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Music Week [330 - 339]Tuesday, February 18, 2020 Music Week
February archive (in progress). Music: Current count 32778 [32759] rated (+19), 242 [241] unrated (+1). Late again, but short as weeks go, given that last week's Music Week didn't appear until Thursday, February 13. My excuse then was that I was in the middle of a series on Duke Ellington's Chronological Classics (up to 1940, anyway). I decided not to bother with the 1940-1953 releases, figuring they're redundant to in-print albums on RCA and Columbia (and maybe Capitol?), but I've continued to trawl through Napster's offerings, using "ellington" as my titles search. That netted a few albums by other doing Ellington songs -- including titles by Ella Fitzgerald, Nina Simone, Zoot Sims, and Sarah Vaughan, below. I haven't hit the end of that list yet, so I'll keep plugging, and see what else catched my fancy. I briefly considered doing more individual albums from The Complete Ella Fitzgerald Song Books, which I bought long ago and gave an A- to without subdividing, but I haven't followed up on that. (If I recall correctly, the best volume is the Harold Arlen, possibly followed by Irving Berlin or Cole Porter; the weakest may well be the Ellington, which is surprising given how much I like the later Ella and Duke at the Côte D'Azur -- a 2-CD sampler from a larger box I haven't heard, but which I believe is on Napster.) All this old music digging has kept me off from new music, with only a few of my queue offerings this week. Robert Christgau sent his Consumer Guide out to subscribers last week, and included two new 2020 releases among his picks (Eminem and Drive-By Truckers) among his late-breaking 2019 picks (catching up with his Dean's List). Normally I'd jump on them, but this hasn't been a normal week. Christgau followed that up with another list, Ten Movies I Love. I can't argue, not least because I've only seen four of those movies, and don't even recall hearing of most of the rest. [PS: Make that five: I've seen, but forgot the title of, Make Way for Tomorrow] I doubt I could even construct such a list, but I'd hate to leave out:
First of all, I'm surprised to find these so concentrated in time: 1985-1995 accounts for all but two, one from 1980, the other 2000. The obvious explanation is that I watched a lot more movies then than any time before or since. I hardly ever watched movies before, aside from minor binges, but started renting tapes after my first wife died, and watched even more when I dated and moved in with Laura. My movie watching has tailed off in recent years, but not as dramatically as the omission of post-2000 movies in the list above suggests. Perhaps I was just more impressionable in that first decade. I did a quick search through the notebook, and found a lot of good movies, but the only ones that tempted me to add to the list were: Almost Famous (Cameron Crowe, 2000); The Barbarian Invasions (Denys Arcand, 2003); De-Lovely (Irwin Winkler, 2004); Letters From Iwo Jima (Clint Eastwood, 2006); The Lives of Others (Florian Henckel von Donnersmarck, 2007); The Girl With the Dragon Tattoo (2009, in Swedish); and Boyhood (2014). A second point is that these are mostly small movies. (Three were nominated for Oscars, and one won.) A glance through the Oscar list and other lists at { IMDB, TimeOut, MSN } suggest some better-known epics that I like (in many cases a lot), in chronological order (while generally avoiding repeating directors from above): Modern Times (1936); Grand Illusion (1937); His Girl Friday (1940); Sullivan's Travels (1941); Casablanca (1942); The Bridge on the River Kwai (1957); Dr. Strangelove (1964); Blazing Saddles (1964); Ship of Fools (1965); Once Upon a Time in the West (1968); Z (1969); The Godfather (1972); Cries and Whispers (1973); The Godfather II (1974); Chinatown (1974); Nashville (1975); Atlantic City (1981); The Last Emperor (1987); Do the Right Thing (1989); Unforgiven (1992); Pulp Fiction (1994); The Shawshank Redemption (1994); L.A. Confidential (1997); Shakespeare in Love (1998); Moulin Rouge! (2001); Brokeback Mountain (2005); Slumdog Millionaire (2008), La La Land (2016). Most frequently listed movies that I haven't seen (or don't recall) date from before 1960, including a fair number of "foreign" films. Too bad I didn't maintain a list, like I did for albums.Contributing to this week's delay, I cooked a rather fancy dinner Monday night. I made a couple stabs at Hungarian cuisine last fall, and had a few more recipes I wanted to try. My cookbook was Silvena Johan Lauta's The Food & Cooking of Hungary, but it didn't offer any promising vegetable side dishes, so I slipped a Greek fave into the menu:
Not sure I got the first three quite right. The meatballs were quite delicious, but could have used more sauce. I had a lot of trouble cutting up the rabbit, which made everything come out late. The one piece I had was a little tough and dry, but others disagreed. The mushrooms (stuffed with ricotta, bacon, and herbs) perhaps should have been cooked longer. Still, all came out pretty tasty. The dessert wasn't in the cookbook, but showed up repeatedly when I was attempting to survey Hungarian recipes online -- along with a fancy multi-layer cake called a dobos torte. I wound up consulting several web recipes, mostly following this one, but taking a few liberties along the way (e.g., after my caramelized syrup burned, I went with a much safer non-caramel recipe; I missed the liquor store, so substituted amaretto for rum; I substuted apricot for strawberry jam, as all other recipes specified [PS: what I actually used was Bonne Maman Mango-Peach Preserves, made in France; picked up accidentally when I was reaching for the apricot]). The dessert is a pretty complicated affair: first make three sponge cakes (one plain, one with walnuts, a third with cocoa); make a light syrup with liquor (in my case, amaretto), and brush it over the cakes; make a "gruel" out of milk, sugar, flour, eggs, vanilla (more like a pudding -- other recipes use a pastry cream); build a stack of the three cakes, each one topped with a shmear of jam, raisins (soaked in syrup), walnuts, and "gruel"; sprinkle cocoa on top and chill for 12 hours. Make a chocolate sauce, with liquor (amaretto again). Whip cream. To serve, scoop out chunks of cake, top with chocolate, then with whipped cream. Before I was done, I doubted I'd ever do it again, but it turned out to be remarkably delicious. A few links I had meant to include in Sunday's Weekend Roundup, but somehow didn't get to:
I should also note that a Guardian article I linked to about Bill Gates buying a £500 million superyacht has been pulled, due to "a fundamental error in facts reported." Evidently, Gates hasn't bought any such boat. New records reviewed this week: The Coachella Valley Trio: Mid Century Modern (2019 [2020], DMAC): Guitarist Doug MacDonald, backed by bass and drums, with Big Black on djembe for 6/11 tracks. Four MacDonald originals, the rest easy flowing jazz standards. B+(*) Lara Driscoll: Woven Dreams (2019 [2020], Firm Roots Music): Pianist, from Chicago, trio with Paul Rushka on bass and Dave Laing on drums. Not much to say on this, other than that she always seems spot on. B+(***) [03-06] Lara Driscoll: Woven Dreams (2019 [2020], Firm Roots Music): Pianist, from Chicago, trio with Paul Rushka on bass and Dave Laing on drums. Not much to say on this, other than that she always seems spot on. B+(***) [03-06] Kuzu [Dave Rempis/Tashi Dorji/Tyler Damon]: Purple Dark Opal (2019 [2020], Aerophonic): Avant sax-guitar-drums trio, did a couple albums last year including one that I belatedly got behind (Hiljaisus) and one (Lift to Drag) I missed. Maybe slow on this one too, but for now: B+(***) [cd] Purna Loka Ensemble: Metaraga (2018-19 [2020], Origin): Indian string quartet based in Lawrence, KS, where violinist Purnaprajna Bangere teaches mathematics and music. With second violin, bass, and tabla, with a guest spot for clarinet, rooted in classical Indian music, but not stuck there. B+(**) [cd] Old music: Duke Ellington: The Best of Early Ellington (1926-31 [1996], Decca): Twenty songs from Decca's 3-CD Early Ellington: The Complete Brunswick and Vocalion Recordings of Duke Ellington 1926-1931, which appeared a couple years earlier and is worth owning complete (my grade: A+). Two caveats here: I've long deemed the Bluebirds from the same period to have better sound, not that I have any complaints here (and they're way better than the Okehs and the Classics archives); and I miss some of the covers on the box. Still, these are the essential songs from the first great Ellington era, and they're as perfect as music gets. A+ Duke Ellington: The Centennial Collection (1927-41 [2004], Bluebird): BMG released five volumes under this title, the others Benny Goodman, Glenn Miller, Artie Shaw, and Fats Waller -- all recorded for Bluebird before 1945, so these work as single-disc primers, each packaged with a DVD I have no reckoning of. Don't have dates, but initial recordings range as above, though most of these pieces are live shots, possibly tied to the DVD. Some great music here, but I don't find this to be particularly useful. B+(**) Duke Ellington and His Orchestra: The Great Paris Concert (1963 [1973], Atlantic, 2CD): Three concerts, actually, nicely organized for its original 2-LP release (total 87:35), so much so it might serve as a suitable introductory overview for neophytes -- even includes a full suite, and one vocal track to remind you Ellington never had a knack for hiring singers. Even more freakish is Cat Anderson's stratospheric trumpet -- one of many wonders. A- Duke Ellington: Duke Ellington's My People (1963 [1964], Contact): A short-lived Broadway musical, "conceived, written and staged by Duke Ellington," orchestra conducted by Jimmy Jones (but "under the personal supervision of Billy Strayhorn"), headlined by Joya Sherrill. Ellington tended to get stilted in projects that aimed beyond the music (e.g., his later "sacred music" concerts), but this one moves right along, and his black history points are well taken. B+(**) Duke Ellington/Ella Fitzgerald/Oscar Peterson: The Greatest Jazz Concert in the World (1967 [1990], Pablo, 3CD): The CD reissue added the principle artist's names above the title, a banner missing from the original 1975 4-LP box, although their primacy was made clear by centering their portraits, surrounded by an outer ring with Benny Carter, Coleman Hawkins, Zoot Sims, Clark Terry, T-Bone Walker, and eight current members of Ellington's Orchestra. This was one of Norman Granz's Jazz at the Philharmonic productions, actually two shows, one in March at Carnegie Hall, the other in July at the Hollywood Bowl, varying from his usual all-star jam formula mostly in Ellington's dominance: 21 cuts, including 5 with Fitzgerald (of her 9). I'm on the fence here: Peterson's intro and the jams are fun, the Ellington set is above par, and Fitzgerald has a spark here that is never really captured in their studio albums. Still, doesn't really merit the hyperbole. B+(***) Duke Ellington: In Sweden 1973 (1973 [1999], Caprice): Late, the fabulous orchestra starting to fall apart (no Johnny Hodges, Paul Gonsalves, Cat Anderson), so local reinforcements are welcome: Rolf Ericson (trumpet), Åke Persson (trombone), Nils Lindberg, and featured singer Alice Babs. B+(**) Ella Fitzgerald: The Complete Ella Fitzgerald Song Books (1956-64 [1993], 16CD): One of Norman Granz's more successful "get rich slow" projects was having Ella sing every song in "the great American songbook" -- I suspect that phrase came later, and were you to look it up, the most succinct definition would be: "songs Ella Fitzgerald sang." They were released on many LPs, eventually collected in this box, as well as released on separately available CD sets. I bought the box, gave it an A- (my standard at the time for multi-disc boxes was weakest link), but didn't break it down further. Maybe it's time to do that. Ella Fitzgerald: Sings the Duke Ellington Songbook (1956-57 [1991], Verve, 3CD): Key thing here is the band: Ellington and His Orchestra. They got co-credit on the origial 1957 4-LP set, before "songbook" became a single word and a Fitzgerald trademark. She is, of course, miles ahead of any singer Ellington ever hired, adding import and sass to lyrics that often just an afterthought -- but that may be because the band never really needed them. Two real solid CDs here, although I like some of their later live recordings even better. Third disc bogs down a lot, and not just the alternate takes and chatter. B+(**) Ella Fitzgerald: The Very Best of the Duke Ellington Song Book (1956-57 [2007], Verve): Second attempt at reducing the original 4-LP (3-CD) set to a single CD, following 1995's Day Dream: The Best of the Duke Ellington Songbook (B+, long ago), the "very" justified by reduction (12 tracks, 56:09, vs. 17 tracks, 70:08) and by picking more obvious titles: only 5 tracks appear on both, and you can easily guess them if I give you the adds here: "Sophisticated Lady," "Satin Doll," "Do Nothin' Till You Hear From Me," "Prelude to a Kiss," "In a Sentimental Mood," "Caravan," and "Don't Get Around Much Anymore." Should be foolproof, but you can hardly hear the band through the ballads, and while the singer is artful enough, you just know she'd rather bust loose and scat. B+(***) Ella Fitzgerald: Ella at Duke's Place (1965 [1966], Verve): Studio date in Hollywood with Ellington and His Orchestra, ten songs, only two repeated from the 1956-57 sessions. Divided into a "Pretty, Lovely, Tender, Hold Me Close Side" and a "Finger-Snapping, Head Shaking, Toe-Tapping, Go-For-Yourself Side" -- the latter is more fun, but still not as much as a live set like Ella and Duke at the Côte D'Azur (1966). B+(**) Nina Simone: Nina Simone Sings Duke Ellington (1961 [1962], Colpix): Simone's arrangements, produced by Stu Phillips, backed by the Malcolm Dodds Singers, no credits for the band (but Simone no doubt holds court on piano). The obscurities don't stick with you, but the mainstays are tastefully done (especially "Satin Doll"). B+(*) Zoot Sims: Passion Flower: Zoot Sims Plays Duke Ellington (1979-80 [1997], Pablo/OJC): Tenor saxophonist, sources list him only as leader but this sounds like him, in front of a big band with stars like JJ Johnson, Frank Wess, and Jimmy Rowles, arranged and conducted by Benny Carter. B+(**) Sarah Vaughan: How Long Has This Been Going On? (1978, Pablo): Despite her remarkable voice and exquisite control of nuance, she rarely makes albums I like. But Norman Granz grabbed her when he launched Pablo, and teamed her up with his default band: Oscar Peterson (piano), Joe Pass (guitar), Ray Brown (bass), and Louie Bellson (drums). Cover inserts a spurious "between" between the title and artists -- the singer first in only slightly larger type. Still likes them slow, but the band's light touch saves the day. B+(***) Sarah Vaughan: Duke Ellington: Song Book One (1979 [1980], Pablo): Billy Byers' strings are suspect here, but the rest of the band -- with Waymon Reed on trumpet, JJ Johnson on trombone, Frank Foster and Zoot Sims on tenor sax, Bucky Pizzarelli or Joe Pass on guitar, Jimmy Rowles or Mike Wofford on piano -- is impeccable. B+(***) Sarah Vaughan; Duke Ellington: Song Book Two (1979 [1980], Pablo): Same group, same sessions, eleven more songs, most excellent, only a tad less impressive. B+(**) Unpacking: Found in the mail last week:
Ask a question, or send a comment. Thursday, February 13, 2020 Music Week
February archive (in progress). Music: Current count 32759 [32712] rated (+47), 241 [230] unrated (+11). Shortly after closing my last Music Week, I looked at the featured jazz records on Napster and noticed two volumes from Duke Ellington's Private Collection series. These appeared on Saja in 10 CDs from 1987-89, and I had picked up a few when I found them used. I figured I should play the ones I had missed, and that got me looking at Napster's Ellingtons. I had probably heard more records by Ellington than any other artist, but that still left a fair number unheard -- especially among the 44 Chronological Classics volumes. As most of the latter were available, I started working my way through the list, especially the stretch from 1931-39, which Ellington's American labels have failed to keep in print. That took me past my usual Monday deadline. I decided then to hold back until I hit 1940, because I planned on writing a general introduction to the series followed by notes and grades on each individual volume (as I had with Private Collection. Chronlogical Classics goes on to 1953, but I figured they were less critical. That's not a judgment on the music, but because nearly all of them were in print and graded elsewhere: see, especially, the magnificent Never No Lament: The Blanton-Webster Band, which covers 1940-42, The Indispensible Duke Ellington and the Small Groups (1940-46), and the slightly lesser Black, Brown and Beige (1944-1946). I picked up a few more titles along the way, plus a couple of records by others which showed up in the Ellington title search. There are more I haven't gotten to. The big live chunks left are the Carnegie Hall Concerts from 1943-48 and The Treasury Shows from 1945-46 (25 volumes). There is also a fair amount of live Ellington floating around, especially from the 1960s -- Pablo picked up some of those, but we're still seeing occasional concerts pop up on European labels. I won't venture to say how much of this anyone actually needs, but aside from some redundancy, the A and A+ records listed above are really choice records. Nothing (other than the Armstrong-Ellington Summit, which matches a previous A graded package) in this week's many finds matches them, although the 1928-30 Chronological Classics overlap with some of my previous picks (especially the 3-CD Early Ellington on Decca), 1938 Vol. 3 has some of the small group recording from The Great Ellington Units, and Up in Duke's Workshop sounds like a first draft of Latin American Suite. On the other hand, I ran through the Chronological Classics very fast (almost always just one play), and aside from the usual caveats about surface noise and sequencing they all sounded pretty great to me. Quite a bit of unpacking this week-plus, which came as a surprise to me after a few lean weeks. I've let the 2020 releases pile up while working on 2019, and barely touched them this week. But the Ellington orgy did break me out of the rut of searching around for 2019 stragglers. Also went the whole week without touching the 2019 EOY Aggregate. So I guess I'm moving on. Still expect to pick up a few more Ellington titles next week (playing The Great Paris Concert right now, and it's sounding pretty great, indeed). My new year resolution is to take 2020 easier. So far that's mostly involved starting each day off with a piece of classic old jazz. I had, in fact, been playing Early Ellington in the week before this kicked off, along with Ben Webster's Cottontail, an ASV best-of named for his 1935 hit with Ellington. A final personal note: I just heard today that my cousin Chloe McCandlis died, at 94. She and her husband Paul moved from Arkansas to Snohomish, WA before I was born, so I probably only saw her a half-dozen times over the years. I don't remember the family's first trip to Washington, but we returned for the Seattle World's Fair in 1962, which was the high point of my life well past that point. I visited again, on my own, in 1984, and it totally changed my view of my family -- for one thing, despite the distance, she probably knew my mother better than any of my closer relatives (or maybe she was just more open about it). I saw her a couple years ago. Despite numerous physical ailments, she was in a very expansive mood, with lots of stories about long ago. She no doubt knew many more, and I could kick myself for not making more of an effort to keep close. That memory is lost now. The inspiration remains. New records reviewed this week: Carol Albert: Stronger Now (2019 [2020], Cahara): Pianist, sings some, ranges from luxe piano to easy listening pap. B- Lila Ammons: Genealogy (2019 [2020], Lila Ammons Music): Jazz singer, granddaughter of boogie-woogie pianist Albert Ammons, niece of saxophonist Gene Ammons. Songs here are mostly by jazz composers (Silver, Monk, Ellington. B+(**) [cd] Ellen Edwards: A New York Session (2019 [2020], Stonefire Music, EP): Singer-songwriter from Alabama, has a couple previous CDs, this one just five tracks, 20:20. Jazz band, best known are Randy Brecker (trumpet) and Jason Miles (B3, vibes, and synthesizers), none remarkable. B- [cd] [02-22] Delfeayo Marsalis Uptown Jazz Orchestra: Jazz Party (2019 [2020], Troubadour Jass): The trombone player in the New Orlean family's band, tenth album since 1992, second with this big band, where everything's a jazz party. B+(**) The Westerlies: Wherein Lies the Good (2018 [2020], Westerlies): New York-based brass quartet, two each trumpets and trombones, all originally from Seattle, first appeared on an album with Wayne Horvitz, have another album I haven't heard. Beyond the 14:37 title piece (by Robin Holcomb), many short bits, some trad, some filtered through the Golden Gate Quartet or Charles Ives. B+(***) Recent reissues, compilations, and vault discoveries: Ronnie Lane: Just for a Moment: The Best of Ronnie Lane (1973-97 [2019], UMC): Started out in Small Faces, solo career never as famous as his bandmates although One for the Road (1976) was one of my favorite albums ever. This sampler was culled from a completist 6-CD box and favors breadth over depth, finding some gems but most seem minor compared to the two songs from his masterpiece. B+(***) Old music: Louis Armstrong & Duke Ellington: The Great Summit: The Master Takes (1961 [2000], Roulette): I've long owned the 1990 CD of The Complete Louis Armstrong & Duke Ellington Sessions, so never bothered with this package: a new title with the same 17 cuts. Ellington plays piano, and wrote (or co-wrote) all the songs, Armstrong plays trumpet and sings, and brought the band: Trummy Young (trumpet), Barney Bigard (clarinet), Mort Herbert (bass), Danny Barcelona (drums) -- Bigard played with Ellington before joining Armstrong's All-Stars, and really stands out here. Armstrong amazes with his ability to slide his voice around such sophisticated melodies. A Duke Ellington/Billy Strayhorn: Great Times! Piano Duets (1950 [1989], Riverside/OJC): The original eight tracks (25:30), with two pianos and bass, were released as a 10-inch LP in 1950. The CD adds two more tracks with Strayhorn switching to celesta, and two trio cuts with Ellington, Oscar Pettiford (cello), and Jo Jones (drums). B+(*) Duke Ellington and His Orchestra: A Drum Is a Woman (1956 [1957], Columbia): Billy Strayhorn co-wrote this attempted opera, where the book doesn't fit the music, and the music doesn't fit all that neatly together either. B- Duke Ellington: At the Alhambra: Recorded in Paris, 1958 (1958 [2002], Pablo): After Noran Granz sold his Verve label interests to megacorp Universal, he started Pablo in 1973, recruiting many of his old favorites, starting with Oscar Peterson and Ella Fitzgerald. His third released was one of Ellington's last, Duke's Big 4. Later Pablo picked up several live tapes, including this one. This is basically the band he took to Newport in 1956, starting with "Take the 'A' Train," running through a medley of oldies, sliding into "Jeep's Blues," and widing up with an only slightly less rousing "Diminuendo and Crescendo in Blue." A- Duke Ellington and His Orchestra: Featuring Paul Gonsalves (1962 [1991], Fantasy/OJC): Gonsalves, from Massachusetts, parents Cape Verdean, played tenor sax in the Count Basie and Dizzy Gillespie big bands before replacing Ben Webster in Ellington's orchestra in 1950. He emerged as a star with his astonishing 27-chorus solo in 1956 at Newport, and remained with the band until he died in 1974, a few days before Ellington's death. This was a free-wheeling blowing session, eight group standards starting with "C-Jam Blues," not necessarily designed to feature tenor sax but in the free-for-all Gonsalves often winds up on top. Sat in the vaults until 1985, when someone realized it filled a niche -- or just wanted a reminder of how hard Ellington could swing. A- Duke Ellington: The Duke: The Essential Collection: 1927-1962 (1927-62 [2000], Columbia/Legacy, 3CD): Released as a tall box in 1999 on the occasional of his centennial, with the more accurate title The Columbia Years, given more sensible packaging here. The discs break up into three discontinuous stretches: 1927-40, 1947-52, and 1956-62. Ellington always kept several labels going, although RCA seemed to get the best eras -- the best takes from 1927-30 (although the Deccas are nearly as good, the Okehs sampled here and available on a 2-CD set, The Okeh Ellington, coming in third); The Blanton-Webster Band of 1939-42 and the "small groups" of the same period; late masterpieces like The Far East Suite (1966) and And His Mother Called Him Bill (1967) -- but Columbia's two stretches in the 1950s includes a few supreme records: Uptown (1947-52), At Newport (1956), Blues in Orbit (1958-59). Columbia also seems to have control of much of Ellington's neglected 1930s work, but has kept them out of print (except for European bootlegs, Mosaic's 11-CD 2010 box, and rare samples on Columbia anthologies like this one). The main value here is a first disc that starts to show off this long-neglected oeuvre. The later discs are full of gems, but a same size RCA compilation would blow them all away. A- Duke Ellington: In the Uncommon Market (1963 [1986], Pablo): From one of the band's European tours, scant details on where or when. The band tracks have some terrific moments, especially Paul Gonsalves in "E.S.P." Ends wtih some rather funky piano trio. B+(***) Duke Ellington: Soul Call (1966 [1999], Verve): A live set from Juan-Les-Pins in France, originally released in 1967 (5 tracks, 37:50), expanded to 14 tracks (74:44) for the Verve Master Edition reissue. The original album, still up front, picked out the new music, with two 12-14-minute pieces ("La Plus Belle Africaine" and "Skip Deep"). The extras recycle the songbook. B+(**) Duke Ellington/Boston Pops/Arthur Fiedler: The Duke at Tanglewood (1966, RCA Victor Red Seal): In the late 1940s, Ellington started writing longer works ("suites"), and started to gain acclaim as America's greatest composer, as jazz started to be touted as "America's classical music." So it was inevitable that some classical music orchestra would invite Ellington to sit in on a program of his tunes fleshed out with strings and tympani. And you could probably have guessed it would be the Pops, their live concert appearing on RCA's classical music imprint. I'm surprised it works so well, but in retrospect that, too, seems inevitable. B+(**) Duke Ellington and His Orchestra: The Popular Duke Ellington (1966 [1967], RCA Victor): Ten old songs (1927-1944), most recorded hundreds (or even thousands) of times (I think I once decided that "Mood Indigo" was the most covered popular song ever), plus one ("The Twitch" that seems to have originated here. One generally frowns on re-recording your old hits, but the march of technology and the evolution of the band make this an exception. A- Duke Ellington: Solos, Duets and Trios (1932-67 [1990], RCA Bluebird): Isolated solos both early and late, but most come from the 1940s, centering on a batch of 1940 duets with ill-fated bassist Ray Blanton (9 takes of 4 songs). Duke's a pretty good stride pianist, but this is a mixed bag. Still, the Blanton tracks are pretty amazing. B+(***) Duke Ellington and His Orchestra: Berlin '65/Paris '67 (1965-67 [1997], Pablo): Previously unreleased concert performances, released as part of Norman Granz's Jazz at the Philharmonic series. Several marvelous pieces from The Far East Suite, as well as old standards. B+(***) Duke Ellington: 1969 All-Star White House Tribute to Duke Ellington (1969 [2002], Blue Note): Sixteen names on the cover, but Ellington was not only the subject here; he was listed first among the contributors. My contempt for Richard Nixon is almost boundless, but he played a little piano, and must have been overjoyed to be able to sit down and tinkle the ivories alongside the Duke. The occasion was Ellington's 70th birthday, and Nixon's gift was a Presidential Medal of Freedom. The West Wing party rolled on to 3 AM, the long list of names contributing (although I don't have song-by-song credits) -- a few Ellington alumni like Clark Terry and Louis Bellson (but not the Orchestra), plus stars like Dave Brubeck, Paul Desmond, Gerry Mulligan, JJ Johnson, Hank Jones, Jim Hall, and Joe Williams. B+(***) Duke Ellington: Duke Ellington's 70th Birthday Concert (1969 [1995], Blue Note, 2CD): Actually two concerts from a tour in the UK, about seven months after his 70th birthday (Nov. 25-26 vs. Apr. 29), originally released in 1970 by Solid State in the US and United Artists elsewhere. Still loving you madly. B+(***) Duke Ellington & His Orchestra: Up in Duke's Workshop (1969-72 [1990], Pablo/OJC): Nine tracks from nine dates, with groups ranging from 5 to 12 musicians, first released by Pablo in 1979. No titles I recognize here, but the melodies remind me of his last wave of great albums. Wild Bill Davis on organ is a special treat. A- Duke Ellington: Duke's Big 4 (1973 [1974], Pablo): One of his last albums, the first actually released by Norman Granz's Pablo (which later picked up a fair amount of archive material). Quartet with Joe Pass (guitar), Ray Brown (bass), and Louie Bellson (drums). Kind of lightweight, but Pass always liked it airy. B+(**) Duke Ellington: The Private Collection (1956-72 [1989], Saja, 10CD): Previously unreleased tapes from the family vault, some live, most studio, released by LMR or its successor Saja 1987-89, and later reissued by Kaz. I picked up several of the Saja discs back in the day, graded them as follows, and jumped at the opportunity to hear more on Napster:
Duke Ellington: The Private Collection, Volume Two: Dance Concerts, California, 1958 (1958 [1987], Saja): Ellington responded to the eclipse of the big band era by trying his hand at fancier things (suites and such), but still played the occasional dance hall, trotting out his hits, and they're having a good time here. Ozzie Bailey sings a couple, and they're just fine. A- Duke Ellington: The Private Collection, Volume Six: Dance Dates, California, 1958 (1958 [1989], Saja): The brassy dance numbers from the start don't seem like anything special, but they get a lot more interesting at/after the break, when they slow it down (e.g., "Mood Indigo"). B+(***) Duke Ellington: The Private Collection, Volume Seven: Studio Sessions, 1957 & 1962 (1957-62 [1989], Saja): The big band is in fine form here, especially on their classics, most notably a rousing new "Cottontail." B+(***) Duke Ellington: The Private Collection, Volume Eight: Studio Sessions, 1957, 1965, 1966, 1967, San Francisco, Chicago, New York (1957-67 [1989], Saja): B+(**) Duke Ellington: The Chronological Duke Ellington and His Orchestra (1924-1953, Classics): A French label which has been picking off American jazz titles as they clear Europe's 50-year copyright law -- although they slowed down after 2000, and haven't released anything since 2008. They've usually digitized well-worn copies, so the sound often leaves much to be desired. Napster lists some of these titles as Reborn Records, using modified artwork. One presumes they've undergone further noise reduction, but I can't say definitively. For Ellington, these start with 1924-1927 and extend to 1953 (44 CDs). I've previously heard and rated:
I hoped to catch up everything to 1940, but couldn't find 1924-1927 (Classics 539), 1935-1936 (659), 1938-1939 (747), or 1939 Vol. 2 (780). I tried to get by with a single play per CD, which made it hard to make fine distinctions -- not that there were many to make. Most critics consider 1927-1930 and 1940-1942 to be golden periods, and they're certainly peaks, but there are no slough periods. The main complaints I had were surface noise and the arbitrariness of the chronological sequencing, with small groups and backup jobs for vocal groups thrown into the mix. From 1940 on, the Classics series is less useful, as Ellington's studio recordings have been kept reliably in print by RCA (in two 3-CD sets) and later labels. Perhaps I'll check out those compilations later, but for now 1940 seemed like a good cut-off point. Duke Ellington and His Orchestra: 1927-1928 (1927-28 [1990], Classics): This is where Ellington hits his stride, coining such classics as "East St. Louis Toodoe-Oo" and "Jubilee Stomp." The only downsides are redundancy and surface noise -- endemic to this whole series. B+(***) Duke Ellington and His Orchestra: 1928 (1928 [1990], Classics): With Johnny Hodges, he's really developing a consistent sound, despite billing various groups, like Lonnie Johnson's Harlem Footwarmers. Obviously, the big one here is "The Mooche," with four takes. B+(***) Duke Ellington and His Orchestra: 1928-1929 (1928-29 [1990], Classics): A prime period, with Bubber Miley on trumpet and Barney Bigard or Johnny Hodges on clarinet, everything bright and cheery, from "Tiger Rag" to "Flaming Youth" to "Diga Diga Doo," even "Rent Party Blues." A- Duke Ellington and His Orchestra: 1929 (1929 [1991], Classics): A hot band starting to swing, still on their jungle thing, the one disturbing thing is "A Nite at the Cotton Club," where the announcer insists on calling him "Dukey." B+(***) Duke Ellington and His Orchestra: 1929-1930 (1929-30 [1991], Classics): Sixth volume, starts with "Jungle Jamboree," with three later songs attributed to The Jungle Band, nine more to Duke Ellington and His Cotton Club Orchestra. Dancefloor singles, close to 3:00 each, many terrific, sound so-so. B+(***) Duke Ellington and His Orchestra: 1930 (1930 [1991], Classics): While Bubber Miley defined Ellington's 1927-29 band, he is hardly missed here, with Cootie Williams taking over on trumpet, and the saxophones and trombones gaining stature. Some remakes of classics (especially "The Mooche"), everything first rate. A- Duke Ellington and His Orchestra: 1930, Volume 2 (1930 [1991], Classics): A big year for Ellington, recording as the Jungle Band, the Harlem Footwarmers, and Mills' Ten Black Berries as well as under his own name. Mostly upbeat stompers, including three takes of "Ring Dem Bells," but also a gorgeous little piece initially called "Dreamy Blues" -- you know it as "Mood Indigo." A- Duke Ellington and His Orchestra: 1930-1931 (1930-31 [1991], Classics): Another good run but more than the usual redundancy, with three takes of "Rockin' in Rhythm," more "Creole Rhapsody" and "Mood Indigo," and forgettable vocals by Billy Sith, Sid Garry, Chick Bullock, and others I've already forgotten. B+(***) Duke Ellington and His Orchestra: 1931-1932 (1931-32 [1991], Classics): Starts with the band backing Earl Jackson on "Is That Religion?" -- then resets the mood with two helpings of "Creole Rapsody." Three-minute singles predominate, but you also get two 7-minute medleys of signature pieces, and a first release of "It Don't Mean a Thing (If It Ain't Got That Swing)." A- Duke Ellington and His Orchestra: 1932-1933 (1932-33 1992], Classics): Leans more toward vocal pieces, with Adelaide Hall, the Mills Brothers' "Diga Diga Doo" a hit, Ray Mitchell's vocal on "Star" very touching, Ethel Waters as fine as you'd expect. B+(***) Duke Ellington and His Orchestra: 1933 (1933 [1992], Classics): Two takes of "Sophisticated Lady," which first appeared the year before, plus a lot of upbeat fare, including a rousing "Ain't Misbehavin'." Also an interview snippet, apparently from a UK tour. B+(***) Duke Ellington and His Orchestra: 1933-1935 (1933-35 [1992], Classics): Most famous new song here is "Solitude"; least may be "Rude Interlude" -- in the previous interview he mentiond wanting to write a "Rude" song after someone misheard his recent his as "Rude Indigo." More vocals than usual: Louis Bacon (2), Ivie Anderson (3), Mae West. B+(***) Duke Ellington and His Orchestra: 1936-1937 (1936-37 [1992], Classics): Starts with Ivie Anderson singing. Ben Webster joins on a couple of dates. The big band swings, but the Barney Bigard small group, (7-pieces, with Ellington on piano) is even hotter. Two cuts are piano solos, and the mix of "Mood Indigo and Solitude" is especially delectable. B+(***) Duke Ellington and His Orchestra: 1938 (1938 [1993], Classics): More than half of the 23 cuts come from "small groups" led by Barney Bigard, Cootie Williams, or Johnny Hodges ("Jeep's Blues"). Hodges get the vocal version of "I Let a Song Go Out of My Heart", but the band's instrumental is even better. B+(***) Duke Ellington and His Orchestra: 1938 Vol. 2 (1938 [1993], Classics): Again, half "small groups" (Cootie Williams, Johnny Hodges), the rest by His Famous Orchestra, half with vocals, most often Ivie Anderson, bringing the superb instrumentals back to earth. B+(***) Duke Ellington and His Orchestra: 1938 Vol. 3 (1938 [1993], Classics): Ellington recorded more in 1938 than any year since 1930 (probably to date), at least if you count the Cootie Williams and Johnny Hodges small groups (10 of 22 cuts here). Hodges is superb here, especially on his own cuts ("The Jeep Is Jumpin'," "Hodge Podge," "Wanderlust"). A- Duke Ellington and His Orchestra: 1939 (1939 [1994], Classics): Another very productive year, this covering March to June, with superb small groups led by Bigard and Hodges and a date backing a vocal group, the Quintones, on a couple of novelty numbers. B+(***) Duke Ellington and His Orchestra: 1939-1940 (1939-40 [1993], Classics): From October to February, only seven tracks with His Famous Orchestra, most of the rest small groups led by Barney Bigard and Cootie Williams, plus a bit of solo piano and two duets with new bassist Jimmy Blanton. Ben Webster rejoins in February, kicking off Ellington's most legendary band. B+(***) Vienna Art Orchestra: Duke Ellington's Sound of Love, Vol. 2: Live at Porgy & Bess, Vienna (2003, EmArcy): Big band, founded by Mathias Rüegg in 1977, originally to play his own postmodernist compositions, but over the years they've delved into a wide range of jazz and classical composers, adding their own distinctively avant touches. Their previous Ellington volume came out in 2000. Highpoint here is a "Dimuendo and Crescendo in Blue" that's messier than the Newport version but every bit as exciting (although no one dares go after Cat Anderson's high notes). A- Ben Webster: Plays Duke Ellington (1967-71 [2002], Storyville): Tenor saxophonist, played with Bennie Moten in 1932, moved to New York and played occasionally with Ellington from 1935, becoming a regular 1940-43, and he kept some of his major pieces in his songbook (especially "Cottontail"). This isn't a tribute, but was stitched together from several sessions, mostly fast jams but also a gorgeous "Satin Doll," and closes with a strong blues vocal (not sure who). A- Unpacking: Found in the mail last week:
Ask a question, or send a comment. Friday, January 31, 2020 Music Week
Music: Current count 32712 [32640] rated (+72), 230 [228] unrated (+2). Whereas last week I closed my count on Sunday as usual but didn't post Music Week until Thursday, this week I'm even later, and this time I used to the extra days to squeeze more records in. For the record, the count was +34 Sunday evening, when I would normally cut over. The reason for the extra days this week is that I usually save away a frozen copy of my yearly list on or near the end of January, and I thought it would make more sense to align that date with the end of January Streamnotes. Last year I decided to publish my reviews in my Music Week posts, out each Monday, and align the monthly Streamnotes archives with Music Week posts, cutting off each month on its final Monday. However, this year the final Monday left five days in the month, which is normally 20-25 records -- enough of a discrepancy to make me want to include them before freeze date. On the other hand, I didn't get as much done in my extra days [of January] as I hoped. In fact, the only way I'll get anything up dated Jan. 31 is through the miracle of backdating. (I'm writing this on Feb. 1, and doubt I'll get done tonight, either. [I finally did the freeze Feb. 5, posting well after midnight, so Feb. 6.]) One thing that got in the way was my decision to rustle up a rather ambitious Friday dinner. I thought of this initially as my mother's birthday, but rather than fixing any of her specialties, I decided to slightly rework the last birthday dinner I fixed for her. Only later did I realize this was the 20th anniversary of that dinner. After she died in June, we drove to Dodge City, where I made the same dinner for my father's cousin, Zula Mae Reed. She was one of the first people to introduce me to Chinese food. Ever since I figured out how to make my own, I had wanted to cook Chinese or her. After making the occasional stir-fry mess in New York, I moved to New Jersey, threw my wok away, bought some good aluminum core, stainless steel pans, and started studying Barbara Tropp's The Modern Art of Chinese Cooking, and got pretty good at it. I later branched out to practically everything else. But lately I've steered away from Chinese for large dinners -- most dishes require a final stir-fry, which is chaotic and leaves a huge mess (I call this the "fire drill," a term which probably has racist origins but seems perfectly descriptive in this case, even if everything is perfectly executed). When I make Chinese these days, it's often for just the two of us. I did just that a week ago, and felt that I was losing my touch, so that made me all the more resolved to prove I could still do it. My menu last night:
Huge amount of prep work here, including initial cooking in the deep fryer (green beans, spinach, beef, chicken), in water (shrimp, scallops), or in the sauté pan (leeks, eggs), soaking, cutting/chopping, arranging aromatics on plates for each dish, mixing sauces for each dish (in two cases with a separate cornstarch slurry to thicken), and garnishes. Once everything was prepped, I did the final stir-fry two dishes at a time, in rapid succession. Some minor problems along the way, and one or two dishes didn't turn out quite perfect, but the dishes are so flavorful no one else seemed disappointed. For dessert, I thought I'd try the "fusion east-west" recipes in Tropp's China Moon Cookbook: I did the chocolate-walnut tart and ginger ice cream. The tart was overdone (could be that I used too large a pan, making the crust and filling too thin), which made it hard to get out of the nominally non-stick pan, and probably made it a bit chewier than it was supposed to be. Neither turned out to be a problem with the ice cream on top. Bumped the recipe by 50%, which turned out to be the upper limit of the machine and a bit more than I could put into my chosen container, but it was all gone before the guests left. Robert Christgau published his Dean's List 2019 on January 26, with 76 records, 14 released in 2018 or earlier (back to 2015, including my 2018 favorite, The Ex: 27 Passports). A half-dozen titles hadn't been reviewed yet in his Consumer Guide -- the biggest surprise Kalie Shorr's Open Book. I gave it a low B+ in December, resisting the glitzy Nashville production, but gave it another shot, and the songs started poking through. It's one of several re-grades below -- mostly records I admired first time but liked a little more on review. I replayed a few more I didn't budge, including Purple Mountains, The Paranoid Style, Danny Brown, and Slowthai -- all solid B+(***), as I originally thought. I played everything else I had missed (except couldn't find the Seeds soundtrack), but haven't gone down the list to biggest disconnects (like 100 Gecs). I don't mean to nitpick, but thought it might be helpful to list my non-jazz A-list picks that Christgau hasn't yet reviewed or listed (skipping records, like Hayes Carll: What It Is and Lana Del Rey: Norman Fucking Rockwell, that Christgau gave B+ or stars to):
I'm surprised this list ran so long (40 of 77 records, so 52%). One thing Christgau laments on his list is a hip-hop shortfall, but I count 13 here (including Blakrok, MexStep and Dave, but not Yanya, Korwar or Sault). Also 6 country, some political folkies, some electronica, and various world outposts. By the way, recent adds and promotions made the non-jazz A-list longer than the jazz one (77-to-75). The extra listening time brought my number of reviewed 2019 releases to 1224. This compares to 1075 at freeze time last year, 1145 in 2017, 1075 in 2016, 1110 in 2015, 1173 in 2014, 1149 in 2013, 1068 in 2012, 1334 in 2011, and 1236 in 2010. (Going further back: 2009: 1050, 2008: 907, 2007: 1135, 2006: 1089, 2005: 871, 2004: 941, 2003: 525. No data for earlier years, as 2003 was when I started writing -- and getting promos -- again.) About 75% of this year's records were streamed or downloaded, which is probably a record high, but likely to be topped each coming year. I've been expecting the review total to decline each year since my 2011 peak. The only significance I attribute to the bump this year is that I haven't felt up to doing much else. I expect it to drop next year, perhaps significantly -- either if I get into writing long-contemplated but slow-starting non-music projects, or if my health declines. Meanwhile, the main thing that slowed this post down wasn't a desire to cram in more records. It was the time it took to reach a break point in my EOY Aggregate. I wound up counting 689 lists, of which 174 were considered major (generally, 20+ ranked records, scored 1-5 points), vs. minor lists (top-tens, scored 1-3 points, or unranked lists), with some discretion exercised. Aside from the lists, this includes grade points from Robert Christgau, Michael Tatum, and myself (1-5 points), which admittedly gives the totals a slight bias. I also included a lot of Jazz Critics Poll individual ballots, which contributed significantly to the two jazz albums that cracked the top 40 (plus ten more in the top 100). On the other hand, with no Pazz & Jop poll this year, I wasn't able to cherry-pick individual ballots there. Two more systematic biases should be noted: I skipped nearly all metal lists this year, and I skipped most of the international press lists that Acclaimed Music Forums does such a good job of compiling. Both omissions were mostly the result of priorities as I was trying to catch up while recuperating from surgery, and I never got back to them. I may find some reason to fiddle further, but at this point the smart thing would be to leave well enough alone. Here's the top 40, with points up front and my grades in brackets.
Every aggregate list (either of lists or of individuals) has its peculiar selection and weighting biases. I'm having trouble finding more, but the big ones are Album of the Year and Metacritic. I can't do any analysis at this time, but my impression is that for a long time, the lists were dominated by alt/indie rock with occasional celebrity-crossover hip-hop breakthroughs (e.g., Kanye West and Kendrick Lamar). Last few years alt/indie has waned, and pure pop albums have done better, as well as some artier things I often have trouble fathoming (Nick Cave and Weyes Blood are prime examples this year). One result is that there are more albums on the list I like these days, certainly compared to 6-10 years ago (when I started compiling these EOY lists). Still, not a lot of critically popular hip-hop this year (only Tyler, the Creator in the top 10 this year, although it was a huge year for British hip-hop, with Little Simz, Dave, Slowthai, and others just down the list). New records reviewed this week: Snoh Aalegra: Ugh, Those Feels Again (2019, Artrium): Soul singer, born in Sweden, parents Iranian, original name Shahrzad Fooladi, based in Los Angeles, first album Feels, so title is a play on that. B+(**) Add-2: Jim Crow: The Musical (2019, Add-2 Productions): Chicago rapper Andre DiJuan Daniels, mixtapes since 2005 including four volumes of Tale of Two's City, and the album Prey for the Poor. Title suggests two dimensions of distance -- history viewed on stage, past from present, others from self -- but Jim Crow persists as a mental trap, not least because it's periodically reinforced by events. A- Altin Gün: Gece (2019, ATO): "Anatolian rock" band, founded in Amsterdam by bassist Jasper Verhulst, with Merve Dasdemir (vocals) and Erdic Yildiz Ecevit (vocals, saz, keys) for Turkish roots. Ranges between groove and spots for "a very soulful language." As usual, any psychedelia is in the mind of the beholder. B+(**) Daymé Arocena: Sonocardiogram (2019, Brownswood): Cuban singer, based in London, fourth album, has a bit of a diva complex, though I could see getting into that. B BaianaSystem: O Futuro Não Demora (2019, Máquina De Louco): Brazilian group, from Salvador in Bahia. Forró roots with electronic beats, postmodern imports, even a bit of Manu Chao. B+(***) BCUC: The Healing (2019, Buda Musique): South African group, from Soweto, acronym stands for Bantu Continua Ubuntu Consciousness, the polyglot name a hint of international eclecticism. But still sounds more like Afrobeat, with two of three pieces running long (19:18, 16:23), and not just the one Femi Kuti guests on. Saul Williams appears on the 3:54 closer. B+(**) BCUC: Emakhosini (2018, Buda Musique): Earlier record, same basic idea, no guests. B+(*) Benny Benack III: A Lot of Livin' to Do (2019 [2020], LA Reserve): Trumpet player, sings, second album, wrote four songs but mostly depends on standards, big name in the band is bassist Christian McBride, has two guest spots for female singers. B+(**) [01-24] Daniel Bernardes & Drumming GP: Liturgy of the Birds: In Memoriam Olivier Messiaen (2018 [2019], Clean Feed): Pianist, from Portugal, leads a trio augmented by a percussion quartet. All original compositions, their pedigree as "explorations of Olivier Messiaen's compositional techniques" something I'll have to take at face value. B+(**) Big K.R.I.T.: K.R.I.T. Iz Here (2019, Multi Alumni): Mississippi rapper Justin Lewis Scott, fourth album, long list of mixtapes. Came out late and hardly anyone noticed. B+(**) Jim Black Trio: Reckon (2019 [2020], Intakt): Drummer, fourth album since 2011 with this particular trio: Elias Stemseder (piano) and Thomas Morgan (bass). Helps to focus on the drummer here, frantically tying together the many remarkable tangents. A- Black Alien: Abaixo De Zero: Hello Hell (2019, Extrapunk Extrafunk): Brazilian singer/rapper, Gustavo de Almeida Ribeiro, started in a duo with Speed 1993-2001. Nine cuts, 26:49. B+(*) Zach Brock/Matt Ulery/Jon Deitemyer: Wonderment (2018 [2019], Woolgathering): Violin-bass-drums trio. B+(**) Brockhampton: Ginger (2019, Question Everything/RCA): Hip-hop "boy band" collective, formed in Texas but moved to California, best-known member releases solo albums as Kevin Abstract. B+(**) Apollo Brown: Sincerely, Detroit (2019, Mello Music Group): Erik Vincent Stephens, grew up in Grand Rapids, moved to Detroit in 2003, hip-hop producer, a dozen albums sharing credit with various rappers, six more under his own name. Here it feels like he's working with the whole city, at least what's left of it. Not optimism -- "we knew from the start that things fall apart" -- but hard-earned survival. A- Charly Bliss: Supermoon (2019, Barsuk, EP): Listed by Napster as Charly Bliss 2019 EP, but this title appears on Bandcamp and elsewhere. Five songs, 15:52, smart pop. B+(**) Gary Clark Jr.: This Land (2019, Warner Brothers): The most hyped bluesman of his generation, certainly at the moment he first arrived. Never impressed me, but maybe I was wrong to slot him in blues -- a music he can play credibly (cf. "Dirty Dish Blues" here) but is just one facet of his fairly eclectic rock repertoire. He's just as likely to signal Funkadelic or the Miracles, but never what you'd call inspired, even when he pumps up the volume. B Luke Combs: What You See Is What You Get (2019, River House/Columbia Nashville): Country singer from North Carolina, second album, big voice, heavy guitar, likes beer and dogs, less sure about love, considers himself one of the "Blue Collar Boys." B+(**) Jamael Dean: Black Space Tapes (2019, Stones Throw): Young pianist (20), born in Bakersfield, father a "soul jazz" drummer, grew up in Los Angeles, currently enrolled at New School in New York, first album. Six cuts, revolving cast, seems rather scattered, with bits of hip-hop fusion and acid jazz, but none quite predictable. B+(*) Dreamville: Revenge of the Dreamers III (2019, Dreamville): Various artists, but sources credit this to the label, and I've seen it filed under star J. Cole. I initially guessed this had something to do with the so-called Dreamers, but I can't find any evidence of a political theme. Rather, this celebrates a found community, brought together by creativity and commerce. B+(*) Daniel Erdmann's Velvet Revolution: Won't Put No Flag Out (2019, Budapest Music Center): German tenor saxophonist, first album as leader 2007, second album with this trio -- Théo Ceccaldi (viola, violin) and Jim Hart (vibes, percussion). "Over the Rainbow" is an odd cover choice, marking a shift to chamber jazz. B+(**) Dori Freeman: Every Single Star (2019, Blue Hens Music): Folksinger-songwriter from Virginia, fourth album, reminds me of Iris DeMent -- sure, a kinder, gentler version. B+(***) Jan Garbarek/The Hilliard Ensemble: Remember Me, My Dear (2014 [2019], ECM New Series): British male vocal quartet, named after an Elizabethan miniaturist painter, focused on medievel and renaissance music from 1980, later entering into several collaborations, notably with Swedish saxophonist Garbarek on 1994's Officium. Evidently disbanded in 2014 after this farewell concert in Bellinzona, Switzerland. I loved the sax so much on the debut that I wound up liking the voices, but the lower the ratio, the less patient I become. B+(*) Halsey: Manic (2020, Capitol): Pop singer-songwriter Ashley Frangipane, third album. Two plays, has some edge, some hooks, not sure whether she's interesting or mostly a flake. B+(***) Tim Heidecker: Another Year in Hell: Collected Songs From 2018 (2018 [2019], Jagjaguwar, EP): Comedian, writer, director, actor, musician -- I can't say as he was on my radar until he released a collection of songs about Donald Trump in 2017 (Too Dumb for Suicide). Sample lyric: "I'm down in the basement making signs out of love . . . and I hope I find a like minded girl tonight at the trump rally." Six cuts, 18:38. B Hieroglyphic Being: Synth Expressionism/Rhythmic Cubism (2019, On the Corner): Jamal Moss, from Chicago but associated more with Detroit techno, has close to fifty albums since 2008, most on his own Mathematics label, but I only seem to notice him when some other label picks him up (e.g., Soul Jazz). Vinyl-sized at 5 songs, 34:25, opens with old-fashioned synths, adds a couple of saxophones to the 12:12 closer ("Timbuktu 2"), a very choice cut. A- Jenny Hval: The Practice of God (2019, Sacred Bones): Norwegian singer-songwriter, studied in Australia before returning to Norway. Went all goth on her last album (Blood Bitch), but turns here to avant-electronics producer Lasse Marhaug, and the beats help a lot. B+(***) Bobby J From Rockaway: Summer Classics (2019, Make Noise): White rapper from Queens, first record, old-style beats and boasts, even has a song called "Blue Eyed Soul," but gets production help from Kwamé, Statik Selektah, and others, and a guest shot from Kilah Priest, and has some fun. B+(**) JackBoys and Travis Scott: JackBoys (2019, Cactus Jack/Epic, EP): Houston collective centered on Scott's Cactus Jack label, seven-cut "compilation" (21:23), with Scott featured on 3-4 tracks, Don Tolliver taking lead on one, Sheck Wes and Young Thug also appearing. Trap rap minus hard edges, as far as I can figure. B+(*) Jealous of the Birds: Wisdom Teeth (2019, Atlantic, EP): Naomi Hamilton, Irish singer-songwriter, released an album in 2015, two EPs since, this the second, 5 substantial songs, 18:40. B+(**) Cody Jinks: After the Fire (2019, Late August): Country singer-songwriter from Texas, self-released six albums before signing to Rounder for two that finally cracked the country charts. Classic sound, old-time virtues, an eye for detail, a bit of jazz at the end. B+(***) Cody Jinks: The Wanting (2019, Late August): Released just a week after After the Fire, a gimmick that promised two consecutive number ones, but Wikipedia shows both albums topped at 2, as did his previous best, Lifers. Pretty much the same album, but a couple of songs strike me as a tad overweight -- maybe he's just leaning in too hard. B+(**) Oumar Konaté: I Love You Inna (2018 [2019], Clermont Music): From Mali, fifth album, good-enough singer but really impressive on electric guitar, backed by electric bass and drums in a configuration that would have turned Jimi Hendrix's head. A- Arto Lindsay/Joe McPhee/Ken Vandermark/Phil Sudderberg: Largest Afternoon (2019 [2020], Corbett vs. Dempsey): OK, some guys got together in Chicago, and rolled the tape. The saxophonists do this sort of thing all the time, so this is fairly typical for them. Lindsay sticks to guitar here, and everything seems to be improv, so don't expect his usual crypto-Brazilian no wave, but he turns in a respectable performance, cutting against the grain. B+(**) [bc] Fred Lonberg-Holm/Joe McPhee: No Time Left for Sadness (2019 [2020], Corbett vs. Dempsey): Cello and tenor sax duets, the former also on electronics. Three pieces, increasing length, driven mostly by the cello although this winds up being a strong performance for McPhee. B+(**) [bc] John McLaughlin/Shankar Mahadevan/Zakir Hussain: Is That So? (2020, Abstract Logix): The guitarist's love affair with Indian music dates back at least to his 1976 Shakti, which percussionist Hussain played on. Not sure when vocalist Mahadevan entered the picture, but he was touring with McLaughlin in 2013 when "the idea for this album appeared in my mind." He dominates this album: I'm duly impressed by his remarkable voice, but have limited use for his style of opera. B+(**)/p> Microwave: Death Is a Warm Blanket (2019, Pure Noise): Post-hardcore band from Atlanta, third album. Reminds me a bit of Husker Du, not a band I've bothered playing in decades. Also liked them a bit more when they opened up, a reaction Husker Du fans may not share. B+(*) Hedvig Mollestad Trio: Smells Funny (2019, Rune Grammofon): Norwegian jazz-rock trio, leader's full name Hedvig Mollestad Thomassen (guitar), with Ellen Brekken (bass) and Ivar Loe Bjørnstad (drums). Raw power, impressive guitar chops. B+(**) Allison Moorer: Blood (2019, Autotelic): Country singer-songwriter from Alabama, sister of Shelby Lynne, has had two famous songwriter-husbands. Tenth album, title tied to a memoir: the headline event in her life was in 1986 when her father shot and killed her mother, then killed himself. Not sure any songs can do full justice to the event, but these cut deep and move you. A- Bob Mould: Sunshine Rock (2019, Merge): Main guy in Hüsker Dü, an important 1980s band I've lost my interest in, went solo in 1989 and has cranked out a dozen albums since, to no special distinction. Still, this attaches more hooks to his signature din, and occasionally takes a break to find his voice, maybe even a melody (e.g., title cut). B+(**) The Murder Capital: When I Have Fears (2019, Human Season): Irish post-punk group, first album. Laura suggested "Pogues meet New Order," but doesn't really deliver either distinction. The double guitars sprawl where punk chops, and the vocals sound more like Nick Cave. B+(*) Murs: The Iliad Is Dead and the Odyssey Is Over (2019, Jamla/Empire): Rapper Nick Carter, albums since 2003 and still underground, produced by 9th Wonder and the Soul Council. Barely noticed when it came out, this is one of his best. A- Aaron Novik: The Fallow Curve of the Planospheres (2019, Avant LaGuardia): Clarinet player, bills himself as coposer first, and that's clearly the focus here. Album is conceived of as a compilation of five "suites of music," each an EP (although I've found no evidence of them having been previously released), each with a different band and locale. B+(*) Otoboke Beaver: Itekoma Hits (2019, Damnably): Japanese punk rock group, four women, singer-songwriter Accorinrin, records since 2011, not sure how much of this 14-song, 26:26 LP is new -- 5 songs from a 2016 EP, one new recording of an older song. Ultimately too chaotic, harsh, noisy for my taste, but for a moment I was pretty impressed. B+(**) Jeff Parker: Suite for Max Brown (2020, International Anthem): Chicago guitarist, has appeared in avant-jazz groups (Chicago Underground Trio), also in experimental post-rock outfits (Tortoise, Isotope 217), his own work widely scattered, as is this. Title cut is pretty seductive, with trumpet and alto sax over slinky rhythm. B+(**) [bc] The Pernice Brothers: Spread the Feeling (2019, Ashmont): Alt/indie band, Joe Pernice is the singer-songwriter, brother Bob also plays guitar, eighth album since 1998. B+(*) [bc] Post Malone: Hollywood's Bleeding (2019, Republic): Rapper-singer Austin Richard Post, from Syracuse, third album, seems to be quite popular. Aims for a big, arena sound. I find it a bit claustrophobic, even though the pummeling offers occasional pleasures. B Emily Scott Robinson: Traveling Mercies (2019, Tone Tree Music): Folksinger-songwriter from North Carolina, lives in an RV she's put more than a quarter million miles on, took a short break from her touring to record this debut album. Character songs, probably fiction -- I doubt she's really a "white hot country mess," but that's her best shot for a hit. B+(***) Kurt Rosenwinkel Bandit 65: Searching the Continuum (2019, Heartcore): Guitarist, from Philadelphia, based in Switzerland, debut 1996, bills his band -- a trio with Tim Motzer (guitar) and Gintas Janusonis (drums), both also electronics -- as a "post-jazz sonic trio." I omitted "mesmerizing," an intent they only occasionally achieve. B+(***) Serengeti: Music From the Graphic Novel Kenny Vs the Dark Web (2019, Burnco, EP): Chicago rapper David Cohn, has a lot of mixtapes, many featuring a character named Kenny Dennis, who reappears here (more or less -- this feels more like scattered outtakes than anything thematic, even though the graphic novel supposedly is). 7 tracks, 18:17. B+(**) Shed: Oderbruch (2019, Ostgut Ton): German DJ/producer, fifth album since 2008, really like his upbeat pieces, don't dislike the more atmospheric ones. B+(***) Ed Sheeran: No. 6 Collaborations Project (2019, Atlantic): English singer-songwriter, fourth album, pretty big star over there, one I've generally found amiably listenable. Harder to judge this one given that each cut has one or more guests, most rappers and/or r&b singers. B+(**) Skyzoo & Pete Rock: Retropolitan (2019, Mello Music Group): Rapper Gregory Skyler Taylor (8 albums and 14 mixtapes since 2004), first with producer Peter Phillips. B+(**) Sly Horizon: The Anatomy of Light (2018 [2019], Iluso): Trio: Rick Parker (trombone), Alvaro Domene (guitar), and Jeremy Carlstedt (drums), everyone also credited with electronics, which generates most of the dark ambience. B+(*) [bc] Son Volt: Union (2019, Transmit Sound): Alt-country band, Jay Farrar's second after Uncle Tupelo, ninth album since 1995. Has picked up some politics, even setting a Joe Hill speech to music. B+(*) The Steel Woods: Old News (2019, Woods Music): Southern rock traditionalists, based in Nashville, Wes Bayliss and Jason "Rowdy" Cope the principals, second album, comes on strong, leaves me cold. Docked a notch for making Merle Haggard sound like a bitter old jerk. B- Harry Styles: Fine Line (2019, Columbia): English, former boy group star from One Direction, second solo album. Seems pointless even when he comes up with something catchy -- actually, the catchier, the more annoying it gets. C+ Sunn O))): Life Metal (2019, Southern Lord): Drone metal band, eighth album since 2000. Emphasis on drone, with more fuzz than metal. I don't seriously dislike it, but seems slight, and I don't get the appeal. B- Leo Svirsky: River Without Banks (2019, Unseen Worlds): American composer, based in the Netherlands, fifth album since 2011. Mostly piano, rolls on and on. B+(**) Veronica Swift: Confessions (2019, Mack Avenue): Jazz singer, started young with an album at age 9 (Veronica's House of Jazz) with Richie Cole, Hod O'Brien (her father), and Stephanie Nakasian (her mother) -- O'Brien, who died in 2016, played piano an all-time favorite album, Roswell Rudd's Flexible Flyer (with Sheila Jordan). Standards, backed by Benny Green Trio on three cuts, Emmet Cohen's on the rest. Dazzling vocal chops. B+(**) Rebecca Trescher: Where We Go (2019, Enja/Yellowbird): German clarinet player, third album, leads a tentet, replete with harp, vibes, lots of flutes, and scat voice -- none of which manage to spoil the impressive arranging. B+(**) Dwight Trible: Mothership (2019, Gearbox): Jazz singer, based in Los Angeles, half-dozen albums since 2001, starts with a piece by LA jazz legend Horace Tapscott, covers some more usual suspects, wrote three. B+(*) Amber Weekes: Pure Imagination (2019 [2020], Amber Inn Productions): Standards singer, second album, very fond of Oscar Brown Jr., starts delightful (especially "It's All Right With Me"), less so on the ballads, least of all a duet with Mon David. B+(*) [cd] Kanye West: Jesus Is King (2019, GOOD Music/Def Jam): Could be he was punking Trump, who clearly got off on proximity to such celebrity and feigned obeissance, but hard to see how he figured to pull off the same trick with G-d, unless his anarchism harbors a closeted atheist. Nothing here convinces me that he believes in G-d, much less that I should. He takes the hollow trimmings of Christianity and turns them into a chaotic mess, without even offering a wink that he might be aiming for satire, which leaves us with some form of mental illness. Still has production chops and can rap, and there's one bit of good news: it's only 27:04 long. B- Wilco: Ode to Joy (2019, dBpm): Jeff Tweedy's band, in a particularly middling mood, doesn't seem like much, but can't complain about the comfort factor. B+(*) Will of the People [Haftor Medbøe]: Will of the People (2019, Copperfly): Norwegian guitarist, based in Edinburgh, several albums since 2005, first for this trio with Pete Furniss (bass clarinet and electronics) and Tom Bancroft (drums). B+(**) Wire: Mind Hive (2020, Pink Flag): Forty years after they raised the art-bar for punk, they've broadened their music without fundamentally changing it. This one almost seems like a return to basics. B+(***) Brandee Younger: Soul Awakening (2019, self-released): Harp player, from Long Island, pulled this early tape off the shelf: producer Dezron Douglas (bass) and the drummer (usually EJ Strickland) craft a matrix that envelops the harp while letting it sparkle. Plus guests: Niia sings one track, the rest have horns, the standout among many fine performances Ravi Coltrane. B+(***) Recent reissues, compilations, and vault discoveries: Julie Coker: A Life in the Limelight: Lagos Disco & Itsekiri Highlife 1976-1981 (1976-81 [2019], Kalita): Gained initial fame as Miss Western Nigeria 1957, moved into TV and radio, produced two albums fileted here (7 songs, 30:55). Nothing major here. B+(*) Professor Longhair: Live on the Queen Mary (1975 [2019], Harvest): New Orleans piano legend Roy Byrd, started recording in 1949 but had few albums before his death in 1980, after which his reputation was secured in numerous live tapes and a stellar 2-CD Rhino retrospective. This one appeared early, in 1978, probably because it was "presented by Paul and Linda McCartney." Seems a bit redundant at this stage, but if I heard it first, I might well have been blown away. B+(***) Jim Sullivan: U.F.O. (1969 [2019], Light in the Attic): Singer-songwriter, guitarist, recorded two albums before mysteriously disappearing in 1975. Not easily classifiable, but not interesting or weird enough to matter. B Jim Sullivan: Jim Sullivan (1972 [2019], Light in the Attic): Second album, a second introduction, dropping the fake strings and letting the music flow, with a country accent and a few horns. B+(*) This Is Toolroom 2019 (Edits) (2019, Toolroom): English electronica label, founded by Mark Knight in 2004, purveyors of something called tech house, which in my book could pass for techno or house. This was number two on the Ye Wei Blog EOY list: presumably the full-length (20 tracks, 129:10) version as opposed to the (Edits), which is the only version I could find online (same 20 reduced by half to 69:36). Various artists, Knight's the only name I recognize, with beats so similar they could come from the same shop. Still, grows on you. B+(***) Grade (or other) changes: 75 Dollar Bill: I Was Real (2019, Thin Wrist): Guitar-drums duo, Che Chen and Rick Brown, the former studied Mauritanian music with Jheich Ould Chighaly, perhaps why their most obvious connection seems to be with Saharan blues-rock, but they work with all sorts of guitar patterns. No vocals, none needed. [was B+(***)] A- Stella Donnelly: Beware of the Dogs (2019, Secretly Canadian): Singer-songwriter born in Wales, moved as a child to Perth, Australia, offers what Christgau calls "a catalogue of assholes" -- males, "boys will be boys," etc. -- although I'm also struck by the allergies and bearers of infectious diseases. [was B+(***)] A- Craig Finn: I Need a New War (2019, Partisan): Fourth solo album, after fronting groups Lifter-Puller and the Hold Steady (a continuing venture with its own album this year). Has a distinctive voice, writes serious songs about interesting people. Initially taken aback by the title here refers to U.S. Grant, who would think such a thing, and still prefer the band effort, but this one is growing on me. [was: B+(***)] A- Kalie Shorr: Open Book (2019, self-released): Singer-songwriter from Maine, based in Nashville. Songs have some country in them and are often brash and pointed. Production bigger than she needs, but she rocks harder than any Nashville ingenue since Miranda Lambert. [was: B+(*)] A- Unpacking: Found in the mail last week:
Ask a question, or send a comment. Thursday, January 23, 2020 Music Week
January archive (in progress). Music: Current count 32640 [32614] rated (+26), 228 [229] unrated (-1). Three days late with this, but the cutoff was late Sunday night, so this is still an honest week's listening report. While I was not honoring my self-imposed schedule, I did continue to listen, so my scratch file for next week includes an additional 21 records -- a pace which will probably top 40 next week. Maybe more: it's tempting to run late next week so I can close January near the end of the month (instead of final Monday, the 27th this year). I usually do my freeze exercise the end of January: that being my signal to stop monitoring EOY lists and move on to the new year. Actually, you'll find my first 2020 A- record below, as well as a few more 2020 releases. Most of the CDs in my promo queue are still future releases, so I'm noting release dates in cases that aren't out yet. I noticed on Facebook Phil Freeman noting that he already has over 100 promo records in his 2020 spreadsheet. I have a quarter of that, but might not be so far behind if I downloaded all the links that cross my mail. Thus far I've done none, but I am pleased to be getting mail from Astral Spirits now. I've added quite a bit of jazz to my EOY Aggregate, including the NPR Jazz Critics Poll totals for new albums and reissues, plus about two-thirds of the critic ballots -- my first pass rule was to only list critics I had listed in previous years. This has pushed Kris Davis' poll-winning Diatom Ribbons to 33rd overall, the top-rated jazz album. I re-played the record when the poll dropped, but didn't feel like raising my initial B+(***) grade. I have maybe a dozen more records I feel like I should retry -- mostly Christgau picks that I liked but didn't spend much time with on first pass, like: Danny Brown, Stella Donnelly, The National, The Paranoid Style, Purple Mountains, Rapsody. Not much elsewhere has me wondering. Indeed, while my tracking file shows that there are literally thousands of unheard records that someone likes, I'm having a lot of trouble identifying ones that seem promising for me. I also added in the totals from something called Pazz & Jop Rip-Off Poll. This is a fan poll which has existed for twenty-some years, but got more attention this year with Village Voice having abandoned their signature poll. I got an invite to join a while back, but never voted. I did, however, go through the ballots, and picked out fifty or so names I recognized -- mostly folks I had counted ballots from in past years. In the past I've been inclined to use P&J as an endpoint, testing how well my own lists anticipated the results, and in the process finding various biases of the critics polled. Still, nothing like what we see with this self-selected fan community. Purple Mountains won in a landslide, as both hip-hop and pop votes were pretty depressed. On the other hand, certain Christgau favorites did surprisingly well (e.g., The Paranoid Style at 17, 75 Dollar Bill at 8). New records reviewed this week: Harry Allen/Mike Renzi: Rhode Island Is Famous for You (2019, GAC): Tenor sax and piano, non-headliners on bass and drums. Mostly standard fare, tending toward gorgeous. B+(***) Beans on Toast: Cushty (2017, Xtra Mile): English folk singer Jay McAllister, has dropped an album on December 1 (his birthday) every year since 2009, same cover design, titles differ. More songs about politics than not, some too obvious, and some too hyperbolic ("we talking end of days, proper apocalyptic shit"). B+(**) Beans on Toast: A Bird in the Hand (2018, Beans on Toast Music): Don't care for the lecture on "Bamboo Toothbrush," even as modest as it is, but something exceptionally beguiling to this batch of music. B+(***) Beans on Toast: The Inevitable Train Wreck (2019, Beans on Toast Music): English folksinger-songwriter Jay McAllister doubles down on the politics. I could quibble on details, but his heart and head are in the right place, and we're fortunate to have him. The refrain about "leave it in the ground" is catchy enough for a demonstration mob (although I wouldn't go so far as his dis on cows). He also doubles down on the music: he's added keyboards to his guitar in the past, but he's got a full band this time. Rocks a little, concluding that "life goes on and on and on." A- Pip Blom: Boat (2019, Heavenly): Dutch jangle pop band, same name as the singer-guitarist-songwriter -- will file them under her, but does sound like a group. B+(***) Satoko Fujii Orchestra New York: Entity (2019 [2020], Libra): Thirteen-piece big band, short some brass from standard big bands, and no piano, the leader content to compose and conduct. All name players -- not so hard to do in New York. Impressive when your draw in close, otherwise can slip on by. B+(***) [cd] [02-14] Gordon Grdina/Matt Mitchell/Jim Black: Gordon Grdina's Nomad Trio (2019 [2020], Skirl): Guitarist from Vancouver, also plays oud, has a substantial body of work since 2006. Trio here with piano and drums. The piano impresses with sharp angles, fading back for the guitar, which never really takes charge. B+(**) [cd] Scott Hamilton Quartet: Danish Ballads . . . & More (2019, Stunt): Tenor saxophonist, did a similar album of Swedish Ballads in 2013, recorded this in Copenhagen, with Jan Lundgren on piano and locals on bass and drums. Songbook appears to be mostly Danish, with Oscar Pettiford's Montmartre Blues close enough. A- Scott Hamilton: Jazz at the Club: Live From Sociëtat De Witte (2018 [2019], O.A.P.): Since his record deal with Concord ran out a decade ago, the tenor saxophonist has wandered the world, picking up sympathetic bands (almost all quartets), and letting the tapes roll. Standard fare, he usually sounds terrific, and the combos rarely disappoint. This one is from The Hague in Netherlands, with Francesca Tandoi on piano and singing two tracks. B+(***) Scott Hamilton: Street of Dreams (2019, Blau): Another tenor sax quartet, don't know when or where it was recorded, but label is Spanish (one Hamilton has seven albums on), with Dena DeRose on piano, Ignasi González on bass, and Jo Krause on drums. Ballads may be a bit pinched, but the faster ones swing hard. B+(***) Irreversible Entanglements: Homeless/Global (2019, International Anthem, EP): Phiadelphia group, released a fine debut LP in 2017, released this 23:38 track in advance of a second album. MC/poet Camae Ayewa enters after 7:35 of roiling freebop -- trumpet, sax, bass, drums (Luke Stewart the only name I recognize). B+(**) [bc] Aly Keïta/Jan Galega Brönnimann/Lucas Niggli: Kalan Teban 2019 [2020], Intakt): Balafon player from Côte D'Ivoire, trio with reeds and drums -- two Swiss musicians who were born in Cameroon and have known each other since childhood. Their previous Kalo-Yele was my favorite album of 2016. This is comparably delightful, notably when Brönnimann takes charge. A- Peter Lemer Quintet: Son of Local Colour (2018 [2019], ESP-Disk): British pianist, recorded an album in 1968 called Local Colour, not much since but decided to get the band back together for a 50th anniversary reunion, and got 4/5ths of the way: John Surman (baritone/soprano sax), Tony Reeves (bass), and John Hiseman (drums), with Alan Skidmore (tenor sax) filling in for the ailing Nisar Ahmad Khan. They reprised all the old songs (assuming "City" + "Enahenado" = "Ciudad Enahenado"). B+(**) Andrew Munsey: High Tide (2019, Birdwatcher): Drummer, from Califoria, seems to be his first album, although he's appeared on close to a dozen, notably ones by his quintet here: Steph Richards (trumpet/flugelhorn), Ochion Jewell (tenor sax/kalimba), Amino Belyamani (piano/rhodes), and Sam Minaie (double bass). B+(**) Rex Orange County: Pony (2019, RCA): English singer-songwriter Alexander O'Connor, 21, debut album after a pair of self-released downloadables. Clever guy, has some pop smarts. B Recent reissues, compilations, and vault discoveries: Burnt Sugar/The Arkestra Chamber: Twentieth Century Mixtapes: Groiddest Schnizzits: Volume One (2001-17 [2019], Trugroid/Avantgroidd): Founded in 1999 by Greg Tate and Jared Michael Nickerson, released their first album in 2000, 15 more through 2017, from which they've assembled three CDs of mixes -- I found Volume Two shortly after release date, but One and Three eluded me. Tate (I assume) is responsible for the creative titling, and both for networking in dozens of New York musicians, reworking black music traditions rooted in funk and free jazz, Butch Morris providing the key "conduction" concept. Still, lot of vocals here. B+(***) Burnt Sugar/The Arkestra Chamber: Twentieth Century Mixtapes: Groiddest Schnizzits: Volume Three (1999-2017 [2019], Trugroid/Avantgroidd): The thing about these "mixtapes" is that rather than separate their remarkable body of work into its various facets, or breaking it up into eras, highlighting each major one on its own disc, they mix them all together. All three are spread over two decades, each picks pretty much the same music, and they're all somewhat biased toward soul vocals -- not what I would pick, although I imagine a single disc would be possible that would eventually grow on me. B+(***) Miles Davis: The Lost Quintet (1969 [2019], Sleepy Night): Bootleg, live date from November 9 in Rotterdam, touted as Davis's "third great quintet," "lost" because it wasn't showcased in a studio album, but not really that obscure: second quintet saxophonist Wayne Shorter is still on hand, backed by a then young but not legendary rhythm section: Chick Corea, Dave Holland, and Jack DeJohnette -- all of whom were on hand for Bitches Brew (recorded 1969, released 1970). Morever, they formed the quintet on the 4-CD 2013 box Live in Europe 1969, which included a November 5 date in Stockholm and another two days later in Berlin. Four pieces -- two from Bitches Brew, the others also in the box set -- stretched to 58:11. The thing that struck me about the Live 1969 recordings is how seriously Davis and Shorter considered plunging into the avant-garde, and this recording is even more raggedly free. But with John McLaughlin, Davis was also on a parallel track toward fusion, and that soon won out, with Shorter and Corea soon leaving for their own inferior fusion ventures. Sound is so-so here, but the rhythm section is really smoking. B+(***) Smokey Haangala: Aunka Ma Kwacha (1976 [2019], Séance Center): Zambian singer-songwriter, played keyboards, also wrote poetry and journalism, died at 38 in 1988. B+(*) ICP Tentet: Tetterettet (1977 [2019], Corbett vs. Dempsey): Dutch pianist Misha Mengelberg's Instant Composer's Pool, later better known as ICP Orchestra. Full of grand gestures and sly jokes, or in some cases gross ones, as they take stereotypical circus music and transform it into extraordinary free jazz. A- [bc] Sun Ra Arkestra: Live in Kalisz 1986 (1986 [2019], Languidity): Relatively late (Ra died in 1993, albums thin out from 1990), live in a small city in central Poland, released on a Polish label named for another Sun Ra album. Always terrific when they break out the interplanetary boogie, somewhat hit and miss, but their 13:24 "Mack the Knife" is a real treat. A- [bc] Laurie Spiegel: Unseen Worlds (1991 [2019], Unseen Worlds): A pioneer in electronic music, started with analog sythesizers in 1969, worked at Bell Labs 1973-79 writing composition software, founded New York University's Computer Music Studio. First record was The Expanding Universe (1980). Not many more, but this one was taken as the name of this label. The pieces, organized as "Thesis," "Antithesis," and "Synthesis," with grand gestures that I assume derive from classical music aesthetics, plus some piano to settle things down. A- June Tyson: Saturnian Queen of the Sun Ra Arkestra (1968-92 [2019], Modern Harmonic/Sundazed): Singer, worked with Sun Ra over 25 years, until her death in 1992. No dates on these pieces, so the range could be narrower, and no credits, although the Arkestra was pretty stable for much of this period. Vocals were always an iffy thing with the Arkestra, mostly space chants, conveniently collected here. B+(**) Hank Williams: The Complete Health & Happiness Recordings (1949 [2019], BMG, 2CD): Radio shots, eight 15-minute shows (including patter but trimmed of advertising, about 12 minutes each), each opening with "Happy Rovin' Cowboy" and signing off with "Sally Goodin'" -- in between, expect at least one classic, some breaks and filler, and the obligatory hymn. Remarkable sound, extraordinary voice, could be edited down to an even more remarkable single CD. [Probably identical to the 1993 Polygram 2-CD release of Health & Happiness Shows.] A- Old music: Harry Allen Quartet: London Date (2015 [2016], Trio): Retro-swing tenor saxophonist, with a local London rhythm section (Andrea Pozza, Simon Woolf, Steve Brown) playing standards. Most impressive on the fast ones, but "Our Love Is Here to Stay" is taken deliciously slow. B+(***) Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, January 13, 2020 Music Week
January archive (in progress). Music: Current count 32614 [32575] rated (+39), 229 [230] unrated (+0). I've finally heard that NPR's Jazz Critics Poll will be published tomorrow (Tuesday) morning at 10 AM. I've been given advance URLs for the poll results and for the accompanying essay by Francis Davis. No time to write much more. December Streamnotes still not indexed. EOY Aggregate still a work in progress. My own EOY lists for Jazz and Non-Jazz still growing. Did play a couple of 2020 releases last week. Going back and forth between the 2020 and 2019 tracking files reminds me of the cartoon depictions of the decrepit old man representing the old year giving way to the new year baby. Every year we get older, but 2019 hurt more than most. New records reviewed this week: Franck Amsallem: Gotham Goodbye (2018 [2019], Jazz & People): French pianist, born in Algeria in 1961, grew up in Nice, moved to New York in 1986, back to France in 2001. Has a dozen albums since 1990, this a lush postbop quartet with Irving Acao most impressive on tenor sax. B+(***) John Bailey: Can You Imagine? (2019 [2020], Freedom Road): Trumpet player, wrote something he calls "President Gillespie Suite," but doesn't provide any words to advance his cause. Only real drawback I see is that he's dead, but late in life he filled admirers with the sort of awe presidents once enjoyed (well, at least before Nixon). Bailey gets some nice trumpet in here, but pretty regularly gets smoked by his saxophonist, Stacy Dillard. B+(**) [cd] [01-20] Lea Bertucci: Resonant Field (2017 [2019], NNA Tapes): Composer/sound artist, based in New York, main instrument is alto sax, but more important here is a large grain silo which frames everything in echo and resonance. B+(*) Black to Comm: Seven Horses for Seven Kings (2019, Thrill Jockey): Marc Richter, based in Hamburg, Germany, close to a dozen albums since 2006, one namechecking Coldplay, Elvis & John Cage (2011). Leftfield electronica: dense, harsh, menacing. B Boy Harsher: Careful (2019, Nude Club): Electropop duo, beats reminiscent of the new wave 1980s (OMD, New Order, Cabaret Voltaire) but more claustrophobic, something they're calling darkwave. Haven't deciphered many words, but the beat goes on and on and on. A- Bremer/McCoy: Utopia (2019, Luaka Bop): Danish duo, Jonathan Bremer plays bass, Morten McCoy piano, fourth album together. Easy listening: pretty, soothing, nothing more. B Diabel Cissokho: Rhythm of the Griot (2019, Kafou Music): Kora master from Senegal, "part of the great line of Cissokho griots," fifth album. I find it a bit awkward. B+(**) Theo Croker: Star People Nation (2019, Sony Masterworks): Trumpet player, born in Florida, spent seven years in China before landing in Los Angeles. Second album was In the Tradition for Arbors, but since 2014 he's moved toward hip-hop fusion, with mixed results. Rarely a plus when someone sings. B Czarface: The Odd Czar Against Us (2019, Silver Age): Wu-Tang rapper Inspectah Deck, with the self-sufficient duo 7L & Esoteric, eighth album together since 2013, on their own again after meet-ups with MF Doom and Ghostface Killah. Mad comic cover art, songs that are dynamic and funny, often built on killer riffs. A- Czarface: A Double Dose of Danger (2019, Silver Age, EP): Bears the group credit, but just a 10-cut, 28:26 instrumental album that fell through the cracks, released just after the group's Ghostface session. B+(*) Jeff Davis: The Fastness (2019, Fresh Sound New Talent): Drummer, based in New York, originally from Colorado, formerly married to pianist Kris Davis. Sixth album since 2010, With tenor/soprano saxophonist Tony Malaby, reminding me of his scene-stealing form on the early Kris Davis Quartet records, plus Russ Lossing (keyboards), Jonathan Goldberger (guitar), and Eivind Opsvik (bass). B+(***) Bertrand Denzler/Dominic Lash: Pivot (2019, Spoonhunt): Tenor sax and bass duo. One 31:21 piece, not much to it, drone-like. B- [bc] Mr Eazi: Life Is Eazi, Vol. 2: Lagos to London (2018, Banku Music): Nigerian singer, at least born there, but started in Ghana, titling his previous one Life Is Eazi, Vol. 1: Accra to Lagos. Beats bounce more like reggae than highlife, slips up once in a while, but much of this is very attractive. B+(***) Ekiti Sound: Abeg No Vex (2019, Crammed Discs): Nigerian producer Leke Awayinka, first album, raps some over electro-beats. Lots of ideas here, most work, some don't. B+(**) Go: Organic Orchestra & Brooklyn Raga Massive: Ragmala: A Garland of Ragas (2018 [2019], Meta): Big project, "composed and improvisationally conducted" by percussionist Adam Rudolph, who concludes: "This album feels like the culmination of everything I've been reaching for throughout my career." Massive indeed, with forty musicians credited. B+(***) Laurence Hobgood: Tesseterra (2019, Ubuntu Music): Pianist, from North Carolina, musical director for Kurt Elling, several albums since 2000. Piano trio plus string quartet ETHEL, some tricky covers ("Wichita Lineman," "Blackbird," Ravel, Debussy, Sting), doesn't seem promising but somehow works. B+(**) Christopher Hollyday & Telepathy: Dialogue (2019 [2020], Jazzbeat Productions): Alto saxophonist, from Connecticut, recorded four albums 1989-93 then took a long break after his label folded. Returns here with a spry hard bop quintet. B+(**) [cd] [01-17] Ibibio Sound Machine: Doko Mien (2019, Merge): British electropop group, formed by producers with the idea of fusing elements from 1990s drum & bass with 1980s Afrobeat. They then recruited London-born Nigerian singer Eno Williams, Ghanaian guitarist Alfred Bannerman, and various horns and percussionists. Third album, true to formula. B+(**) Michael Janisch: Worlds Collide (2019, Whirlwind): Bassist, from Wisconsin, studied in Boston, moved to New York, then to London. Large postbop group with trumpet (Jason Palmer), two saxes (George Crowley and John O'Gallagher), guitar (Rez Abbasi), keyboards (John Escreet), and two drummers, the leader playing electric as well as acoustic bass. Up for fusion, but fancier. B+(**) Lauren Jenkins: No Saint (2019, Big Machine): Country singer-songwriter, from Texas, first album (after an EP), knows her tropes, has a voice and sounds plenty authentic. B+(**) Henry Kaiser/Anthony Pirog/Jeff Sipe/Tracy Silverman/Andy West: Five Times Surprise (2018 [2019], Cuneiform): Two guitarists, six-string electric violin, drums, six-string bass. B+(**) [dl] Egil Kalman & Fredrik Rasten: Weaving a Fabric of Winds (2019, Shhpuma): Swedish bassist, plays modular synthesizer here, in two long duets with the guitarist, based in Oslo and Berlin. Guitar slowly picks, against subtle background shading. B Sarathy Korwar: More Arriving (2019, The Leaf Label): Drummer, born in US, grew up in India, based in London but recorded some of this in Mumbai. In London he fits in with an expansive jazz scene, but this sounds more like hip-hop, especially with an array of rappers from India, but also note some fine sax leads, and lots of exotic percussion. A- Kim Lenz: Slowly Speeding (2019, Blue Star): Rockabilly singer, recorded four albums as Kim Lenz & the (or Her) Jaguars. Slows it down here, but keeps the grit and the smoldering heat. B+(**) Christian Lillinger: Open Form for Society (2018 [2019], Plaist Music): German drummer, has appeared -- rarely first but often with his name on the banner -- in quite a few albums since 2009, and pulls much of his circle together tight: three pianists, two mallet players, two bass players, cello, and scattered electronics. Many rough edges, emphasis on percussion, although the piano leads are striking. B+(***) Brian Lynch Big Band: The Omni-American Book Club: My Journey Through Literature in Music (2019, Hollistic MusicWorks): Trumpet player from Wisconsin, started out as a mainstream guy, playing hard bop with Horace Silver and Art Blakey, got a taste for big bands with Toshiko Akiyoshi, and most importantly for Latin music with Eddie Palmieri, turning into a specialist. All that is evident here. Sure, there are tics that turn me off, but he invariably bounces back with something wondrous. Less evident from the music is his reading list, which pairs two authors for each of nine songs -- some examples: David Levering Lewis and W.E.B. DuBois, Ned Sublette and Eric Hobsbawm, Naomi Klein and Mike Davis, Amiri Baraka and A.B. Spellman. A- Brad Mehldau: Finding Gabriel (2017-18 [2019], Nonesuch): Pianist, has mostly done trios since 1993, opts for the kitchen sink this time, with scattered horns and strings, blustery swells of sound, and voices on most songs. It escapes being awful -- indeed, has its moments, especially the saxophones (2 cuts). B Microtub: Chronic Shift (2018 [2019], Bohemian Drips): "A trio of tuba players focusing on microtonality": fourth release, with Robin Hayward, Martin Taxt, and Peder Simonsen. Two pieces, barely tops 30 minutes. While the ambience is pleasing enough, it's unlikely you'd identify this as tuba music, let alone three instruments. B J. Pavone String Ensemble: Brick and Mortar (2019, Birdwatcher): Jessica Pavone, plays viola here, violin elsewhere; studied with Anthony Braxton, teaming up with Mary Halvorson on several projects. Ensemble here has two violins and two violas, a fairly narrow range, with harsh tones that rattle my nerves. B The Regrettes: How Do You Love? (2019, Warner Brothers): Los Angeles garage pop band, led by Lydia Night, second album, brash and catchy. B+(***) Mark Ronson: Late Night Feelings (2019, RCA): Pop producer, I guess, born in England, raised in New York, also lives in Los Angeles. Records feature guest singers: Miley Cyrus and Angel Olsen the most famous, Yebba and Lykke Li get the most work. The stars are the most distinctive, which means they seem the most out of place. B+(*) Gary Smulyan & Ralph Moore Quintet: Bird's Eye Encounter! (2018 [2019], Fresh Sound): Two saxophonists, baritone and tenor, recorded live in Basel, Switzerland, backed by Olivier Hutman (piano), Stephan Kurmann (bass), and Bernd Reiter (drums). Moore was one of my favorite mainstream saxmen in the 1990s, but seems to have vanished after 1996. He's less distinctive here than Smulyan, as they romp through a nice set of hard bop covers. B+(**) Jim Snidero: Project-K (2019 [2020], Savant): Alto saxophonist, seems to have passed through a portal and found himself in a Dave Douglas project. Aside from the trumpeter, the band includes Orrin Evans (piano), Linda May Han Oh (bass), Rudy Royston (drums), and Do Yeon Kim (gayaguem, a Korean zither). Feels fractured, or quirky, with some potential upside. B+(***) [cd] [01-24] Earl Sweatshirt: Feet of Clay (2019, Tan Cressida/Warner, EP): Odd Future rapper, Thebe Neruda Kgositsile, born in Chicago, based in Los Angeles, father a South African poet and political activist. Short (7 songs, 15:26), cryptic. Rhythm swims upstream. Maybe life's like that? B+(*) Tuba Skinny: Some Kind-a-Shake (2018 [2019], self-released): New Orleans trad jazz band, members started busking around 2005, cut their eponymous debut in 2009, and have released an album most years since. Todd Burdick's sousaphone looms large. Several vocals. B+(***) William Tyler: Goes West (2019, Merge): Guitarist, considered folk (not unlike John Fahey) although not clear to me that his primitivism runs very deep. Maybe because, given the choice, he so often opts for lush. B+(**) Recent reissues, compilations, and vault discoveries: Endless Boogie: Vol. I, II (2005 [2019], No Quarter, 2CD): Rock jam band from Brooklyn, name from a John Lee Hooker album, formed eight years before they committed to wax two 3-song LPs (second side of each is a single 25-minute piece). Vocals here and there, but are secondary to the two-guitar grind, which is muscular enough to hold up for 25-minute runs. A- Martial Solal: And His Orchestra: 1956-1962 (1956-62 [2019], Fresh Sound): French pianist, emerged as a major figure in the early 1950s, presented here in large groups from nine to eighteen pieces. Some of France's top players, plus US refugees like Lucky Thompson and Kenny Clarke, but the piano is what you focus on. B+(**) Horace Tapscott With the Pan-Afrikan Peoples Arkestra: Flight 17 (1978 [2019], Nimbus/Outernational): First record from the pianist's Los Angeles community organizing project, originally listing him as "conductor." Brilliant in spots, the piano (of course), also the drums. [Played 2014 reissue from Nimbus West bandcamp.] B+(***) [bc] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, January 6, 2019 Music Week
January archive (in progress). Music: Current count 32575 [32538] rated (+37), 230 [228] unrated (+2). I might as well go ahead and post this, as I'm nowhere near getting to a reasonable breakpoint. I haven't even done the indexing for last month's Streamnotes file. Nor do I have much to add on EOY lists. Latest I have on NPR's posting of the Jazz Critics Poll results is "end of this week or beginning of next." I've since got a request to write a little something by Thursday, so I'd say early next week is the more likely date. All of the promos in my queue are 2020 releases, so I figured they could wait as I try to mop up what I've missed from 2019. Also, when I've been away from the computer, the CDs I've been playing have been old jazz: some Ellington, Hawkins, Webster, and a lot of Armstrong -- an especially pleasant surprise to find Armstrong's terrific Newport sets on the computer. The B+(***) record with the most potential is the Sturgill Simpson. I only gave it one play, and really wasn't in the mood for an arena rock album -- much closer to that than to neotrad or neocosmopolitan coutry, a trend that Nashville artists like Eric Church have pursued of late. Still, an impressive performance, his third straight B+(***) in my book. On the other hand, Omar Souleyman's fifth straight A- was an easy call, not that I can keep any of them straight. Didn't hurt to be reminded of the humanity that the US has tried so hard to snuff out for decades now. Also nice to find a new electronica artist I really like. New records reviewed this week: Acid Arab: Jdid (2019, Crammed Discs): French acid house group, although the names don't strike me as especially French (or at all Arab): Minisky, Carvalho, Casanova, Borne, Bourras. But the vocals are mostly Algerian, and guests (samples?) range from Turkey to Niger, so the concept comes through clear enough. B+(*) Joe Armon-Jones: Turn to Clear View (2019, Brownswood): British keyboard player, member of Ezra Collective and a common fixture on the London jazz scene. Some promise, but the guest vocals tend to scatter. B [bc] Blacks' Myths: Blacks' Myths II (2019, Atlantic Rhythms): DC duo: bassist Luke Stewart and drummer Warren Crudup III -- names I've run across on other obscure (and often noisy) projects. This lays the sound on thick, and if that isn't clear enough, Thomas Stanley provides some words. B+(**) [bc] Burna Boy: African Giant (2019, Atlantic): Nigerian rapper Damini Ogulu, based in London, fifth album. B+(*) Crazy P: Age of the Ego (2019, Walk Don't Walk): English electropop group, formed 1995 by Chris Todd (Hot Toddy) and Jim Baron (Ron Basejam), called themselves Crazy Penis until 2008. Eighth album. Dance beats, upbeat, might fuck you up. B+(***) Fruit Bats: Gold Past Life (2019, Merge): Eric D. Johnson's Chicago rock band, eighth album since 2001. At best they offer songcraft with nice little hooks. B+(*) (Sandy) Alex G: House of Sugar (2019, Domino): G stands for Giannascoli, from Pennsylvania, based in Philadelphia, singer-songwriter, started DIY/lo-fi, third record on Domino. Highest-rated record I hadn't heard by EOY (32, vs. 58 for Holly Herndon and 61 for Jenny Hval). Not awful, possibly an interesting weirdo, if you care. B Geometry [Kyoko Kitamura/Taylor Ho Bynum/Joe Morris/Tomeka Reid]: Geometry of Distance (2018 [2019], Relative Pitch): Voice, cornet, guitar, and cello. The latter pluck abstractly, the former work on building some drama, not necessarily a plus. B+(*) [bc] Ghost Rhythms: Live at Yoshiwara (2019, Cuneiform): French group, jazz-rock fusion with accordion and fiddle referring back to folk dances, possibly the concept behind the name -- not that they don't prog out on occasion. B+(*) [dl] Hash Redactor: Drecksound (2019, Goner): Post-punk quartet from Memphis, first album (discounting Demo Tape 2017). Most reminiscent of the Fall, down to the vocals. B+(**) William Hooker: Symphonie of Flowers (2019, ORG Music): Free jazz drummer, early works date from 1975, no artist credits here, but someone plays impressive piano, various electronics, some sax, and one cut veers into African chant vocals. Still, until the last two cuts go over the deep end with effects, the drums dominate, as they should. B+(**) IPT: Diffractions (2018 [2019], ForTune): Polish improv trio: Szymon Wojcinski (keyboards), Jakub Bandur (violin), Jakub Gucik (cello). Chamber jazz, slowly grows on you. B+(***) [bc] The Japanese House: Good at Falling (2019, Dirty Hit): English singer-songwriter Amber Bain, name refers to a property in Cornwall. Plays guitar and keyboards, and sings. First album after a number of EPs, introspective electropop. B+(*) Lightning Bolt: Sonic Citadel (2019, Thrill Jockey): Bass-and-drums duo from Providence, RI; eighth studio album since 1999, mostly noise with just enough beat and tune to suggest the noise is an aesthetic choice. People who don't normally gravitate to this sort of thing have been known to like them -- sometimes. I'm actually impressed by this, but only managed to finish it by turning the volume down. B+(*) Anna Meredith: Fibs (2019, Moshi Moshi): British electronica composer, describes this as "technicolour maximalism" with "visceral richness," which means it's a bit much. B The Messthetics: Anthropocosmic Nest (2019, Dischord): Guitarist Anthony Pirog and two guys from Fugazzi. No vocals, all rock grind, maybe too fancy for punk but nowhere near jazz. B+(*) Moor Mother: Analog Fluids of Sonic Black Holes (2019, Don Giovanni): Camae Ayewa, more poet than rapper, and on her second album adroit enough in the studio to make some knotty, almost impenetrable music. B+(**) Gurf Morlix: Impossible Blue (2019, Rootball): Austin-based singer-songwriter, tenth album, good tribute album to Blaze Foley a while back, was married to Lucinda Williams for a while. Nice set of blues-based songs. B+(**) Ralph Peterson & the Messenger Legacy: Legacy Alive: Volume 6 at the Sidedoor (2019, Onyx Productions): Drummer, joined Art Blakey's Jazz Messengers at 21 as a second drummer and stayed through the band's last major phase. Here he keeps the flame lit, convening a stellar group of Blakey alumni for the master's centennial -- Bobby Watson (alto sax), Bill Pierce (tenor sax), Brian Lynch (trumpet), Geofrey Keezer (piano), Essiet Essiet (bass) -- to expand upon the songbook. B+(**) Portico Quartet: Memory Streams (2019, Gondwana): British group, nominally jazz but mostly because no vocals, their sound a mix of electronics, Chinese hang, with a sax for melody. B+(*) [bc] Sturgill Simpson: Sound & Fury (2019, Elektra): Metamodern country singer-songwriter, from Kentucky, opens his fourth album with a pretty nifty guitar instrumental. He reminds me that Nashville has become the home of swaggering mainstream rock music, and he lives up to the title here. I suppose I should be more impressed. B+(***)/p> Omar Souleyman: Shlon (2019, Mad Decent/Because): Syria's most famous wedding singer, has a dozen-plus albums that are more/less interchangeable. This one is short (6 songs, 34:14), but that seems about right given the intensity. A- Soundwalk Collective With Patti Smith: The Peyote Dance (2019, Bella Union): New York group, debut 2012, not much on who they are but the approach uses electronically processed field recordings and spoken word. In this one Smith reads from Antonin Artaud's writing on his 1936 trip to Mexico, where the poet went to kick heroin and wound up experiencing peyote. Good to hear Smith's voice, but the music is cryptic (at best). B+(*) Soundwalk Collective With Patti Smith: Mummer Love (2019, Bella Union): Same framework, but the writer is Arthur Rimbaud, his subject to Harrar, Ethiopia, "the epicenter of Sufism in Africa." Smith's role is reduced, but the samples include discernible rhythm and chant vocals, so score one for Africa. B+(**) Special Request: Vortex (2019, Houndstooth): Paul Woolford, electronica producer from Leeds, issued records under his own name from 2002 before adopting this moniker in 2012. Rhythm tracks, often quite fast, the complexity in the echo as they drive you manically along. A- [bc] Special Request: Bedroom Tapes (2019, Houndstooth): "Comprised solely of lost material from a recently discovered box of cassettes that emerged in the process of a house move." Implies that they're quite early, but the rhythm sketches are well developed. B+(***) [bc] Special Request: Offworld (2019, Houndstooth): A third album within a six-month stretch, and indeed something of a stretch, but the vocal added to "237,000 Miles" adds a new dimension to his work, and the beats in the middle are as compelling as those on Vortex. The long final mix, with its dramatic pauses and ambient fuzz, took longer to come around. A- [bc] Vinny Sperrazza/Jacob Sacks/Masa Kamaguchi: Play Sonny Rollins (2018 [2019], Fresh Sound New Talent): Piano trio, drummer first named. Group has at least four more albums, each on another composer: Cy Coleman, Tadd Dameron, Benny Golson, Lee Morgan. B+(*) Tropical Fuck Storm: Braindrops (2019, Joyful Noise): Australian "supergroup," with Gareth Liddiard and Fiona Kitschin from the Drones, and others from other groups I don't recall. Second album. Less noise, more funk -- promising, but ends with a bit of bombast. B+(*) Summer Walker: Over It (2019, Interscope): Neo-soul singer-songwriter from Atlanta, first album. Long jams, a bit awkward. B Yola: Walk Through Fire (2019, Easy Eye Sound/Nonesuch): British singer-songwriter Yolanda Quartey, first solo album after an EP and several with the group Phantom Limb. PopMatters picked this as the year's best Americana album, possibly because Dan Auerbach produced the album in Nashville, but I don't generally hear that. The title cut is certainly an exception, but more often than not this builds to a grandiosity I find grating. B+(*) Recent reissues, compilations, and vault discoveries: Fred Anderson Quartet: Live Volume V (1994 [2019], FPE): Recorded at the tenor saxophonist's Velvet Lounge, during a stretch when he rarely recorded. With Toshinori Kondo (trumpet), Tatsu Aoki (bass), and Hamid Drake (drums). B+(***) [bc] Louis Armstrong & His All Stars: The Complete Newport 1956 & 1958 Recordings (1956-58 [2019], Legacy): Duke Ellington's Newport sets are more famous, especially his smashing comeback (or more precisely, Johnny Hodges' return) in 1956. And there's no shortage of live Armstrong sets from the 1950s: The California Concerts is my favorite, with 4-CDs spanning 1951-55, starting with what I still think of as the real All-Stars (Hines, Teagarden, Bigard, Shaw, Catlett), but hardly losing a beat as the second tier (Billy Kyle, Trummy Young, Edmond Hall, plus singer Velma Middleton) take over. They're been represented by 1956's The Great Chicago Concert, but the 1956 Newport set is every bit as potent, with Armstrong himself in an especially ebullient mood. The 1958 set is marginally less extraordinary: Peanuts Hucko replaced Hall, they do some more atypical material (including "Tenderly," a calypso, and a Latin-tinged "Ko Ko Mo"). On the other hand, Jack Teagarden drops in, with Bobby Hackett, for a reprise of "Rockin' Chair." [NB: This seems to be a digital-only release; it was previously released on 4-LP by Mosaic in 2014. Total length 144:43, which could fit on 2-CD.] A- Guy Clark: The Best of the Dualtone Years (2006-13 [2017], Dualtone, 2CD): Texas singer-songwriter, for a long time I figured he'd never top his debut -- Old No. 1 in 1975 -- but he kept plugging away, recording for Sugar Hill 1988-2002, then in 2006 getting another shot on Dualtone. He recorded four albums there, reduced here with some extras, not least a few live remakes of old songs. B+(***) Jaye P. Morgan: Jaye P. Morgan (1976 [2019], Wewantsounds): Singer and actress, given name Mary Margaret Morgan, had some hits 1953-59, recorded rarely after 1962, appeared on The Gong Show 1976-78. This obscurity flirts with disco, settles for ballads. B [bc]John Prine: Chicago '70: The Early Sessions (1970 [2019], Hobo): Two sets a year before Prine released his first album: one broadcast from the 5th Peg, the other an interview by Studs Terkel. Effectively demos, just guitar and voice, remarkable for an unrecorded artist to have so many memorable songs: 12 made his first album, 5 more his second, 3 more later, the other 2 (one a Hank Williams medley) show up on The Singing Mailman Delivers -- Prine's own comp of his 1970 tapes, to which this doesn't add much. B+(***) Patrice Rushen: Remind Me: The Classic Elektra Recorddings 1978-1984 (1978-84 [2019], Strut): Started out as a jazz pianist, with three 1974-77 albums on Prestige (first one with no vocals), before switching to disco at Elektra: five albums, charted 98-39-71-14-40 pop. This selects 15 songs (79:21), often going with extended (12-inch) versions. Nothing very classic here, but she can stretch a funk vamp, even with repetitive vocals, even with none. B+(*) [bc] Old music: Ben Webster/Don Byas: Giants of the Tenor Sax (1944-45 [1988], Commodore): Not playing together: five cuts of Webster in Big Sid Catlett's Quartet, three of Byas with Slam Stewart, and three more of Byas with Hot Lips Page Orchestra. Repackaging Commodore's catalog, they used the same title to combine Chu Berry and Lucky Thompson sets -- more of a generation split, with 14 years separating Berry and Thompson (and Berry's death in 1941, before Thompson got started), whereas Byas is only three years youger than Webster. Nothing monumental, and the sax theme breaks down when Page takes over, singing two of his three. B+(**) [cd] Ben Webster and His Quartet: Wayfaring Webster (1970 [2000], DayBreak): Tenor sax great, backed by a piano trio I don't recognize, on a previously unissued radio shot from Netherlands. This comes late in Webster's career (d. 1973), but he sounds fine, and the band doesn't hurt. B+(**) Unpacking: Found in the mail last week:
Ask a question, or send a comment. Tuesday, December 31, 2019 Music Week
Music: Current count 32538 [32491] rated (+47), 228 [230] unrated (-2). Took an extra day to post Music Week this week. I figured I had one more day in the month to work with, or actually one more day to wrap up the year in calendar time, so I got in a little extra listening. Also used the time to add some lists to the EOY aggregate. Got up to Radio X in AOTY's list of lists. Haven't done anything from the NPR Jazz Critics Poll yet -- should be up in early January, not sure exactly when -- nor have a tracked down the JJA lists (that usually track JCP ballots). Hence, very little data so far on jazz (other than my own grades). I did get an invite to join something called Village Voice Pazz & Jop Rip-Off Poll, and picked off a couple dozen ballots there. My rule there was to only count ballots from people I recognized, which mostly means members of the Expert Witness Facebook group. This week's records were mostly things I took an interest in while compiling lists. The one major exception was that I resolved to listen to the last 2019 releases in my promo queue, including a couple I just got this week. The result is that, for now at least, the "pending" lists in my 2019 file are empty. On the other hand, I've tried not to accidentally delve into 2020 releases (looks like I have 18 records waiting). Quite a few B+(***) records below (15). Probably means I moved too fast, at least on a few of them. (Kajfes is the one jazz record I'm most tempted to review, especially after his Nacka Forum record got an A-. But also I rarely give rap and electronica records anyway near enough attention, although that didn't stop YBN Cordae or Atom[TM], or for that matter Sault.) All of this month's reviews have been rolled up in December 2019 Streamnotes, but I haven't done the usual indexing yet. Usually takes me 3-4 hours to do it all, and if I hold back for that I'll be even later. Sometime next week. More lists too. Maybe next week I'll be able to say a few things about the EOY Aggregate, and have some more general reflections on the year. Or maybe I'll just decide I'm due for a break. New records reviewed this week: Abjects: Never Give Up (2019, Yippee Ki Yay): London-based post-punk trio, all women, all immigrants (from Spain, Japan, Italy) -- something Brexit is meant to put an end to, so they wrote a song about it. B+(**) Albare: Albare Plays Jobim (2019, Alfi): Wikipedia describes Albert Dadon as "an Australian businessman, philanthropist and musician." He was born in Morocco, grew up in Israel and France, moved to Australia in 1983, where he runs Ubertas Group ("a diversified funds management and property development company"), and has been chairman of United Israel Appeal and Melbourne Jazz Festival. Also plays guitar, as Albare, and has a series of quite respectable albums. He dresses Jobim's melodies up in fancy strings -- arrangements by his pianist, Joe Chindamo, providing a backdrop the guitar darts across. B+(**) [cd] Backxwash: Deviancy (2019, Grimalkin, EP): Trans rapper from Zambia, based in Montreal. Eight tracks, 21:01. Most hard and/or furious, although "You Like My Body the Way It Is" changes everything up. B+(***) Philip Bailey: Love Will Find a Way (2019, Verve): Soul singer, did the high leads for Earth Wind & Fire's big hits, went solo in 1983, released 10 albums through 2002 (as well as a gospel compilation), nothing since until this one. Three originals (two with help from Robert Glasper), two from Curtis Mayfield, one Marvin Gaye, several credited to jazz musicians, odd song out is "Once in a Lifetime" (Talking Heads). B+(*) Barker: Utility (2019, Ostgut Ton): British techno producer, based in Berlin, first album after some EPs and a duo. Fairly minimalist synth patterns, very attractive. B+(***) Bonzo Squad: There's Always Tomorrow (2019, self-released, EP): Chicago quartet, group name comes from a title released in 2016 under saxophonist Corbin Andrick's name. He's credited with "reeds" here, the others "keys/lasers," "bass/pedals," and "drums." Seven tracks, 28:31. Nothing special about the groove, but the sax does soar above. B Boogie: Everythings for Sale (2019, Shady/Interscope): Rapper Anthony Dixson, from Compton, first album after three mixtapes. B+(*) Peter Brötzmann: I Surrender Dear (2019, Trost): German avant-saxophonist, defined the noise wing of the movement with his 1968 classic Machine Gun and has rarely let up in the fifty years since. But he does take it easy here, feeling his way solo through a batch of covers (counting Misha Mengelberg's "Brozziman"). sometimes awkwardly. B+(**) Deep State: The Path to Fast Oblivion (2019, Friendship Fever): Athens, GA post-punk group, sounds promising until they slow down. B Dumb: Club Nites (2019, Mint): Postpunk band from Vancouver, BC. Not so dumb. Kind of catchy, even. B+(***) Earthgang: Mirrorgang (2019, Dreamville/Interscope): Atlanta-based hip-hop duo, third album (first on a major label). Choppy, often rushed, with the occasional brilliant splotch. B+(*) Emmeluth's Amoeba: Chimaera (2019, Øra Fonogram): Danish alto saxophonist Signe Emmeluth, leading a group with piano (Christian Balvag), guitar (Karl Bjorå), and drums (Ole Mofjell). Second album. Impressive stretches. B+(***) Gang Starr: One of the Best Yet (2019, TTT/Gang Starr): Hip-hop duo, six albums 1989-2003, founder MC Guru died in 2010, leaving some vocal tracks (2005-09) that are the basis for this "seventh and final studio album," produced by DJ Premier, with extra guest vocals. Keeping it old style. B+(*) Elena Gilliam/Michael Le Van: Then Another Turns (2019, Blujazz): Standards singer and pianist (who wrote music to one song). I only found one previous album for her (as Elena), but she's old enough to snag a "Living Legend of Jazz" honor, and her voice supports the claim. Nice piano leads too, backed with bass and drums, with spots for trumpet and saxophone. B+(***) [cd] Devin Gray GPS Trio: Blast Beat Blues (2019, Rataplan, EP): Drummer, with Chris Pitsiokos (alto sax) and Luke Stewart (bass), five short pieces (13:47), too fancy for punk jazz, but that's the impulse. B+(*) [bc] Devin Gray: Devin Gray's Algorhythmica (2019, Rataplan, EP): Two pieces, 5:28 and 5:36, composed by the drummer and played by a quartet with Maria Grand (tenor sax), Mara Rosenbloom (piano), and Carmen Rothwell (bass). Ambitious postbop, but just a sketch. B+(*) [bc] Jason Hawk Harris: Love & the Dark (2019, Bloodshot): Singer-songwriter, from Houston, based in Los Angeles, on an alt-country label, first album. Reportedly darkly powerful on his own ("the literary and sonic audacity of early Steve Earle"), but went overboard with the production. C+ The Hot Sardines: Welcome Home/Bon Voyage (2019, Eleven): Retro-swing band from New York, formed in 2007 by pianist Evan Palazzo and fronted by French singer Elizabeth Bougerol, got my attention with their eponymous 2014 album. This one's live from Koerner Hall in Toronto and Joe's Pub in New York, familiar songs, warmed up nicely. B+(***) Insignificant Other: I'm So Glad I Feel This Way About You! (2019, Counter Intuitive): Alt/indie band from Birmingham, Alabama, punkish guitar-bass-drums trio with Sim Morales the singer. B+(*) Loraine James: For You and I (2019, Hyperdub): From London, first album, produces glitchy electronica, vocals up front, including her brand stake, "Glitch Bitch." B+(**) Goran Kajfes Tropiques: Into the Wild (2019, Headspin): Swedish trumpet player, at least seven records since 2000, second with this quintet -- Christer Bothen (bass clarinet), Alexander Zethson (keyboards), Johan Berthling (bass), Johan Homegard (drums) -- after three with his Subtropic Arkestra. B+(***) [bc] Ari Lennox: Shea Butter Baby (2019, Dreamville/Interscope): Neo-soul singer, original name Courtney Salter, first album, goes through the motions, impresses on occasion but not much sticks. B+(*) Danny Lerman: Ice Cat (2019, Blujazz): Saxophonist, studied at UNT and Berklee, pictured on soprano. Short album, five tracks (31:18), most with funk beats and vocals, can impress you with his instrument. B- [cd] Haviah Mighty: 13th Floor (2019, self-released): Canadian rapper, from Toronto, started in a group called the Sorority. First solo album, after an EP. B+(***) Nacka Forum: Så Stopper Festen (2019, Moserobie): Scandinavian free jazz group, sixth album since 2002, originally a quintet but now down to four: Goran Kajfes (trumpet), Jonas Kullhammar (saxophones), Johan Berthling (bass), and Kresten Osgood (drums), with most switching off to other instruments (Osgood to vibes and organ). All write, but mostly Kullhammar. A- [cd] The New Pornographers: In the Morse Code of Brake Lights (2019, Concord): Rather arty alt/indie band from Vancouver, seemed like a big deal with their debut in 2000, but I didn't like that one, and despite repeated attempts have never found much in their fairly substantial catalog. This sounds as good as any for a few minutes, then loses interest. More string synths than I recall. The change of pace helps ("You Won't Need Those Where You're Going"). B+(*) Isabelle Olivier/Rez Abbasi: OASIS (2019, Enja/Yellowbird): Harp (with electronics) and acoustic guitar, backed by Prabhu Edouard (tabla & kanjira) and David Paycha (drums). Title an acronym for Olivier Abbasi Sound In Sound. After an unsettling "My Favorite Things," originals, mostly from Olivier, whose harp blends in but is frequently overrun by the percussion. B+(**) [cd] Henrik Olsson/Ola Rubin: Olsson/Rubin (2019, Barefoot): Guitar and trombone, both Swedish (although Olsson is based in Copenhagen), label is a collective. Instruments are rarely used conventionally, with rough bits of electronic noise most common. Still, fairly listenable for that. B+(**) [cd] Rozina Pátkai: Taladim (2018 [2019], Tom-Tom): Hungarian singer, strikes me as folk-pop but she's drawn a lot on bossa nova in the past, and promoted this as a jazz record. B+(**) [cd] Lee Scratch Perry: Heavy Rain (2019, On-U Sound): Reportedly a dub remix ("companion to") the auteur's Rainford, one of this year's best albums. Not obviously redundant: all new song titles, a couple guests (Eno's piece is "Here Come the Warm Dreads"), relaxed, happy to indulge whatever odd sounds emerge. A- Lee Scratch Perry: Life of the Plants (2019, Stones Throw): Label just names the Jamaican dub master, but a sticker adds Peaking Lights (Aaron Coyes and Indra Dunis) and Ivan Lee, who are probably responsible for the electronics the rest is built on. Five nine-minute tracks, same powerful groove. B+(***) Sampa the Great: The Return (2019, Ninja Tune): Sampa Tembo, born in Zambia, raised in Botswana, studied in California, based in Australia, first album, after a couple of mixtapes. Sings, raps, entertains many guests, epic sweep running on for 19 songs, 78 minutes. B+(***) Sault: 5 (2019, Forever Living Originals): Nothing I can find on this group or (more likely) individual, but name means a leap or jump, or less archaically "a fall or rapid in a river." First album, followed in short order by 7. I've seen various comparisons, but not the one that occurred to me: Chic. Well, minus the great bass lines, but everything else is there, and new again. A- [bc] Sault: 7 (2019, Forever Living Originals): Second album, released less than five months after the debut, extends the groove and, if anything, tightens up the songcraft. A- [bc] Derek Senn: How Could a Man (2019, self-released): Folksinger-songwriter, from California, third album. Has some stories. Tunes, too. B+(***) Somersaults [Olie Brice/Tobias Delius/Mark Sanders]: Numerology of Birdsong (2018 [2019], West Hill): Bass-sax-drums trio, Delius playing tenor and clarinet, kept the title of their previous record as a group name. Smart, measured free jazz. B+(***) [bc] Svetlost: Odron Ritual Orchestra (2019, PMG): Eleven-piece jazz band from Skopje, Macedonia. Two long pieces, each starting slow before flowering into something splendid. B+(***) Thick: Thick (2019, Epitaph): Post-punk trio from Brooklyn, guitar-bass-drums, all women, all credited with vocals, sound thickens into shoegaze. Three songs, 9:04. B+(*) Ronnie Wood & His Wild Five: Mad Lad: A Live Tribute to Chuck Berry (2019, BMG): Small Faces guitarist, tried his hand at a solo career in the 1970s but settled for the job security of another British Invasion blues band. He wrote a sloppy intro here ("Tribute to Chuck Berry"), then reverted to form, coasting on someone else's genius. Imelda May sings a blues, he sings the rest with a broad grin, and the band is super-hot. B+(***) Billy Woods: Terror Management (2019, Blackwoodz Studioz): Rapper, born in DC, parents intellectuals from Jamaica and Zimbabwe, spent the 1980s living in Africa, got into music in the late 1990s, part of Armand Hammer, has a dozen albums more/less on his own. This one would take some time to sort out. B+(**) [bc] YBN Cordae: The Lost Boy (2019, Atlantic): Rapper Cordae Dunston, from North Carolina, grew up in Maryland, wound up in Los Angeles, in a collective that goes by YBN (e.g., YBN Nahmir, YBN Glizzy, YBN Almighty Jay). First album, after several mixtapes (as Entendre). Sound stories, cute skits, various guests but holds his own. A- Young Nudy & Pi'erre Bourne: Sli'merre (2019, RCA): Atlanta rapper Quantavious Tavario Thomas with producer Jordan Jenks, who has an album and several mixtapes on his own. Guest spots for 21 Savage, Megan Thee Stallion, DaBaby, and Lil Uzi Vert. B+(***) Recent reissues, compilations, and vault discoveries: Atom[TM]: Lassigue Bendhaus/Matter (1992 [2019], AtomTM Audio Archive, 2CD): One of many aliases for Uwe Schmidt, German electronica producer based in Chile. Clangy beats, whisper vocals, runs too long but very impressive. No idea about dozens more where this came from. A- [bc] Burial: Tunes 2011 to 2019 (2011-19 [2019], Hyperdub, 2CD): British electronica producer William Bevan, variously classed as dubstep, downtempo, and ambient, released two proper albums 2006-07, but only EPs since then -- seven of them collected here, sequenced (mostly) latest to earliest, vainly trying to reverse a decade-long decline. (My EP grades, from 2019 to 2011: B, B, *, **, A-, A-, ***.) First disc is over half done before anything catches my ear. Second is better, maybe even worth the while. B+(*) Masahiko Satoh/Sabu Toyozumi: The Aiki (1997 [2019], NoBusiness): Piano-drums duo, major figures in Japanese avant-garde since 1969 (Satoh) and 1974 (Toyozumi). Two pieces (37:24 + 19:51), relentlessly inventive, most impressed by the drummer. A- [cd] Old music: Olie Brice/Tobias Delius/Mark Sanders: Somersaults (2014 [2015], Two Rivers): Delius plays tenor sax and clarinet, with bass and drums -- all English, although Delius has long lived in Amsterdam, his best known band the ICP Orchestra. B+(***) Emmeluth's Amoeba: Polyp (2017 [2018], Øra Fonogram): Danish alto saxophonist Signe Emmeluth, group based in Oslo, first album. B+(*) Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, December 23, 2019 Music Week
December archive (in progress). Music: Current count 32491 [32466] rated (+25), 230 [226] unrated (+4). Skipped last week, so this one covers two weeks, with a big hole in the middle. On. Dec. 12, I had surgery to open up my nasal passages, hopefully to breathe better. The surgery was fairly quick, and I was home by noon, but my recovery hasn't been anything to brag about. I did virtually nothing for over a week. Had a follow-up appointment after a week, with the PA poking around, pulling out scabs and clots of blood. During that week I checked email and processed a few late ballots for Francis Davis's NPR Jazz Critics Poll (we did finally match last year's total of 140), but couldn't work for more than 15 minutes at a time (even on something as mechanical as Noisey's EOY list, which took me 4-5 sessions). I didn't feel much better Friday, but found I could get some work done. I only played old jazz for a week, but started streaming some new music -- mostly hip-hop, as it turned out. Pretty much everything I heard landed at B+(**), and this week's reviews are even shorter and shabbier than usual. Almost finished the week without a single A- record, but Trapline landed 10th on Phil Overeem's year-end list. I still can't tell you why, but three plays convinces me there's enough going on there to merit the grade. Almost added a second one, Emmeluth's Amoeba: Chimaera, from Chris Monsen's list, but decided I need another play before trying to write anything.While I was down, I missed three pieces (free, I think) from Robert Christgau's And It Don't Stop subscription newsletter, so I'll do penance for not announcing them in a timely manner here:
Don't have much more to say at this point. The usual tracking files are in the usual places. I've added a few things to the EOY Aggregate, but it is nowhere near up to date (and while I'm likely to add to it, it may never try to make it as comprehensive as in recent years). New records reviewed this week: Eric Alexander: Eric Alexander With Strings (2019, High Note): Mainstream tenor saxophonist, called his 1992 debut Straight Up, has 40+ albums since, even more side credits (including more than a dozen in One for All). Cover credits his long-running quartet (David Hazeltine, John Webber, Joe Farnsworth), as well as Dave Rivello for arranging and conducting the strings -- not terribly interesting on their own, but not saccharine fluff either. B+(*) Gonçalo Almeida/Martin van Duynhoven/Tobias Klein: Live at the Bimhuis (2017 [2019], Clean Feed): Bass, drums, alto sax or bass or contrabass clarinet. B+(***) Rebecca Angel: Santa Baby (2019, Timeless Grooves, 1): Actually, just a 3:28 single, something I wouldn't review but for being sent the CD. Song dates to Eartha Kitt in 1953 -- wonder why it's not done more often. Delicious, and no penalty for quitting while she's ahead. B+(***) [cd] Atmosphere: Whenever (2019, Rhymesayers Entertainment): Minneapolis hip-hop duo, rapper Slug (Dea Daley) and DJ/producer Ant (Anthony Davis), beaucoup albums since 1997. More relationship songs here, always a staple. B+(***) Courtney Barnett: MTV Unplugged (Live in Melbourne) (2019, Marathon Artists): Recorded October 22, 2019, so little more than a month before the December 6 release date. Her acoustic guitar isn't nearly as potent as her electric, but she picks up resonance with a cello in the band. Also picks up a couple guests, and closes with a strong cover of Leonard Cohen's "Goodbye Marianne." B+(**) Beck: Hyperspace (2019, Capitol): Singer-songwriter, released some of the best albums of the 1990s, has been hard to even recognize since 1999's funk move, Midnite Vultures. Collaborator here is Pharrell Williams, which should be good for a few cheap hooks. Too bad I couldn't recognize that many. B Dopolarians: Garden Party (2019, Mahakala): Sextet, or merger of trios: one (relatively young) cluster is made up of Chris Parker (piano), Chad Fowler (alto sax), and Kelley Hurt (voice), and they do most of the writing; the other is well known: Kidd Jordan (tenor sax), William Parker (bass), and Alvin Fielder (drums). B+(***) [bc] Ras G & the Afrikan Space Program: Dance of the Cosmos (2019, Akashik, EP): Gregory Shorter Jr., DJ/producer from Los Angeles, 24 albums/mixtapes since 2008, died at 40 in 2019. Dense grooves with scattered talk. [Napster only has 4/5 tracks; other track on Bandcamp, total 28:50.] B+(**) Lafayette Harris Jr.: You Can't Lose With the Blues (2019, Savant): Pianist, from Baltimore, debut 1992, this a trio with the superb Peter Washington and Lewis Nash. Still not really what I'd call bluesy. B+(*) Hiromi: Spectrum (2019, Telarc): Japanese pianist, Hiromi Uehara, has recorded steadily since 2003, understands that one key to popularity is keeping it brisk. This one is solo, so she doubles down, and keeps it going for 73:16. B+(**) Hot Chip: A Bath Full of Ecstasy (2019, Domino): English electropop group, seventh studio album since 2006. Catchy, most of the time. B+(*) Brittany Howard: Jaime (2019, ATO): Singer-songwriter, gone solo after two records fronting Alabama Shakes, did a fair Otis Redding impersonation there. Bits of retro-soul here, too, mixed in with unclassifiable experiments. Her diva move? B Kaytranada: Bubba (2019, RCA): Louis Kevin Celestin, born in Haiti, grew up in Canada, second album after a lot of EPs, mixtapes, and production credits (some as Kaytradamus). Has a real knack for pop trifles. B+(**) José Lencastre Nau Quartet: Live in Moscow (2018 [2019], Clean Feed): Portuguese alto saxophonist, backed by two-thirds of RED Trio (Rodrigo Pinheiro and Hernâni Faustino, piano and bass), plus his brother João on drums. B+(**) Jeff Lofton: Jericho (2019, self-released): Trumpet player, based in Austin. Blues-based bop, with "The Christmas Song" a change of pace I'll pardon this week, and two vocal takes of "Compared to What" (by Carolyn Wonderland and Murali Coryell). B+(**) [cd] Caroline Polachek: Pang 2019, Columbia): Singer-songwriter, leader of Chairlift (3 albums, 2008-16), first solo album (at least under her own name). B+(*) Slayyyter: Slayyyter (The Mixtape) (2019, self-released): Catherine Slater, electropop singer from suburban St. Louis, first album. Leads with sex, which never comes clear in the dense mix, not that I especially mind. B+(**) Sly & Robbie/Roots Radics: The Final Battle: Sly & Robbie vs. Roots Radics (2019, Serious Reggae): Roots Radics started in the late 1970s as the studio band for Channel One, have several dozen albums, mostly meet-ups with dub-oriented singers and producers -- Dunbar & Shakespeare have much the same resume, often working with even bigger stars. No problem evoking reggae's heyday, but not so easy building on that. B+(**) [yt] Sly & Robbie: Dub Serge (2019, Taxi): Refers back to a 1979 Serge Gainsbourg album, Aux Armes Et Caetera, which Sly, Robbie, Ansel Collins, and other Jamaicans played on (backing vocals were the I Threes: Judy Mowatt, Marcia Griffiths, and Rita Marley). This "remake" disposes of the vocals and makes Gainsbourg's songs unrecognizable, buried under layers of classic dub. B+(*) Snotty Nose Rez Kids: Trapline (2019, Fontana North): Canadian First Nations hip-hop duo, from the Haisla reserve village of Kitamaat, now based in Vancouver, third album. Hard to get a handle here, but obviously much in jest, and serious nonetheless. A- Stormzy: Heavy Is the Head (2019, Merky/Atlantic): English rapper Michael Owuo Jr., grime star, second album. Fast, dense, some politics, some serious charges. B+(**) Dave Stryker: Eight Track Christmas (2019, Strikezone): Guitarist, close to 40 albums since 1990, counting the band he co-leads with Steve Slagle. Released Eight Track in 2014 with this no-horn, groove-oriented quartet -- Stefon Harris (vibes), Jared Gold (organ), McClenty Hunter (drums) -- and aside from the season focus this would be IV. Leans secular, with "Happy Xmas (War Is Over)" the one non-traditional tune. B [cd] Sudan Archives: Athena (2019, Stones Throw): Brittney Denise Parks, born in Cincinnati, based in Los Angeles, self-taught violin, learned to feed that through loops and added her voice. First LP after two EPs. Defies genre, so another hip young singer-songwriter. "All we got is the Internet" is a sign of the times, for better and/or worse. B+(**) [bc] Juan Vinuesa Jazz Quartet: Blue Shots From Chicago (2018 [2019], NoBusiness): Tenor saxophonist, from Spain, spent a couple years in Chicago where he put this group together: Josh Berman (cornet), Jason Roebke (bass), and Mikel Patrick Avery (drums). Free jazz, has a nice lyrical feel. B+(***) [cd] The Who: Who (2019, Polydor): In 1994 they released a box set called Thirty Years of Maximum R&B, but by my calculation it was more like six (1965-71) -- sure, Quadrophenia (1973) has its fans, but the decline through It's Hard (1982) was undeniable. I'd say they set themselves up with "I hope I die before I get old," especially when only Keith Moon did (1978). Aside from profit-taking boxes, this is only their second album since -- Endless Wire appeared in 2006. Got to give them credit here for sounding like no one else. Still, he record runs longer than their inspiration. B Recent reissues, compilations, and vault discoveries: Bobby Bradford/Frode Gjerstad/Kent Carter/John Stevens: Blue Cat (1991 [2019], NoBusiness): Cornet player, had a legendary two-horn quartet with John Carter, tries to conjure up a bit of that dynamic with alto saxophonist Gjerstad. Recorded in London with local bass/drums legends. B+(**) [cdr] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, December 9, 2019 Music Week
December archive (in progress). Music: Current count 32466 [32422] rated (+44), 226 [230] unrated (-4). I have very little time to spare on this, so will keep it short. Spent much of the weekend counting ballots for NPR's 14th Annual Jazz Critics Poll, something Francis Davis started back when we were writing for the Village Voice. Deadline was last night, but there's a good chance that any ballots that arrive today will be counted. I have 132 at present, down a bit from 2018. Some surprises (for me at least) among the new album leaders. Less so among the other categories. This week's haul includes a bunch of records I discovered among the ballots. Still, two/thirds of this week's A- records came from my queue. Results will probably be posted in about a week. I'm liable to fall out of the loop on that, as I'm scheduled for what should be minor surgery on Thursday, and I'm pessimistic about what I will be able to do the following week or so. In fact, I'm pretty down on getting anything done beforehand either. Until I got swamped over the weekend, I did a fair amount of work on the EOY Aggregate, which has changed rather dramatically. Up to Thanksgiving, the list was dominated by first-half albums which showed up in mid-year lists -- Sharon Van Etten's Remind Me Tomorrow was leading Billie Eilish's When We All Fall Asleep Where Do We Go?. Eilish pulled back ahead last week, but the dramatic gains were from: (2) Lana Del Rey: Norman Fucking Rockwell; (4) Angel Olsen: All Mirrors; (5) Nick Cave & the Bad Seeds: Ghosteen; and (11) FKA Twigs: Magdalene. Among first-half albums, (7) Weyes Blood: Titanic Rising is the one that has gained some spots, evidently because those who can stand it like it a lot. I was fairly up-to-date before the weekend, but haven't added much since. Should see many more lists in the next week or two, but unclear whether I'll be able to keep up. At any rate, the file is doing most of what it needs to do. Still, not much jazz in it, other than my own grades. I'll add the JCP data when it goes public. New records reviewed this week: Awatair: Awatair Plays Coltrane (2019, Fundacja Sluchaj): Polish-Ukrainian trio: Tomasz Gadecki (tenor/baritone sax), Mark Tokar (double bass), Michal Gos (drums). Three stretched Coltrane pieces plus an 10:57 "Improvisation for Jr. J.C." B+(***) [bc] Bones [Ziv Taubenfeld/Shay Hazan/Nir Sabag]: Reptiles (2017 [2019], NoBusiness): Bass clarinet/bass/drums trio, recorded in Amsterdam, released on vinyl. Free jazz, fairly intimate. B+(**) [cdr] Anthony Braxton: Quartet (New Haven) 2014 (2014 [2019], Firehouse 12, 4CD): One "Improvisation" per disc, each 57:14-64:09, each dedicated to a pop star you probably couldn't blindfold guess (Jimi Hendrix, Janis Joplin, James Brown, Merle Haggard). Braxton plays saxes from sopranino to contrabass but no tenor (alto is his main axe), joined by Taylor Ho Bynum (cornet and family), Nels Cline (electric guitar), and Greg Saunier (drums). Gave it one play and was delighted, often amazed, never annoyed (well, until the last few seconds of Disc 3). One could spend ages further dissecting, but I doubt I will. A- Patrick Brennan/Abdul Moimême: Terraphonia (2019, Creative Sources): Alto saxophonist, from Detroit, has a handful of records including a couple as Sonic Openings Under Pressure, in a duo here with a Portuguese experimental guitarist, who has 25 albums since 2008, mostly small groups with all names on the masthead. Something more than just harsh noise, but that's most of it. B+(*) Terri Lyne Carrington + Social Science: The Waiting Game (2019, Motéma, 2CD): Drummer, studied at Berklee with Alan Dawson, built a solid post-bop reputation in the 1990s, lately has turned to crossover pop, including quite a bit of hip-hop here, sprinkled with guest stars, with a few political lyrics. Second disc is lighter, a 42:19 instrumental orchestrated by Edmar Colón. B+(**) Anthony Coleman: Catenary Oath (2018 [2019], NoBusiness): Pianist, debut was 1992, some of his early records offered an avant take on klezmer. Solo piano here, starts with a dedication to Roscoe Mitchell, ends with Ellington. B+(**) [cdr] Chick Corea/Christian McBride/Brian Blade: Trilogy 2 (2010-18 [2019], Concord, 2CD): A sequel to the trio's 2014 3-CD Trilogy, adding select tracks from a 2016 tour to leftovers from the first period. B+(**) Rodney Crowell: Texas (2019, RC1): Country singer-songwriter, originally from Texas, 21 albums since 1978, had a run of hits off his 1988 album (Diamonds & Dirt), but hasn't enjoyed much attention lately. Got some guest help this time, mostly fellow Texans like Willie Nelson, Steve Earle, Lyle Lovett, and Billy Gibbons. (Exception to the rule: Ringo Starr.) B+(***) Nina De Heney/Karin Johansson/Henrik Wartel: Quagmire (2018 [2019], Creative Sources): Bass-piano-drums, the bassist dominating (especially early on), for a very claustrophobic sound. B+(*) Doja Cat: Hot Pink (2019, Kemosabe/RCA): LA rapper Amala Zandile Dlamini, second album, promises more skin, holds back a bit. B+(**) Marc Edwards/Guillaume Gargaud: Black Hole Universe (2019, Atypeek Music): American free jazz drummer, played with David S. Ware in the 1980s, teams up here with a French guitarist. Reminds me of Sonny Sharrock, maybe even more intense, but I'm not quite there with it yet. B+(**) Andy Emler/David Liebman: Journey Around the Truth (2018 [2019], Signature Radio France): French keyboardist, playing organ here, pumped up for dramatic effect like a hoary old soundtrack. The saxophonist builds on that, with tenor and soprano. B+(*) Erin Enderlin: Faulkner County (2019, Black Crow Productions): Singer-songwriter from Arkansas, has had some success peddling songs in Nashville, third album. Old time sound, lots of booze and wallowing blues, could use a stiffer backbone, or a shot of feminism. B+(*) Gorilla Mask: Brain Drain (2019, Clean Feed): Alto saxophonist Peter Van Huffel's rockish power trio, with electric bass (Roland Fidezius) and drums (Rudi Fischerlehner), fourth group record. Seems almost too easy to make this formula work, so the occasional glitches stand out. B+(***) Alex Harding/Lucian Ban: Dark Blue (2019, Sunnyside): Duets, baritone sax/bass clarinet and piano, a nice match. B+(**) Eric Hofbauer's Five Agents: Book of Water (2018 [2019], Creative Nation Music): Guitarist, based in Boston, has done interesting work at pushing the boundaries of postbop without quite crossing over into avant-garde. Comes especially close here, with three veterans of Ken Vandermark's Boston-Chicago nexus -- Jeb Bishop (trombone), Nate McBride (bass), Curt Newton (drums) -- plus Jerry Sabatii (trumpet) and Seth Meicht (tenor sax). B+(***) Eric Hofbauer & Dylan Jack: Remains of Echoes (2019, Creative Nation Music): Guitar and drum duo, picking their way through covers from Ellington to the Police. B+(**) Carl Ludwig Hübsch/Pierre-Yves Martel/Philip Zoubek: Otherwise (2018, Insub): Tuba player, the others credited with viola da gamba and piano, both also with synthesizer. Two side-long tracks, ambient but never gets too comfortable. B+(*) [bc] Ill Considered: Ill Considered 8 (2018 [2019], Ill Considered Music): British jazz group, based in London, quartet with Idris Rahman (sax/fx), Leon Brichard (electric bass), Emre Ramazanoglu (drums), and Satin Singh (percussion), adds another live document to their fast-growing catalogue. Strong bass riffs, flexes a lot of muscle. B+(***) Katarsis 4: Katarsis 4 (2019, NoBusiness): Sax quartet from Lithuania, biased toward alto -- two members list alto first, the others second (after baritone and soprano) -- so this doesn't have much in common with the harmonic focus of WSQ or ROVA. Some electronics, loads of atmosphere. B+(**) [cd] Kimchi Moccasin Tango: Yankee Zulu (2018 [2019], Clean Feed): Norwegian trio -- Karl-Hjalmar Nyberg (tenor sax), Karl Bjorå (guitar), Dag Erik Knedal Andersen (drums) -- the group name parsed for three pieces, the title for the fourth. Avant-noise from the start, can change up a bit here and there, in ways that are ultimately winning. B+(**) Lee Konitz Nonet: Old Songs New (2019, Sunnyside): Arranged and conducted by Ohad Talmor. The nonet balances reeds and strings: 4 each, the leader's alto sax shadowed by flute, clarinet, and bass clarinet; 2 celli between viola and bass; plus George Schuller on drums. Lush and unashamedly gorgeous. B+(***) Mat Maneri Quartet: Dust (2019, Sunnyside): Leader plays viola, mostly known as son of avant-clarinetist Joe Maneri, and for playing side-roles in Matthew Shipp's orbit. Closer to the mainstream here with Lucian Ban (piano), John Hébert (bass), and Randy Peterson (drums). B+(*) MC Yallah X Debmaster: Kubali (2019, Hakuna Kulala): Rapper Yallah Gaudencia Mbidde, from Uganda, and producer Julien Deblois, from France, with a short cassette. Densely fractured, could come from any high-tech haven. B+(*) Tom McDermott: Meets Scott Joplin (2018 [2019], Arbors): Trad jazz pianist, from St. Louis, first record was called New Rags (1982), returns to the old ones here. Mostly solo, but picks up when some friends drop in (notably trombonist Rick Trolsen). B+(**) Camila Meza and the Nectar Orchestra: Ámbar (2019, Sony Masterworks): Chilean singer-songwriter, based in New York, has a reputation as a jazz guitarist, fourth album, group adds strings to piano-bass-drums, lush and dramatic (not my favorite combination). B Roscoe Mitchell Orchestra: Littlefield Concert Hall, Mills College, March 19-20, 2018 (2018 [2019], Wide Hive): No musician credit for Mitchell (78), just composed, orchestrated, and conducted by. Twenty-five piece orchestra, with a fair number of strings and most of the classical horns (but no saxophones), a harp, some exotica. B+(**) Qasim Naqvi: Teenages (2019, Erased Tapes): Drummer from Pakistan, first noticed in the piano trio Dawn of Midi, has moved more into electronica lately, especially with this "music for modular synthesizer." B+(*) Tomeka Reid Quartet: Old New (2018 [2019], Cuneiform): Cellist, grew up near DC, studied in Chicago and built her connections there before moving on to New York. Second Quartet album, with Mary Halvorson (guitar), Jason Roebke (bass), and Tomas Fujiwara (drums). Seems small, like the strings folding back on themselves, but not without its unique Halvorson moments. B+(***) [dl] Michele Rosewoman's New Yor-Uba: Hallowed (2017-18 [2019], Advance Dance Disques): Postbop pianist, born in Oakland, based in New York, took a turn toward Afro-Cuban jazz with her New Yor-Uba "musical celebration of Cuba in America," and continues here, with three specialists in batá and congas, a raft of horns, and vocalist Nina Rodriquez. B+(***) Bob Sheppard: The Fine Line (2019, Challenge): Mainstream saxophonist, plays them all but best known for tenor, based in Los Angeles, has a few albums since 1991 but has done a ton of studio work, especially backing vocalists. Backed by piano (John Beasley), bass, and drums, with a few guests. Very respectable outing. B+(**) Kalie Shorr: Open Book (2019, self-released): Singer-songwriter from Maine, based in Nashville, songs have some country in them, production has a lot of Nashville. B+(*) Sonar With David Torn: Tranceportation (Volume 1) (2019, RareNoise): Sonar is a Swiss guitar-guitar-bass-drums band, principally Stephan Thelen, tunings feature tritones, rhythm very buttoned down, straight enough for rock, clever enough for jazz. Second album with guitarist Torn, who probably adds something, but fits in so seamlessly it's hard to discern what. A- [cdr] Tim Stine Quartet: Knots (2018 [2019], Clean Feed): Chicago guitarist, has a couple previous albums. Joined here by Nick Mazzarella (alto sax), Matt Ulery (bass), and Quin Kirchner (drums). B+(*) Steve Swell/Robert Boston/Michael Vatcher: Brain in a Dish (2018 [2019], NoBusiness): Trombone, piano/organ, drums, a strong outing for a trombonist who's been one of free jazz's leading lights for more than a decade. A- [cd] Fay Victor: Barn Songs (2018 [2019], Northern Spy): Striking jazz singer-songwriter, closest we have to a second coming of Betty Carter. Dusted off some old songs from her Amsterdam exile, given stark and foreboding framing with cello (Marika Hughes) and alto sax (Darius Jones). B+(**) Bobby Watson/Vincent Herring/Gary Bartz: Bird at 100 (2019, Smoke Sessions): Three alto saxophonists, Bartz (the eldest, with 13 years on Watson and 24 on Herring) the one I think of most literally as a Charlie Parker clone, but I couldn't pick them apart here. With David Kikoski (piano), Yasushi Nakamura (bass), and Carl Allen (drums). I don't really feel this as relating to Parker, unless they're just saying all you need is chops. But chops they have, and that can be fun. B+(*) Recent reissues, compilations, and vault discoveries: Dusko Goykovich: Sketches of Yugoslavia (1973-74 [2019], Enja): Trumpet player, a Serb born in Bosnia-Herzegovina, incorporated folk idioms into jazz from Swinging Macedonia (1966) on. Leads a quartet here, fronting the rather lacklustre NDR Radio Orchestra Hannover. B+(*) Dadisi Komolafe: Hassan's Walk (1983 [2019], Nimbus West): Plays flute and alto sax, only album I can find, quintet with piano (Eric Tilman), bass, drums, and vibraphone, recorded in Los Angeles. Has a deep African vibe. B+(**) [bc] Yusef A. Lateef: Hikima: Creativity (1983 [2019], The Key System): Tenor saxophonist, changed his name when he converted to Islam, early on developed an interest in African and Middle Eastern music. Recorded a lot from 1957 into the 1970s, hit a thin patch, but bounced back from 1989, first with Atlantic then his own YAL label. This is one of two records he recorded in Nigeria, with a local group with singers and a lot of percussion. B+(**) [bc] Old music: Kristijan Krajncan: Drumming Cellist (2017, Sazas): Slovenian cellist-drummer, overdubs the two instruments, first album, adopted its title as his artist credit on his second (Abraxas). Fills the first half with J.S. Bach's "Cello Suite No. 2 in D Minor." B+(*) [bc] Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, December 2, 2019 Music Week
December archive (in progress). Music: Current count 32422 [32388] rated (+34), 230 [221] unrated (+9). I have 52 ballots counted for Jazz Critics Poll. Deadline is December 8, but I'm finding very little reason to shuffle the top of my EOY Jazz List, so I might as well file my own ballot sooner rather than later. This is what I'm handing in: New music:
Historical music:
Miscellaneous categories:
One consideration I had was whether to omit records that I didn't receive (or obtain) physical copies of. In recent years, I've done that for historical releases (which have gotten to be hard to come by) but I allowed streamed new releases to slip onto my ballot. After I slid Ill Considered 6 down a couple notches, the only streamed item in my New top ten was the Mark Lomax mega-production. I decided to keep it on the ballot because I had rated it a full A (only three this year, although the top two A- records are good candidates for promotion), and because a couple other critics had voted for it, with a high enough points-per-ballot to move it into the top-30. Among historical records, I decided to keep Getz on the ballot because I didn't have a satisfactory alternative: the next two records I have physical copies of are samplers by Bill Evans and Wes Montgomery, but I'm rather chafed that I haven't been able to hear those artists new-old records (Evans in England and Back on Indiana Avenue), which are the ones other critics are voting for. (The other big set from the same label that I haven't been able to hear yet is Nat "King" Cole's Hittin' the Ramp, currently running 3rd in the poll.) I do have CDs of six more records further down the list, and I'm especially appreciative of the Sam Rivers and Horace Tapscott sets, but they are well down the list, barely over the cusp. This week's haul is nearly all records suggested by counting JCP ballots. Also noticed a few things from recent lists by Phil Overeem and Chris Monsen, and scrounging through Tim Niland's recent reviews. My EOY Aggregate was close to up-to-date until today, when we were hit with an avalanche of new lists. Main ways I track these things are through AOTY and Acclaimed Music's EOY 2019 forum. I'll catch up eventually, although lots of things aren't making it easy (slow recovery from illness, anticipation of surgery, visitors, my mind's inability to process it all). New records reviewed this week: Stefan Aeby: Piano Solo (2018 [2019], Intakt): Swiss pianist, first solo after several trio albums, expands the instrument's range with various preparations and electronic post-processing. B+(*) Rodrigo Amado/Dirk Serries: Jazzblazzt (2018 [2019], Raw Tonk): One of my favorite tenor saxophonists, in a duo with a prolific (but hitherto unknown to me) Belgian guitarist, aka Vidna Obmana. Rather fractured, onto something. B+(**) The Big Yes: The Big Yes (2018 [2019], Nakama): Scandinavian free jazz quartet, two horns -- Anna Högberg (sax) and Maria Bertel (trombone) -- bass and drums, storming through one 30:58 track. B+(**) [bc] Johnathan Blake: Trion (2018 [2019], Giant Step Arts, 2CD): Drummer from Black Art Jazz Collective, has some range in groups with Kenny Barron, Oliver Lake, Donny McCaslin, and Dr. Lonnie Smith, plus a couple albums under his own name. He's terrific in this basic sax trio, as is bassist Linda May Han Oh, but after a brief intro this is really a tour de force for Chris Potter. A- Jane Bunnett and Maqueque: On Firm Ground/Tierra Firme (2019, Linus Entertainment): Soprano saxophonist, also plays flute and trompeta china, has used this group name since her 2014 album. As Latin rhythms go, this is impressive enough, but the vocals throw me off. B Daniel Carter/Patrick Holmes/Matthew Putman/Hilliard Greene/Federich Ughi: Electric Telepathy Vol. 1 (2018 [2019], 577 Records): Aka the Telepathic Band: saxes/clarinet/trumpet, clarinet, keyboard, bass, drums. B+(***) Cochemea: All My Relations (2019, Daptone): Saxophonist Cochemea Gastelum, spent the last 15 years in Sharon Jones' band, the Dap-Kings. Dropped last name for his second album, takes aim at his roots, which are not just African, starting with a chant, ending with a groove. B+(**) [bc] John Dikeman/George Hadow/Dirk Serries/Martina Verhoeven/Luis Vicente: Ideal Principle (2016 [2018], Raw Tonk): Tenor saxophonist, born in Nebraska, grew up in Wyoming, wound up in Amsterdam. Others play drums, electric guitar, double bass, and trumpet. Strong free jazz outing, the trumpet a highlight. B+(***) [bc] Petter Eldh: Koma Saxo (2018 [2019], We Jazz): Swedish bassist, based in Berlin, recorded this quintet in Helsinki with three saxophonists (Otis Sandsjö, Jonas Kullhammar, and Mikko Innanen) plus drums (Christian Lillinger). Horns play some kind of fuzzy harmony, underscoring the centrality of the bass. B+(**) Ellery Eskelin/Christian Weber/Michael Griener: The Pearls (2018 [2019], Intakt): Tenor sax-bass-drums trio, mixing avant improv with older forms, including two "rag" titles, one each from Jelly Roll Morton and Count Basie. B+(***) Georg Graewe/Ernst Reijseger/Gerry Hemingway: Concertgebouw Brugge 2014 (2014 [2019], Fundacja Sluchaj): Piano-cello-drums trio, first joined together 30 years ago (1989). B+(**) [bc] Joel Harrison: Still Point: Turning World (2019, Whirlwind): Guitarist, twenty albums since 1994, changes up here by working with and composing for the Talujon Percussion Quartet, adding Indian musicians like Anupam Shobhakar (sarode) and Swaminathan Selvaganesh (percussion), also Hans Glawaschnig or Stephan Crump (bass), Dan Weiss (drums/tabla), and Ben Wendel (sax/bassoon). Ambitious album, leaves a strong impression. B+(**) Jazzmeia Horn: Love and Liberation (2019, Concord): Jazz singer, originally from Dallas, moved to New York at 18, second album, all covers on her first, mostly originals here. Half could rate as well-above-average neo-soul, some her impressive technique goes overboard with. Closes with a formidable "I Thought About You." B+(***) Keith Jarrett: Munich 2016 (2016 [2019], ECM, 2CD): Solo piano, has well over a dozen such albums, Like many this one runs long, and tries my patience -- not that he doesn't impress me here and there. B+(*) Guillermo Klein: Los Guachos Cristal (2019, Sunnyside): Argentine pianist, has used "Los Guachos" as an album title and/or as his group name: a large one, 11-pieces here, mostly New Yorkers, like his sax section -- Miguel Zenon (alto), Bill McHenry (tenor), and Chris Cheek (soprano/tenor/baritone) -- and trumpets: Diego Urcola and Taylor Haskins. Impressive section work, moved along by a strong rhythm. B+(***) Kokoroko: Kokoroko (2019, Brownswood, EP): London-based Afrobeat collective, with saxophonist Cassie Kinoshi, Sheila Maurice-Gray (trumpet), Richie Seivwright (trombone), plus guitar, keyboards, bass, and drums. Four cuts, 24:24. B+(*) Ingrid Laubrock + Aki Takase: Kasumi (2018 [2019], Intakt): Sax and piano duo, a German based in New York and a Japanese based in Berlin. B+(**) Metropolitan Jazz Octet Featuring Dee Alexander: It's Too Hot for Words: Celebrating Billie Holiday (2019, Delmark): Chicago group, name comes from one Tom Hilliard assembled for a 1959 tribute to Bix Beiderbecke. The new group connects to the old through Hilliard protégés Jim Gailloreto (tenor sax) and John Kornegay (alto sax). The band exudes power, the singer strength. Hard to fault either, but doesn't quite seem right. B+(**) Van Morrison: Three Chords & the Truth (2019, Exile/Caroline): After a spate of covers albums, he's back with a batch of original songs (one co-authored), reportedly new ones but sounding ever so much like his old ones (perhaps I should A:B "Days Gone By" with "Days Like This"?). In fact, they sound so classic that it's finally clear how much his voice has thickened up. B+(***) Evan Parker/Barry Guy/Paul Lytton: Concert in Vilnius (2017 [2019], NoBusiness): Avant sax-bass-drums trio, together frequently since 1980 (probably before). Plays his distinctive soprano as well, but his best records are all tenor. B+(***) [cd] Junius Paul: Ism (2016-19 [2019], International Anthem): Chicago bassist, first album, recorded 17 pieces on eight dates, using the same quartet on three, rotating other players on the others. That contributes to, but doesn't really explain, the indeterminateness that pervades the album, a mix of ambient and chaos. Note that Makaya McCraven edited and co-produced. B+(*) Ken Peplowski/Diego Figueiredo: Amizade (2018 [2019], Arbors): The Brazilian guitarist has nine albums since 2006, two with singer Cyrille Aimée, and now this one with the retro-swing clarinetist. A couple of originals, various Brazilian classics, a spritely "Caravan," and the most languorous "Stompin' at the Savoy" I've ever heard. B+(*) Javier Red's Imagery Converter: Ephemeral Certainties (2019, Delmark): Piano player from Chicago, his real name for all I know -- my first reaction was to think of bluesmen but Javier is a plausible first name, unlike Louisiana, Piano, Speckled, and Tampa. First album, quartet with Jake Wark (tenor sax), Ben Dillinger (bass), Gustavo Cortiñas (drums). Major poise and balance. A- SEED Ensemble: Driftglass (2019, Jazz Re:freshed): London-based 10-piece jazz band led by saxophonist Cassie Kinoshi, who also has a hand in Nérija and Kokoroko. Strong groove, massive horns, several guest vocals don't quite register. B+(*) Christian Meass Svendsen With Nakama and Rinzai Zen Center Oslo: New Rituals (2017-18 [2019], Nakama, 3CD): Bassist, went overboard here: each disc has the same titles, the first pass for group plus "chant choir," the second just group, the third all the way down to solo bass. The group, Nakama, has violin, piano, bass, drums, and voice. They're quite lively with the choir, but slow down on their own side, and you know what to expect with solo bass. B+(*) [bc] Pat Thomas/Dominic Lash/Tony Orrell: Bley School (2018 [2019], 577 Records): British pianist, distinct from two other musicians of same name (one from San Francisco, the other Ghana). I'm rather shocked that I didn't have a database entry for this one, as he's appeared on 40+ albums since 1993, starting with Lol Coxhill and Derek Bailey. A tribute to the late Paul Bley, more focused on approach than canon. B+(***) [bc] Trigger: Pull (2019, Shhpuma): Avant-thrash trio: Will Greene (electric guitar), Simon Haines (electric bass), Aaron Edgcomb (drums). Intense, relentless, still it does eventually melt together. B Jennifer Wharton's Bonegasm: Bonegasm (2018 [2019], Sunnyside): Trombonist, first album, a trombone quartet (John Fedchock, Nate Mayland, Alan Ferber) backed by piano-bass-drums. B+(*) Yong Yandsen/Christian Meaas Svendsen/Paal Nilssen-Love: Hungry Ghosts (2018 [2019], Nakama): Avant-sax trio, recorded in Kuala Lamur -- evidently home base for the tenor saxophonist, a co-founder of EMACM (Experimental Musicians & Artists Co-operative Malaysia -- and released in Norway, home of the bassist and drummer. One searing 39:00 tear. B+(***) [bc] Recent reissues, compilations, and vault discoveries: Joseph Daley: The Seven Deadly Sins/The Seven Heavenly Virtues (2010-13 [2019], Jodamusic): Reissues two albums, one broadly orchestral I've previously heard and graded B+(***), the other more string-laden, below. Averages out to: B+(**) Sam Rivers: Zenith [Sam Rivers Achive Project, Volume 2] (1977 [2019], NoBusiness): Tenor saxophonist, also plays soprano, piano, and (quite a bit of) flute. Quartet with Joe Daley (tuba/euphonium), Charlie Persip (bass), and Barry Altschul (drums), live set in Berlin. I might complain about the flute, but the rhythm section more than picks up the slack. A- [cd] Makoto Terashita Meets Harold Land: Topology (1983 [2019], BBE): Japanese pianist, had one previous trio album from 1978, doesn't seem to have had much since, but this was picked out for the label's J Jazz Masterclass Series. His meeting with the alto saxophonist is backed by Yasushi Yoneki (bass) and Mike Reznikoff (drums). The piano trio is quite satisfying on its own, and Land is as poised and fierce as I can recall. A- [bc] Old music: Johnathan Blake: Gone, but Not Forgotten (2014, Criss Cross): Drummer-led quartet, with bass (Ben Street) and two saxophonists (Chris Potter and Mark Turner). Something to be said for the extra harmony, but they do meander more, sometimes with alto flute or soprano sax, and wind up with a bit of swing. B+(***) Joseph Daley: The Seven Heavenly Virtues (2013,
Jodamusic): Tuba player, from New York, side credits since 1971
(Taj Mahal, Gil Evans, Sam Rivers), first under his own name The
Seven Deadly Sins (2011), with his 24-piece Earth Tones Orchestra.
This sequel is mostly string orchestra and percussion, some piano.
I can't say as I've ever found violins heavenly. Closes with three
"sketches" referring to Warren Smith, Billy Bang, and Bill Dixon.
B+(*) Unpacking: Found in the mail last week:
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