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Blog Entries [140 - 149]Wednesday, July 17, 2024 Music Week
Music: Current count 42668 [42624] rated (+44), 15 [20] unrated (-5). I put out the call for a Mid-Year Jazz Critics Poll back on June 30, offering a July 14 deadline for ballots, which would give me a few days to wrap things up before ArtsFuse returns from vacation on July 17. Sure, I expected a light turnout: mid-year lists, while increasingly common as click-bait, don't have the same gravitas as year-end wrap-ups, so fewer voters would be prepared let alone interested; there are vacations and other distractions; the voting period was much shorter than for the year-end poll; and I didn't want to work as hard at rounding up voters. (Last year's 159 voters took a lot of hustle on my part, but in taking the poll over from Francis Davis, I really wanted to prove that I could do it, and it was very wearing.) I didn't do any prospecting for new voters, and hoped that sending a single message to my Jazzpoll mailing list would do the trick. It didn't: by last Wednesday, I had only about two dozen ballots counted, with another dozen promises to vote later, and a half-dozen polite declines, out of approx. 200 invitees. I had figured that 50% (let's say 80) ballots would still be a good showing, and would generate a lot of information. But 25% struck me as way too low. I had reason to suspect that a big part of the problem was that many messages from my server were being flagged and sequestered as "spam," especially by the gmail servers. So I rebooted, and sent a second round of invitations out to a subset of the list -- the ones I hadn't heard from, skipping a few who hadn't voted in recent years -- in MailMerge-customized letters from my regular email account (which has been dicey enough of late). That took many hours I had wanted to avoid, but got an almost immediate response. I streamlined the invitation a bit, and extended the deadline to July 17 (tonight, or effectively tomorrow morning). As of last night, I had 78 ballots counted, and as I'm writing this I have 2 more in my inbox, so I'm happy with my 50%. [PS: By posting time, the count increased to 86.] I'll need to move on from this to write an essay (intro, overview, whatever), as well as footnotes on various oddities and discrepancies in the voting. I've struggled with the essay the last couple years, so fear I may again. On the other hand, the data is really extraordinary, so just dive into that. And every time I do this, I come away even more impressed with the extraordinary knowledge and exemplary judgment of the fine people who participate in this Poll. There's nothing we need more in this increasingly complex and scatter-brained world than smart people who develop and share their expertise so that we all may benefit. I'm proud to do my bit, and to help them do theirs. I might as well start here and disclose my own ballot:
As lists go, this feels pretty haphazard and tentative. I keep an ongoing ranked list, but don't put much effort into maintaining it. What usually happens is that once I decide an album is A-, I scan the list from the top or bottom (depending on whether it's a real solid A- or a somewhat iffy one), find something that is roughly comparable, and insert the new record above or below that reference point. I fiddled with these a bit, but didn't do much rechecking. Fact is, I never do much rechecking. This week's batch of reviews are mostly albums that popped up on ballots. I wasn't previously aware that the Kenny Barron, Ivanna Cuesta, Welf Dorr, and [Ahmed] albums existed. Tomeka Reid was one of those download links I've been sitting on -- I probably have nearly 100 stashed away, but I'm loathe to do the extra work when it's so easy to play a promo or stream something -- but it did well enough I felt obligated to listen to it. (Same for Braxton, with all 8 hours + 10:36, available on Bandcamp.) Beger, Borca, and Brötzmann were promo CDs, but they too can be found complete on Bandcamp. I learned about the Armstrong from hype mail the day it became available to stream. I started to prepare a file with all of my 2024 jazz reviews, similar to my 2023 best jazz, but it isn't ready to be presented yet. I'll clean it up if I decide I want to mention it in my poll essay, or just discard it until end-of-year. (Once I've started it, it's just another thing to try to keep updated.) One thing I can note here is that when I divvied the 2024 file up into jazz and non-jazz sections, the split among new A/A- records was 52-to-25, with old music 12-to-5. That seems like a lot, given that I wound up with only 84 for all of 2023 (and 75 for 2022, 77 for 2021, 86 for 2020, 77 for 2019, 67 for 2018, 84 for 2017, 75 for 2016, 81 for 2015, 69 for 2014, 87 for 2014 -- that's as far as the file series goes back, and the record as far as I can easily tell. Makes me wonder if I'm going soft in my old age, but other explanations are possible, including that the Mid-Year Poll has made me aware of 237 albums I didn't previously have in my tracking file. Most I haven't played yet, but the dozens I have gotten to contributed to this skew. Given all the extra work on the Mid-Year Jazz Critics Poll, I didn't get around to Speaking of Which until Saturday, when I started with a long section on why Biden should withdraw from the Democratic presidential nomination. This all seems so obvious that it's hard to fathom the negligence and nonsense of whoever's conspiring to keep Biden in the race. On the other hand, much else that popped up in the week's news is hard to fathom. I certainly haven't had the time to figure it out. The Trump shooting remains a story I know very little about, and have very little interest in pursuing, unless it turns out that my suspicion, as yet purely based on cynicism, that it was a staged PR ploy, turns out to be valid. (By the way, we've been watching the old Jane Marple mysteries. In one of them, the killer creates a blackout, kills someone else, then shoots herself, nicking the ear, so that when the lights come back on, she appears to have been the target (and very lucky). The ear was chosen because it bleeds readily but not seriously. It also emphasizes the luck involved, because it's generally very hard to shoot someone's ear without hitting their head. Of course, there are other ways to fake it, at little risk to Trump. The whole thing would take skill and timing, which seems beyond Trump and his cronies, the chances of such a scheme getting exposed are high, and it's hard to imagine that even Trump could lie his way out of it. On the other hand, how gullible is just about everyone involved so far? So it can't possibly be true, but they're playing it just like it was scripted. And everyone else seems to be falling for it. Hardly any adds to Speaking of Which today: fixed a couple broken links, some typos. I'll open a file for next week after Music Week goes up. It'll be lower priority than the Poll, but good for the occasional break from thrashing on the Poll essay. I haven't been following the RNC, but I'm sure the people who have will be able to explain in its all its true horror. There's also this story: Inae Oh: [07-16] The DNC's plan to force Biden's nomination is everything people hate about the DNC. If they go through with this, it won't have been the first time they gamed the rules to help Biden escape normal Democratic procedures: derailing the Iowa caucus and New Hampshire primary, where Biden had performed poorly in 2016, while making South Carolina the first primary, eliminated the most likely path for someone more credible than Dean Phillips to challenge Biden, so no one risked it. This would be shabby in any case, but is especially galling from the people who sell themselves as the guardians of democracy. The marvelous Swiss avant-jazz pianist Irčne Schweizer has died at 83:
Here's my Grade List. I first got acquainted with her work when I reviewed a 2-CD compilation of her work in 2006:
Her duos with drummers were extraordinary, especially the ones with Han Bennink (1995 and 2015). The latter was my number one jazz record of 2015:
New records reviewed this week: أحمد [Ahmed]: Wood Blues (2022 [2024], Astral Spirits): British quartet of Pat Thomas (piano), Joel Grip (bass), Antonin Gerbal (drums), and Seymour Wright (alto sax), originally formed as a tribute to bass/oud player Ahmed Abdul-Malik (1927-93), fourth album since 2017, unless the 4-CD Giant Beauty box came out ahead of it (looks like it did, by 4 days). I've had people tell me this is the best live band on the planet. They probably thought the same of Cecil Taylor in the 1970s. A- [sp] Kenny Barron: Beyond This Place (2024, Artwork): Pianist, I first really noticed him as a duet partner for Stan Getz (People Time, 1991), but he started in the early 1970s (cf. Peruvian Blue, 1974), is a DownBeat hall-of-famer, one of the most storied jazz educators in history, and still pretty sharp entering 80s. Helped out here by Steve Nelson (vibes), Kiyoshi Kitagawa (bass), Johnathan Blake (drums), and especially Immanuel Wilkins (alto sax). A- [sp] BassDrumBone: Afternoon (2023 [2024], Auricle): Mark Helias, Gerry Hemingway, and Ray Anderson: I've been filing their records under the trombonist since 1986. This one seems a bit muted, but that just brings out the craft in the BassDrum. B+(***) [cd] Jamie Baum Septet+: What Times Are These (2023 [2024], Sunnyside): Flute player, debut 1996, Septet -- including Jonathan Finlayson (trumpet), Sam Sadigursky (reeds), Brad Shepik (guitar), and Luis Perdomo (piano) -- has four albums 2004-18, expands to nine credits here plus four more vocalists picking their spots. Choice cut is "Sorrow Song," even beyond Kokayi's words. Other vocalists don't fare so well. B+(*) [sp] Albert Beger/Ziv Taubenfeld/Shay Hazan/Hamid Drake: Cosmic Waves (2023 [2024], No Business): Tenor saxophonist, born in Istanbul, grew up in Israel, studied at Berklee, has a 1995 album, came to my attention with a pair of 2005 albums with William Parker under Hamid Drake's name. The others play bass clarinet and bass, for a dicey free jazz jam, with the drummer as impressive as ever. A- [cd] Anthony Braxton: 10 Comp (Lorraine) 2022 (2022 [2024], New Braxton House, 10CD): Alto sax legend, credited with "saxophones, electronics" here, with each composition (numbered 423-428, 432-435) running from 41:31 to 60:09. The first six are trio with Adam Matlock (accordion/voice) and Susana Santos Silva (trumpet); the last four are quartet, with a second saxophonist (James Fei) and two bassists (Zach Rowden, Carl Testa). Way too long for anything other than a glancing view, but the first trio has limited appeal: sure, the accordion isn't as grating as Braxton's bagpipe albums, but that's the direction, and the operatic vocals have no more appeal when sung over abstractions than they do over schmaltz. The quartet is similar musically but with fewer annoyances, which doesn't necessarily make it more interesting, or even listenable (though sometimes it is). Length: 490:36. B+(*) [bc] George Cartwright & Bruce Golden: Dilate (2024, self-released): Saxophonist and drummer, played together in the final iteration of Cartwright's group Curlew (founded 1979, but I think we're talking 2002-03 here). Sounds mostly like electronics and percussion, but all the credits have to say is: "george licked sounds; bruce nailed sounds." Some bits I really like, but others wear me down and out. B+(*) [bc] Ivanna Cuesta: A Letter to the Earth (2023 [2024], Orenda): Drummer, from Dominican Republic, studied there and at Berklee, based in Boston, first album, composed by, also credited with electronics, with Ben Solomon (sax), Kris Davis (piano), and Max Ridley (bass) -- all terrific here. Bit of guest vocal at the end (Pauli Camou). A- [sp] Jeremiah Cymerman: Body of Light (2022-23 [2024], 5049): Clarinet player, fifteen-plus albums since 2007, first two pieces here appear to be solo, credits including synths, percussion, sequences, bass. The other two (longer) tracks add drums (Mike Pride) and either guitar-cello or violin. Either way this mostly comes off as ambient. B+(*) [sp] Welf Dorr/Elias Meister/Dmitry Ishenko/Kenny Wollesen: So Far So Good (2022 [2024], self-released): Alto saxophonist, born in Germany, based in New York, first album appears to be a Flowers for Albert thinking of Einstein not Ayler, unless it was the group called Funk Monk. Backed by guitar, accordion/electric bass, and drums, has traces of soul jazz and funk fusion, but mostly as a vehicle for distinguished saxophone. A- [bc] Edition Redux: Better a Rook Than a Pawn (2023, Audiographic): I lost track of Ken Vandermark's projects when he pulled most of his work behind the paywall, so I jumped on this new group as soon as I noticed it: Erez Dessel (piano/synth), Lily Finnegan (drums), Beth McDonald (tuba/electronics), and Vandermark (reeds, notably baritone sax). Piano tends to lead, but the real power remains the saxophonist. B+(***) [bc] Bill Frisell: Orchestras (2021-22 [2024], Blue Note): Guitarist, long-established, leads a trio with Thomas Morgan (bass) and Rudy Royston (drums), featured here surrounded by symphony orchestras (Brussels Philharmonic, Umbria Jazz Orchestra), his (and some other) compositions scaled up by Michael Gibbs. Quick take is that the full strings on the first disc are a turn off. Dispensing with them, the second disc is rather enaging. B+(**) [sp] Paul Giallorenzo Trio: Play (2021 [2023], Delmark): Chicago pianist, first trio album in 2012, second with this trio of Joshua Abrams and Mikel Patrick Avery. B+(*) [sp] Erik Griswold/Chloe Kim/Helen Svoboda: Anatomical Heart (2023 [2024], Earshift Music): Pianist, based in Brisbane, Australia, a dozen-plus albums since 2002, has a fondness for prepared piano. Trio with drums and bass. The bit of jerkiness keeps it interesting. B+(**) [sp] Sarah Hanahan: Among Giants (2024, Blue Engine): Alto saxophonist, first album, quartet with Marc Cary (piano), Nat Reeves (bass), and Jeff "Tain" Watts (drums), with extra percussion on 4 (of 8) tracks. Mainstream, with considerable power, and more than a little finesse. B+(***) [sp] Simon Hanes: Tsons of Tsunami (2024, Tzadik): California-born, based in New York, plays baritone guitar here, has mostly worked under group names (Tredici Bacci, Trigger, Shimmer, Guerilla Toss; Tsons of Tsunami was the group name for a 2013 album called Fearless Riders of the Holy Curl. He describes these compositions as "surf-based," backed with trombone, horn, waterphone, vibraphone, and drums. B+(**) [sp] Roger Kellaway: Live at Mezzrow (2023 [2024], Cellar Music): Pianist, first album 1963, first new one since 2019, with bass (Jay Leonhart) and drums (Dennis Mackrel) plus guest Roni Ben-Hur (guitar). He's always been a bop era pianist with a little stride in his style. B+(*) [sp] Brian Landrus: Plays Ellington & Strayhorn (2023 [2024], Palmetto): Baritone saxophonist, also plays similar instruments, plus some piccolo and flutes, backed quite capably by Dave Stryker (guitar), Jay Anderson (bass), and Billy Hart (drums), playing fourteen songs you can't go wrong with. B+(***) [cd] Nduduzo Makhathini: Unomkhubulwane (2024, Blue Note): South African pianist, started leading albums in 2014, got a big profile boost when Blue Note picked him up in 2020. Third album there, sings some (not fancy or dramatic, but quite agreeably), backed by Zwelakhe-Duma Bell le Pere (bass) and Francisco Mela (drums). B+(***) [sp] Fabiano do Nascimento & Sam Gendel: The Room (2024, Real World): Brazilian guitarist, several albums since 2011 -- I particularly liked 2015's Dança Dos Tempos -- here in a very nice duo with soprano sax. B+(**) [sp] Madeleine Peyroux: Let's Walk (2024, Just One Recording/Thirty Tigers): Jazz singer-songwriter, born in Georgia but grew up in France, ten or so albums since 1996, aimed early for Billie Holiday phrasing, returns after a six-year pause with a new batch of songs that defy expectations. I could see this one being taken for Americana, if you pardon the bit of French (in my book, that's a plus). B+(***) [sp] Tomeka Reid Quartet: 3+3 (2023 [2024], Cuneiform): Cellist, based in Chicago, helped revitalize the post-2000 AACM, and has an impressive list of albums since her 2015 Quartet, finally a MacArthur "Genius" Fellow in 2022. Same group here, with Mary Halvorson (guitar), Jason Roebke (bass), and Tomas Fujiwara (drums). Three longish pieces: sags a bit in the middle but closes real strong. A- [dl] Michael Shrieve: Drums of Compassion (2024, 7D Media): Drummer, played in Santana 1969-74, formed Go in 1976 with Stomu Yamashita and Steve Winwood, with later groups like Spellbinder. I recognized the name, and found him in my database, but in the New Age section, with two unheard albums (1984, 1989). Not much jazz there, but some of his many collaborators here count, starting with percussionists Jack DeJohnette, Zakir Hussain, Airto Moriera, and Babatunde Olatunji. Not just drums, but keyboards, sax (Skerik), and electronics (Amon Tobin). B+(*) [sp] Harry Skoler: Red Brick Hill (2022 [2024], Sunnyside): Clarinet player, three albums 1995-99, this is only his third since, following a Mingus study in 2022. Strong support here on vibes (Joel Ross), bass (Dezron Douglas), and drums (Johnathan Blake), with one-track guest spots from Marquis Hill (trumpet), Christian Sands (piano), and Grégoire Maret (harmonica). B+(**) [sp] Something Else! [Featuring Vincent Herring]: Soul Jazz (2024, Smoke Sessions): Mainstream "supergroup," alto saxophonist gets featured spotlight but Jeremy Pelt (trumpet) steals as much spotlight. Also with Wayne Escoffery (tenor sax), Paul Bollenback (guitar), David Kikoski (piano), Essiet Essiet (bass), and Otis Brown III (drums). They swing a little, swagger too. B+(*) [sp] Gregory Tardy: In His Timing (2023, WJ3): One of many mainstream tenor saxophonist to emerge in the 1990s, starting out on Impulse!, but mostly recording on SteepleChase since then. But he plays clarinet here, paired with violin (Regina Carter), backed by piano-bass-drums. Sometimes the mix pays dividends, sometimes not so much. B+(*) [bc] Alan Walker: A Little Too Late (2024, Aunt Mimi's): Singer-songwriter, started in a group I've never heard of, the Brilliant Mistakes (three albums 1998-2008), second solo album. Plays piano, some pop craft, some strings. B+(*) [cd] Recent reissues, compilations, and vault discoveries: Louis Armstrong: Louis in London (1968 [2024], Verve): A previously unreleased BBC radio shot from July 2, 1968, billed as his "last great performance," three years before his death in 1971. He had been in decline for several years, often unable to play trumpet, but his vocals remained endearing, with a couple songs turning into big pop hits. He's credited with trumpet here, which seems good enough, his voice even better, as he runs through thirteen songs, most signature hits, a proper career summary. A- [sp] Derek Bailey/Sabu Toyozumi: Breath Awareness (1987 [2024], NoBusiness): British guitarist (1932-2005), a major figure in the avant-garde (albeit one that I've only lightly sampled, and never really gotten the hang of), in an improv duo with the Japanese drummer. Scratchy, abstract, requires close listening, sometimes rewards it. B+(***) [cd] Karen Borca Trio Quartet & Quintet: Good News Blues: Live at the Vision Festival 1998 & 2005 (1998-2005 [2024], No Business): One of the few bassoon players in any branch of jazz, especially in free jazz, she led groups so rarely that this is her first collection as leader, but Discogs credits her with 30 albums, many with her husband, Jimmy Lyons, also Cecil Taylor, William Parker, Joel Futterman, Alan Silva, Bill Dixon. The early set here has Parker and Rob Brown (alto sax). Brown returns for the late set, with Reggie Workman, and is stellar throughout. A- [cd] Peter Brötzmann/Toshinori Kondo/Sabu Toyozumi: Complete Link (2016 [2024], NoBusiness): Tenor sax/tarogato, trumpet/electronics, drums. Within our ten-year window for "new releases," with both of the principals recently departed, this feels more like an archival find. They had a fairly long run together in the quartet, with William Parker and Hamid Drake, named for their first album, Die Like a Dog. I always found their records a bit too abrasive, but here I'm not only not bothered, I'm feeling a bit nostalgic. A- [cd] Nat King Cole: Live at the Blue Note Chicago (1953 [2024], Iconic): Pianist and singer (1917-65), had his first r&b hits in 1942, cracked the pop top ten in 1944 with "Straighten Up and Fly Right," hit number one in 1946 with "For Sentimental Reasons," followed by "Nature Boy," "Mona Lisa," and "Too Young" -- all in these live sets, a quartet with guitar (John Collins), bass (Charlie Harris), and drums (Lee Young). B+(**) [sp] The Jazzanians: We Have Waited Too Long (1988 [2024], Ubuntu Music): In 1984, Dave Brubeck's son Darius organized a jazz program at the University of Natal, in South Africa. A few years later, he organized this "first multiracial student jazz ensemble from South Africa," and took them on tour, and into the studio. Best known player now is probably Zim Ngqawana (alto sax/flute). They kick off with a very infectious township jive groove. They're not all that delightful. B+(**) [sp] Charles Mingus: Incarnations (1960 [2024], Candid): The bassist recorded two sessions for Nat Hentoff's label, which immediately led to the albums Presents Charles Mingus and Mingus. In 1985, Mosaic collected those albums and outtakes for The Complete Candid Recordings of Charles Mingus, In 1990, Candid took some of those for Mysterious Blues. This albums grabs five more takes (one previously unissued). B+(**) [sp] Louis Moholo-Moholo: Louis Moholo-Moholo's Viva-La-Black (1988 [2024], Ogun): South African drummer, moved to Europe in 1964, emerged as a prominent free jazz drummer in the 1970s. Leads a sextet here, with Sean Bergin (tenor/alto sax), Steve Williamson (tenor/soprano sax), Claude Deppa (trumpet/flugelhorn), Roberto Bellatalla (bass), and Thebe Lipere (percussion). B+(**) [bc] Septet Matchi-Oul: Terremoto (1971 [2024], Souffle Continu): Label dedicated to "Treasures of the French Underground," this one-shot group led by Chilean-French pianist Manuel Villarroel qualifies nicely. No other names I immediately recognize, but some further research may be in order. B+(***) [sp] Sun Ra & His Arkestra: Pink Elephants on Parade (1985-90 [2024], Modern Harmonic): A "small sample" of songs from Walt Disney movies, eight from two dates in 1988-89, 5 more from 5 different venues, the first 9 tracks previously unreleased. Vocals on most tracks, none slick or particularly funny, but amused? Sure. B+(***) [sp] John Wright Trio: South Side Soul (1960 [2024], Craft): Pianist (1934-2017), born in Kentucky but moved to Chicago when he was two. First album, with bass (Wendell Roberts) and drums (Walter McCants). [sp] Old music: Albert Beger: The Primitive (1995, NMC): Israeli tenor saxophonist, plays some flute, first album, quartet with piano (John Bostock), bass guitar (Gabi Maier), and drums (Asaf Sirkis). B+(**) [sp] Albert Beger Quartet: The Art of the Moment (2000, Third Ear Music): Curious lack of information on this, label name appears on some streaming sites (NMC seems more likely), quartet with guitar, bass, and drums (no idea who). Impressive saxophonist, rhythm section has some spunk, flute I could do without. Need to work on that discography. B+(*) [sp] Welf Dorr: Funk Monk 2002 (2002 [2020], self-released): Alto saxophonist, from Germany, based in New York, led the band Funk Monk from 1996-2009, various lineups, released a Live at the Knitting Factory in 1999 but that seems to be all. Dorr salvaged this tape from Izzy Bar in July 2002, and claims all compositions, so no Monk tribute here: more horns (Antonio Dangerfield on trumpet, Melvin Smith on tenor sax, trombone on two tracks), backed by a bubbling array of keys, guitar, bass, and drums. B+(*) [sp] Welf Dorr: Flowers for Albert (2005 [202], self-released): The saxophone/flute player/composer has laid claim to this tape, although his name appears last on the cover, after Kenny Wolleson (drums), Jonathan Finlayson (trumpet), Hock Temesgen (bass), and Shoko Nagai (piano). Title comes from David Murray's tribute to Ayler, but Dorr's preferred Albert is Einstein, seeing this as the centennial of his three breakthrough papers on physics. B+(**) [sp] Welf Dorr Unit: Blood (2014 [2018], Creative Sources): Brooklyn group, leader plays alto sax and bass clarinet, backed by guitar (Dave Ross), bass (Dmitry Ishenko), and drums (Joe Hertenstein). Guitar runs a bit heavy. B+(*) [bc] Welf Dorr/Dmitry Ishenko/Joe Hertenstein: Pandemic House Sessions (2020 [2021], self-released): Previous Unit reduced to a trio, recorded at the drummer's apartment. Losing the guitar gives the saxophonist a lot more breathing room. B+(***) [sp] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Tuesday, July 16, 2024 Speaking of WhichI'm starting this introduction on Tuesday, already two days late, ignoring for now the new news pouring in, especially from the RNC. Due to my Mid-Year Jazz Critics Poll project, I wasn't able to start until Saturday, at which point I started with the long introduction to the Biden section. After that, I scrounged up a few quick links to seemingly important stories. The alleged Trump shooting -- I'm not denying it, but I'm not fully buying it either -- had just happened, so I had to spin off a section on that. Monday the Cannon ruling on the Trump documents case came down, so I had to note that. If I find out that Hamas and Netanyahu agreed to a cease fire deal -- I've heard that, but as I'm writing this I haven't seen any confirmation -- I'll note that too. (But thus far I've been smart to ignore past rumors of impending agreement.) A couple days ago, still with Biden very much on my mind, I thought I'd begin this introduction with a spur-of-the-moment tweet I posted:
Looking it up now, I see that it only has 97 views, with 0 replies, forwards, or likes. It seems like views have been steadily declining, although the number of followers (640) is about double from a long plateau about a year ago. One thing that stimulated my thought was when I saw several folks pushing a constitutional amendment to impose a maximum age limit on presidents. (Search doesn't reveal a lot of examples, but here's one.) I have no time to argue this here, but I've often worried about the accumulation of arbitrary power in the presidency -- especially war-making power, but there are other issues here -- and with in the development of a political personality cult (Reagan is the obvious example, with Trump even more so, but they at least remained aligned with their party, while Clinton and Obama used their office to direct their party to their own personal fortunes, a shift that worked to the detriment of other Democrats). Banning self-succession (second consecutive terms) wouldn't fix all of the problems with the presidency, but it would help, especially in terms of democracy. I won't go into details here, but there should also be limits on nepotism (spouses, children, possibly more), and major campaign finance reforms. Whether you keep the two-term total limit is optional -- eliminating it may get rid of the often stupid "lame duck" argument. But I also suspect that people will have little appetite for returning a non-incumbent ex-president. One more point: if presidents can't run again, maybe they'll actually put their political instincts aside and settle into actually doing their jobs. Trump is the obvious worst-case example: the first thing he did after inauguration in 2017 was to file as a candidate for 2020, and he returned to holding campaign rallies a month or two later. Given how temperamental his judgment was, we are probably lucky that he turned out to be so oblivious to actually doing the job, but that's hardly something we can count on saving us again. Even more competent presidents were repeatedly distracted by political duties -- ones they were, as a requirement for selection, more interested in, if not necessarily better at. At this point, the essential skill sets of campaigners and administrators have diverged so radically that it's almost inconceivable that you could find one person for both jobs. I could imagine a constitutional change where whoever wins the presidency has to appoint someone else (or maybe a troika) to run the executive government, while being personally limited to symbolic public service, like the King of England, or the President of Israel. But the amendment I proposed above should be a much easier sell, especially given the mess we're in now. Fortunately, we don't actually need the amendment this year. All we need is for Biden to drop out. As I explain below, there are lots of good reasons for him to do so. This is one more, and if he grasped it, would be a principled one. About 10 PM Tuesday, time to call it quits for this week. I may pick up a few adds while I'm working on the similarly delayed Music Week, but I expect to be extremely busy on deadline day for the Mid-Year Jazz Critics Poll (up to 78 ballots as I write this). No doubt I'll have to do a lot of cross-checking next week to keep from repeating stories. But the big ones, rest assured, will return, pretty much as they are here, so what's below should give you a leg up on everyone else. Top story threads:Israel:
America's Israel (and Israel's America):
Israel vs. world opinion:
Trump:Well, this happened:
[07-13] In the wake of the Trump shooting, we need clarity -- and caution: "The best way to fend off conspiracy theories and instability is by emphasizing the need for solid facts." Murtza Hussain: Will this make Trump more popular? "Assassination attempts targeting populist leaders have had a track record of boosting their popularity." Sarah Jones: [07-15] God's strongman. Ed Kilgore: [07-15] Trump assassination attempt makes 2024 election more bonkers than ever: "But will it cinch a victory for him?" Evidently, "many Republicans are already saying the bullets that nearly killed Donald Trump have clinched his return to the White House." Natasha Lennard: The only kind of "political violence" all U.S. politicians oppose. Eric Levitz:
Stephen Prager: [07-16] 'Political violence' is all around us: "Condemning 'political violence' rings hollow coming from politicians who are highly selective in the violence they deplore. We should oppose it consistently." Aja Romano: [07-15] The Trump assassination attempt was a window into America's fractured reality. I'm not sure whether the subhed is a conclusion or just a premise: "The shooting wasn't staged, but conspiratorial thinking has become widespread in our paranoid age." You know, the latter truism doesn't prove "the shooting wasn't staged." It just suggests that we shouldn't jump to that conclusion. Helen Santoro/Lucy Dean Stockton/David Sirota/Joel Warner: Pennsylvania GOP fought a ban on the gun used in Trump shooting. Timothy Messer-Kruse: [07-15] The myth of the magic bullet: He doesn't weigh in on the Trump shooting, but takes on the more general idea, that a single bullet can change history for the better. I rather doubt his assertion that "there would still be a MAGA movement" without Trump, because no matter how much fuel of "white resentment" had accumulated, it still took a spark to set it off, and it's hard to find a leader with Trump's particular mix of ego and ignorance. But he is right when he says, "Trump is not a threat to democracy as much as he is a symbol of its deepening absence." On Monday, Trump announced his pick for vice president: JD Vance:
Of course, the Trump news doesn't end there.
. . . And other Republicans:
BidenEvidently Biden's age was already an issue in 2008, when Barack Obama picked him for Vice President. The thinking was that his age would balance off Obama's youth, that the position would cap off an already long and distinguished political career, and that he'd be too old to mount a serious run in 2016, leaving the field open for Hillary Clinton. But when Clinton lost to Donald Trump -- let that sink in for a moment, folks -- Biden convinced himself that he could have done better, and set out to prove it in 2020. And he was a flop, his age dulling the charisma he never really had in the first place, but with Bernie Sanders a year older age wasn't so much an issue, and with Sanders winning, Biden became the only credible option to stop him, and the donor wing of the Democratic Party were desperate to do that. After derailing Sanders, defeating Trump should have been the easy part, but somehow Biden managed to make even that look hard fraught. He won, but not decisively enough to lead Congress, or to squelch Trump's big lie about a rigged/stolen election. Trump has, if anything, loomed larger in American politics than Biden, even as president, could do. While that is testimony to several alarming tendencies in public opinion -- and media that both panders to and cashes in on controversy -- one cannot help but suspect that Biden's age is part of the problem. At any rate, it's the part that people focus on once they realize that there is a problem that it could plausibly explain. They do that because it's tangible, something they have lots of experience with or at least observing. It's also something you can base expectations on, because it's inevitably progressive: if age seems to be a problem now, you can only expect it to get worse. Many Democrats, especially one who have closely bound their careers to Biden, have worked hard to hide evidence and deflect discussion of Biden's age -- even from Biden himself. But once you see it, as most people did in his June 27 debate with Trump, it's hard to revert to denialism. It's like the zit you never noticed, then found you can't avert your eyes from. Pretty soon you wind up with the Emperor's New Clothes. As the following links will show, Democrats are divided: Biden and his closest allies still think that if they hold firm, he can ride the story cycle out, and by November refocus the campaign on beating back the immense threat of a Trump win; many others are skeptical and/or worried sick; a few actually see that replacing Biden with a younger, more dynamic, and hopefully much sharper candidate -- Harris seems to fill that bill, and is well-placed to step in, but there could be dozens of good options -- opens up an opportunity to not just eke out a win in November but deliver a crushing blow to Trump and his crony fascists. As I've probably made clear over the last couple weeks, I'm skeptical, but also in the latter camp. I'm not really capable of the sort of despair that sees Biden, even as decrepit as he obviously is, losing to Trump -- despair in the future tense, as anticipation of a horrible turn of events, something very different from the sickening feeling when such events happen (as I remember all too well from November 2016). That part is just faith, still intact even if waiting to be shattered. But my skepticism takes many forms. The one I'm most certain of is that if Biden remains in the race, he will commit a fair number of age-related gaffes and blunders, maybe including what wouldn't be his first fall, and that every time he does, his age will return as the paramount media obsession, shifting attention from the real and present threat of Trump. I don't know how many votes that will cost Biden, but it is a risk, and also a major opportunity cost. We need Democrats to win not just to stop Trump and shore up the somewhat liberal wing of the militarist oligarchy that Biden aligns with, but to actually address real problems, helping an overwhelming majority of Americans through very troubling times. Another form of skepticism is suggested by my rather sour turn of phrase in that last line. I gravitated toward the new left in the late 1960s, and since then I've been as acutely critical of the Democratic Party as I've been of the Republicans, even as I've most often voted for Democrats, figuring them to be not just lesser evils but occasionally good for modest reforms. Either is reason enough to vote Democratic. (It's not like your vote is good for much else.) But if you're on the left (or anywhere else excluded from access to power), you might also consider voting a tactical choice: you're going to spend the next four years in opposition anyway, but which issues would you rather protest against? Biden, or any other Democrat with a chance, will leave you plenty to argue against. One thing I can say about age is that it mellows you out. My critical analysis is as radical (in the sense I originally got from a 1966 book titled The New Radicals) as ever, but my appetite for conflict has really dimmed, and I'm willing to appreciate almost any tad of ameliorative reform. I chalk much of my personal change up to aging, and I suspect similar things happen to most people, including politicians like Biden. As I've noticed, Biden is the only president in my lifetime who turned out better than I expected (well, until Gaza, which is hard to excuse). Part of that is that he came in with really low expectations. Part of it may be that he's old enough to remember the pre-Carter, pre-Reagan, pre-Clinton Democrats -- even though he seemed totally simpatico with them, you know how old people lose recent memories before they lose formative ones? There's no one else like him in the Democratic Party these days. (Sanders is old enough, but never was that kind of Democrat. He was much better, which is why he remains so much sharper.) I do worry that whoever replaces Biden will be just another neoliberal shill. But even where Biden's heart is in the right place -- and, let's face it, it isn't always -- he's lost his ability to persuade, to lead, and to listen. So my considered view is that we need to move him out, and start working on viable future. Even if Biden sticks and wins -- and I'll vote for him, despite thinking he really belongs in a Hague Court -- he's only going to get older, more decrepit, less credible, more embarrassing, and less effective as he struggles to hang on past his 86th birthday. And if he dies, resigns, or has to be removed, his replacement will enter with a much reduced mandate. Dump him now, elect his replacement, elect a Congress that's willing to do things, and the next four years will start looking up. I guess that's more of an editorial than an introduction. I wrote it before collecting the following links:
Luke Savage: [07-12] The Biden problem has been years in the making: "As concerns mount over Biden, the Democratic Party reminds us this isn't a democracy." Bill Scher:
Jeffrey St. Clair:
Alexander Stille: We learned everything we needed to know about Biden in 1988: "His stubborn refusal to heed wise advice, and bottomless belief in his own greatness, were on display in his first campaign for president." Michael Tomasky: [07-12] Democrats: "He was better than the debate" is not remotely good enough: "In Trump world, they're thinking landslide. Democrats need to act and talk Biden into stepping aside, and soon." And other Democrats:
Legal matters and other crimes:
Climate and environment:
Economic matters:
Ukraine War and Russia:
America's empire and the world:
Other stories:Zack Beauchamp: [07-10] What the world can learn from Indian liberalism: "The intellectual Pratap Bhanu Mehta explains how liberalism grew out of 3,000 years of Indian history." Roger Kerson: [07-09] You think this year's presidential conventions will be crazy? 1924's fights over the Ku Klux Klan were wilder. Katie Miles: [07-08] "She usually won." Remembering Jane McAlevey, 1964-2024. Also:
Initial count: 146 links, 9355 words. Updated count [07-16]: 193 links, 9436 words. Local tags (these can be linked to directly): Biden. Ask a question, or send a comment. Tuesday, July 9, 2024 Music Week
Music: Current count 42624 [42580] rated (+42), 20 [29] unrated (-9). Some updates, although at this point [07-12] I might as well start working on next week's posts. I added a fair amount to extras I already added to the latest Speaking of Which: most tweets on Biden's probable withdrawal, plus a couple similar pieces including the George Clooney op-ed. I also added links to the Michael Tatum and Robert Christgau Consumer Guides, which are probably of more interest here:
I have a bit more information on the Mid-Year Jazz Critics Poll, but that probably deserves a separate post, which I'm not up to at the moment. The most pressing matter is that response has been light, and I suspect that a bit part of that is due to email problems. As frequent readers may recall, I've been plagued by them for months and possibly years. I tried coming up with workaround strategies, one of which has been completely ineffective: which was to ask people to forward invites, and suggest a willingness to accept unsolicited invites. The only thing I got there was an offer by a long-time virtual friend, who is not really a credentialed critic but whose opinion I value highly, to submit a list. In a moment of weakness (or possible insanity), I offered to publish his list, and more like it if anyone bothers to submit them. So if you can imagine drawing up a credible list of up to 10 2024 jazz albums and up to 5 2024 archival jazz albums, take a look at the Non-Critic Ballot Invitation, and follow instructions. Those ballots won't figure into official totals, and counting them isn't a priority for me, but I will eventually publish all I receive, and I wouldn't be surprised if, as lists go, your batch winds up being as credible as the ones submitted by the pros. I will be surprised if they wind up being representative of jazz fandom, because I'm doing virtually nothing to promote this, and if you can only read about it here, you're in a very small minority (and I'll be lucky to get ten ballots). The links below to the Poll Website are still valid, and now point to somewhat more substantial information. On last update, I had 25 ballots. I'm resending the invitations -- a slow and painstaking process -- hoping to avoid spam traps and get some more responses. I will say that the data I have, though sparse, is really terrific stuff. It's a cliché in compiling these lists to say "this is a really great year," but when all is said and done, you'll see for yourself. Delayed until Tuesday again, because Speaking of Which took all of Monday, itself being pushed out by the seemingly futile notion that I could add a few Afterthoughts to the previous week's massive Speaking of Which. Seems like I could wind up delaying this post a second day, as it's already late as I'm writing this. Most of Tuesday got chewed up writing two long comments relating to the Biden nomination: one on a Matthew Yglesias post, the other an expansion of my Afterthoughts comment. None of this even mentions the seemingly important (if true) Ben Jacobs: [07-09] How the Democratic movement to dump Biden went bust. Or Nia Prater: [07-09] Why is the Squad backing Biden so forcefully? As Yglesias explained in his piece, the calculation for Democratic politicians is different than the one for journalists and pundits. New York Magazine, which published a number of pieces extremely critical of Biden (probably all op. cit. through my links above) has gotten so into circling the wagons, they've gone into live blog mode: Biden resistance appears to be waning in Congress. On the other hand, Eric Levitz: [07-09] is back with another piece: The arguments for Biden 2024 keep getting worse. Definitely no Afterthoughts this week, and I'm going to be hard pressed to do a Speaking of Which by Sunday or Monday. Most pressing thing after getting this up will be to follow up on the Mid-Year Jazz Critics Poll. Deadline remains Sunday, July 14. I've received 18 ballots so far, referencing a total of 177 albums. About 50% of those albums were not previously in my tracking file, so I've been using them for prospecting (three of the five A- albums this week came from ballots; the other two are promos I received, with no votes so far). Probably the most important thing I need to do is to compare the Jazzpoll mailing list, which is where I sent the invites, to the more authoritative list I made last year of people I actually sent invites to, especially the ones I voted. At some point I stopped automatically adding names to the Jazzpoll list, so chances are that a couple dozen people who should have been invited weren't. I'm also worried about invites being diverted into spam folders -- I know of at least two such cases, both with gmail. If I had the time and energy, I would follow up, but it's a lot of work. I also need to go back and review some couple emails I received after last year's poll -- a couple offers of help, at least one person who asked to be invited (and should be). To make up for these shortcomings in the invitation process, I asked people to inform and possibly invite their colleagues. Thus far I haven't received any takers, or for that matter inquiries. The only evidence I have is that some spam has started getting caught there. Not a lot, and none of it's getting through, but it's one more thing to deal with. At this moment, the website is a bit behind my local copy, but I will refresh it a couple times this week. I need to edit several documentation files, and change the methodology notes in the totals files. The main things of possible public interest are the invitation, the list of critics who have voted, and the list of new releases and rara avis that have received votes. The actual results won't be public until ArtsFuse publishes them. I've had very little time for updating my metacritic file, but I have added the mid-year lists I've been noting in the Speaking of Which music section, so there's been a bit of movement. File still needs a lot of work. I did, by the way, start counting all of the metal magazines at AOTY (but I've yet to go back and fill in the ones I skipped earlier). I wish their coverage of jazz, hip-hop, electronica, and country was as deep as their interest in metal, but it isn't. I haven't gotten around to sources like All About Jazz, Saving Country Music, and Hip Hop Golden Age, which would help remedy those deficits. No time, and not much energy these days. Also, I can barely see, so if I don't post this right away, it won't make it tonight. PS: Facebook blocked me, so I may give that a rest. New records reviewed this week: BbyMutha: Sleep Paralysis (2024, True Panther): Rapper Brittnee Moore, from Chattanooga, second album, Bandcamp page attributes it to "BIGMUTHA," but every other source goes as I have it, sometimes no-caps. B+(**) [sp] Beings: There Is a Garden (2024, No Quarter): New York-based quartet of Zoh Amba (tenor sax, mostly), Steve Gunn (guitar), Shahzad Ismaily (bass, synth), and Jim White (drums). I never thought of Gunn as a jazz musician, and he doesn't have to be one when filling in behind Amba's sax or piano (even more indebted to Charles Gayle than her sax), but when she sings, he presents a Velvet Underground vibe so she can be Moe Tucker. No attempt at fusion here. Just multiplicities. A- [sp] Chris Byars: Boptics (2023 [2024], SteepleChase): Tenor saxophonist, what you might call a retro-bebopper, probably the most talented musician to first appear on Luke Kaven's early 2000s Smalls label, which also produced exceptional records by two more musicians in this sextet: Zaid Nasser (alto sax) and Ari Roland (bass). They're joined here by Stefano Doglioni (bass clarinet), John Mosca (trombone), and Keith Balla (drums). B+(**) [sp] Kim Cass: Levs (2023 [2024], Pi): Bassist, second album, composed everything here, mostly for pianist Matt Mitchell, who he's supported in the past, and is striking (as usual) here. Also with Tyshawn Sorey (drums), and (except for 3-4 tracks) flute (Laura Cocks) and euphonium (Adam Dotson). B+(***) [cd] Ernesto Cervini's Turboprop: A Canadian Songbook (2022 [2024], Three Pines): Canadian drummer, based in Toronto, half-dozen albums since his 2015 Turboprop introduced his group name. Sextet with two saxophonists (Tara Davidson and Joel Frahm), trombone (William Carn), piano (Adrean Farrugia), and bass (Dan Loomis). Songs are sentimental favorites in his neck of the woods, but they travel well. B+(***) [bc] Coco Chatru Quartet: Future (2024, Trygger Music): Swedish group, named for "a legendary Swedish adventurer," label for bassist Hĺkan Trygger, who wrote four (of eight) pieces, with two each by Daniel Kĺse (drums) and Linus Kĺse (alto sax), zero by Charlie Malmberg (baritone sax). Slippery postbop, somewhat understated. B+(***) [lp] Alfredo Colón: Blood Burden (2023 [2024], Out of Your Head): Alto saxophonist, based in Brooklyn, first album, quartet with Lex Korten (piano/keybs), Steve Williams (bass), and Connor Parks (drums), original pieces plus a Son House blues. This develops impressively, in the "spiritual jazz" vein pioneered by Coltrane, Sanders, and Ayler, alongside more recent efforts by saxophonists like Nat Birchall. A- [cd] GloRilla: Ehhthang Ehhthang (2024, Cocaine Muzik Group/Interscope): Rapper Gloria Hallelujah Woods, from Memphis, two albums, this one's considered her second mixtape, crunk (I've read). Lot of b&n here (as in "ain't no b in me, n"). If you can roll with that, this should rock you. B+(***) [sp] Conrad Herwig: The Latin Side of McCoy Tyner (2024, Savant): Trombonist, born in Oklahoma, studied at UNT, joined Clark Terry's 1980s band, played with Joe Henderson, Toshiko Akiyoshi, Joe Lovano, Mingus Big Band; first leader album in 1987, joined Eddie Palmieri in 1994, and recorded his initial The Latin Side of John Coltrane in 1996, since followed by Shorter, Hancock, Henderson, Silver, Mingus, and now Tyner. This one has Alex Norris (trumpet), Craig Handy (tenor/baritone sax), Bill O'Connell (piano), with the usual percussion excitement, and a special guest slot for Palmieri. B+(**) [sp] Janel & Anthony: New Moon in the Evil Age (2024, Cuneiform): Janel Leppin (cello) and Anthony Pirog (guitar), self-released an album together in 2006, another for Cuneiform in 2012. They've since gone on to establish separate careers, but reunite here for what is effectively two albums: the first a ten-track suite of darkly engaging duet instrumentals, the second a singer-songwriter set with Leppin doing most of the singing -- jazz-influenced, no doubt, but not something one would note in a blindfold test. I find the songs a tad more appealing, but probably for the music, as I can't say much about the lyrics. B+(**) [cdr] Mathias Hřjgaard Jensen: Is as Is (2022 [2024], Fresh Sound New Talent): Danish bassist, lives in Brooklyn, probably his first album as leader (Discogs has three side credits since 2019, his website has 13), all his pieces, quartet with David Mirarchi (alto sax), Jacob Sacks (piano), and Steven Crammer (drums). This is very nice: subtle and intricate postbop that sneaks up on you. A- [cd] Malcolm Jiyane Tree-O: True Story (2020-21 [2024], New Soil/Mushroom Hour): South African trombonist, second group album. B+(**) [sp] Alex Kautz: Where We Begin (2024, Sunnyside): Brazilian drummer, based in New York, married to Mexican singer Magos Herrera (featured on two songs here), with John Ellis (tenor sax/clarinet), Chico Pinheiro (guitar), Helio Alves (piano), and Joe Martin (bass). B+(*) [cd] Cassie Kinoshi's SEED.: Gratitude (2023 [2024], International Anthem): British alto saxophonist, plays in the Afrobeat group Kokoroko, leads the large SEED Ensemble (first album in 2019, nominated for Mercury Prize, was upper case then but lower case now), which is a skeletal big band plus string quartet, flute, tuba, and turntables. Title piece runs 21:56, is packaged with a slightly smaller group on a 5:42 piece (so 27:38 total). B+(*) [sp] Charlie Kohlhase's Explorer's Club: A Second Life (2022 [2024], Mandorla Music): Saxophonist (alto, tenor, baritone), based in Boston, Discogs credits him on 48 albums since 1985 (many with Either/Orchestra) but Wikipedia hasn't noticed yet, third group album, an octet with tenor sax (Seth Meicht), trumpet (Dan Rosenthal), trombone (Jeb Bishop), tuba (Josiah Reibstein), guitar (Eric Hofbauer), bass, and drums. Originals plus covers from Elmo Hope, Ornette Coleman, John Tchicai, and Roswell Rudd. The bottom horns provide a lot of lift. A- [sp] Janel Leppin: Ensemble Volcanic Ash: To March Is to Love (2023 [2024], Cuneiform): Cellist, released the album Ensemble Volcanic Ash in 2022, same basic group and concept here but I'm annoyed by the typography, so this is my solution. The music can also annoy, but also can turn remarkable, even living up to this hype: "progressive chamber jazz with the steely avant-garde that descends from Julius Hemphill's 1972 LP Dogon A.D." Hemphill's secret was cellist Abdul Wadud, whose name appears in the opening "Ode." Sextet with Brian Settles (tenor sax), Sarah Hughes (alto sax), Anthony Pirog (guitar), Luke Stewart (bass), and Larry Ferguson (drums). B+(***) [cdr] Frank London/The Elders: Spirit Stronger Than Blood (2023 [2024], ESP-Disk): Trumpet player, has extensive experience in klezmer music (Klezmatics, Hasidic New Wave, Klezmer Brass Allstars, Klezmer Conservatory Band) as well as straight jazz -- here often evoking Ellington and Mingus, with tributes to Lester Bowie and Ron Miles. B+(***) [cd] Megan Thee Stallion: Megan (2024, Hot Girl): Rapper Megan Pete, fourth album (plus several EPs) since 2019, I usually like her raunch and roll, but runs long here, for mixed results. B+(***) [sp] Che Noir: The Color Chocolate, Volume 1 (2024, Poetic Movement, EP): Rapper Marche Lashawn, from Buffalo, Discogs lists as Che'Noir, cover looks more like Chč Noir. EP is four songs, 10:58, but Discogs has more cuts, and Wikipedia has nothing, which is odd given that Discogs lists seven songs and six singles/EPs. Even at this length, this feels pretty substantial. B+(**) [sp] Clarence Penn: Behind the Voice (2024, Origin): Drummer, has several albums, one original here plus a batch of soul & rock standards from the 1970s-80s, roughly Stevie Wonder to Prince, with sides of Peter Gabriel and Don Henley, employing five guest singers, with Kurt Elling the one you've heard of (but may not want to hear). B+(*) [cd] Ken Peplowski: Unheard Bird (2024, Arbors): Supposedly another chapter of "Bird with Strings": a first recording of arrangements commissioned for Charlie Parker. The leader, playing clarinet and tenor sax, is not a very obvious choice for this project, but if the idea is simply to make Bird cornier, who is? Peplowski leads a very capable quintet with Terell Stafford (trumpet), Glenn Zaleski (piano), Peter Washington ( bass), and Willie Jones III (drums), while Loren Schoenberg conducts an orchestra of strings, harp, and oboe. B- [sp] Ken Peplowski: Live at Mezzrow [Smalls Live Living Masters Series] (2023 [2024], Cellar Music): This is more like what he's done so consistently since 1989: tenor sax and clarinet, playing swing standards with the occasional bop reference (Monk, Hank Jones), leading a rhythm section that's been doing just that for decades: Ted Rosenthal (piano), Martin Wind (bass), Willie Jones III (drums). B+(***) [sp] Carla Santana/José Lencastre/Maria do Mar/Gonçalo Almeida: Defiant Ilussion (2023 [2024], A New Wave of Jazz): Electronics, alto/tenor sax, violin, bass quartet, recorded in Portugal. B+(***) [bc] Dirk Serries/Rodrigo Amado/Andrew Lisle: The Invisible (2021 [2024], Klanggalerie): Belgian guitarist, Portuguese tenor saxophonist, English drummer, recorded in Belgium, three pieces (56:44). Amado is superb when he gets out front. B+(***) [bc] Matthew Shipp: The Data (2021 [2024], RogueArt, 2CD): Pianist, brilliant, many albums since the late 1980s, probably has a dozen solos by now, with this one of the better ones, if you're at all so inclined. B+(***) [cdr] TV Smith: Handwriting (2024, JKP/Easy Action): T for Timothy, was singer-songwriter in British punk band the Adverts, released two 1977-78 albums, best remembered for the single "Gary Gilmore's Eyes," but the song I always think of is "One Chord Wonders." He formed another band, then went solo in 1983, and has recorded pretty regularly since 1992 -- way off my radar. Older now, which means slower, and anger ripened into bitterness, and therefore gravitas. B+(***) [sp] Anthony Stanco: Stanco's Time (2023 [2024], OA2): Trumpet player, second album, side credits back to 2011, half originals, half jazz standards from Ellington and early boppers (Parker, Monk, Dameron, Davis), half with "Time" in the title. With Randy Napoleon (guitar), Xavier Davis (piano), bass, drums, and on three cuts, Walter Blanding (tenor sax). B+(**) [cd] TiaCorine: Almost There (2024, South Scope/Interscope, EP): Rapper from North Carolina, merged her first two names together, omitting Thompson Shultz, mother is Shoshone, father has roots in Japan and Africa. She released an EP in 2020, an album in 2022, back here with eight songs, 16:38. Title is about right. B+(**) [sp] Ryan Truesdell: Synthesis: The String Quartet Sessions (2022-23 [2024], ArtistShare, 3CD): Composer/arranger/conductor, started as Maria Schneider's assistant, made his name with "Newly Discovered Works of Gil Evans," has conducted "The Music of Bob Brookmeyer." Here he's composed a bit and arranged or at least currated a lot of new compositions for string quartet, with a few strategic guest spots. B+(**) [cdr] Steve Turre: Sanyas (2023 [2024], Smoke Sessions): Trombonist, also plays conch shells, couple dozen albums since 1987, quite a bit of side work (Discogs lists 224 albums he played trombone on). Live sextet here with Nicholas Payton (trumpet), Ron Blake (tenor sax), Isaiah Thompson (piano), Buster Williams (bass), and Lenny White (drums). Starts with title track, which Turre wrote for Woody Shaw's The Moontrane (1974), evoking the classic trombone-augmented hard bop sextets of the 1960s. Ends with a very nice "These Foolish Things." B+(***) [sp] Lisa Ullén: Heirloom (2023 [2024], Fönstret): Swedish pianist, born in Seoul, South Korea, over a dozen albums under her own name since 2006, more side-credits. First solo album, each side with a variation on the same three-part suite. B+(**) [bc] Jack Walrath: Live at Smalls (2023 [2024], Cellar Music): Trumpet player, started out with Mingus in the mid-1970s, debut album 1979, had an impressive run in the 1990s, has five albums on SteepleChase since 2008 -- quite a bit of work I should catch up on. Quintet here with Abraham Burton (tenor sax), George Burton (piano), Boris Kozlov (bass), and Donald Edwards (drums), revisiting his songbook and adding to the legacy ("A Bite of Tunisia," "Mood for Muhal," etc.). B+(***) [sp] Neil Young & Crazy Horse: Fu##in' Up (2023 [2024], Reprise): Live album, from Tivoli in Toronto, reprising their 1990 album Ragged Glory, a pretty solid A- at the time, dropping one song ("Mother Earth"), renaming most of the rest (title song becomes "Heart of Steel"), length up 1:50. Hard to see this as necessary, but sounds good and gets better. B+(***) [r] Denny Zeitlin: Panoply (2012-23 [2024], Sunnyside): Pianist, 86 now, has recorded since 1964, while pursuing a parallel career in psychiatry. This offers a good survey of his range, from solo pieces (2012) to a trio (2019) with Buster Williams and Matt Wilson, plus home recordings in a duo with George Marsh (drums). B+(**) [sp] Recent reissues, compilations, and vault discoveries: Christer Bothén Featuring Bolon Bata: Trancedance [40th Anniversary Edition] (1984 [2024], Black Truffle): Swedish tenor sax/bass clarinet player, first albums were with Don Cherry, this was the first he led, Bolon Bata the band name, went on to a second album in 1988. Before this he lived and studied in Mali and Morocco, also playing doson n'goni and guimbri here, the large groups featuring other African instruments, and various vocals. A- [bc] Johnny Griffin Quartet: Live in Valencia 92 [The Jordi Suńol Archives 3] (1992 [2024], Storyville): Tenor saxophonist (1928-2008), distinguished himself with Thelonious Monk in the 1950s, had a major career in the 1960s, recorded consistently during the 1970s and 1980s (on widely scattered labels), enjoyed something of a comeback in the 1990s. Live set from Spain -- part of a series of archives that started with albums by Phil Woods and Mulgrew Miller -- with Hervé Sellin (piano), Reggie Johnson (bass), and Doug Sides (drums). Opens fast, closes gently. B+(***) [sp] Shelly Manne & His Men: Jazz From the Pacific Northwest (1958-66 [2024], Reel to Real): Drummer (1920-84), started in swing bands, quickly adapted to bebop and majored in cool jazz; played with Stan Kenton, André Previn, and Ornette Coleman; led small groups, his 1959 Black Hawk sets with Richie Kamuca and Victor Feldman are especially esteemed. Two LPs here, the first from Monterey in 1958 with Stu Williamson (trumpet), Herb Geller (alto sax), Russ Freeman (piano), and Monty Budwig (bass); the second from Seattle in 1966 has Conte Candoli (trumpet), Frank Strozier (flute/alto sax), Hampton Hawes (piano), Budwig, and Ruth Price (vocals). B+(**) [sp] Brother Jack McDuff: Ain't No Sunshine: Live in Seattle (1972 [2024], Reel to Real): Organ player (1926-2001), recorded 20-plus albums for Prestige 1960-66, establishing himself as one of the main soul jazz talents of the period, recording much less prolifically thereafter (for Atlantic, Blue Note, Cadet, and after 1992 for Concord). This is previously unreleased, a couple of nice sets with sax (Leo Johnson or Dave Young) and sometimes trumpet (unknown), as well as guitar and drums. B+(*) [sp] Shelly Manne & His Men: Jazz From the Pacific Northwest (1958-66 [2024], Reel to Real): Drummer (1920-84), started in swing bands, quickly adapted to bebop and majored in cool jazz; played with Stan Kenton, André Previn, and Ornette Coleman; led small groups, his 1959 Black Hawk sets with Richie Kamuca and Victor Feldman are especially esteemed. Two LPs here, the first from Monterey in 1958 with Stu Williamson (trumpet), Herb Geller (alto sax), Russ Freeman (piano), and Monty Budwig (bass); the second from Seattle in 1966 has Conte Candoli (trumpet), Frank Strozier (flute/alto sax), Hampton Hawes (piano), Budwig, and Ruth Price (vocals). B+(**) [sp] Kalaparusha Maurice McIntyre: Live From Studio Rivbea: July 12, 1975 [Rivbea Live! Series, Volume 1] (1975 [2024], No Business): Tenor saxophonist (1936-2013), born in Arkansas, grew up in Chicago (AACM, two albums on Delmark), and on to New York, where he played in the streets, subways, and lofts, first recording as Kalaparusha in 1970, with an uptick in activity around 1998. The label has done a terrific job of releasing archival tapes by Sam Rivers, who was the central figure in New York's "loft scene, so it's nice to see them building out. B+(***) [cd] Sun Ra: Excelsior Mill (1984 [2024], Sundazed/Modern Harmonic): Solo organ performance, described here as "like a cross between a demonically riffing '50s horror movie villain and a futuristic congregation leader delivering the interplanetary gospel," and indeed this instrument often evokes church and/or horror movies. I'm not particularly fond of either. B [sp] Old music: Christer Bothén Trio: Triolos (2003-04 [2006], LJ): Leader plays bass clarinet, ngoni, guimbri; trio with David Stackenäs (guitar) and Peter Söderberg (theorbo, lute, guitar, low budget electronics). Rather abstract, more interesting than compelling. B+(**) [sp] Ernesto Cervini: Joy (2021 [2022], Three Pines): Toronto-based drummer, composer, several albums, also a tireless publicist for his fellow Canadian musicians (many, including guest vocalists, featured here), credits this as "inspired by Louise Penny's Gamache series of books and the qualities of goodness, decency, courage, and love that permeate them." B+(**) [sp] Maurice McIntyre: Humility in the Light of the Creator (1969, Delmark): Tenor saxophonist, first album, two suites ("Ensemble Love" and "Ensemble Fate"), the first dominated by George Hines' incantatory vocal, the latter picks up piano (Amina Claudine Myers) and more horns (Leo Smith on trumpet, John Stubblefield on soprano sax). B+(**) [sp] Kalaparusha Maurice McIntyre: Forces and Feelings (1970 [1972], Delmark): Second album, cover has "Kalaparusha" in large type on top line, title (smaller, because it's longer) on second line, then "Maurice McIntyre" (smaller still) as third line, while the back cover credits tenor sax, clarinet, flute, and bells to "Kalaparusha Ahra Difda." Backed by guitar (Sarnie Garrett), bass (Fred Hopkins), and drums (Wesley Tyus), with vocals by Rita Omolokun. B+(**) [sp] Kalaparusha Maurice McIntyre Quartet: Peace and Blessings (1979, Black Saint): Italian label, became a major outlet for American "loft scene" veterans (especially David Murray). This was recorded in Milan, with Longineau Parsons on trumpet (both also playing related instruments), Leonard Jones (bass), and King L. Mock (drums). B+(**) [sp] Jack Walrath Quintet: In Europe (1982 [1983], SteepleChase): Trumpet player, played with Mingus in the 1970s (and later in various Mingus big bands), early in his career as a leader, with a relatively unknown group (Anthony Cox, on bass, is the only one I recognize), for a set in Copenhagen, playing four of his pieces. B+(*) [sp] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, July 8, 2024 Speaking of WhichPosting this a day late, only partly because I tried slipping in the Afterthoughts post. Late Monday night, and I'm dead tired, pretty sure I didn't complete my rounds, but at this point if I fail to post I'll just waste another day. Expect Music Week on Tuesday, plus some late additions here (and maybe on the Sunday-dated but Monday-posted Afterthoughts as well). On the other hand, my mid-year jazz critics poll needs some work too, and should probably be considered a more urgent priority. Nice to see elections leaning left in UK, France, and Iran. That should probably be a bigger story. A few more extras below, but the big one is the comment on Matthew Yglesias, reiterating the case that Democrats need to replace Biden. That's also the subject of a long addition to last week's Afterthoughts. In Tuesday's Music Week, written after this post but before I'm adding this section, I mentioned a couple Biden-related pieces that appeared after closing this:
I'll probably return to those next week, but they relate to recent chatter below. Late adds from ex-twitter:
Nathan J Robinson tweeted: "Wild to me that people like Matt Yglesias and the Pod Save America guys are now more publicly critical of Biden than the Squad." Jacob Shell pointed out, as Yglesias did in his post: "It's professionally cheap for a pundit and professional expensive for a politician." But it's not just that: Biden's replacement is going to be hand-picked by a cabal of moneyed insiders, then forced on a convention of delegates pre-selected for their loyalty. That person, who may well be Harris, will re-energize the party, but also will consolidate centrist control, and by winning (especially if winning decisively) will make it harder for the left to compete in 2028. The Squad represent very safe Democratic seats. If Biden wins, he will owe them, and if he loses, they will survive and be better positioned to rescue the Party moving forward. I'm not saying they're putting cynical self-interest ahead of the Party any more than any other politician -- if you're in a swing district, dumping Biden may simply be a matter of survival. But not everyone's in the same boat, with the same options. And they do have one point that is absolutely correct: we need to fight Trump, not among ourselves. If I thought the Biden thing would blow over, I'd happily join them. But I really don't see it blowing over, so the only realistic option is for Biden to drop out, and let someone who's up to the task take over. By the way, a lot of really dumb comments attached to Robinson's tweet, especially by people trying to factor Israel in (e.g., "The Squad can't risk Kamala becoming president because of her husband's ties to Israel"). Lots could be said about this, but I'll leave it at this shows a remarkable ability to compartmentalize issues and political choices, especially given how centrist Dems collaborated with AIPAC to exterminate the Squad. Initial count: 139 links, 7096 words. Updated count [07-11]: 163 links, 9377 words. --> Local tags (these can be linked to directly): on music. Top story threads:Israel:
America's Israel (and Israel's America):
Pape's article title (and for that matter his book titles) suggest he has a very naive, very addled concept of winning. Granted, I'm starting from the default position that nobody can ever win at war, and that anyone who thinks otherwise is deluding themselves, most likely by failing to recognize most of the costs one will eventually have to pay. Pape may well agree with much of this -- he certainly understands that Israel's collective punishment of Gaza is raising more opposition, and more desperate opposition, than they're able to kill off. It's not just that the violence could -- and sooner or later probably will -- rebound against Israel. It's just peculiar to think of either Israel's immediate offensive gains or its likely eventual denouement as winning for everyone. And especially for Hamas, which I'm inclined to believe -- admittedly with little evidence to back me up -- is no longer a real force, just a spectre conjured up by Israel as an excuse to continue genocide. I'm not saying that when Israel sends troops into some enclave in Gaza, they're not going to get fire returned. Just not much, and not from a coherent military or political force. Admittedly, I don't have much data to go on, so Pape might be helpful in that regard. On the other hand, how can he know much more than what Israel tells him? And why should he or we believe any of that? Brett Wilkins: [07-04] Senior Israeli lawmaker suggests nuclear attack on Iran: Avigdor Liberman, the guy who's not in Netanyahu's coalition because it isn't far-right enough for him. (Actually, it's probably just because he hates Netanyahu. While he has no other redeeming qualities, who can't sympathize with him on that?) Still, he's basically saying that the problem with Israel is that the government isn't stark-raving bonkers enough. Sharon Zhang: [06-28] Biden releasing part of bombs shipment to Israel that was paused over Rafah raid: "The administration appears to have totally thrown away its 'red line' on Rafah, two months after the invasion." Israel vs. world opinion:
Election notes:
Joe Biden (post-debate):
Trump:
And other Republicans:
And other Democrats:
Legal matters and other crimes:
Climate and environment:
Economic matters:Ukraine War and Russia:
America's empire and the world:
Other stories:Margot Roosevelt: [07-07] Jane F. McAlevey, who empowered workers across the globe, dies at 59: "An organizer and author, she believed that a union was only as strong as its members and trained thousands "to take over their unions and change them." BooksJedediah Britton-Purdy: [07-02] The Creed: "How did Americans come to worship the Constitution?" Review of Aziz Rana, The Constitutional Bind: How Americans Came to Idolize a Document That Fails Them.
Leah Hunt-Hendrix/Astra Taylor: [07-02] For a solidarity state: "The state structures society. It can make us more prone to care for one another." Sean Illing: [07-07] How the 1990s broke politics: "Inside the GOP's transition from the party of Reagan to the party of Trump." Interview with John Ganz, author of When the Clock Broke: Con Men, Conspiracists, and How America Cracked Up in the Early 1990s. Osita Nwanevu: [03-11] The divided president: "Who's in charge in the Biden White House?" This is a bit dated, a review of Franklin Foer, The Last Politician: Inside Joe Biden's White House and the Struggle for America's Future. I bought the book at the time, figuring it might shed some light on some things (mostly involving foreign policy) that I didn't adequately understand), but never got around to it, and I'm in no hurry these days. Marshall Steinbaum: X thread: "There's a little book I recommend to anyone who's trying to get a handle on what's going on in American politics this week." The book is Nancy McLean, Democracy in Chains: The Deep History of the Radical Right's Stealth Plan for America. The book is mostly about economist James Buchanan, and how his and similar careers have been sponsored by right-wing networks, especially that of the Kochs. I read the book when it came out, and thought it was pretty good. Buchanan's early ties to the anti-desegregation movement were especially striking -- how easily we forget how reflexively racist many people were in the 1950s -- and the Koch funding was something I was rather familiar with. (I even received some myself, back when I typeset reprints of a couple Koch-sponsored reprints of Murray Rothbard books.) I'm less clear on Buchanan's economic theories, which seemed rather trivial. Maybe "stealth plan" was a bit of an oversell: much of it was public, and some of it barely qualified as a plan -- throwing money at something could just as well be seen as another of those "irritable mental gestures" Lionel Trilling saw in most "conservative thought." Still, this kicked up a flurry of protest over McLean's book, including some from people I generally respect (e.g., Rick Perlstein), so I took some notes:
Music, etc.Nick Paumgarten: [07-01] Alan Braufman's loft-jazz séance. Michael Tatum: [07-09] A downloader's diary (53): Much more than capsule reviews, major takes on Beyoncé, Nia Archives, Zawose Queens, Carly Pearce, Fox Green, and much more. Pearce and Fox Green also appear here:
Midyear Lists:
Ask a question, or send a comment. Sunday, July 7, 2024 Speaking of Which: AfterthoughtsBack during my careerist, apolitical middle ages, I read a number of business/management books (also, more often, popular science, and sometimes science fiction -- those were the good ol' days), and one point that stuck with me was the observation that in and coming out of meetings, there are two kinds of people: those who give you their reactions immediately, and those who need a day or two to process and come up with better reactions. I quickly recognized that I'm one of the latter. I'm pretty sure the book was Robert Townsend's Further Up the Organization, which I probably got more from than I did from The Communist Manifesto and Minima Moralia combined, although from Walter Benjamin's Illuminations and John Berger's Ways of Seeing would be close. Some major things I got from Townsend are the value of employee ownership, and a deep loathing for nepotism -- points that have repeatedly been reinforced by real-world experience. There's also a quote about the Ottoman Empire that I'd have to look up to do justice, but the gist is that when you lose your reputation for justice, you lose everything. That quote comes as close as anything to explaining why I spend so much time harping on how important it is that Israel and America have so thoroughly disgraced themselves in Gaza (and, sure, not just in Gaza). Anyhow, before my digression, I just wanted to introduce this concept, which may or may not become a regular feature -- depends on how much free time I have, which if this week is any example is likely to be not much. It's been taking me so much time to round up my weekly Speaking of Which compendiums, often of late requiring an extra day (or two?), that I wind up just throwing them out, with no more than a quick, minimal spell check. Then I have to pivot for Music Week, which is mostly a matter of collecting bits I had written more leisurely (or carelessly) during the week, and that usually breaks the mood until Friday or so when I get going on the next Speaking of Which. Lately, Music Week day has given me a chance to fix the typos my wife always finds, and add a few items that slipped my net, but I never have the time and perspective I need to refine, clarify, and polish what I wrote in such haste. That led me to the idea of doing a midweek "Afterthoughts" post, where I look back through the previous week's roundup with somewhat refreshed eyes, pick out a few salient items that I think could use more (by which I think I mean deeper) commentary. I could then add anchors and links to go back and forth between Speaking of Which and Afterthoughts. As I reread, I'll probably catch and fix a few mistakes, perhaps editing some particularly awkward passages. While Afterthoughts will offer the occasional link, I imagine that I'll add new ones I to the old file, or save them for the following week. That will entail keeping multiple files open (and raises the question of whether I should make the work-in-progress file visible). Another digression (maybe I should invent some markup for these?): I have on occasion done that, and I'm usually rather pleased with what I find there. That gets me to imagining that someone could pull out a book's worth of particularly notable nuggets, but the only people who have given them a look so far have thrown up their hands in dismay (my wife and her publisher friends). When I do it myself, I'm tempted to edit, rarely for points but the writing can always be sharpened up. I've collected most of my post-2000 writings into book files, but they are pretty massive (the four political volumes up to 2020 total 2.86 million words; not collected there yet, Speaking of Which, since June 2021, would add another 800 thousand words). Anyhow, that's the concept. Unfortunately, I wasted 2-3 days after coming up with the idea without actually doing the work. But I left a placeholder for this post when I opened the next Speaking of Which draft file, so I feel obliged to post something here. (It works this way for technical and historical reasons I won't bore you with, possibly because doing so might expose my inept design.) But as this is being written on Sunday, all I can hope for is make a quick pass and post tonight, with everything else delayed a day (or, perhaps like last week, more). Zack Beauchamp: Sometimes I think I should write up an annotated list of books on Israel, but the number that I have read quickly becomes mind-boggling -- especially when you start thinking about the various angles and tangents. But this one cuts to the heart of the matter: not so much as to what happened -- which tends to be a long list of indictments -- as to what was going through Israeli when they acted as they did. One imagines there could be a similar reading list for how Palestinians think, but they've had so few viable options that it really wouldn't tell us much. As Americans, we've been brought up to think that we have a large degree of freedom within which we can deliberately live our lives. Even here, much of that is illusion (or delusion), but Palestinians have never had any meaningful degree of political freedom: not under the Ottomans, or the British, or the Egyptian/Jordanian occupations of Gaza and the West Bank from 1948-67, or under Israel (in or out of the Green Line, with or without the gang rule of Fatah/Hamas), or for exiles in Lebanon, Syria, the Gulf, etc. I dug out Ben Cramer's book a few weeks ago. I wanted to find a story I remembered him using -- one about teaching a dog to speak -- but so far it's escaped me. On the other hand, I have reread many passages, and I'm always struck by how easily he gets to unobvious but essential points. One of those is that of all the world's many problems, this conflict should be one of the easiest to solve -- pace Christgau, who throws up his hands in despair after declaring it "the cruelest and most gruesome international conflict of my adulthood." I pick my around that line, but Ben Cramer simply offers an answer: just start by showing Palestinians some respect, and see how they adjust. I have little doubt that they will, but that's because I'm aware that there are many more strands of thought among Palestinians beyond the only ones Israelis recognize: those who fight (like Hamas), and those who surrender (like Fatah, not that even they have so little self-respect that they can satisfy Israel). I've read quite a bit on Israel over the years: enough that I can pull up a historical reference for almost any situation, so quickly that I frequently circle back instead of offering immediate reactions to atrocities that no understanding of historical context can excuse. But mostly I'm writing on the basis of models I've formed and refined over many years, that give me insight into things people say and do, and how they are perceived and reacted to. I suppose this started fifty years ago, when I was first smitten with philosophy, and through it psychology and sociology (and economics?). It's been a long time since I ever attempted to articulate it, but I have been thinking more about stories and models lately: most people understand things through stories -- or so we're told by political and advertising consultants, who one suspects prefer them because they see them as ways to manipulate, and as such to compensate their clients and earn their premium. And, if you're interested in practical politics, that's often a game you have to play. Models are harder to sell, because they simply give you insight into how things actually work, and most importantly, that many of the things selfish people would pay for -- like riches, power, status, glamor, fame, notoriety -- come with hidden costs that make them worth much less than you'd like to think. But read on. The models will come to you. About last Thursday's debate: I collected a huge number of links, as most center-to-left pundits took the matter seriously and had an opinion to air (and often not just an axe to grind). I didn't bother much with right pundits, as what could they possibly say worth taking seriously? So while I started the post with a general idea of what was going on, and how it might play out, I was fine with letting this play out. And it did, pretty definitively. Biden is toast. He's lost all credibility as a candidate, and if the Democrat clique around him somehow manage to keep him as their candidate, they will lose all credibility and, as soon as possible, control of the party. Even if he sticks and wins, which given his opposition isn't impossible, he and they will get no credit for the feat. All they will get is condemnation for the risk they're running by sticking with a candidate who has clearly lost the faith and trust of his own voters. That it isn't official yet is probably because the insiders haven't yet agreed on a succession plan. There's been very little reporting on this so far, because it's not the sort of thing inside power brokers dare brag about. But it's pretty obvious if you understand how things work. And what's happened is pretty simple. . . . PS: Insert my model of US political parties here, then explain how the powers in the Democratic Party have used Biden as a prophylactic against the left. An open political process stood a chance of tilting the nomination toward someone on the left -- probably not Sanders, due to age, but someone would have moved in that direction. On the other hand, it would be very difficult for anyone to challenge an incumbent president, so running Biden essentially shut down the primary process, Now, even if Biden sensibly withdraws, the convention will be controlled by Biden's backers, ensuring that they will come up with a candidate favorable to their business interests. I wrote a version of this for tomorrow's post: e.g., the comments on Cooper and Yglesias. I've been thinking along these lines for quite some time now. To reiterate:
I don't mind advising patience, but the notion that Biden will still be the nominee in September, much less in November, is too horrible to contemplate. The measuer of this is not whether you would still vote for Biden over Trump in November. Of course you would, as would anyone who recognizes Trump for even a fraction of what he is. The question is how do you want to beat Trump? You want to beat him not just on how bad he is, but on how much better you are. You need a candidate who can stand up to him, who can argue back, who can hit him so hard and so fast that he's the one who looks like a doddering, senescent idiot. And, let's face it, that candidate isn't Joe Biden. If we could get a fair vote on it, I'm pretty sure most Democrats would agree, and come up with someone better. But thanks to Biden and the cadres, only they get to decide this year. If they get it wrong, they will lose all credibility, and we'll have to rebuild the Democratic Party from scratch, as a union of voters. Meanwhile, we'll suffer for their hubris. And next time, we'll understand much better what we're fighting for. Changes I made to the file:
Ask a question, or send a comment. Wednesday, July 3, 2024 Music Week
Music: Current count 42580 [42549] rated (+31), 29 [22] unrated (+7). Nominally a day late (ok, two days), but last Music Week was two days late, so this is still a short week. I started off most days with old r&b in the CD player -- especially Scratchin': The Wild Jimmy Spruill Story, which combined a few minor hits with some major studio work, leading me to tweet up two singles (Bobby Lewis, Tossin' and Turnin', and Bobby Long, The Pleasure Is All Mine). Beyond that, what I got to was pretty haphazard, with a fair amount of old music left over from the William Parker research. My piece was published by ArtsFuse, here: Celebrating bassist William Parker's lifetime of achievement. You can also find my 2003 CG, with its updated discography, and my notes file, which includes my full set of reviews of albums Parker. The former could still use some cleanup, especially to separate out the albums that Parker didn't play on -- the CG was originally focused on Matthew Shipp and the Thirsty Ear Blue Series he curated, until I started noticing how many more albums Parker played on and how central they were to the whole circle. The latter needs even more work, as most of it was cut-and-pasted from my book files (which are now several years out of date), with others copied with HTML markup (where they still have bold credits and letter grades). If I didn't fear getting sucked into a huge time sink, I'd go fix those, but for now I can only offer excuses. Besides, I have a much more urgent website project to work on. I've decided to use my Francis Davis Jazz Critics Poll contacts to run a Mid-Year straw poll. I explain this on the website (which still needs a good deal of work) and in the invite letter (which went out to approx. 200 critics on June 30). I'm asking for lists of up to 10 new releases (which can include newly discovered 2023 releases) and/or up to 5 "rara avis" (old music, recorded 10+ years ago, or reissues). Deadline is July 14, and ArtsFuse will publish the results, probably later that week. The Poll is a quickie experiment. I've simplified the rules to make it easier on voters (and hopefully on he who counts), and I've saved myself a lot of work by only sending out one batch of invites without trying to vet new voters. The problem with the "one batch" approach is that I'm using a server and software that has been known to run afoul of some spam traps. I especially fear that people with gmail addresses may have their invites diverted or discarded. But it's impossible to test and verify these things. I made an effort to research this problem before, to little avail, and I will make another one soon, but in the meantime, please read the following, and follow up if anything seems to apply to you:
Also, one key point to emphasize is that this isn't a big deal. I'm not asking you to exercise Solomonic (or Christgauvian) judgment over the jazz universe. Your list doesn't have to find the absolute best records (whatever that might mean). Nor does it have to be ranked. (Although blessed are the rankers, for they get slightly more points weighting for their efforts.) Nor does it even have to be a full list. Just jot down a few albums that you would like to recommend to other people. That's mostly how these lists will be used. Given the late date, the short deadline, my various shortcuts, and the fact that we've never done this before, I'm not expecting much, but even if we just get 50 voters (as opposed to the 159 in 2023), I think the lists will be interesting and informative. I started to track mid-year lists when they started appearing just before June 1 -- see my metacritic file, which is running behind at the moment, as the last couple weeks haven't allowed much opportunity to work on it -- and they both give me a broad sense of what's out there and a useful roster of prospects to check out. This also ties into my tracking file, which has a jazz selector (currently listing 400 jazz albums, of which I have 332; this list will expand as I receive your lists: from past experience, about 30% of the albums that show up in ballots are ones I hadn't previously tracked; there's also a no grade variant, for those who don't want to see my grades). The website started off as a clone of last year's, with minor hacks. As I do more work to it this week, it should become a more useful source of information about the Poll and its progress. For instance, I need to revise things like the FAQ and the Admin Guide. I also hope to get some work done on the older parts of the website, especially to fill in information that predates my involvement (in administration; I've voted every year, from the founding). I hope to make the website the best source for information about the Poll. But if you wish to follow, check my Music Week posts, and follow me on twitter (or "X" if you prefer; I haven't jumped ship yet, although at this point it's rare for one of my tweets to be viewed by as much as a third of my nominal followers, so the returns seem pretty slim). Some other website work: I've done an update to Carola Dibbell's website, as her novel, The Only Ones is being reprinted, and she has an event later in July. I haven't done my database update to Robert Christgau's website yet, but have all of the CG reviews in my private copy. I still have to do some cross-referencing work, but should update the website in a couple days. I have a question about Michael Brecker that I need to research a bit. Would be nice to have a couple more to gang it up with. We've gone through more email tsuris, as Cox has dumped all of their email customers (or at least us) onto Yahoo. It appears to be stable now, but Yahoo has a pretty poor reputation, so we'll see. I did post another food pic on Facebook, if you into that sort of thing: Indian chicken, potatoes, cabbage, eggplant, raita, and paratha. I posted a massive Speaking of Which late Monday night (290 links is probably a record; 11720 words isn't, but is quite a lot). I've added a few more things today, and will probably add some more before I get this posted. I'm inclined to hold off on further complaints about the horrible Supreme Court, but would like to capture as much of the initial reaction to the Trump-Biden debate as may be useful. I'm grateful that I didn't bother with anything written in advance of the debate. This particular post got delayed an extra day as I got stuck writing a long comment on Robert Christgau's Xgau Sez. And while I got that done by 5PM, the delay occasioned one last round of "addl" tags. New records reviewed this week: Arooj Aftab: Night Reign (2024, Verve): Pakistani singer-songwriter, born in Saudi Arabia, returned to Lahore when she was 10, on to US at 19, studied at Berklee, based in New York, fifth album, got some notice in 2023 whens he shared billing on Love in Exile with Vijay Iyer and Shahzad Ismally. B+(***) [sp] Alan Braufman: Infinite Love Infinite Tears (2024, Valley of Search): Saxophonist, had a few years in New York in the mid-1970s working around the lofts with Cooper-Moore and William Parker, then did something else until retirement age, when he reissued his one album (actually quite good) and some archival tapes, and started working on a new one. This follows up on the promise of 2020's The Fire Still Burns, with James Brandon Lewis (tenor sax), Patricia Brennan (vibes), Ken Filiano (bass), Chad Taylor (drums), and Michael Wimberly (percussion). B+(***) [r] Ani DiFranco: Unprecedented Sh!t (2024, Righteous Babe): Folkie singer-songwriter, had a lot of edge when she emerged in 1990. This one doesn't particularly grab me, but probably deserves another listen. [PS: It does, as her critique is sharp as ever, but the music still doesn't grab me.] B+(*) [sp] Dayramir González: V.I.D.A. [Verdad, Independencia, Diversidad Y Amor] (2024, self-released): Cuban pianist, based in New York, has a 2008 album with Habana Entrance, not sure what else. B [sp] Morgan Guerin: Tales of the Facade (2024, Candid): Self-described "prolific multi-instrumentalist and visionary composer," born "right outside New Orleans," studied at New School and Berklee, based in New York, side-credits since 2019, appears to have three previous albums, plays sax and related, keyboards, electric bass, and drums, but I can't find any credits here, and I'm thrown by all the vocals. B+(*) [sp] Goran Kajfeš Tropiques: Tell Us (2024, We Jazz): Swedish trumpet player, quite a few albums since his 2000 debut, quartet with Alex Zethson (keyboards), Johan Berthling (bass), and Johan Holmegard (drums), third group album. Has a wide, panoramic feel. B+(***) [sp] Bill Laurance/The Untold Orchestra: Bloom (2022 [2024], ACT Music): British pianist, member of Snarky Puppy at least 2006-20, own albums since 2012, his keyboards leading an orchestra, conducted by Rory Storm, of 18 strings. Reflects his roots in classical music, and probably impressive as such, but quite enjoyable, too. B+(**) [sp] Les Savy Fav: Oui, LSF (2024, Frenchkiss): Art punk band from Rhode Island, released five albums 1997-2010, return for another 14 years later. Still a potent combination of hooks and volume. Last song is triumphant: "We were there when the world got great/ We helped to make it that way." B+(**) [sp] Grégoire Maret/Romain Collin: Ennio (2024, ACT Music): Swiss harmonica player, eponymous debut 2012, second album with the French pianist, backed by guitar-bass-drums, with flute (Alexandra Sopp) and heavyweight vocal guests Gregory Porter and Cassandra Wilson. B+(*) [sp] Zara McFarlane: Sweet Whispers: Celebrating Sarah Vaughan (2024, Universal): British jazz/soul singer, fifth album, standards. I don't have a good feel for how representative they are, or even much of an idea how Vaughan sung them: I was so surprised by "Inner City Blues" I stopped the record to compare Vaughan's 1972 version. Vaughan's voice is unrivaled for stature and precision, but I rather like McFalane's softer, sweeter tone, and the loose swing of her arrangements. B+(**) [sp] Ngwaka Son Systčme: Iboto Ngenge (2024, Eck Echo): Spinoff from Kinshasa (Congo) group Kokoko, emphasis on electrobeats. Six songs, 28:22. B+(**) [sp] Normani: Dopamine (2024, RCA): R&B singer from Atlanta, last name Hamilton, formerly of the vocal group Fifth Harmony (3 albums, 2015-17), first solo album. B+(**) [r] Carly Pearce: Hummingbird (2024, Big Machine): Country singer-songwriter from Kentucky, fourth album since 2017, found herself in her age-marking 29: Written in Stone. This sounds pretty good -- even the Levi's jingle. B+(***) [sp] Dave Rempis/Tashi Dorji Duo: Gnash (2024, Aerophonic): Rempis plays his full range of saxophones (soprano/alto/tenor/baritone), with his usual fierce resolve, with Dorji pushing (and occasionally rivaling) on guitar. I'm impressed, as always, but doubt the harsh tone (or maybe the specific harmonics, or the lack of a drummer) will make this an album I return to. B+(***) [cd] Sisso & Maiko: Singeli Ya Maajabu (2024, Nyege Nyege Tapes): Tanzanian DJ Mohamed Hamza Ally, "figurehead" of the Sisso Records label, with one of his producer/keyboardists, for a volume of high velocity, klang-and-squiggle-filled dance beats. B+(*) [sp] Jason Stein/Marilyn Crispell/Damon Smith/Adam Shead: Spi-raling Horn (2023 [2024], Balance Point Acoustics): Bass clarinet player, has gotten steadily better since his 2007 debut, adds a stellar pianist to his recent bass-drums trio. A- [sp] Thollem: Worlds in a Life, Two (2024, ESP-Disk): Pianist, goes by first name, last name is McDonas, nominally a solo album, but draws on samples from previous albums, so side credits for William Parker (bass), Michael Wimberly (drums), Pauline Oliveros (MIDI accordion), Terry Riley (vocals), Nels Cline (guitar, effects, Mega mouth). B+(**) [cd] Recent reissues, compilations, and vault discoveries: Alan Braufman: Live in New York City: February 8, 1975 (1975 [2022], Valley of Search): Saxophonist, aka Alan Michael or Alan Michael Braufman, recorded a 1975 album, Valley of Search, that he reissued to much acclaim in 2018, followed up by a new album, The Fire Still Burns, and reissue of some early tapes, like this one, a WBAI airshot with Cooper-Moore (piano), William Parker (bass), John Clark (French horn), Jim Schapperowe (drums), and Ralph Williams (percussion). B+(***) [r] DJ Notoya: Funk Tide: Tokyo Jazz-Funk From Electric Bird 1978-87 (1978-87 [2024], Wewantsounds/Electric Bird): Not sure how much credit the presenter deserves here. The music is closer to disco than to funk, and has minimal value as jazz. B- [sp] Charles Gayle/Milford Graves/William Parker: WEBO (1991 [2024], Black Editions Archive): Tenor sax, drums, bass, a major new find in the late drummer's archives, running just over 2 hours (2-CD, 3-LP). Gayle (1939-2023) was like the truest heir of Albert Ayler, pushed to extremes I found very difficult to take when I first ran into him, so my grades are scattered, and likely in need of revision -- e.g., I still have Repent (1992) as a B, but at least get Touchin' on Trane at A-. This is in the same ballpark, but perhaps better mixed to bring out the truly amazing bass and percussion. A- [sp] Ron Miles: Old Main Chapel (2011 [2024], Blue Note): Cornet player, from Denver, albums since 1987, signed with Blue Note for a 2020 album, shortly before he died at 58 in 2022. This is a live album, dating back to the trio he recorded Quiver with: Bill Frisell (guitar), and Brian Blade (drums). A decade later, this is a lovely memento. B+(***) [sp] Old music: Collective 4tet: Orca (1996 [1997], Leo Lab): Originally Heinz Geisser (drums), Mark Hennen (piano), William Parker (bass), and Michael Moss (reeds), for two albums 1992-93, before Moss was replaced by Jeff Hoyer (trombone), and they went on to record six more albums for Leo 1996-2009. Free jazz with chamber music intimacy. Several spots got me thinking this might be great, only to slip back into their framework. B+(***) [r] Collective 4tet: Live at Crescent (1997 [1998], Leo Lab): Live in Belfast, no idea why. Loses a bit of edge, while retaining the complexity, which is not exactly how live albums are expected to excel. B+(**) [r] Collective 4tet: Moving Along (2002 [2005], Leo): Recorded the same day as Synopsis. Three long pieces, in their zone, with trombone highlights. B+(**) [r] Collective 4tet: In Transition (2008 [2009], Leo): One more album, the trombonist departed, replaced by Arthur Brooks (trumpet/flugelhorn), who plays this close to the vest, as pianist Mark Hennen takes a more pominent role. B+(***) [sp] Marco Eneidi Quintet: Final Disconnect Notice (1994, Botticelli): Alto sax, second horn is Karen Borca's bassoon, an excellent pairing, especially when they get dicey, backed by two bassists (Wilber Morris and William Parker, who also plays some cello) and drums (Jackson Krall). B+(***) [yt] Marco Eneidi/Glenn Spearman: Creative Music Orchestra: American Jungle Suite (1995 [1997], Music & Arts): Discogs gives title as Creative Music Orchestra, which cover and spine confirm, while other sources cite the title of the 69:05 piece the 21-piece big-band-plus-violins plays. Led by the two saxophonists (alto/tenor), Eneidi does most of the composing, arranging one piece from Cecil Talor, while Spearman wrote the final movement (26:48). Some great potential here, but could use a conductor. B+(**) [sp] Marco Eneidi/William Parker/Donald Robinson: Cherry Box (1998 [2000], Eremite): Alto saxophonist (1956-2016), born in Portland, as a child took lessons from Sonny Simmons, moved to New York in 1981 to study with Jimmy Lyons, played with William Parker, Bill Dixon, Cecil Taylor, and Glenn Spearman. Trio here with bass and drums. Fierce leads, holding back only to let the others show off their magic. A- [sp] Marco Eneidi/Vijay Anderson: Remnant Light (2004 [2018], Minus Zero): Alto sax and drums duo, a home-recorded tape unearthed after the saxophonist's death in 2016. B+(**) [bc] Marco Eneidi Streamin' 4: Panta Rei (2013 [2015], ForTune): Alto saxophonist, American, active in free jazz circles since the early 1980s, picks up a like-minded group in Poland, with Marek Pospieszalski (tenor sax), Ksawery Wojcinski (bass), and Michal Trela (drums). B+(*) [sp] Heinz Geisser/Shiro Onuma: Duo: Live at Yokohama Little John (2007 [2008], Leo): Swiss percussionist, member of Collective 4tet, Discogs list 10 albums under his name (plus 37 side-credits), in a rare drums duo. B+(*) [sp] The Ivo Perelman Quartet: Sound Hierarchy (1996 [1997], Muisic & Arts): Brazilian tenor saxophonist, debut 1989, had released four albums through 1995, three more in 1996, then nine in 1997, of which this one looks most impressive on paper: Marilyn Crispell (piano), William Parker (bass), Gerry Hemingway (drums). Flexes some muscle, but not all that interesting. B+(*) [sp] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, June 30, 2024 Speaking of WhichAfter missing last week, I knew I had a lot to catch up on here. I also got interrupted several times. It took longer than expected to wrap up my piece on bassist William Parker (see: Celebrating bassist William Parker's lifetime of achievement). I had two other internet projects that required significant amounts of attention (one was an update to Carola Dibbell's website, announcing a new printing of her novel, The Only Ones; the other was setting up a framework for a Jazz Critics Mid-Year Poll, which still needs more work). We also had trips to the ER and various doctors (including a veterinarian). So no chance of getting done on Sunday night. I'm not really done on Monday, either, but I'm dead tired and more than a little disgusted, so this will have to do for now. That will, in turn, push Music Week back until Tuesday, which is just as well. Before I really got started, the debate happened -- I couldn't be bothered to watch, my wife got disgusted and switched to a Steve Martin movie -- and I haven't (yet, as of noon 06-28) read any reviews, but I wanted to grab these tweets before they vanish:
Another scrap picked up on the fly from fleeting social media:
In a comment, Magarian added:
Initial count: 290 links, 11720 words. Updated count [07-03]: 320 links, 16021 words. Local tags (these can be linked to directly): on music, Christgau. Top story threads:Israel:
America's Israel (and Israel's America):
Israel vs. world opinion:
The books I just mentioned address the psychology at least within Israel, and touch on the rest, and there are other books that go into more detail on every tangent -- especially the occupation, which has gone through multiple stages of increasing brutality and carelessness. The thing that most struck me about 1967 was the how much terror Israel's political leaders instilled among their people, as compared to how supremely confident the military elites were. When the war so rapidly achieved its aims -- and make no mistake, it was Israel which deliberately launched the war with just those aims in mind, with the Arab states playing roles they had long been trained for -- their "victory" came with an immense sense of relief and swell of pride, which haunts us to this day. (Although, much like the US triumph in WWII, it has never since been replicated, despite continuing to animate the arrogance of invincibility.) I imagine there is a good book on the reaction of American Jews to 1967, and the various reactions since -- if not, one is bound to be written soon. Meanwhile, it's worth reading this (which includes an excerpt from the Rich Cohen book above): About last Thursday's debate:When the Biden-Trump debates were announced, I jotted down the following:
I'm writing this before I go through the paces and collect whatever links I deem of interest, which will help me better understand the debate and its aftermath, but my first impression is that Biden failed to satisfy Democrats that he is really the candidate they need to fight off Trump in November. I'll also note that my expectation was to see a lot of confirmation bias in reactions. I'd expect people who dislike Biden and/or Trump, for any reason, to find faults that fortify their feelings, while people who are personally invested in their candidates will at least claim to be vindicated. Hence, the easy way to scan this section is to look for reactions that go against type.
Debate tweets:
And more post-debate tweets:
John Ganz: Dude they just gotta roll the dice with Harris. Plus I scraped this from Facebook:
Election notes:
Trump:
And other Republicans:
Biden and/or the Democrats:
Legal matters and other crimes:
Climate and environment:
Economic matters:
Ukraine War and Russia:
America's empire and the world:
Other stories:Noam Chomsky: Briefly in the news after false reports that he had died at 95 -- see Brett Wilkins: [06-18] Manufacturing Obituaries: Media falsely reports Noam Chomsky's death -- which led to a quick burst of posts, including a couple of his own, still vibrant and still relevant:
William Hartung: [06-25] An AI Hell on Earth? Silicon Valley and the rush toward automated warfare. Sean Illing: [06-23] What nuclear annihilation could look like: "The survivors would envy the dead." Interview with Annie Jacobsen, author of Nuclear War: A Scenario. Joshua Keating: [06-16] The world is running out of soldiers: Good. Soldiering is a losing proposition, no matter what side you think you are on. I'm not sure that Keating is right that "wars are getting more common and militaries are building up." I'll grant that war business is booming, and that the costs -- both to wage and to suffer war -- are way up, but aren't costs supposed to be self-limiting? One cost, which is finding people dumb and/or desperate enough to enlist, certainly is, and that's a good thing. Somehow some related pieces popped up:
Jacob Kushner: [06-23] The best plan to help refugees might also be the simplest: "More refugees live in cities. Could cash help them rebuild their lives?" Dave Lindorff: [06-28] Assange is finally free as America, Britain, Sweden and Australia are shamed.
Also, some writing on music:Robert Christgau: [06-26] Xgau Sez: June, 2024: Several things of possible interest here, but I wanted to comment on this interchange:
Christgau has been a good friend for close to fifty years, and a friend of my wife's even longer (he introduced us), and we're generally pretty simpatico politically, drawing on similar class and cultural backgrounds and experiences -- although he's eight years older than I am, which is enough for him to look up to other people as mentors (especially Greil Marcus, whose view of Israel and Gaza I wrote about here, and probably the late Ellen Willis, who was left of Marcus but still a devoted Zionist) and to look down on me as a protégé (not that he doesn't respect what I have to say; he's often a very astute reader, but still doggedly fixed in his beliefs). After what Marcus wrote, we gave him credit for publishing this letter, and not for simply shirking it off. But while his cautious and self-effacing tone evaded our worst expectations, nearly every line in his answer is wrong in some fundamental sense, just not in the manner of Marcus (ridiculous, hypocritical accusations cloaked in a storm of overwrought emotion and self-pity), but mostly by pleading ignorance and accepting it as bliss. To wit:
I guess that last point ran away from me a bit, while still leaving much more to be said. More succinctly: to whatever extent Israel is able to identify its war with Jews in general, and to equate opposition to its war with anti-semitism, the prevalence and threat of anti-semitism will grow. To stop this, stop the war. If anti-semitism is the issue you really care about, stopping the war is the only thing that will help you. People on the left, by definition, are opposed to the war, and are opposed to anti-semitism, and see their opposition to both as part of the same fight. People on the right are often confused, crazy, and/or sick. You may or may not be able to help them, but know that they are much less dangerous in times of peace and good will than in times of war and turmoil, so again the imperative is to stop the war. And if you, like Christgau (and even Marcus) hate and fear Donald Trump (who's firmly on the right for all three reasons), same prescription: stop the war. One last point: you don't have to specifically care about Jews on this matter. I'm addressing these points to people who do. While I think it would be more helpful to protest in ways that help gain support from people who are initially sympathetic to Israelis -- e.g., I think a lot of Palestinian flag waving isn't very helpful -- I understand that people can come to the right conclusion from all sorts of reasoning. What matters most is that we all demand a ceasefire, and an end to Israel's mistreatment of Palestinians. David A Graham: Doug Emhoff, first jazz fan: "The second gentleman gets the beauty and meaning of the genre." Chris Monsen:
Phil Overeem: June 2024: Halfway there + "old reggae albums I'd never heard before were my June salvation." Robert Sullivan: [06-24] The Sun Ra Arkestra's maestro hits one hundred: "Marshall Allen, the musical collective's sax-playing leader, is celebrating with a deep-spacey video installation during the Venice Biennale." Werner Trieschmann: [06-20] Fox Green score hat trick with excellent third album, Light Over Darkness. Midyear Lists:
Ask a question, or send a comment. Wednesday, June 26, 2024 Music Week
Music: Current count 42549 [42503] rated (+46), 22 [22] unrated (+0). Updated: look for change bar below. I perhaps foolishly agreed to write up an article on William Parker, this year's deserving recipient of a Lifetime Achievement Award, and a feature evening of performances, at the 2024 Vision Festival, in New York last week. I figured I could dust off the Parker/Shipp Consumer Guide I wrote up back in 2003, and add a few odds and ends about later albums. It turned out not to be not quite that simple. For one thing, when I finally rounded up all the reviews I had written on albums he had played on, the count came to 249. I then had to go back and check for false positives (the 2003 CG also included albums with Shipp but no Parker, and a few extras by artists in their circle), and for omissions. In this, I was massively aided by being able to consult Rick Lopez's William Parker Sessionography, but I was also slowed by its completeness and accumulation of fascinating detail. Back in the notes for my 2003 CG, I collected a select but fairly extensive discogrpahy. As I needed something similar to keep track of what I was doing, I started to update it, and that wound up taking a lot of time. By last Thursday, I had gotten so flustered and panicked that I decided I had to give up trying to multitask and just focus on the Parker essay. I had started to write some introductory comments for the week's Speaking of Which, so I stopped there, and vowed to do no more until the piece was done. (I'm belatedly posting that introduction today, but with no news links or comments. Second, I resolved to only play Parker albums until I finished. I later relaxed that to allow myself to play and review albums I hadn't heard before, which is where most of the albums below came from. I finally sent the essay in yesterday. No word yet on when (or I suppose if) it will be published. I decided that the best way to proceed from here is to post the partial Speaking of Which intro (which already had a sequence number) along with the Music Week reviews, then start on new blog posts for the usual dates next week. Of course, it's never that simple. This also turns out to be the last Music Week in June, so I have to wrap up one month's Streamnotes archive, and open up another. I also have a jammed up pile of other work I need to crack on with, more email problems, plus home tasks, health troubles, etc. More stuff in flux, but I've droned on enough for here and now. PS: [06-27] My piece on William Parker has been posted on ArtsFuse now: Jazz Commentary: Celebrating Bassist William Parker's Lifetime of Achievement. I have some notes to go along with this, but they're not really ready for presentation yet, so I'll work on them and have more to say later. Note that I did add the two books I referred at the end to my Recent Reading sidebar and roll. I changed the status of June Streamnotes to "final," added the Music Week text, and compiled the 2024 and Artists indexes. Next on my plate is to do some work on the Carola Dibbell and Robert Christgau websites, or maybe something with email, or maybe just get dinner first -- things I need to square away before getting to the mid-year Jazz Critics Poll (which I should send out notices on by Monday, assuming email works by then). But I'm really itching to open up a Speaking of Which draft file, as even with my recent blackout it's pretty obvious that there's an insane amount of important news to note and (mostly) bemoan. PPS: I was going to apologize for not being able to figure out how to move the right-margin change mark inside the album cover pics so it's clearly tied to the changed text, but then it dawned on me to allow an option to put the change bar on the left, which should be good enough for now. If the change bar doesn't appear for you, that's because your browser is using a cached CSS file. CTRL-SHIFT-R fixes this in Firefox. I also had to fix a ton of mistakes in the aforelinked Parker-Shipp CG file. I knew it wasn't ready, but should at least have made sure it loaded. That much is fixed now. New records reviewed this week: Fox Green: Light Over Darkness (2024, self-released): Alt/indie band from Little Rock, third album since 2020, Wade Derden is the singer and co-writer with Cam Patterson, both on guitar (and mandolin), backed with keyboards, bass, and drums, the production detailed but not cluttered with bits of horns, strings, and backup singers. First take suggests a clear distillation of the Allmans, but that may just be for lack of comparable referents, for what they lack in guitar power they make up for ballad touch and song smarts -- the latter drawing on Jesus, the Devil, and Sleepy John Estes. A- [cd] Joel Futterman/William Parker: Why (2020 [2024], Soul City Sounds): Piano and bass duo. Futterman started in Chicago, moved to Virginia Beach in 1972, and started recording in 1979, becoming increasingly prolific in the 1990s. He's a very distinctive pianist, and Parker is as robust as ever. B+(***) [sp] Andrea Grossi Blend 3 + Jim Black: Axes (2023 [2024], We Insist!): Italian bassist, second group album with Manuel Caliumi (alto sax) and Michele Bonifati (guitar), plus a drummer this time -- a really good one. B+(***) [sp] Jared Hall: Influences (2022 [2024], Origin): Trumper player, based in Seattle, third album, quartet with piano (Tal Cohen), bass (Michael Glynn), and drums (John Bishop), playing originals plus one tune from Gigi Gryce. B+(***) [cd] Jihee Heo: Flow (2023 [2024], OA2): South Korean pianist, studied in Amsterdam before landing in New York, second album, mostly trio (Alexander Claffy and Joe Farnsworth), nicely done, with a bonus: Vincent Herring (alto sax) joining for two tracks. B+(**) [cd] Arushi Jain: Delight (2024, Leaving): Based in Brooklyn, plays synths and sings, having trained in India as a classical vocalist, is interested in "instrument design and sonic experimentation with a focus on linking western and eastern musicology." Result is you're engulfed in thick layers of sonic texture, searching for even the faintest hint of beat, which is faint indeed. B- [sp] Kneecap: Fine Art (2024, Heavenly): Bilingual Irish hip-hop group from West Belfast (Mo Chara, Móglai Bap, DJ Próval), billed as their first album (aside from an 8-song, 31:03, self-released mixtape from 2021). Sounded more post-punk at first, but the cadences eventually signify, and the energy is compounded. Words? Hell if I know, but they have a rep as political. A- [sp] Jim Kweskin: Never Too Late: Duets With Friends (2024, Storysound): Folksinger and guitarist, best known for his 1963-70 Jug Band, which introduced us to Geoff & Maria Muldaur -- she is the first of his featured friends here to appear here. Lots of friends, lots of songs. B+(***) [sp] Jon Langford: Gubbins (2023, self-released): This seems to be an "odds & sods" compilation -- "songs that fell between the cracks" -- but without further documentation we might as well treat it as a new album. Eleven songs, 45:29, all interesting, valuable, not quite essential. B+(***) [sp] Jon Langford & the Bright Shiners: Where It Really Starts (2024, Tiny Global Productions): Nominally an Austin band (or maybe found in northern California), led by the peripatetic Welshman, offhandedly countryish. B+(**) [bc] Joe McPhee With Ken Vandermark: Musings of a Bahamian Son: Poems and Other Words (2021 [2024], Corbett vs. Dempsey): Mostly as advertised, which is not something I often get into, but pretty interesting spoken word, with little bits of soprano sax by McPhee, or clarinet/bass clarinet by Vandermark, which are always welcome. B+(*) [bc] Star Splitter [Gabriele Mitelli/Rob Mazurek]: Medea (2022 [2024], We Insist!): Trumpet players (alternatively cornet or pocket trumpet), also credited with electronics and voice, did an album together in 2019 called Star Splitter. Rather tough going. B [sp] Recent reissues, compilations, and vault discoveries: Tony Oxley Quintet: Angular Apron (1992 [2024], Corbett vs. Dempsey): British avant-jazz drummer (1938-2023), his 1969 The Baptised Traveler is a Penguin Guide crown album, the piece here (64:42) dates from the early 1970s, this previously unreleased take from the Ruhr Jazz Festival, with Larry Stabbins (soprano/tenor sax), Manfred Schoof (trumpet/flugelhorn), Pat Thomas (piano/electronics), and Sirone (bass). B+(***) [bc] Tomasz Stanko Quartet: September Night (2004 [2024], ECM): Polish trumpet player (1942-2018), well known even before the Iron Curtain fell, a spare live tape with what at the time was referred to as his "young Polish quartet," rather than stumbling over the names Marcin Wasilewski, Slawomir Kurkiewicz, and Michal Miskiewicz. B+(***) [sp] Mars Williams & Hamid Drake: I Know You Are but What Am I (1996 [2024], Corbett vs. Dempsey): The late saxophonist (1955-2023, credited here with "reeds"), started with Hal Russell and continued his NRG Ensemble after Russell's death, bringing in Ken Vandermark for reinforcements, leading to his work in the first edition of the Vandermark 5. Williams' avant-gardism branched out into rock and acid jazz (Liquid Soul), as well as more esoteric ventures (like multiple volumes of An Ayler Xmas). This tape with exceptional drums is just what friends and fans most remember him for. A- [bc] Mars Williams/Darin Gray/Chris Corsano: Elastic (2012 [2024], Corbett vs. Dempsey): Leader credited with "reeds, toys," joined by bass and drums for an improv set (43:51). Peaks points are intense and thrilling. The same year Williams founded a similar trio, Boneshaker, with Kent Kessler and Paal Nilssen-Love. B+(***) [bc] Old music: Peter Brötzmann/William Parker/Hamid Drake: Song Sentimentale (2015 [2016], Otoroku): The bassist and drummer are inventive as ever, while the tenor saxophonist blasts away, even when he switches up on clarinet or tarogato. Nothing obviously sentimental about it. B+(***) [bc] Rob Brown Trio: Breath Rhyme (1989, Silkheart): Alto saxophonist, first album as leader here (following a duo with Matthew Shipp), with William Parker (bass) and Denis Charles (drums). He has a distinctive tone and flow, which he would go on to use to great effect in Parker's quartets and other projects, in many other associated groups, and sometimes, as here, as a leader. B+(**) [r] Rob Brown Quartet: The Big Picture (2003 [2004], Marge): Alto saxophonist, with Roy Campbell (trumpet), William Parker (bass), and Hamid Drake (drums). B+(**) [r] Dave Cappello & Jeff Albert With William Parker: New Normal (2015 [2016], Breakfast 4 Dinner): Drummer, doesn't have much except for duo and quartet work with the trombonist (who I know mostly from a group he co-led with Jeb Bishop), but evidently he got started playing with guitarist Bern Nix (who goes back to the 1970s Loft Scene, but is best known for his work with Ornette Coleman, and maybe James Chance). So Nix, who died in 2017, might have provided a connection to Parker, who adds bass and wood flute, elevating everyone's game. B+(***) [sp] Kevin Coyne/Jon Langford/The Pine Valley Cosmonauts: One Day in Chicago (2002 [2005], Spinney): An oddball British singer-songwriter from the early 1970s, I'm surprised to only find one of his albums in my database (1974's Marjory Razor Blade, a B+, but a memorable one) as I'm sure I've heard more. He never made it big, but recorded pretty regularly up to his death in 2004, and surely rates a compilation, even if one would be hard-pressed to agree on a "best of." At this point I have no idea whether it would improve on this delightful live set, with a band of fans he found in Chicago. B+(***) [sp] Jeremy Danneman: Lady Boom Boom (2013 [2015], Ropeadope): Saxophonist, played alto, tenor, clarinet, and more in three sessions that produced as many albums, released on a label that appreciates a good groove and is careless about who played what when in which order. But the personnel could do that and more: William Parker (not just bass), Anders Nilsson (guitar), and Timothy Keiper (drums). B+(***) [sp] Jeremy Danneman: Help (2013 [2015], Ropeadope): More from the same sessions. B+(**) [sp] Jeremy Danneman: Lost Signals (2013 [2016], Ropeadope): Same group, same sessions for a third album, with groove appeal informed by third world interests. A- [sp] Jeremy Danneman and Sophie Nzayisenga: Honey Wine (2015 [2017], Ropeadope): The saxophonist has an organization/project called "Parade of One," slogan "engaging the international community with street performance." He met Nzayisenga in Rwanda, where she plays inanga and sings, and arranged to bring her to New York to record. Visa problems delayed that until here, where they are joined by William Parker (bass) and Tim Keiper (drums). A groove delight. A- [sp] Jeremy Danneman and the Down on Me: The Big Fruit Salad (2022, Ropeadope): One more album (so far), wrote and sung lyrics, which reduces the saxophone/clarinet. Also lost the bass and drums, so less groove to brag about, but Anders Nilsson returns on guitar, and Joe Exley's sousaphone saves with swing. For singer-songwriter comps, the first two that pop into mind are Thomas Anderson and Ed Hammel. He's not as good (or maybe I just mean as funny) as either, but he's interesting in similar ways. Choice cut: "Tomato." B+(*) [sp] Die Like a Dog Quartet Featuring Roy Campbell: From Valley to Valley (1998 [1999], Eremite): Peter Brötzmann quartet, name derives from their 1993 album, originally with Toshinori Kondo (trumpet), William Parker (bass), and Hamid Drake (drums), but on this particular date -- recorded in Amherst, MA -- Campbell replaces Kondon on trumpet. B+(*) [sp] Sophia Domancich/Hamid Drake/William Parker: Washed Away: Live at the Sunside (2008 [2009], Marge): French pianist, side credits start in 1983, with her first trio in 1991. Another trio here, as can happen when famous Americans wander about Europe. Set of three pieces: one joint credit, one from Mal Waldron, and no less than 36:37 of "Lonely Woman." B+(***) [sp] Hamid Drake & Sabir Mateen: Brothers Together (2000 [2002], Eremite): Duo, Drake plays frame and trap drums, Mateen is credited with clarinets, flute, alto sax, tenor sax, vocals. Terrific. A- [sp] Farmers by Nature [Gerald Cleaver/William Parker/Craig Taborn]: Love and Ghosts (2011 [2014], AUM Fidelity, 2CD): Drums-bass-piano trio, group name from their 2009 album, third group album, all pieces joint credits so presumably improvised, this from two days in France, 133 minutes. Long, some major high stretches. B+(***) [sp] Peter Kuhn: Ghost of a Trance (1979-80 [1981], Hat Hut): Clarinet/saxophone player, was consistently excellent in William Parker circles 1978-81, vanished after that until 2015, when he released another series of superb albums. This combines two sessions, one fairly abstract 19:00 clarinet piece with Phillip Wilson on percussion and Parker on tuba, the other a more typical free jazz outing with Dave Sewelson on alto/bari sax, plus guitar, piano, and vibes (but no drums). B+(**) [yt] Jon Langford & the Men of Gwent: The Legend of LL (2015, Country Mile): Mekons founder, moved from Leeds to Chicago in 1992 without severing his ties, but had already run through several side projects like the Three Johns and the Killer Shrews, adding the Waco Brothers and the Pine Valley Cosmonauts in Chicago. This group is described as "Newport-based" (but otherwise I don't know squat about them, but Newport seems to be Langford's original home town in Wales). This was their debut, and strikes me as not just fresher but wilder and woolier than their latest (which was first for me). A- [bc] Jon Langford & the Men of Gwent: President of Wales (2019, Country Mile): If only the Waco Brothers had been Welsh. B+(***) [bc] Jemeel Moondoc Quintet: Nostalgia in Times Square (1985 [1986], Soul Note): Alto saxophonist (1946-2021), his group Muntu made a splash in the late-1970s New York avant-garde, retains bassist William Parker here, joined by Rahn Burton (piano), Bern Nix (guitar), and Dennis Charles (drums). Title piece from Mingus. The others are credited to Moondoc, but "In Walked Monk" sounds kind of familiar (as in Monk's "In Walked Bud"), and "Dance of the Clowns" has at least a whiff of Mingus. B+(***) [r] Jemeel Moondoc Vtet: Revolt of the Negro Lawn Jockeys (2000, Eremite): Alto saxophonist-led quintet, with Nethan Breedlove (trumpet), Khan Jamal (vibes), John Voigt (bass), and Cody Moffett (drums). B+(**) [sp] Jemeel Moondoc & the Jus Grew Orchestra: Spirit House (2000, Eremite): The alto saxophonist conducts a strong group of horns here: trumpets (Lewis Barnes, Roy Campbell Jr.), trombones (Steve Swell, Tyrone Hill), saxophones (plus Zane Massey on tenor, Michael Marcus on baritone), with a guitar-bass-drums rhythm section (Bern Nix, John Voigt, Codaryl Moffett). Not quite a big band, but they pack a lot of power, fly free, and even swing some. A- [sp] Jameel Moondoc With Dennis Charles: We Don't (1981 [2003], Eremite): Alto sax, with the drummer (1933-98, from Virgin Islands, also played with Billy Bang and Cecil Taylor). Challenging free jazz. B+(***) [sp] Joe Morris/William Parker/Gerald Cleaver: Altitude (2011 [2012], AUM Fidelity): Guitar-bass-drums trio, with Parker switching to sintir (a Moroccan bass lute), live improv recorded one night at the Stone in NYC, four tracks stretched out to 72:27. B+(**) [sp] William Parker & the Little Huey Creative Music Orchestra: Mass for the Healing of the World (1998 [2003], Black Saint): The bassist's 15-piece big band, less brass and more sax, an explosive rhythm section (Cooper-Moore on piano, Susie Ibarra on drums, and Parker), plus vocalist Aleta Heyes for the mass-like bits (not many). A- [sp] William Parker Quartet: Live in Wroclove (2012 [2013], ForTune): The bassist's "pianoless" quartet, which dates back at least to 2001's O'Neal's Porch, with two freewheeling horns -- Lewis Barnes' trumpet and Rob Brown's alto sax -- and great Hamid Drake on drums. So this is a great band, with some interesting music -- starting with a 47:33 set called "Kalaparusha Dancing on the Edge of the Horizon" -- but it's also a concert, where they pace themselves to set up the moments fans will recall. It's also kind of a big deal for a label that mostly documents the local scene -- in this case, better known as Wroclaw. But it's a tad less compelling than the group's studio albums. B+(***) [sp] William Parker: For Those Who Are, Still (2000-13 [2013], AUM Fidelity, 3CD): By this time, Parker has become so prolific he's building boxes from scattered sets: this one is formally organized into three albums from five sessions: "For Fannie Hammer" from 2000; "Vermeer," with Leena Conquest, from 2011; "Red Giraffe With Dreadlocks," with Sangeeta Bandyopadhyay, from 2012; a Charles Gayle trio, to open "Ceremonies for Those Who Are Still," with NFM Orchestra and Choir. A- [r] William Parker/David Budbill: What I Saw This Morning 2014 [2016], AUM Fidelity): Budbill (1940-2016) was mostly a writer, posthumously named "the people's poet of Vermont," also wrote plays, two novels, a libretto, and recorded three albums of spoken word with William Parker providing the music, here mostly using his exotic instruments. Comparable to David Greenberger, but more intimate and personal. [Streamed 14/35 tracks.] B+(***) [bc] The Cecil Taylor Unit: Live in Bologna (1987 [1988], Leo): Avant-pianist, group was his quintet (more or less, long defined by saxophonist Jimmy Lyons, who died in 1986, leaving a large gap for Carlos Ward to try to fill. Also with Leroy Jenkins (violin), William Parker (bass), and Thurman Baker (drums/marimba). Ward lurks until the rhythm drives him to deliver. A- [r] The Cecil Taylor Unit: Live in Vienna (1987 [1988], Leo): Same group, recorded four days later, again one long piece, a bit longer at 71:21, but hacked up for the original 2-LP. While I understand that every performance is different, that doesn't make them all cost-effective, even at this level. B+(***) [r] Cecil Taylor: Tzotzil Mummers Tzotzil (1987 [1988], Leo): The same group a week later in Paris, last stop on the tour, sandwiched between some poetry recorded a few days later in London. I find the poetry exceptionally hard to follow. B+(*) [sp] David S. Ware Trio: Passage to Music (1988, Silkheart): Tenor saxophone great, started in the 1970s but didn't really take off until he organized this group, with William Parker (bass) and Marc Edwards (drums), soon to be a quartet with the addition of pianist Matthew Shipp. Already quite impressive. B+(***) [r] David S. Ware Quartet: Cryptology (1994 [1995], Homestead): The one Quartet album that slipped past me, with Matthew Shipp (piano), William Parker (bass), and Whit Dickey (drums), as intense as any in a very remarkable series. This seems to have been where Steven Joerg entered the picture, before his AUM Fidelity label provided Ware and Parker a long-term home. A- [yt] David S. Ware: Organica (Solo Saxophones, Volume 2) (2010 [2011], AUM Fidelity): Ware's kidneys started to fail in 1999, and he was near death ten years later when he was rescued by a kidney transplant. He died in 2012 of an infection fueled by immunosuppresant meds, but over his last couple years he recorded a wide variety of works, including two solo volumes -- Saturnian from late a late 2009 set, plus two sets here, each opening with a piece on sopranino sax, followed by one on tenor. Usual caveats apply, but interesting as these things go. B+(**) [r] Grade (or other) changes: Jon Langford & the Men of Gwent: Lost on Land & Sea (2023, Country Mile): The Waco Brothers return as a Welsh bar band. Multiple plays prove this to be tuneful and thoughtful but most of all consistent, so it's hard to fault the notion that this is a great album, but if it really was, wouldn't I have noticed by now? [was: B+(**)] B+(***) [bc] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Saturday, June 22, 2024 Speaking of WhichI woke up Thursday morning with my usual swirl of thoughts, but the one I most felt like jotting down is that I prefer to take an optimistic view of the 2024 elections, contrary to the prospect of doom and gloom many rational people fear. I find it impossible to believe that most Americans, when they are finally faced with the cold moment of decision, will endorse the increasingly transparent psychopathology of Donald Trump. Sure, the American people have been seduced by right-wing fantasy before, but Reagan and the Bushes tried to disguise their aims by spinning sunny yarns of a kinder, gentler conservatism. Even Nixon, who still outranks Trump as a vindictive, cynical bastard, claimed to be preserving some plausible, old-fashioned normality. All Trump promises is "taking back" the nation and "making America great again": empty rhetoric lent gravity (if not plausability) by his unbridled malice toward most Americans. Sure, he got away with it in 2016, partly because many people gave him the benefit of doubt but also because the Clinton spell wore off, leaving "crooked Hillary" exposed as a shill for the money-grubbing metro elites. But given Trump's media exposure, both as president and after, the 2024 election should mostly be a referendum on Trump. I still can't see most Americans voting for him. That doesn't mean Trump cannot win, but in order to do so, two things have to happen: he has to make the election be all about Biden, and Biden has to come up seriously short. One can ponder a lot of possible issues that Biden might be faulted for, and come up with lots of reasons why they might but probably won't matter. (For example, the US may experience a record bad hurricane season, but will voters blame Biden for that and see Trump as better?) But we needn't speculate, because Biden already has his albatross issue: genocide in Gaza. I'm not going to relitigate his failures here, but in terms of my "optimistic view," I will simply state that if Biden loses -- and such an outcome should be viewed not as a Trump win but as a Biden loss -- it will be well deserved, as no president so involved in senseless war, let alone genocide, deserves another term. So it looks like the net effect of my optimism is to turn what may look like a lose-lose presidential proposition into a win-win. We are currently faced with two perilous prospects: on the one hand, Biden's penchant for sinking into foreign wars, which he tries to compensate for by being occasionally helpful or often just less miserable on various domestic policies; on the other, Republicans so universally horrible we scarcely need to list out the comparisons. Given that choice, one might fervently hope for Biden to win, not because we owe him any blanket support, but because post-election opposition to Biden can be more focused on a few key issues, whereas with Trump we're back to square one on almost everything. But if Biden loses, his loss will further discredit the centrist style that has dominated the Democratic Party at least since Carter. There are many problems with that style, most deriving from the need to serve donors in order to attract them, which lends them an air of corruption, destroying their credibility. Sure, Republicans are corrupt too, even more so, but their corruption is consistent with their values -- dog-eat-dog individualism, accepting gross inequality, using government to discipline rather than ameliorate the losers -- so it comes off as honest, maybe even courageous. But Democrats are supposed to believe in public service, government for the people, and that's hard to square with their individual pursuit of power in the service of wealth. So, sure, a Trump win would be a disaster, but it would free the Democrats from having to defend their compromised, half-assed status quo, and it would give them a chance to pose a genuine alternative, and a really credible one at that. I'd like to think that Democrats could get their act together, and build that credible alternative on top of Biden's half-hearted accomplishments. It would be nice to not have to start with the sort of wreckage Trump left in 2021, or Bush left in 2009, or that other Bush left in 1993 (and one can only shudder at the thought of what Trump might leave us in 2029). But people rarely make major changes based on reasoned analysis. It usually takes a great shock to force that kind of change -- like what the Great Depression did to a nation previously in love with Herbert Hoover, or like utter defeat did to Germany and Japan in WWII. If there was any chance that a Trump win in 2024 would result in a stable and prosperous America, even if only for the 51% or so it would take for Republicans to continue winning elections, we might have something to be truly fearful of. But nothing they want to do works. The only thing they know how to do is to worsen problems, which are largely driven by forces beyond their control -- business, culture, climate, war, migration -- and all their lying, cheating, and outright repression only rub salt into the wounds. When people see how bad Republican rule really is, their support will wither rapidly. The question is what Democrats have to do to pick up the support of disaffected Trumpers. One theory is to embrace the bigotry they showed in embracing Trump. A better one would be promise the grit, integrity, independence, and vision that Trump promised by couldn't deliver on, partly because he's a crook and con man who never cared, but largely because he surrounded himself by Republicans who had their own corrupt and/or deranged agendas. I had more thoughts I wanted to write up, mostly involving what I like to think of as dialectics, but which can be defined as how seemingly stable states can suddenly be transformed into quite different states. One example was how Germans went from being Nazis to fawning Israelphiles, while Israelis became the new Nazis. Alas, no time for that here, but the theme is bound to recur. I didn't get around to gathering the usual links and adding my various comments this week. Better luck next time. Ask a question, or send a comment. Monday, June 17, 2024 Music Week
Music: Current count 42503 [42460] rated (+43), 22 [31] unrated (-9). Going through a very busy stretch, but not sure what I really have to talk about here. I do have a fairly hefty bunch of records to report on, partly aided by recent consumer guides by Robert Christgau, Christian Iszchak, Brad Luen, and Michael Tatum. Still, I'm not sure I've caught up with any of them. I barely got through the I Am Three records Chris Monsen recommended -- their first album I previously had at B+(***) but it, too, sounds terrific, as is often the case with freewheeling Mingus. The Jasmine In Session comps were recommended by Clifford Ocheltree. I resisted the Eddie Taylor until this morning, when I woke up with songs from it in my head. The recommendation list goes deeper, but so far that's all I've sprung for. I have a request to write something about William Parker, on the occasion of his Vision Fest Lifetime Achievement Award. Back in 2003 I wrote a fairly extensive consumer guide to the work of Parker and/or Matthew Shipp (who was more my initial interest), and I've tried to keep up since then, including his two new albums below. So I figured: write 3-4 paragraphs of glowing intro, then tack on a dozen (or two) capsule reviews. Whether it's as easily done as said remains to be seen. All I've done so far has been to collect the reviews from the work files: current count is 249, but at the moment I'm listening to a 2009 record I had missed, and I'll probably come up with a few more. (RogueArt sent out email highlighting their 15 Parker albums, of which I've only heard 3 -- thanks mostly to Steve Swell). What research I've done so far has mostly been humbling. Parker has four volumes of Conversations that I can't begin to get to. I just ordered a copy of Cisco Bradley's Universal Tonality: The Life and Music of William Parker, but won't have time to get very deep into. I do have a copy of Rick Lopez's marvelous The William Parker Sessionography (to 2014; also online, but only up to 2020). But I could easily fritter away all of my scant remaining time just checking items off -- although the annotation is so distracting I might never finish. Meanwhile, I've burned up a fair amount of time with my metacritic file, to which I've started to add mid-year best-of ("so far") lists. It's still pretty spotty at present, and skewed toward the Christgau-friendly Expert Witness critics -- which has paid off in elevating Waxahatchee over Smile, with Billie Eilish and Beyoncé gaining ground, followed by Vampire Weekend, Adrianne Lenker, Hurray for the Riff Raff, and Maggie Rogers. I only have three A-list albums in the top ten, but Christgau has five in the top six (even though I haven't factored his grades in yet). The mid-year lists I have are noted in the legend. While the first ones started showing up around June 1, in past years they've peaked in late June, with a few stragglers in July. I haven't noticed any jazz lists yet, so I'm thinking about running my own. I have the mailing list and software from the Francis Davis Jazz Critics Poll, and evidently have time to kill. The biggest time-kill remains Speaking of Which, which again topped 10,000 words on Sunday, with minor additions today. New records reviewed this week: Actress: Statik (2024, Smalltown Supersound): British electronica producer Darren Cunningham, tenth album since 2008. B+(*) [sp] Africatown, AL: Ancestor Sounds (2024, Free Dirt): Oral history from a neighborhood in Mobile, Alabama, which traces its ancestry back to a slave ship in 1807, conceived by producer Ian Brennan (Tinariwen, Zomba Prison Project) and his wife, Italian-Rwandan filmmaker and photographer Marilena Umuhoza Delli. B+(**) [sp] Bruna Black/John Finbury: Vă Revelaçăo (2024, Green Flash): Brazilian singer, wrote some lyrics to Finbury's pleasantly engaging compositions, played by a star-studded group of Vitor Gonçalves (piano/accordion), Chico Pinheiro (guitar), John Patitucci (bass), Duduka Da Fonseca (drums), and Rogerio Boccato (percussion). B+(**) [cd] Anthony Branker & Imagine: Songs My Mom Liked (2024, Origin): Original pieces, so Mom must really like her boy. Plenty of reason to. Group has six name musicians (Donny McCaslin, Philip Dizack, Fabian Almazan, Linda May Han Oh, Rudy Royston, Pete McGann) plus lightly used vocalist Aubrey Johnson. B+(***) [cd] [06-21] Etienne Charles: Creole Orchestra (2018 [2024], Culture Shock): Trumpet player, albums since 2006 frequently refer to "creole," this a big band with lots of extras, including vocals, which I find rather hit-and-miss. B+(*) [cd] Charli XCX: Brat (2024, Atlantic): British pop star, Charlotte Aitchison, sixth album since 2013, all hits but none huge, with this one getting extra hype and/or anticipation. That come with a big budget, which sometimes pays off, or offers a cushion to soften and blur out the weak spots, which my reticence suggests must be here somewhere, as I'm still on the fence after five plays. B+(***) [sp] Devouring the Guilt: Not to Want to Say (2021 [2024], Kettle Hole): Free jazz trio, based in Chicago, of Bill Harris (drums), Gerrit Hatcher (tenor sax), and Eli Namay (bass). Two tracks (40:55). Hatcher has a couple of previous albums much like this one. B+(***) [sp] DJ Anderson do Paraiso: Queridăo (2023 [2024], Nyege Nyege Tapes): DJ from Belo Horizonte, "downtempo and dark baile funk," seems like a fair description, although it doesn't quite convey how gloomy this sounds. B [sp] Ducks Ltd.: Harm's Way (2024, Carpark): Indie rock duo from Toronto, Tom McGreevy (vocals/rhythm guitar) and Evan Lewis (lead guitar), originally from UK and Australia, second album after a 2019 EP. B+(**) [sp] Phillip Golub: Abiding Memory (2024, Endectomorph Music): Pianist, has a couple previous albums, quintet with guitar, cello, bass, and drums, leaving the piano very clearly in charge. Liner notes by Vijay Iyer. B+(**) [cd] [06-21] Grandaddy: Blu Wav (2024, Dangerbird): Indie rock band from Modesto, California, principally Jason Lytle, eighth album since 1994, with a break 2006-17. Doesn't feel like there's much here. B [sp] Alex Harding/Lucian Ban: Blutopia (2024, Sunnyside): Baritone saxophonist and pianist, they have several albums together going back to a quintet in 2002, and including one from 2005 where Blutopia was the group name. This is another quintet, with viola (Mat Maneri), tuba (Bob Stewart), and drums (Brandon Lewis). B+(**) [sp] Hermanos Gutiérrez: Sonido Cósmico (2024, Easy Eye Sound): Brothers Alejandro (guitar/lap steel) and Estevan (guitar/percussion), names and much of their music deriving from an Ecuadorian mother, but their father is Swiss, and they at least grew up in and are based in Zurich. After four self-released albums, Dan Auerbach (Black Keys) signed them to his Nashville label, and released El Bueno y el Malo in 2022. More in this sequel, as calming as new age hoped for, with just enough Latin tinge and other cosmic exotica to keep it fascinating. A- [sp] Mike Holober & the Gotham Jazz Orchestra: This Rock We're On: Imaginary Letters (2023 [2024], Palmetto, 2CD): Pianist, based in New York, mostly big bands, this perhaps his most grandiose project ever, certainly in terms of vocals. B [cd] Homeboy Sandman: Rich II (2024, self-released): New York rapper Angel Del Villar II, lots since 2007, mostly short like this (11 tracks, 26:56) sequel to 2023's Rich. B+(**) [sp] I Am Three: In Other Words (2022 [2024], Leo): Nikolaus Neuser (trumpet), Silke Eberhard (alto sax/percussion), and Christian Marlen (drums), song credits split 4-2-5. Group name comes from Mingus, the subject of their two previous albums: Mingus Mingus Mingus (2015) and Mingus' Sound of Love (2018, with Maggie Nichols). A- [sp] Kaytranada: Timeless (2024, RCA): Haitian electropop producer, grew up in Montreal, sings, raps, fourth album since 2016 (including 2023's Aminé mashup, Kaytraminé). Grows on you. B+(***) [sp] The Libertines: All Quiet on the Eastern Esplanada (2024, Casablanca/Republic): British rock group, seemed like they may be a big deal with their 2002 debut, folded after their 2004 follow up, returned for a 2015 comeback, and again for this fourth album, slowing down with age. B [sp] Raul Midón: Lost & Found (2024, ReKondite ReKords): Guitarist, singer-songwriter, from New Mexico, father from Argentina, has done session work on Latin albums, dabbled in jazz, doesn't show much in either here. C+ [sp] Andy Milne and Unison: Time Will Tell (2024, Sunnyside): Pianist, from Canada, based in New York, albums since 1997, previous group album from 2019 with John Hébert (bass) and Clarence Penn (drums), adding Ingrid Laubrock (tenor sax) and/or Yoko Reikano Kimura (koto) on several tracks here. B+(**) [sp] Ol' Burger Beats: 74: Out of Time (2024, Coalmine): Norwegian dj/producer Ole-Birger Neergĺrd, a dozen-plus albums since 2015, also released an instrumentals version, but this one features a dozen guest rappers, very underground (but mostly names I recognize, like Billy Woods, Tha God Fahim, Yungmorpheus, Quelle Chris, Fly Anakin, Pink Siifu), easy going over slacker beats. B+(**) [sp] Alicia and Michael Olatuja: Olatuja (2022-24 [2024], Whirlwind): He plays bass and keyboards, composes, was born in London, raised in Lagos, is based in New York, married to her, the former Alicia Miles, from St. Louis, with a couple records each. B+(*) [sp] One for All: Big George (2022 [2024], Smoke Sessions): Mainstream sextet, pretty much all stars: Eric Alexander (tenor sax), Jim Rotondi (trumpet), Steve Davis (trombone), David Hazeltine (piano), John Webber (bass), Joe Farnsworth (drums). Discogs lists 19 albums since 1997, open with three tracks for the first LP side, then George Coleman joins for more on the back side, with three George-less bonus tracks added to the CD. Coleman doesn't make much of a splash here. B+(*) [sp] William Parker/Cooper-Moore/Hamid Drake: Heart Trio (2021 [2024], AUM Fidelity): Longtime collaborators, three-fourths of a quartet called In Order to Survive, where they played bass, piano, and drums. Here they focus on percussion and exotica, with Parker on doson ngoni, shakuhachi, bass dudek, ney and Serbian flute, with Cooper-Moore on his ashimba and hoe-handle harp, and Drake on frame drum as well as his usual kit. For world-class virtuosi, it's a bit underwhelming, but that seems to be the point. A- [cd] [06-21] William Parker & Ellen Christi: Cereal Music (2024, AUM Fidelity): No recording dates given, but this feels like it was patiently assembled, starting with Parker's words, mostly spoken with some Christi vocals and whatever sound design she came up with, supplemented with Parker's bass and flutes, and a few other samples. B+(***) [cd] [06-21] Rob Parton's Ensemble 9+: Relentless (2023 [2024], Calligram): Trumpet player, mostly big band records starting around 1991. Lists 19 musicians here, mostly in groups with two trumpets, three saxophones, and two trombones, plus various piano-bass-drums, but adds a third trumpet on 4 tracks, vocals on 2, with 7 arranger credits. Deft layering, less focus on solos, some Latin tinge. B+(*) [cd] Porij: Teething (2024, Play It Again Sam): British electropop band, from Manchester, first album after a 2020 EP. B+(**) [sp] Kenny Reichert: Switch (2023 [2024], Calligram): Guitarist, based in Chicago, has a couple previous albums, the first self-released in 2015, leads a quartet here with alto sax (Lenard Simpson), bass (Ethan Philion), and drums (Devin Drobka), plus a guest spot for Geof Bradfield (tenor sax) and voice (Alyssa Algood, 3 tracks, her lyrics, some spoken word). Has some very strong and/or appealing passages. B+(**) [cd] Brandon Ross Phantom Station: Off the End (2024, Sunnyside): Guitarist, early side credits start in 1975 with Archie Shepp, Marion Brown, and Oliver Lake; group efforts as Harriet Tubman in 1998; and his own albums from 2004. Group here with Graham Haynes (cornet/electronics), David Virelles (keyboards), JT Lewis (drums), and Hardedge (sound design). B+(**) [sp] Shaboozey: Where I've Been, Isn't Where I'm Going (2024, Republic/Empire): Singer-songwriter from Virginia, parents from Nigeria, original name Collins Obinna Chibueze, third album, slotted alt-country (got him a guest spot with Beyoncé). Not so obvious, but is closer than hip-hop (despite a rap) or afrobeat. B+(*) [sp] Flavio Silva: Eko (2024, Break Free): Brazilian guitarist, based in New York, several albums, title means "lesson" in Yoruba, nice little quartet with keyboards, bass, and drums. B+(**) [cd] Uncle Waffles: Solace (2023, Ko-Sign/Encore): Swazi-born DJ and amapiano producer Lungelihle Zwane, third EP, this one 7 songs, 42:52 (which makes it an album in my book). B+(**) [sp] Kiki Valera: Vacilón Santiaguero (2024, Circle 9 Music): Trad Cuban music, leader plays cuatro, guitar, bass, and percussion, second US album, backed by more percussion, with lead vocals split four ways, and many guest spots involving trumpet. B+(***) [cd] Matt Wilson: Matt Wilson's Good Trouble (2023 [2024], Palmetto): Drummer, originally from Illinois, studied at Wichita State, moved to NYC in 1992, and quickly established himself as a sideman and leader. I recall a DownBeat blindfold test where he not only grasped everything they threw at him, but went to extraordinary lengths to recognize and appreciate the mindset of whoever's music it was. His records can be very eclectic, but the best ones have featured edgy tenor saxophonist Jeff Lederer, as this one does, along with longtime ally Ben Allison on bass, and novel ingredients Tia Fuller (alto sax) and Dawn Clement (piano and some vocals, including the jazziest John Denver cover ever). Title is from a John Lewis quote. Not yet the group name, but they'll be welcome any time. A- [cdr] Recent reissues, compilations, and vault discoveries: Broadcast: Spell Blanket: Collected Demos 2006-2009 (2006-09 [2024], Warp): British electropop group, more or less, principally Trish Keenan (vocals/keyboards/guitar) and James Cargill (bass), produced three albums 2000-05, plus these demos for an unreleased fourth album. B [sp] Love Child: Never Meant to Be 1988-1993 (1988-93 [2024], 12XU): NYC-based punk/no-wave band, singers Will Baum and Rebecca Odes on guitar/drums and bass, with Alan Licht (drums/guitar), self-released an album in 1988, got more attention with their 1991 album Okay?, released one more after that, which this 26-cut 2-LP sums up. B+(***) [sp] Old music: Ducks Ltd.: Get Bleak (2019 [2021], Carpark, EP): Toronto indie rock duo, immigrants from Australia and UK-via-US, debut four-song EP, expanded to seven (21:48) to complement their 2021 debut. Open with jangly guitar, then a ballad, then more jangle. Go-Betweens comparisons aren't way off base, but not sufficient, either. B+(**) [sp] Big Walter Horton: In Session: From Memphis to Chicago 1951-1955 (1951-55 [2019], Jasmine): Blues harmonica player and singer, born 1921 in Mississippi, grew up in Memphis, made his way to Chicago in the 1950s and died there in 1981. His discography is very scattered, with a 1964 LP, collabs and a Fleetwood Mac jam session in 1969, and more odds and ends in the 1970s. This picks up a couple early singles, fleshed out with side-credits with Johnny Shines, Tampa Red, Otis Rush, Sunnyland Slim, Jimmy Rogers, and others, the vocals varying but the unified by his exuberant, rowdy harmonica. A- [cd] Floyd Jones/Eddie Taylor: Masters of Modern Blues (1966 [1994], Testament): Chicago blues guitarist-singers, the original LP "Volume 3" in the label's series, allocated one side each, with Taylor (guitar), Big Walter Horton (harmonica), Otis Spann (piano), and Fred Below (drums) on both sides, with Jones switching to bass on Taylor's side. CD expands from 11 to 16 tracks, offering alternates and mixing them up. B+(***) [sp] Maggie Nicols/Silke Eberhard/Nikolaus Neuser/Christian Marten: I Am Three & Me: Mingus' Sounds of Love (2018 [2019], Leo): Multiple options for parsing this cover: the singer earns top billing, but the trio -- tenor sax, trumpet, drums -- has a previous Mingus tribute, Mingus Mingus Mingus (2015) under their Mingus-inspired group name, I Am Three. Nicols supplies one lyric, the rest attributed to the composer, including detailed instructions on toilet-training your cat. I always find vocals like this awkward -- arty and disjointed, which is what she does -- but the music is often amazing, and their take of "The Clown" is amazing and definitive. So while all Mingus always sounds great, this adds something new. A- [sp] Shikamoo Jazz: Chela Chela Vol. 1 (1993-95 [1995], RetroAfric): Tanzanian group, formed 1993, its members veterans of "dance bands of the '60s and '70s," including Kenyan star Fundi Konde, playing their standards. No dates given, and no singles discography I can find. B+(***) [sp] Shikamoo Jazz: East African Legends Live (1995 [2022], RetroTan): Only date given is July 1995, but the eleven tracks are credited to four permutations (Shilamoo Jazz, Fundi Konde & SJ, Bi Kidude & SJ, SJ + Fan Fan), although they flow together just fine, with oodles of that shimmering groove Earthworks immortalized in their famous Guitar Paradise of East Africa compilation. A- [sp] Eddie Taylor: In Session: Diary of a Chicago Bluesman 1953-1957 (1953-57 [2016], Jasmine): Blues guitarist and singer (1923-85), up from Mississippi to Chicago, recorded a few albums from 1967 on, before that was best known playing for Jimmy Reed (just 3 tracks here), but also John Brim (4), Sunnyland Slim (4), Floyd Jones (3), Little Willie Foster (2), and John Lee Hooker (3), leaving 10 tracks under his own name -- a couple memorable, the rest pretty good. This took me a while, but I woke up with Reed and Hooker songs in my head, plus one of Taylor's ("Big Town Playboy"). A- [cd] Eddie Taylor: I Feel So Bad (1972, Advent): Solid Chicago blues album, recorded in Hollywood. B+(**) [sp] Jody Williams: In Session: Diary of a Chicago Bluesman 1954-1962 (1954-62 [2018], Jasmine): Joseph Leon Williams (1935-2018), originally from Mobile, moved to Chicago, where his guitar ("marked by flamboyant string-bending, imaginative chord voicings and a distinctive tone") got him studio work with Howlin' Wolf, Sonny Boy Williamson, Bo Diddley, and Jimmy Rogers -- to pick out the most obvious hits on the front half here -- as well as the occasional single (some as Little Joe Lee). That first half is remarkable enough, but the obscurities on the second half -- especially his "Lucky Lou" instrumental -- are the real payoff here. A- [cd] Unpacking: Found in the mail last week:
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