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An occasional blog about populist politics and popular music, not necessarily at the same time. LinksLocal Links Social Media My Other Websites Music Politics Others Networking Music DatabaseArtist Search: Website SearchGoogle: Recent Reading
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Sunday, September 20, 2026 Music Week
September archive (in progress). Music: Current count 46602 [46568] rated (+34), 23 [25] unrated -2). Advance Music Week appeared September 18 on Substack as Music Week (9:3). It is also archived here. My cutoff was done before the Substack post, but the introduction is revised/rewritten. Way too much to complain about this week. I mentioned a few things in my Substack post, and figured I'd go into more depth here, but I'm too tired and too disgusted to follow through. The problem with not feeling well is one lacks even the energy to try to do things. From there, the frustration only mounts. Main thing to report here is that I spent more time on my checklist of albums from Brad Luen's 1950s, 1960s, and 1970s decade posts. I haven't finished adding my grades to the first two lists, but the jazz picks are impeccable, and the rock/soul/country are problematic only in the choice of compilations — Luen tries to anchor these in the decade, whereas I mostly have expanded CD best-ofs from the 1990s. What's new for me is the extensive lists of non-English albums, especially from Latin America and Africa. I'm not especially ignorant in such matters, but most of the records he's listed so far were previously unknown by me — or at least unheard, except perhaps partly in later compilations. I've been scrambling to catch up, which is turning into its own fount of frustration, as many albums are clearly good but would require more time and effort to properly address than I'm currently up to. A couple of them appear below, and more are coming next week (and possibly for some time after that). My impression is that Luen is several decades younger than I am. His lists appear to have been constructed from researched history, picking most items from common lists, as mine would have been for the 1950s and most of the 1960s. Same thing for his 1970s, but my own take on that decade was mostly from lived experience, as I would have snagged more personal picks, including some that very few even knew about. I was born in 1950, so I remember some 45s and radio hits from the late 1950s, and more from my teen years in the 1960s, but I was no more than a casual fan until around 1973-74, when I finally got a job that for the first time in my life gave me some discretionary income. Then I went crazy, greatly expanding my horizons, to such an extent that I feel a certain proprietary interest in the 1970s, unlike any decade before or since. That's why I spent some time constructing my own take on That 70s List. I should be clear that this is not a response or alternative to Luen's list. This is an exercise that at most might be a tentative step toward a list, or perhaps might cast doubt as to whether such a decade list is even a good idea. What I did was to take my 1,000 Albums for a Long and Happy Life list — created in 2008, and only lightly edited since then, and collected the albums that had 1970-79 dates. I then reviewed the list, and scratched out compilations that crossed decade lines, or that were released after 1979. In some cases, I added replacement albums — earlier compilations, or single albums that stood adequately on their own (e.g., I replace Wire's On Returning with Pink Flag). I got the list down to about 180 albums, but I then went back through several lists and added a few more, bringing it back to just under 200. New records reviewed this week: Ralph Alessi: A Sun That Never Sleeps (2025 [2026], ECM): Trumpet player, several dozen albums since the late-1990s, has brother Joseph Alessi on trombone, backed by Matt Mitchell (piano), John Hébert (bass), and Ches Smith (drums/vibes). B+(**) [sp] ALG Trio: Between the Vistula and the Hudson (2026, Aesthetiko): Gilad Atzmon (alto sax/clarinet), Piotr Lemanczyk (bass), and Adam Golicki (drums). The Vistula is the main river draining Poland, home of the rhythm section. Atzmon was born in Israel, left for Britain in 2002, and has continued to be vocal in his opposition to Israeli policies. I doubt that matters at all here, a trio where the lead is well-mannered but precisely focused. A− [sp] Gilad Atzmon/Daniel Bulatkin/Taras Volos/Dušan Černák: Praying for More Songs to Come (2024 [2025], Hlava XXII): Leader plays alto sax/clarinet, backed by piano, bass, and drums, with two Atzmon originals, one each from Bulatkin and Volos, and a "My Old Flame" cover. B+(***) [sp] Baauer: U (2026, LuckyMe): EDM producer Harry Bauer Rodrigues, from Philadelphia, started as Captain Harry, had a hit single in 2012 called "Harlem Shake," third album after 2016 and 2020. B+(**) [sp] Maja Babyszka/Gilad Atzmon/Nikos Sidirokastristis: In Memory of That Song (2024 [2025], Aesthetiko): Piano, woodwinds, and percussion, the pianist also using voice for harmonic layering. B+(**) [sp] Alain Bradette: To My Loved Ones (2026, Quantum Gravity): Saxophonist (tenor in pics, also EWI), from Montreal, released a debut album in 2005, mostly originals, postbop with guitar, keyboards, bass, and drums. B+(*) [cd] BTS: Arirang (2026, Big Hit): K-pop boy group, 6th Korean-language studio album since 2014 (along with 4 Japanese albums), first since 2020, their hiatus occasioned by "military service." I file the few K-pop albums I hear under "Asian," but this is really a hip-hop group, with the crucial difference that it's hard to discern individuality, and not just because it's mostly in a language I don't understand (Korean). What's fascinating about watching their performances is the constant shuffling of focus, but that's much harder to hear. Still, the bits of English are hooks, which may be just enough. B+(**) [sp] Todd DelGiudice: Mas Alto (2025-26 [2026], OA2): Alto saxophonist, second album as leader (first was 2011), some side credits, including with Jon Hamar (bass here; drums are split between Obed Calvaire and Jim White). Mostly original pieces (one by Hamar), but starts with Tristano, and includes a "Darn That Dream." I do enjoy a good sax workout. B+(***) [cd] Louis Durra: Mood Music (2026, self-released): Pianist, from California, studied at Berklee, moved to Berlin, recorded this in Los Angeles, has one previous album (per Discogs, although I have two more in my database). Mostly originals, quiet and lovely music with light bass or guitar and drums. B+(**) [cd] Christian Finger: Zeit Zirkel (2026, Finger Music): German drummer, based in New York, first album after a few side credits, rounded up a fairly prominent postbop quintet, with Ralph Alessi (trumpet), Ben Monder (guitar), Vadim Neselovskyi (piano), and Adam Armstrong (bass). B+(*) [cd] [10-01] Grex: Auntie + Tebs (2026, Geomancy): Oakland group, with Karl Evangelista (guitar), Rei Scampavia (keyboard), and Robert Lopez (drums), the first two also voice and misc., produce some very noisy experimental rock with jazz moves, with several others helping out — names include Bobby Bradford (cornet) and Zoh Amba (sax). Title references Filipino reform politician Miriam Defensor Santiago and South African drummer Louis Moholo-Moholo. Radical ambitions, realized erratically. B+(**) [bc] Rich Halley 4: A Distant Land (2025 [2026], Pine Eagle): Tenor saxophonist, from Oregon, has recorded since 1984, but his pace picked up after he hit 65. His usual quartet, with trombone (Michael Vlatkovich), bass (Anadrew Jones), and drums (Carson Halley). Most are terrific, as are the sax leads here. But some stuttering in the flow gives me pause. B+(***) [cd] Heat On: 150 Swirl (2025 [2026], Cuneiform): Group led by drummer Lily Finnegan, second album, with Edward Wilkerson Jr. (tenor sax and alto/Bb clarinet), Fred Jackson Jr. (alto sax and percussion), and Nick Macri (basses). B+(***) [dl] Noah Kahan: The Great Divide (2026, Mercury): Singer-songwriter, from Vermont, fourth album since 2019, plays some guitar, co-writes with Gabe Simon (guitars, some keyboards and percussion) and sometimes Aaron Dessner (more of everything). Much longer (96 minutes) than my attention span, at least when listening to this. B+(*) [sp] Kiwi Jr.: Blowin' Up (2026, Perennial/K): Indie band from Canada, fourth album since 2026. Sounds a bit like Pavement fronted by Jonathan Richman, but if that were the case, wouldn't I be more delighted? B+(**) [sp] Janel Leppin: The Realist (2024 [2026], Out of Your Head): Cellist, recent albums on Cuneiform have been coming in pairs, this just a trio with Devra Hoff (bass) and Chad Taylor (drums/mbira). Mostly a groove album, but not just. B+(***) [sp] Roberto Magris Trio: Live in Mexico City (2025 [2026], JMood): New piano trio, released along with four archive tapes as part of his label's 20th anniversary solution (below for the rest). With Roberto Aymes (bass) and Luis Martinez (drums), playing three originals and various standards, opening with a medley of McCoy Tyner and Don Pullen. B+(***) [cd] Syran Mbenza: Rumba Africa (2025, Hysa Productions): Congo guitarist, b. 1950, based in France since 1981, best known bands are Les Quatre Étoiles and Kékélé, with occasional solo albums since 1980, most recently a fine Franco tribute (2009). Very nice, but hardly exceptional. B+(***) [sp] Rome Streetz: Sock It 2 My Pocket (2026, Mass Appeal): Rapper Jerome Allen, born in London, moved to New York as an infant, then back and forth. Half-dozen studio albums since 2018, many more collaborations, mixtapes, etc. B+(**) [sp] Nicolas Souchal/Joăo Madeira/Bruno Parrinha: Parcours D'Impulsions (2025 [2026], 4DaRecord): French trumpet player, has several albums since 2017, with bass and alto sax. Abstract, the horns restrained, but gets somewhere toward the end. B+(*) [dl] Ross Stanley/Gilad Atzmon/Joel Barford: Organology (2025, Aesthetiko): Some sources take album title as group name, but the individual names are equally prominent on the cover, in the order given: organ, alto sax, drums. British group. Stanley has appeared on many albums since 2006, occasionally on the slug line, rarely listed first. Barford is relatively new. Of course, this comes down to the saxophonist, who is delightful. B+(***) [sp] This Is Lorelei: The Singer in My Band (2026, Matador): Singer-songwriter Nate Amos, solo side-project aside from the Rachel Brown-fronted Water From Your Eyes. Third album, after lots of EPs and mixtapes. Tuneful, interesting, enough twang for Americana (if not country). I played it three times, and don't doubt it will find followers, but I still don't care. B+(***) [sp] The Tubs: Hard Life (2026, Merge): Welsh indie band, Owens Williams the singer, also plays guitar, previously from Joanna Gruesome. B+(*) [sp] Matt Wilson's Good Trouble: Love Is the Whole Thing, We Are Only Pieces (2026, Palmetto): Drummer, own records since 1996, huge number and range of side credits, can play free or any variety of postbop. Second group album, name inspired by Andrew Young, features Jeff Lederer (tenor sax), with alto sax (Tia Fuller or Anisha Rush), Dawn Clement (keyboards/vocals), and Ben Allison (bass). I'm not feeling the vocals, although I can guess at the logic and sentiment behind them. But there's no guessing with Lederer. B+(**) [cd] [09-18] Recent reissues, compilations, and vault discoveries: Herb Geller/Roberto Magris: Come Lately: Archival Recordings 2009 (2009 [2026], JMood): Alto saxophonist (1928-2013), from Los Angeles, his mid-1950s albums were high points in the development of "West Coast Cool Jazz," quit after his wife died in 1958, moving to Brazil then to Europe, where he staged a notable comeback around 1990. His association with the Italian pianist began in 2003, with a live album from 2009 appearing in 2014. Backed by bass and drums, playing standards (one from Geller), familiarity helps, especially the 21:53 "Strayhorn Medley." A− [cd] Roberto Magris: Live in Hollywood: Archival Recordings 2006 (2006 [2026], JMood): Italian pianist, released an album in 1990, but only found a home when he linked up with this Kansas City-based label, an event they're marking with five "20th anniversary limited editions." The earliest is this live set, with Tony Lakatos (tenor sax), Art Davis (bass), and Alonzo "Scooter" Powell (drums). They all sound terrific here, especially on standards like "St. James Infirmary." Ends with audio liner notes (interesting the first time, but rather long on repeat). A− [cd] Roberto Magris Europlane Quintet: Broken Barriers: Archival Recordings 2008 (2008 [2026], JMood): The pianist with Tony Lakatos (tenor/soprano sax), Florian Bramböck (alto/soprano sax), Nikola Matosic (bass), and Drago Gajo (drums), recorded in Austria. Again, the saxophone makes all the difference, even though it is, quite literally, less singular this time. A− [cd] Roberto Magris: Wind Summit: A Kansas City Jazz Session: Archival Recordings 2014 (2014 [2026], JMood): Pianist, with Steven Lambert (flute/clarinet/tenor sax) and Robert Scott Fromm (tenor sax), bass, and drums, plus vocals (Julia Haile) on two tracks (of 7, 6 bebop-era jazz tunes plus 1 Magris original). B+(**) [cd] Old music: The 5.6.7.8's: Best Hits of the 5.6.7.8's (1989-2014 [2019], Time Bomb): Japanese garage rock outfit founded 1986, two sisters plus a third woman (on bass, since the early 1990s), first album was called Golden Hits of the 5.6.7.8's (1988), but Early Days Singles collection starts in 1989 (as does their singles discography at Discogs). Evidently, they're still working, with a new album (Run Run Run) out that I can't find, so I thought I'd try this one. Eclectic and trashy, in ways that could be camp but probably aren't. B+(**) [sp] Chabuca Granda: Tarimba Negra (1978, Pronto): Peruvian singer-songwriter (1920-83), wrote many criolo waltzes, establishing herself as a major figure in Afro-Peruvian music. B+(***) [sp] Hannibal and the Sunrise Orchestra: Hannibal (1975, MPS): Trumpet player Marvin Peterson (b. 1948), recorded a debut album under that name in 1969, played with Gil Evans in the early 1970s, became Hannibal here, later changing his last name, going as Hannibal Lokumbe, with regular albums through 1995, a couple more later. This is one of his most famed albums, with Michael Cochrane (piano, wrote one song), Diedre Murray (cello), Michael Carvin (drums/percussion), and Chris Hart (percussion). Trumpet is strong throughout, but the rhythm picks up on the second side, with some vocals on "The Voyage" and the 13:46 tribute to Malcolm X. A− [sp] Thomas Mapfumo & the Acid Band: Hokoyo! (1978, Chimurenga Music): Singer-songwriter from Zimbabwe, b. 1945, created and popularized chimurenga, starting with this debut album, which translates as "watch out," and got him arrested by the Mugabe government. His next decade would be even better. A− [sp] Nass El Ghiwane: Disque D'Or (1973 [1998], Mélodie): Moroccan Gnawa group, founded 1969, inspired by ancient Sufi poetry, but also introduced modern western instruments like banjo, many albums, at least up to 2007. This was their first album, eponymous on Polydor, where this is one of several reissue titles. B+(***) [sp] Celestine Ukwu: Igede (1971 [2007], Premier): Nigerian (Igbo) highlife star (1940-77), first album was called True Philosophy, credited to Celestine Ukwu & His Philosophers National, and is reproduced in this reissue, named for the first song. B+(***) [sp] Unpacking: Found in the mail last week:
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