dave Liebman, Marilyn Crispellm, and Rashied Ali. Moses is of similar age, not just a drummer but a student of percussion everywhere. Osgood is younger, from Denmark, started around 2002, starting with Sam Rivers, Oliver Lake, and other notables. Such a tour de force by the guitarist that it takes two very fast drummers to keep up, and these two make the album. A- [bc]

Chuck Owen and the WDR Big Band: Renderings (2019-21 [2023], MAMA): Arranger/conductor, composer of three (of eight) tracks here, teaches at University of South Florida, has seven previous albums since 1995 with his group, the Jazz Surge. German big band here, with a featured spot for Sara Caswell (violin). B+(***) [cd]

Susanne Sundfør: Blómi (2023, Bella Union): Norwegian singer-songwriter, sixth studio album since 2007. Dedicated to her theologian grandfather and to her daughter, title from Old Norse (to bloom), only partly in English. B+(*) [sp]

Tainy: Data (2023, Neon16): Puerto Rican reggaeton producer Marcos Efrain Masis Fernández, first album (other than a co-credit from 2006), nineteen tracks have co-credits including some fairly major ones (Bad Bunny, Julieta Venegas, Myke Towers, Skrillex). B+(*) [sp]

Recent reissues, compilations, and vault discoveries:

Abdul Wadud: By Myself: Solo Cello (1977 [2023], Gotta Groove): Cellist, originally Ronald DeVaughn (1947-2022), very little under his own name, but his duos with Julius Hemphill are well remembered. B+(**) [bc]

Old music:

Ember With Orrin Evans: No One Is Any One (2020 [2021], Sunnyside): Alto saxophonist Caleb Wheeler Curtis, formed this trio with Noah Garabedian (bass) and Vinnie Sperrazza (drums), and caught the ear of the pianist, who joins in on the back stretch (four tracks, of ten), slowing things down. B+(**) [bc]

Unpacking: Found in the mail last week:

• Adam Birnbaum: Preludes (Chelsea Music Festival) [10-10]
• Itamar Borochov: Arba (Greenleaf Music) [09-09]
• Christian Dillingham: Cascades (Greenleaf Music) [09-01]
• Darrel Grant's MJ New: Our Mr. Jackson (Lair Hill) [10-06]
• Chuck Owen and the WDR Big Band: Renderings (MAMA) [07-21]
• Claudia Villela: Cartas Ao Vento (Taina Music) [09-08]

Ask a question, or send a comment.

Monday, July 31, 2023

July archive (final).

Music: Current count 40636 [40606] rated (+30), 14 [14] unrated (-0).

Seemed unlikely I would hit 30 albums this week, as I've started every day with something old (Fats Waller today), and often found myself uncertain what to play next. The two A- records this week were recommended by Brad Luen and Chris Monsen, having largely exhausted Phil Overeem's July 2 list. Only things that nudged me up to 30 were writing an extra-long Speaking of Which and, when my initial count was 29, an EP recommended by Harbinger Entity.

The reviews will have to speak for themselves. What follows is mostly rant, meant mostly just to clear my head, so no real reason for you not to jump to to the review section. End of the month, so the July archive is final (link above), but I'll post this before I wrap up the indexing.

I've been plagued by technical problems lately. My top problem today was getting a Fujitsu ScanSnap ix1300 scanner to work with my computer (a home-built running Xubuntu 22.04). The SANE supported devices list says it's supported (except for wi-fi, which I neither need nor want), but I've spent many hours trying to get it to work, wrote several letters, eventually called up Fujitsu. Bottom line seems to be: no way. Fortunately, I should be able to return it (assuming I can get the label printed and/or the QR code scanned, both of which are proving difficult). This appears to be a case not just of getting a proprietary driver in place but of much basic functionality embedded in applications programs.

The printer problem is due to the HP OfficeJet Pro 9010 I bought a year back, which is now refusing jobs sent from my computer. This is the worst purchase I ever made in my life, for lots of reasons, but in theory should work. I need to contact HP, and try to hold back my anger.

I still don't have the email problem fixed. I have a server, which my regular ISP (Cox) refuses to accept email from. I'm thinking about implementing a short-term workaround, but it's quite possible that the underlying problem is keeping other mail from being delivered. One effect of this is that I'm not getting any questions through my form. Also the mail lists are at least partly broken (at least I'm not seeing them). Another problem with the form is that the captcha package (securimage) is no longer supported, so I should probably find a replacement (or just punt).

Another distracting project here is that my Sony 5-CD changer is broken (and Sony is no longer making them). Most likely a bad belt, but getting to it has been arduous, and I'm still not there. (I've looked for professional repairs, but been turned off by the sticker shock, so I've been thrashing.) Given how little I use the upstairs system for, I'm wondering whether it might be better to just replace it with an iPod equivalent, assuming I can load up such a thing from my Linux computers. (If we ever get a new car, I may have to switch to something like that, replacing my well-stocked CD travel cases.) Any suggestions? Longer range, I'd still like to set up a network jukebox.

Also had a very annoying mouse problem (erratic response). I bought a replacement, but it had the same problem. Turns out the fix was to plug the wireless connector into the front USB port instead of the back one.

I also have the usual scads of house projects. Anything outside will have to wait until hell freezes over (minus a month or two, if we're lucky and have a decent autumn). Forecast is 107°F tomorrow, which would be the hottest so far this year (although no record).

End rant.

My friend Max Stewart is presenting a show of his photography (August 4, here in Wichita).

New records reviewed this week:

Aila Trio: Shaped by Sea Waves (2022 [2023], Edgetone): Swedish bassist Georgia Wartel Collins is the writer here, Aila an extra first name. She is based in Norway, second group album, with tenor saxophonist Karl-Hjalmar Nyberg and drummer Andreas Winther. B+(***) [sp]

Akmee: Sacrum Profanum (2022, Nakama): Norwegian quartet, second album: Erik Kimestad Pederson (trumpet), Kjetil Jerve (piano), Erlend Olderskog Albertsen (bass), and Andreas Wildhagen (drums), 3-2-2-1 pieces respectively. B+(**) [bc]

Aphex Twin: Blackbox Life Recorder 21f/In a Room7 F760 (2023, Warp, EP): Electronics producer Richard D James, born in Ireland, grew up in Cornwall, has been recording since 1985, has slowed down of late, with an album in 2014 and several EPs since. Four songs, 14:31. Nice beats, but not much more to it. B+(*) [sp]

Ingebrigt Haker Flaten & Paal Nilssen-Love: Guts & Skins (2022 [2023], PNL): Norwegian bassist and drummer, the rhythm section for Atomic, the Thing, School Days, Scorch Trio, and countless other groups over the last 20-30 years, headline for an explosive octet. Ragged at first, then they slow it down and regroup more impressively. B+(**) [sp]

Aldo Fosko Collective: This One Time (2023, Hitchtone): From Croatia, plays Rhodes piano and bass clarinet, sems to be his/their first album. Fairly large group, generates impressive swing, but Alba Nacinovich's vocals disrupt and/or confound. B+(**) [cd]

Gabriels: Angels & Queens (2023, Atlas Artists/Parlophone): Gospel-inspired soul trio from Los Angeles, Jacob Lusk the lead singer, with Ryan Hope and Ari Balouzian, follows up 2022's short Angels & Queens: Part I (7 tracks, 27:29), with a second part (6 more songs, 21:31), but folds the two parts together. (Adding to the confusion, Spotify has a Deluxe Edition, with a second disc's worth of live and other extras, which I've heard but I'm not factoring in.) B+(**) [sp]

Allan Harris: Live at Blue Llama Jazz Club (2023, Love Productions/Live at Blue Llama): Jazz singer, plays guitar, more than a dozen albums since 1994, writes some: four songs here, out of ten, the covers from "Sunny" to "Nature Boy." With piano, bass, drums, and spots for Irwin Hall (alto sax, flute). B+(**) [cd]

High Pulp: Days in the Desert (2023, Anti-): Los Angeles-based jazz collective, self-released album in 2018, this their second with Anti-. Core group is a sextet, no names I recognize, with guest spots, including one track each for James Brandon Lewis (tenor sax), Brandee Younger (harp), Jeff Parker and Kurt Rosenwinkel (guitar), Daedelus and Telemakus (electronics). B+(**) [sp]

Carly Rae Jepsen: The Loveliest Time (2023, Silent): Canadian pop star, seventh album, but this is the second of those compiled from extra scraps -- there are also remix albums of two others -- these from the sessions that gave us The Loneliest Time. B+(***) [sp]

Russ Johnson Quartet: Reveal (2022 [2023], Calligram): Trumpet player, based in Chicago after a couple decades in New York, albums since 2004, moving from left of mainstream to farther out. Quartet with Mark Feldman (violin), Ethan Phillon (bass), and Tim Daisy (drums). Starts off with a romp, but less striking when they slow down, by which I mostly mean the violin. B+(**) [cd] [08-04]

Sarathy Korwar: KAL (Real World) (2023, The Leaf Label): London-based drummer, born in US but grew up in India, where he learned tabla. Three studio albums, plus this live one, offered as a companion to his 2022 album Kalak. Mostly stripped down to rhythm here, some reminding me of DJ Shadow. B+(**) [sp]

Jessy Lanza: Love Hallucination (2023, Hyperdub): Electropop singer-songwriter, from Ontario, fourth album (or fifth if you include her DJ-Kicks). B+(*) [sp]

Large Unit: New Map (2021 [2022], PNL): Norwegian drummer Paal Nilssen-Love's avant big band, several albums since 2014, this particular iteration lists 15 musicians, with 3 brass (trumpet/trombone/tuba), 3 reeds, 2 basses, 3 drums/percussion, and scattered others (guitar, harp, accordion, electronics). Two long pieces, one shorter, tend to hold back their firepower for interesting ambiance. B+(**) [sp]

Large Unit: Clusterfuck (2021 [2022], PNL): A second album released the same day, same group, recorded during the same three-day stretch, with more three pieces (48:52). A little more thrash, perhaps to justify the title. B+(**) [sp]

The Lemon Twigs: Everything Harmony (2023, Captured Tracks): Soft rock band from Long Island -- seems more accurate than Wikipedia's other genres (indie pop, or various rocks: indie, pop, power, glam, art, baroque). So soft it is. Also rather glum: "every day is the worst day of my life." C+ [sp]

Mahalia: IRL (2023, Atlantic): British neo-soul singer, last name Burkmar, second album after a compilation of earlier singles and EPs. B+(***) [sp]

Rita Ora: You & I (2023, BMG): Pop singer, born in Kosovo, moved to England when she was a baby, parents added Ora to their original surname (Sahatçiu). Third album since 2012. B+(**) [sp]

Mehmet Ali Sanlikol & Whatsnext?: Turkish Hipster (2023, Dunya): Turkish composer, born in Istanbul of parents from Cyprus, studied at Berklee and remains in Boston. Fourth album, his group named after his 2013 debut. Title is apt enough, but the widely scattered styles, ranging from trad to hip-hop to symphonic (I'll have to take his word for "psychedelic") cancel each other out. B [cd]

Skrillex: Quest for Fire (2023, OWSLA/Atlantic): Electronica producer Sonny Moore, debut was a 2009 EP, and that's been his main vehicle, with only one studio album (2014) before two this year. B+(*) [sp]

Skrillex: Don't Get Too Close (2023, OWSLA/Atlantic): Third album, released a day after his second. Tools are the same, but this seems more substantial as song -- not that I'm quick enough to be sure of what they're worth. B+(**) [sp]

Dudu Tassa/Jonny Greenwood: Jarak Qaribak (2023, World Circuit): Israeli (Mizrahi) musician, leads the group Dudu Tassa & the Kuwaitis, which play songs based on Iraqi classics, including songs by Tassa's grandfather and great-uncle Daoud and Salih Al-Kuwaity. The group opened for Radiohead in 2017, leading to this collaboration. Sounds Arabic to my ears. B+(*) [sp]

Felo Le Tee/Mellow & Sleazy: The III Wise Men (2023, New Money Gang): South African amapiano trio, affiliated somehow with DJ Maphorisa (Themba Sonnyboy Sekowe), although the producer names that appear here areTshelofelo Mokhine, Phemelo Sefanyetse, and Olebogeng Kwanaite (plus Mlotlasi Phoshoko on one track). Beats are inscrutable enough they take quite a while to settle in, and will be hard to distinguish from future efforts. But pretty good for now. A- [sp]

Sam Weinberg Trio With Chris Lightcap & Tom Rainey: Implicatures (2022 [2023], Astral Spirits): Tenor saxophonist, has appeared on a number of albums since 2016, not someone I've recognized so far, but his bassist and drummer are prominent enough they got their names on the cover. They help a lot, but Weinberg himself gives a clinic on what free jazz sax needs to sound like to keep your attention throughout. A- [bc]

YMA & Jadsa: Zelena (2023, self-released, EP): Brazilian artists, very little info I can find on either (Jadsa's surname is Castro, and comes from Salvador). Six songs, 18:38. B+(*) [sp]

Recent reissues, compilations, and vault discoveries:

Nina Simone: You've Got to Learn (1966 [2023], Verve): Piano-playing jazz singer-songwriter, with a previously unreleased seven track, 32:56 live set from Newport Jazz Festival. Backed by guitar (Rudy Stevenson), bass ( Lisle Atkinson), and drums (Bobby Hamilton). B+(*) [sp]

Old music:

Aila Trio: Aila Trio (2018, Hoo-Ha): Trio led by Swedish bassist-composer Georgia Wartel Collins, with Karl Hjalmar Nyberg (tenor sax/clarinet) and Andreas Skår Winther (drums). Nice sax tone. Nice bass solos, too. B+(**) [sp]

High Pulp: Pursuit of Ends (2022, Anti-): Jazz collective, came together in Seattle, self-released an album in 2018, then sold this one to a rock label. Simplifying the credits a bit: Bobby Granfelt (drums), Rob Homan (keyboards), Antoine Martel (guitars), Andrew Morrill (alto sax), Victory Nguyen (tenor/soprano sax, flute, trumpet), and Scott Rixon (bass & guitar), with a couple guests (Theo Croker, Jacob Mann, Jaleel Shaw, Brandee Younger) featured on one track each, and a few spare parts. B+(*) [sp]

Roots of Rock (1927-37 [1979], Yazoo): Actually just a country blues sampler, from a label which did yeoman work rescuing classic recordings, cleaning up the sound, organizing them into LPs, and later reissuing them on CD without trying to cram more into them (this one came out in 1991). These songs run early -- only Blind Blake came later than 1931. The title/cover concept is ridiculous: rock mostly came out of later jump blues, thematically shifted for the emerging teen market. But many (all?) of these songs got revisited in the 1960s, and recognizing their sources opened a few eyes. B+(***) [sp]

Co Streiff-Russ Johnson Quartet: In Circles (2011, Intakt): Dutch saxophonist (alto/soprano), wrote four pieces to the three by the American trumpet player, the Quartet rounded out with Christian Weber (bass) and Julian Sartorius (drums). B+(*) [r]

Unpacking: Found in the mail last week:

• Aline's Etoile Magique: Eclipse (Elastic) [08-25]
• Kris Davis Diatom Ribbons: Live at the Village Vanguard (Pyroclastic, 2CD) [09-01]
• Ember: August in March (Imani) [08-11]
• Pascal Le Boeuf: Ritual Being (SoundSpore) [08-25]
• James Brandon Lewis Red Lily Quintet: For Mahalia, With Love (Tao Forms, 2CD) [09-08]
• Doug Richards Orchestra: Through a Sonic Prism: The Music of Antonio Carlos Jobim (self-released) [09-08]
• Todd Sickafoose: Bear Proof (Secret Hatch) [09-29]
SLUGish Ensemble: In Solitude (Slow & Steady) [09-15]

Ask a question, or send a comment.

Monday, July 24, 2023

July archive (in progress).

Music: Current count 40606 [40575] rated (+31), 10 [17] unrated (-7).

I published another Speaking of Which last night. With a couple edits today, it comes to 5,264 words (85 links). Big news since then is that Israel, under Netanyahu's far-right government, has passed its bill to curtail Israel's Supreme Court from overruling anything the government does. Presumably this will help keep Netanyahu, who has been fighting corruption charges, out of jail, and will further protect his allies, some of whom have long criminal records. Many Israelis, and many long-time American supporters of Israel, regard this law as an assault on what's long passed for democracy in Israel. Here are some New York Times reports:

• What's next for Israel's judicial overhaul?

• Protests intensify across Israel despite Netanyahu's offer to delay broader judicial overhaul: Live updates.

• U.S. confronts tight but turbulent relationship with Israel.

I'll probably have more to say about this next week. Meanwhile, for a more critical view -- which compared to the New York Times, also means a more balanced view -- Mondoweiss is a good source. The first article out there is: New Israeli law is shock to U.S. Zionists, who fear break with American Jews.

While looking at the Times, I noticed an obituary for Reeves Callaway (75). I'm not sure whether I ever heard of him, but he led pretty much the life I imagined for myself when I was a teenager (my actual models were Colin Chapman, Carroll Shelby, and Carlo Abarth -- I liked to imagine shutting down my neighbor's GTO with one of Abarth's souped-up Fiat 850s).

I don't have much to add about this week's record reviews, except that it's gotten hard for me to think of things I really want to listen to next. Not only am I playing more non-work CDs when I get up, I'm finding myself stuck in extended patches of silence (or tinnitus). Very little in my demo queue has been released, and I inadvertently jumped the gun on a couple items.

In the Old Music section, Allen Lowe has been rhapsodizing about Tony Fruscella. I previously gave his 1955 eponymous album -- the only one released under his name in his brief lifetime (1927-69) -- a B+(***), which on replay seems about right. I only found two more albums, and didn't bother with the one I couldn't date. Jazz Factory has boxes of everything, but I haven't heard them.

As you probably know, Tony Bennett died last week, at 96. I liked his big hit when it came out, and I've always thought he was a good singer and a generally cool guy, but stuck in a niche that was neither jazz nor rock. So I thought I'd try a few of his early albums, focusing on things that seemed closer to jazz, but that didn't last long. (Another Lowe favorite, Dave Schildkraut, showed up in the Bennett credits, but I can't say as I noticed him in the music.) I considered a 1987 compilation called Jazz, but didn't have the time to track down where it all came from, so passed for now. My grade list for Bennett is here. Nothing A-listed, or even close, I'm sorry to say.

Looks like the heat has finally arrived here in Wichita, with 100F forecast every day through Friday. Still not the worst we've ever seen. I still have a long list of domestic projects, which have been frustrating me no end. Despite service calls, I'm still not receiving server email. I did get the server admin messages rerouted, so that's manageable. I have a new scanner to set up. Also a broken CD player: if I can't fix it (and thus far I haven't even managed to take it apart), I'll need to find service. I did manage to get the car oil changed (a typically bad experience with this dealer). I still need to line up a new doctor, as mine quit. Probably much more I'm blotting out of my increasingly feeble mind. At least July has one more Monday, so I don't have to face wrapping up the monthly archive yet. Got a couple packages in the mail today, to be unpacked next week.

New records reviewed this week:

Blur: The Ballad of Darren (2023, Parlophone): One of the big britpop bands of the 1990s, with six albums from that decade, but this is only their third since (2003, 2015). Maintains an air of grandeur. B+(*) [sp]

The Cucumbers: Old Shoes (self-released, EP): New Jersey group founded in 1983 with Deena Shoshkes and Jon Fried, released a delightful EP then, and an eponymous album in 1987 that remains a favorite. Since then, Deena has released several solo albums while occasionally reviving the group, as she does here, for a brief seven songs (23:11), as delightful as ever. Like old shoes, "I'm the one that fits you." A- [cd]

Sammy Figueroa: Something for a Memory (Busco Tu Recuerdo) (2022 [2023], Ashé): Percussionist (especially congas), from the Bronx, has led His Latin Jazz Explosion since 2006, before that had many side-credits, notably with pop bands like Chic. Thinking about his father here, a bolero singer named Charlie Figueroa, who died young, leaving no direct memories on his son. Featuring Gonzalo Rubalcaba (piano) and Aymée Nuviola (vocals), with Figueroa also singing, plus a sample from the father. B+(**) [cd]

Paulo Fresu/Omar Sosa: Food (2023, Tuk Music): Italian trumpet/flugelhorn player, in a duo with the Cuban pianist, playing a variety of keyboards, samplers, and effects, also credited with voice. Guest slots provide additional vocals, cello, and steel pan. The trumpet is very nice. B+(**) [sp]

Max Gerl: Max Gerl (2023, JMI): Bassist, electric and acoustic, with a nice solo album, ten originals plus a Monk. B+(*) [cd]

Jenny Lewis: Joy'all (2023, Blue Note): Singer for Rilo Kiley (2001-07), released a solo album in 2006, four more since. Nice enough. B+(**) [sp]

Doug MacDonald: Big Band Extravaganza (2022 [2023], DMAC Music): Touted as "the great straight ahead jazz guitarist," which means he probably wouldn't mind if I thought of Wes Montgomery (when I thought of anyone at all). B+(**) [cd]

Donny McCaslin: I Want More (2023, Edition): Tenor saxophonist, plays some flute, regular albums since 1998, as well as session work, notably for Dave Douglas, David Bowie, and Maria Schneider (for which he won a couple Grammys). Always impressive chops, but his slick postbop can be a turn off, especially when he goes with the synths as here. B [sp]

Lori McKenna: 1988 (2023, CN): Singer-songwriter from Massachusetts, 12th album since 2000, title refers to the year she got married, at 19, a union that endures, for better or worse, for richer or poorer, in sickness and in health, and increasingly in well-observed song. A- [sp]

Near Miss: The Natural Regimen (2022 [2023], Kettle Hole): Chicago trio, with two tenor saxophonists (Rob Magill, also on soprano and bass clarinet, and Gerrit Hatcher) plus drums (Bill Harris). A bit rocky, but they may prefer it that way, at least to hitting some hypothetical bulls eye. B+(***) [cd]

Palehound: Eye on the Bat (2023, Polyvinyl): Indie band, fourth album since 2015, singer-songwriter El Kempner, trans pronouns but sounds female. B+(**) [sp]

Nate Radley & Gary Versace: Snapshots (2023, SteepleChase): Guitar and piano duo. B+(**) [sp]

The Rempis Percussion Quartet: Harvesters (2023, Aerophonic, 2CD): Saxophonist Dave Rempis, from Chicago, plays alto and tenor, assembled this two-drummer quartet (Tim Daisy and Frank Rosaly), with bass (Ingebrigt Håker Flaten), in 2006, and returns with their ninth album. I hit the second disc first, and thought it was nicely balanced, as cogent or more as anything they've done. The first was more typically aggressive, although it settled down after a nice bass solo. Next piece added Jean-Luc Cappozzo on flugelhorn. A- [cd]

Marc Ribot/Ceramic Dog: Connection (2023, Knockwurst): Jazz guitarist, although this group, with Shahzad Ismaily (bass) and Ches Smith (drums), dating back to 2008, is more rock-oriented (or maybe "post-rock"), with vocals. Also some fairly major guest spots, including James Brandon Lewis (sax) on two tracks, Anthony Coleman (farfisa) on three, and Oscar Noriega (clarinet) on one. Includes a noise blast I could do without, and ends on an instrumental romp I'd' like to hear more like. B+(**) [sp]

Arman Sangalang: Quartet (2022-23 [2023], Calligram): Tenor saxophonist, from Chicago, studied at Indiana and Northern Illinois, first album, with David Miller (guitar), Matt Ulery (bass), and Devin Drobka (drums). B+(**) [cd] [08-04]

Lisa Marie Simmons/Marco Cremaschini: NoteSpeak 12 (2023, Ropeadope): Poet, born in Colorado, "survived several troubled adoptions and foster homes," sang in church choir, moved to New York, wound up in Italy, with keyboardist Cremaschini providing music for her words. Has a previous NoteSpeak album from 2020. This one is supposedly captivated by the number 12 (as in the 12-tone scale). The music is full-bodied without drawing attention away from the words, and the speaker can sing as easily as speak, but holds your interest either way. A- [sp]

Tyshawn Sorey Trio: Continuing (2022 [2023], Pi): Drummer-led piano trio, with Aaron Diehl (piano) and Matt Brewer (bass). Four covers, none I immediately recognized as standards -- ok, I should have noted "Angel Eyes," but the others are composed by Wayne Shorter, Ahmad Jamal, and Harold Mabern -- ranging from 10:25 to 15:43. Sounds more together than your average piano trio, but I can't really tell you why. A- [cd]

Molly Tuttle & Golden Highway: City of Gold (2023, Nonesuch): Bluegrass singer-songwriter, plays banjo and guitar, from California, fourth album after a 2017 EP. B+(***) [sp]

Paul Tynan & Aaron Lington: Bicoastal Collective: Chapter Six (2022 [2023], OA2): Trumpet/flugelhorn and baritone sax, respectively, backed by electric bass (Trifon Dimitrov) and drums (Joe Abba). B [cd]

Colter Wall: Little Songs (2023, Black Hole/La Ronda): Canadian country singer-songwriter, more western than most. Fourth album, songs advertised as "little" but carefully nuanced. B+(***) [sp]

Adrian Younge: Jazz Is Dead 18: Tony Allen (2018 [2023], Jazz Is Dead): Bandcamp page credits, Allen, Younge, and Ali Shaheed Muhammad, but cover omits Muhammad, and 18 releases in I see no need to mess with the what's become canonical order. Nigerian drummer Allen is unusual in two respects: he's relatively famous, and he's dead (in 2020, at 78), so for once we get a date on the sessions. He also gives you more than the usual beat, along with organ vamps and section horns. On the other hand, the title has never been more à propos. Eight songs, 27:58. B+(*) [sp]

Nicole Zuraitis: How Love Begins (2022 [2023], Outside In Music): Jazz singer-songwriter, plays piano, at least four previous albums, starting in 2008. This is divided into "oil" and "water" sides. Co-produced by bassist Christian McBride, with Gilad Hekselman (guitar), Maya Kronfeld (organ/keyboards), and Dan Pugach (drums), plus guests. B+(*) [cd]

Recent reissues, compilations, and vault discoveries:

Pan Afrikan Peoples Arkestra: 60 Years (1961-2019 [2023], The Village): Six previously unreleased pieces (83:35) from Los Angeles pianist Horace Tapscott's community organizing project, dates not missing (at least from what I've found, which alludes to the group's founding in 1961, and continuation twenty years after Tapscott's death in 1999. I think of this as social music from the brief period when the avant-garde sought a deeper audience in black power, but in retrospect the vocals didn't always help. B+(***) [bc]

Old music:

Count Basie/Tony Bennett: Basie/Bennett: Count Basie and His Orchestra Swings/Tony Bennett Sings (1958 [1959], Roulette): Basie's "New Testament" band got very busy during this period, not just cranking out their own bombastic swing albums but appearing with others who wanted to sing or play along. Bennett recorded several albums with them, and the uplift helps on the fast ones, which makes me wonder why the singer decided to slow it down. B+(*) [r]

Tony Bennett: Cloud 7 (1954 [1955], Columbia): The late singer's first LP -- preceded by the 10-inch Because of You in 1952 -- offering ten standards, 33:05, with small jazz combos: two tracks with Al Cohn (tenor sax) and Gene DiNovi (piano), others with Dave Schildkraut (alto sax), Charles Panely (trumpet), and Chuck Wayne (guitar), among others. Good voice and nice band(s), but doesn't sound major. B+(*) [sp]

Tony Bennett: The Beat of My Heart (1957 [1996], Columbia/Legacy): One of the early albums treated to an expanded CD reissue, with six songs added (but one dropped). Mitch Miller remained the producer at Columbia, but British pianist Ralph Sharon, who would serve as Bennett's music director at least through 2001 (he died at 91 in 2015), took over the arranging, and was presumably responsible for the scattershot lineup of jazz notables, including six drummers (ranging from Art Blakey to Jo Jones to Candido), three each flutes and trombones, Nat Adderley on trumpet, and Al Cohn on tenor sax. One of his jazziest records, both by song selection and arrangement, but also a rather weird one. B+(**) [sp]

Tony Fruscella: Tony's Blues: The Unique Tony Fruscella (1948-55 [1992], Cool & Blue): Trumpet player (1927-69), from New York, recorded an eponymous album for Atlantic in 1955, another session that wasn't released at the time, and a few live sets, like this one: one 1955 track with Hank Jones, eight short tracks from 1948 (23:00) with Chick Maures (alto sax) and Bill Triglia (piano), and three long tracks (39:23) from 1955 with Phil Woods (alto sax) and Triglia. Fruscella has a reputation as a forgotten hero. He makes a fine showing here -- as does Woods -- but this doesn't feel all that unique. B+(**) [sp]

Shuckin' Stuff: Rare Blues From Ace Records (MS) (1955-81 [2002], Westside, 2CD): A r&b label run by Johnny Vincent in Jackson, Mississippi, from 1955-62, with a revival in 1971 (a few of these tracks are dated 1977-81, and more are listed as previously unreleased), before it was sold to Demon Music Group in the UK. A couple songs, including the title track, I know from elsewhere -- The Best of Ace Records, Vol. 2: The R&B Hits is one I play a lot -- but most cuts are fairly generic blues, and I like them just fine. B+(***) [sp]

Unpacking: Found in the mail last week:

• The Cucumbers: Old Shoes (self-released) [07-21]
• Mike Jones Trio: Are You Sure You Three Guys Know What You're Doing? (Capri) [08-18]
• Near Miss: The Natural Regimen (Kettle Hole) [07-07]

Ask a question, or send a comment.

Monday, July 17, 2023

July archive (in progress).

Music: Current count 40575 [40543] rated (+32), 17 [17] unrated (-0).

First up is a new Speaking of Which yesterday, with 75 links (2550 words). I do this every week, but like to provide the link here, partly because it takes a lot of work (even relatively short ones like this), and partly because my Twitter announcements for Music Week typically get more than twice as many views as my Speaking of Which announcements.

And yeah, I'm still on Twitter, and not on Mastodon or Blue Sky or (heaven forbid!) Threads (nor for that matter Instagram, or many other things I may not even be aware of; while I am on Facebook, my use is minimal, more to follow family and old friends, and not to promote my writings or even opinions; hence I rarely accept friend requests unless I know you personally). And (checking now) I see that my Twitter followers have dropped back under 600 (a pinnacle I thought I reached last week), and last week's Music Week announcement was viewed by half as many people used to be the case, so maybe it is true that Elon Musk has set fire to his $44 billion, or maybe he just wants me to take a hint.

I started yesterday's column with a pitch to ask me questions, or at least offer some feedback, only to discover that the form isn't working. That may explain why I haven't heard anything since February. The first obvious problem has to do with the captcha software, which has stopped serving images. (I just checked and the same software is till generating images on the Christgau website, so that may have just been a red herring.) I disabled it, then tried testing again, and while it seemed to work, I didn't get the forwarded mail, so there is an as-yet-undiagnosed server problem as well. So stand by, but know you don't have to use the form: regular email works.

I wrote a fairly long comment reply to one of Allen Lowe's Facebook screeds. I thought maybe I would expand it here, but don't feel up to it at the moment. A slightly better formatted version is in my notebook under "Daily Log." One point I do want to take exception to is Lowe's claim: "THERE IS NO LONGER ANY EXCUSE for critic/voters to be unaware of anyone, to just pull the lever for the same person year after year" (for which he then gives a fictional example). But there is a big excuse, which is the finite amount of listening time in each day, far short of what's available let alone of the still vast amount that isn't available (at least free, and who knows how much there is that isn't even that?).

Lowe's had a bug up his ass about jazz polls recently. I've been pretty explicit about the limits and biases built into even the best critics polls -- I also talk a bit about this in my JJA Podcast -- but please, we're doing the best we can, with limited hours and lots of other pressures (not least of which is money). (And let me add that the better I get to know my fellow critics, the more impressed I am with how much they know, and how hard they work to share their knowledge and understanding.)

Jazz polls will never give you a perfect accounting of genius (or whatever they're imagined to be measuring). What they do offer is a chance to learn something you don't already know. And that's a good thing, because the odds that you know it all are nil. As an example, at least 25% of the records that get votes in the Francis Davis Jazz Poll every year were previously unknown to me.

Also, for future reference, Phil Overeem reposted another Allen Lowe piece in response to Robert Christgau's A- review of Lowe's America: The Rough Cut. I think what he's trying to say is that roots are dirty, which is practically the definition everywhere but music.

Aside from Hwang, which I got in the mail, and who is one of those guys I've voted for "year after year" (at least since Billy Bang died), all of my picks below are someone else's recommendation. Most of the misses, too. That's just how it always works.

New records reviewed this week:

African Head Charge: A Trip to Bolgatanga (2023, On-U Sound): Dub group started in 1981, with percussionist Bonjo Iyabinghi Noah and producer Adrian Sherwood. B+(**) [sp]

The Harry Allen Orchestra: With Roses (2023, Triangle7): Tenor saxophonist, retro swing, many albums since 1994, this a fairly large band -- eight pieces, not counting guests and singer Lucy Yeghiazaryan, who I'm not especially impressed with. B [sp]

Jeff Babko/David Piltch: The Libretto Show (2022 [2023], Tudor Tones): Piano-bass duo, four Babko originals, plus covers of pianists Mac Rebennack and Denny Zeitlin, and a Jobim with a bit of guest violin. B+(*) [cd]

Caterina Barbieri: Myuthafoo (2023, Light-Years): Italian electronica composer, sixth album since 2017, mostly works with minimalist synths. B+(**) [sp]

Selwyn Birchwood: Exorcist (2023, Alligator): Blues singer-songwriter from Florida ("down where rebel flags meet Mickey Mouse""), parents from Tobago and UK, plays electric guitar and electric lap steel guitar, sixth album since 2011. Guitar most impressive. Songwriting a little iffy, but I jotted down one line: "I love you baby, like the church loves money." B+(*) [sp]

Julie Byrne: The Greater Wings (2023, Ghostly International): Singer-songwriter from Buffalo, based in New York, third album (or second if you discount the cassette-only debut). Ballads singer, something I rarely tune in for, but I did notice the ghostly calm shift toward mesmerizing. B+(**) [sp]

Carook: Best of Carook (So Far) (2021-22 [2023], Atlantic): Nashville-based singer-songwriter Corinne Savage, several singles and EPs, has a substantial Wikipedia page, where I note 839.6K TikTok followers, but the only Discogs entry is one track on a label Record Store Day sampler. Signs of a cult figure, trendily trans, which I'm little inclined to indulge, so forgive the pronoun infractions, but "they" sound her to me, so let's go with that. Eleven songs, 34:07, the first couple and at least one more too slight to consider, but she learns some tricks along the way, after which the music more than suffices. And while I rarely catch words, I did jot down a couple lines: "hey, hey it's ok/everybody feels kinda weird some days"; and "lately the weight of the world is a lot." [PS: I've seen this described as "old music," but the singles start up in 2021, though they may have been recorded earlier. Everybody releases singles ahead of the albums they belong to, so despite its name this strikes me as more of a new release. I've seen a Nov. 2022 release date, but the label release is May 12, 2023, not that I know what, beyond digital, was actually released. I've noticed that whoever insists on "(So Far)" as part of their best-of title has been cursed to never have any more hits. I doubt that applies here.] B+(***) [sp]

Carook: Serious Person (Part 1) (2023, Atlantic, EP): Seven songs, 21:12, should be more consistent but isn't. Opens with two pretty good songs that could be more musical, then reverses the formula. Only one that makes me want to hear more is the closer, which isn't like any of the others. B+(***) [sp]

Alex Coke & Carl Michel Sextet: Emergence (2022 [2023], PlayOn): Tenor saxophonist, also plays flute, from Texas, played in Willem Breuker Kollektief in 1990s. Michel is a guitarist, who wrote four songs (to 3 from Coke, out of 12). Group also includes concert harp, pedal steel, bass, and vibes. B+(*) [cd]

Maria Da Rocha/Ernesto Rodrigues/Daniel Levin/João Madeira: Hoya (2022 [2023], Creative Sources): Portuguese string quartet: violin, viola, cello, and double bass. Starts off with a solo piece each (average 4:07), then six shorter duo pieces (2:15), then two quartet pieces (22:54 total). B+(**) [cd]

Oivia Dean: Messy (2023, EMI): British pop singer-songwriter, first album after several EPs. B+(*) [sp]

Deer Tick: Emotional Contracts (2023, ATO): Singer-songwriter John McCauley and band, a couple members going back to 2007, another to 2009. Eighth album, basic Americana. B+(*) [sp]

Gabriel Espinosa: Bossas and Boleros (2022 [2023], Zoho): From Mexico, based in New York, plays bass and sings, shares both roles with others, "with Kim Nazarian" noted on the cover. Five originals among ten songs. Touted guest spots include Anat Cohen, Fred Hersch, and New York Voices, none of which help much. B- [cd]

Orrin Evans: The Red Door (2020-22 [2023], Smoke Sessions): Pianist, from Philadelphia, has recorded quite a bit since 1995. Several lineups, half with horns added (mostly Nicholas Payton and Gary Thomas), three with vocals (Jazzmeia Horn, Sy Smith, and Alita Moses). B [sp]

Drayton Farley: Twenty on High (2023, Hargrove): Country singer-songwriter from Alabama, second album. B [sp]

Gel: Only Constant (2023, Convulse): Hardcore band from New Jersey, Sami Kaiser the singer, who previously fronted a band called Sick Shit. Calling them "punk" helped to get me curious, but the only resemblance is in their minimal song structures and times. First album, after a couple EPs, but at 16:29 this could be counted as another, despite ten "songs." B [sp]

Kevin Harris & the Solution: Jazz Gumbo (2023, Blujazz): Singer, no idea which of 33 of his name at Discogs might he be, but he's recovered impressively from throat cancer, and leads a band including Donald Harrison (alto sax), Will Lee (bass), and Jerry Z (organ/piano) through a list of r&b-to-jazz standards like "Yes We Can Can," "I Get Lifted," and "Freedom Jazz Dance." I'm not wild about any of them. B- [cd]

PJ Harvey: I Inside the Old Year Dying (2023, Partisan): English singer-songwriter, initials for Polly Jean, was a big deal in the 1990s -- I really disliked her first two albums, but was won over by To Bring You My Love, even though I've only intermittently enjoyed her since, liking but not being wowed by her 2011 album-of-the-year contender Let England Shake. Only her second album since, shows a lot of work, yet remains exceedingly difficult to get into. B+(*) [sp]

Jason Kao Hwang Critical Response: Book of Stories (2023, True Sound): Violinist, b. 1957 in Illinois, parents immigrated from Hunan after WWII, has spent considerable time mastering classical Chinese music but he's mostly recorded cutting-edge jazz, making him the heir apparent after the deaths of Leroy Jenkins and Billy Bang. Trio here with guitarist Anders Nilsson, who blends in beautifully, and drummer Michael T.A. Thompson. A- [cd]

The Japanese House: In the End It Always Does (2023, Dirty Hit): British singer-songwriter Amber Mary Bain, second album, after several EPs. B+(*) [sp]

The Malpass Brothers: Lonely Street (2023, Billy Jam): Country duo, Christopher and Taylor Malpass, from North Carolina, fourth album. Trad, with an easy-going manner. B+(***) [sp]

Gretchen Parlato/Lionel Loueke: Lean In (2022 [2023], Edition): Jazz singer from Los Angeles, father and grandfather were musicians, sixth album since 2005, paired here with the guitarist and occasional vocalist from Benin, usually backed by drums (Mark Guilliana), sometimes bass (Burniss Travis). Not sure if this is intended to sound Brazilian, or that's just their natural fusion. B+(*) [sp]

Bruno Parrinha: Da Erosão (2023, 4DaRecord): Alto saxophone, solo, even with such a talented player always a difficult proposition, one that at 43:24 outlasted my patience. B+(*) [cd]

Kim Petras: Feed the Beast (2023, Island): German pop singer-songwriter, moved to Los Angeles at 19, by which point she was a celebrity as the "world's youngest transsexual." First album, after a couple mixtapes and the 2022 EP Slut Pop. I thought the latter was pretty great, but didn't care for her Grammy-winning duet with Sam Smith (which closes out this 15-song, 40:36 album). This has gotten savaged by critics (59 on Metacritic). Hard to tell whether that's prejudice -- or what kind, given that many pop albums get savaged when they fail to overwhelm. Especially given that this one does feel rote as often as not. B+(*) [sp]

Ernesto Rodrigues/Florian Stoffner/Bruno Parrinha/João Madeira: Altered Egos (2023, Creative Sources): Portuguese group: viola/crackle box; electric guitar; clarinet/alto sax; double bass. B+(***) [cd]

Ernesto Rodrigues/Fred Lonberg-Holm/Flak/João Madeira/José Oliveira: The Giving Tree Moving On (2023, Creative Sources): Viola/crackle box, cello, electric guitar, double bass, percussion. An extended piece in eight parts. B+(**) [cd]

Bill Scorzari: The Crosswinds of Kansas (2022, self-released): New York-based singer-songwriter, fourth album since 2014, before which he was some kind of hot shot attorney. Thirteen songs, stretched out to 71 minutes, has a long list of supporting musicians with a few tracks each, suggesting this was recorded over multiple sessions, perhaps going back to 2012. Christgau suggests reading along with the lyric sheet, but he has one, and would do that. Still mostly guitar and words, the latter almost talky. Seems like the surest way to a high grade around here is to remind me of John Prine, which happens when his usual Dylan gets off on a story. A- [sp]

Tiny Ruins: Ceremony (2023, Ba Da Bing): New Zealand singer-songwriter Hollie Fullbrook started this as an alias in 2011, grew it into a band. Fourth album, rather nice. B+(*) [sp]

Josie Toney: Extra (2023, Like You Mean It): Country singer-songwriter, plays violin, notably for Sierra Ferrell, first album. B+(**) [sp]

Young Thug: Business Is Business (2023, Atlantic): Atlanta rapper Jeffrey Williams, third studio album after a lot of mixtapes. [PS: Also available is (Metro's Version), where Metro Boomin' produced more tracks, but still not all of them.] B+(**) [sp]

Recent reissues, compilations, and vault discoveries:

John Coltrane With Eric Dolphy: Evenings at the Village Gate (1961 [2023], Impulse!): Recently discovered at the New York Public Library, "eighty minutes of never-before-heard music," and who isn't psyched to listen to more vintage Coltrane, especially his 1961 group with Dolphy? After all, the same group (give or take a bassist) recorded Live at the Village Vanguard in November, a career highlight which loses nothing even in its 4-CD Complete version. This goes back to August, and while the group isn't quite as together, the sound isn't nearly as great either. Granted, by the time they get into "Greensleeves" they've hit great, but you've heard that how many times before? B+(***) [sp]

L'Orchestre National Mauritanien: Ahl Nana (1971 [2023], Radio Martiko): Music from the northwest Sahara, recorded in Casablanca, Discogs and Bandcamp have group name and album title swapped, probably the label's mixup, but across multiple editions this way makes the most sense. I can't say much either for its "revolutionary" nature (unlikely) or its supposed influence on later "desert rock" (probably not directly, but similar bands of this vintage undoubtedly existed). Still, it is rather unique, as befits a discovery from a relatively unknown corner of Africa. B+(***) [sp]

Piconema: East African Hits on the Colombian Coast (1978-84 [2023], Rocafort): Various artists compilation, no idea when these nine tracks were recorded, or indeed whether the artists hail from Palenque in Colombia or from Kenya, the home of Benga with its sweet guitar and incessant rhythm. [PS: All groups appear to be from Kenya or Tanzania, active in 1978-84, plus or minus a couple years, with all songs available as singles or in some cases on albums, although Discogs provides few dates. But the compilers first heard these songs on Colombian sound systems.] A- [bc]

Old music:

The Ultimate College Party: 50s & 60s Party Anthems (1953-62 [2014], Jasmine, 2CD): London-based, Czech-manufactured reissue label, in business since 1982, cherry-picking through the past unencumbered by America's ridiculously extended copyright regulations. Clifford Ocheltree often showcases their wares in his daily featured recordings. He reckons this one has "48 A+ songs, 7 A and 4 more A-." That's a bit high, but it looked too good not to order (and that's something I almost never do these days). Half are hits I have in other often-played anthologies and never tire of, and the other half are items I remember from my misspent youth (except maybe for "To the Aisle," a real find). I sampled the dates, so I might be off a bit, but not by much: the few 1960s cuts are early, even "Surfin' Safari." Ignore the concept: the pivotal age here is 16, even when "Tequila" is served. Also, the print is damn near impossible to read. But those hardly qualify as quibbles. A [cd]

Grade (or other) changes:

Elle King: Come Get Your Wife (2023, RCA): Singer-songwriter from from Los Angeles or New York, daughter of comedian Rob Schneider, took her mother's name, started as an actress in 1999, recorded an EP in 2012, followed by an album in 2015, with this her third, and most country, right down to the trailer cliché, which she treats as a badge of honor. [was: B+(**)] A- [sp]

Unpacking: Found in the mail last week:

• Geof Bradfield Quintet: Quaver (Calligram) [08-04]
• Aldo Fosko Collective: This One Time (Hitchtone) [05-23]
• Max Gerl: Max Gerl (JMI) [07-28]
• Allan Harris: Live at Blue Llama Jazz Club (Love Productions/Live at Blue Llama) [07-28]
• Russ Johnson Quartet: Reveal (Calligram) [08-04]
• Low Country: Low Country (Ropeadope) [07-28]
• Chad McCullough: The Charm of Impossibilities (Calligram) [08-04]
• Arman Sangalang: Quartet (Calligram) [08-04]
• Mehmet Ali Sanlikol & Whatsnext?: Turkish Hipster (Dunya) [07-21]

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