Blog Entries [690 - 699]

Friday, December 28, 2018

Streamnotes (December, 2018)

Was listening to new things at a pretty good clip until a mysterious health problem brought me to a dead stop a week ago. Feeling a wee bit better today, which makes this a good time to kick out what I have for the month, before it and the year are over. When estimating record counts for the year, it's best to take January 31 as the demarcation between years. So, for instance, I currently have 934 2018-released records graded, so it would be reasonable to estimate that I'll get to 1019 before I freeze my 2018 list. That seems like a bunch, but last year's frozen list had 1145 records (including a few ungraded), so I'm actually running about 13% down from 2017.

Not much more to say at this time, except to link to the still evolving Jazz and Non-Jazz lists, with 59 and 51 A-list new albums, respectively. Been working more on jazz than non-jazz this month, hence the 8-4 A-list edge below (also 3-1 in recent reissues/compilations/archival music).

Most of these are short notes/reviews based on streaming records from Napster (formerly Rhapsody; other sources are noted in brackets). They are snap judgments, usually based on one or two plays, accumulated since my last post along these lines, back on November 30. Past reviews and more information are available here (12270 records).

Recent Releases

Tom Abbs & Frequency Response: Hawthorne (2018, Engine Studios): Bassist, originally from Seattle, released three albums from this group 2003-09, which is when these tapes were conceived (though not finished until recently). Two more original members: Brian Settles (tenor sax) and Chad Taylor (drums), with violinist Jean Cook (replacing cellist Okkyung Lee -- Abbs also plays cello, tuba, and piano), and guests. The string mix is the first thing you notice, but the most fun comes with the tuba bubbling away in the background. B+(***)

Albatre: The Fall of the Damned (2018, Shhpuma): Portuguese-German trio, based in Amsterdam, best known is bassist Gonçalo Almeida (also credited with keyboards and electronics), with Hugo Costa (alto sax & effects) and Philipp Ernsting (drums). Third album, some jazz effects but core sound is closer to metal. B

Anguish: Anguish (2018, RareNoise): Eponymous first group album, recorded in Germany, the likely home of the rhythm section: Hans Joachim Irmler (synths), Mike Mare (guitar), Andreas Werliin (drums). Adding further dimensions are Mike Brooks (Dälek rapper) and Mats Gustafsson (tenor sax/live electronics). B+(**) [cdr]

Lotte Anker/Pat Thomas/Ingebrigt Håker Flaten/Ståle Liavik Solberg: His Flight's at Ten (2016 [2018], Iluso): Avant sax quartet, pianist Thomas making the biggest splash. B+(**) [bc]

Lynne Arriale Trio: Give Us These Days (2017 [2018], Challenge): Pianist, close to 20 records since 1994, most of them trios, this one recorded in Belgium with Jasper Somsen (bass) and Jasper Van Hulten (drums). Three covers: Joni Mitchell's "Woodstock," Lennon-McCartney's "Let It Be," and a Tom Waits song sung by "special guest" Kate McGarry. B+(*)

Bob Baldori/Arthur Migliazza: The Boogie Kings: Disturbing the Peace (2018, Blujazz/Spirit): Bluesy harmonica and old-time boogie piano on song titles starting with "Shake That Boogie," "Yancey Stomp," "Boogie Stomp," "Boogie Woogie Man," and winding up with "Rockin' Pneumonia" and "Mojo." Fun. B+(*) [cd]

Andrew Barker/Daniel Carter: Polyhedron (2017 [2018], Astral Spirits): Duets, drums and whatever horn Carter feels like at the time (alto/tenor/soprano saxophones, clarinet, trumpet, flute -- to varying effect). B+(**) [bc]

Jon Batiste: Hollywood Africans (2018, Verve): Pianist from New Orleans, best known these days as bandleader for The Late Show With Stephen Colbert, has a few scattered albums since 2005, claims his roots here, starting with an original piano boogie, followed by cautious vocals on "What a Wonderful World" and "St. James Infirmary Blues. Gains some confidence as a singer later on, closing with a haunting, string-fortified "Don't Stop." B+(*)

Beak>: >>> (2018, Temporary Residence): Bristol, England trio, third album in a series of putatively greater titles, rock instrumentation (plus strings on two tracks), drawing on electronica models, with weak, prog-ish vocals on maybe half of the tunes. B+(*)

Eraldo Bernocchi: Like a Fire That Consumes All Before It (2018, RareNoise): Italian, 15 or so albums since 1997, solo credits here read: guitars, treated guitars, electronics. I file him under jazz, but this is closer to electronica, with its spacious ambient tableaux. B+(*) [cdr]

The Beths: Future Me Hates Me (2018, Carpark): Indie pop band from Auckland, New Zealand, nominally a guitar-guitar-bass trio although they also have a drummer, all three sing but mostly you hear Elizabeth Stokes. B+(*)

Samuel Blaser: Early in the Mornin' (2017 [2018], Out Note): Trombonist, has recorded regularly since 2009, usually in avant circles. Does half trad. pieces here, with a core quartet -- Russ Lossing (piano/keyboards), Masa Kamaguchi (bass), and Gerry Hemingway (drums) -- with three guest shots: Oliver Lake (alto sax) on the title cut opener, Wallace Roney (trumpet) on another, both on a third. They sparkle, but not so much without them. B+(*)

Kadhja Bonet: Childqueen (2018, Fat Possum): Singer-songwriter, grew up in California, first album after a couple EPs. Plays many instruments, starting with violin. Father worked in opera. Some of that comes through here. B-

Boygenius: Boygenius (2018, Matador, EP): Six-song debut EP for a group with three moderately famous singer-songwriters: Julien Baker, Lucy Dacus, Phoebe Bridgers. B

Bobby Bradford/Hafez Modirzadeh: Live at the Blue Whale (2017 [2018], NoBusiness): Actually a quartet, with Roberto Miranda on bass and Vijay Anderson on drums, recalling the cornet player's justly famous c. 1975 two-horn quartet with John Carter. Modirzadeh, who was born in North Carolina and teaches at San Francisco State, plays soprano sax, karna and khaen (whatever they are). B+(***) [cdr]

Brockhampton: Iridescence (2018, RCA): Hip-hop collective, formed in Texas but based in Los Angeles, best-known member Kevin Abstract, released three Saturation albums in 2017, followed by this. B+(**)

Sam Broverman: A Jewish Boy's Christmas (2018, Brovermusic): Mathematics professor, sometime Singer-songwriter from Winnipeg, wrote five of ten songs here, picking up Tom Lehrer's "Hannukkah in Santa Monica," picking on straighter Christmas songs from Sammy Cahn, Jule Style, Mel Tormé, and trad., and latching onto a Tom Waits song simply because it has "Christmas" in the title ("Christmas Card From a Hooker in Minneapolis"). Aims for humor, and mostly delivers. Whitney Ross-Harris helps with the vocals. B [cd]

Butcher Brown: Camden Session (2018, Gearbox): British jazz-funk group, keyboardist DJ Harrison probably the main guy, with Marcus Tenney on sax and trumpet, Morgan Burrs on guitar, plus electric bass and drums. Vinyl length: 6 cuts, 30:52. I like the trumpet. B+(*)

Carla Campopiano Trio: Chicago/Buenos Aires Connections (2018, self-released): Flute player, from Argentina, studied jazz in Chicago but retains a strong tango influence here (including two Piazzola pieces). B [cd]

Dustin Carlson: Air Ceremony (2017 [2018], Out of Your Head): Guitarist, has a previous "limited edition cassette" that runs 27:08, so you might consider that an EP and this a debut. Septet: two saxes, trumpet, plus a rhythm section I recognize -- Matt Mitchell (Prophet 6, an analog synth), Adam Hopkins (bass), and Kate Gentile (drums). Postbop, most impressive when they venture out. B+(**) [cd]

Guillermo Celano/Joachim Badenhorst/Marcos Baggiani: Lili & Marleen (2016 [2018], Clean Feed): Guitar/clarinet (bass clarinet/tenor sax)/drums trio, recorded in Amsterdam -- home base for Celano and Baggiani, both from Argentina (Badenhorst is Belgian). B+(**)

Christine and the Queens: Chris (2018, Because Music): French pop singer-songwriter Héloïse Letissier, second official album although with all the EPs and various packaging and delayed release dates in (e.g.) the US market seems like more. Band was named for the drag queens in her retinue. Meanwhile she's looking more masculine, and shortening her name to match. Not sure what I can tell by ear. Digital has both an English and a French version of the album. I can't follow the French very well, but am just as happy with it that way. B+(**)

Zack Clarke: Mesophase (2017 [2018], Clean Feed): Pianist, from Houston, based in New York, second album, also credited with electronics. With Charlotte Greve (sax, clarinet, flute), cello, bass, and percussion/waterphone/shakuhacki (Leonid Galaganov). B+(*)

Coyote Poets of the Universe: Strange Lullaby (2018, Square Shaped, 2CD): Country-ish group from Denver, sixth album since 2003, a big one even if you discount a half-dozen striking covers -- the haunting "Wayfaring Stranger" is probably my favorite, the maudlin "Long Black Veil" took the longest to sink in. Singer Melissa Gates has a few Janis Joplin moments, still mesmerizing when she doesn't. The male singer (Andy O or Gary Hoover) is less striking, but poets need to get their words in. A- [cd]

Francesco Cusa & the Assassins Meets Duccio Bertini: Black Poker (2017 [2018], Clean Feed): Drummer, from Italy, discography goes back to 1997, group name has been used for several quartets, here: Giulio Stermieri (organ/piano), Flavio Zanuttini (trumpet/electronics), Giovanni Benvenuti (tenor sax). Bertini plays keyboards on one cut, and does some arranging, involving Florence Art Quartet (2 violin, viola, cello). B+(*)

Maria Da Rocha: Beetroot & Other Stories (2018, Shhpuma): Portuguese, plays violin and synths, viola on one track. Solo. Sort of a drone/noise thing, but surprisingly relaxing for that. B+(**)

Marie Davidson: Working Class Woman (2018, Ninja Tune): French-Canadian electronica, fourth album, also part of darkwave duo Essaie Pas. She talks her way through this -- I can't really follow it all, can't even assure you it's all in English, but "Work It" could be a hit, and even when she goes dark she offers more edge than gloom. A-

Drone Trio [Evelyn Davis/Fred Frith/Phillip Greenlief]: Lantskap Logic (2013 [2018], Clean Feed): Pipe organ, electric guitar, alto/tenor sax, but all are hard to differentiate, subsumed as they are in the drone concept, which comes, lingers a while, and passes. B+(*)

Dystil: Dystil (2017 [2018], Clean Feed): New York trio: Bryan Qu (alto sax), Quincy Mayes (piano, objects), Mark Ballyk (percussion, voice, objects); first album, few side-credits. Sonic mix interesting, could do without the voice (not much, just at the end). On the short side: 11 cuts, 29:23. B+(*)

Jake Ehrenreich With the Roger Kellaway Trio: A Treasury of Jewish Christmas Songs: A Cool Tribute to the Jewish Songwriters (2017 [2018], self-released): Played so straight they could play this at the mall and you'd never notice anything out of the ordinary, except perhaps that this doesn't turn into a public annoyance. Credit Kellaway for avoiding jingoism, Ehrenreich for avoiding melodrama, and the songwriters for avoiding sanctimony or any conspicuous reference to Christianity. B+(*) [cd]

El Eco With Guillermo Nojechowicz: Puerto de Buenos Aires 1933 (2017, Zoho): Argentinian drummer, studied in Boston and New York, draws inspiration from passport photos from when his grandparents immigrated, creating his own melting pot ensemble, with Helio Alves (piano), Fernando Huergo (bass), Kim Nazarian (vocals), Brian Lynch (trumpet), Marco Pignataro (tenor/soprano sax), and strings arranged by Nando Michelin. B+(*)

Orrin Evans and the Captain Black Big Band: Presence (2018, Smoke Sessions): Pianist from Philadelphia, third big band album since 2011. Lineup is a little light -- three each saxes, trumpets, and trombones -- but they get a big sound, even with a distinct piano bias. Still, not much sticks. B

Peter Evans/Agustí Fernandez/Barry Guy: Free Radicals at DOM (2017 [2018], Fundacja Sluchaj): Trumpet/piano/bass, recorded in Moscow, free improv, no drummer to march things along but not really needed here. B+(**) [bc]

Lupe Fiasco: Drogas Light (2017, 1st & 15): Rapper Wasalu Muhammad Jaco, from Chicago, sixth album, early work impressed -- Lasers was my favorite, although it was widely panned. Sixth album, first piece of a proposed trilogy. Not sure what the concept is, or whether it matters. B+(**)

Lupe Fiasco: Drogas Wave (2018, 1st & 15): Second part, still scattered but gives you more to think about. Much more. A-

Adam Forkelid: Reminiscence (2017 [2018], Moserobie): Swedish pianist, first side credit seems to be 1999, only other record I can find under his name came out in 2005, so this trio, with Georg Riedel and Jon Fält named on the cover below the title, isn't a debut, but it is a remarkable breakthrough. I've never been much of a piano jazz fan, so I'm surprised when one feels so right -- reminds me of early Chick Corea with his Spanish tinge, although Bobo Stenson is probably closer to home. A- [cd]

Satoko Fujii/Joe Fonda: Mizu (2018, Long Song): Somehow never got this among the pianist's record-per-month 60th birthday celebration (although I did get Triad, on the same label with the addition of Gianni Mimmo). Piano-bass duets, not their first encounter. B+(***) [bc]

Satoko Fujii Orchestra Tokyo: Kikoeru: Tribute to Masaya Kimura (2018, Libra): Kimura was a saxophonist in the Tokyo big band, who died in 2017. This winds up Fujii's "Kanreki" -- one record each month in 2018, marking the pianist-composer's 60th birthday -- with a bang: no piano, but spectacular horn solos and interplay, with some words leading into the climax. A- [cd]

Fernando Garcia: Guasábara Puerto Rico (2017 [2018], Zoho): Drummer, Puerto Rican, group with tenor sax (Jan Kus), piano, guitar, bass, and extra percussion, plus a guest on the 9:35 title piece: alto saxophonist Miguel Zenón. B+(*)

Vinny Golia/Henry Kaiser/Ra Kalam Bob Moses/Damon Smith/Weasel Walter: Astral Plane Crash (2018, Balance Point Acoustics): Several sources file this under guitarist Kaiser, but Golia (kawala [Egyptian flute], sopranino/soprano/baritone saxophones, saxello, Bb clarinet, piccolo) is first-named on both front and back covers. With two percussionists and Smith on "amplified double bass." Two long pieces (44:16 + 35:29), lots of scratch and wail. B+(**)

The Goon Sax: We're Not Talking (2018, Wichita): Second-generation Go-Betweens, three singer-songwriters (only one a direct descendant), Riley Jones making a big difference on this sophomore album. Also the production, which fleshes out guitar-bass-drums with violin-viola-trumpet. A-

Guillermo Gregorio/Rafal Mazur/Ramón López Trio: Wandering the Sounds (2018, Fundacja Sluchaj): Clarinet, acoustic bass guitar, and drums, recorded on Mazur's home turf of Poland. Actually not sure where "THE" on cover belongs, but the label leans this way. Also unclear on record date (9 calendar days before release, but in what year?). At 75 (more or less), the Argentinian-born clarinetist has rarely sounded more agile. B+(***) [bc]

Barry Guy: Barry Guy @ 70: Blue Horizon: Live at Ad Libitum (2017 [2018], Fundacja Sluchaj, 3CD): British bassist, founder of the London Jazz Composers Orchestra, a major avant-jazz figure, but one I've had a tough time warming to: the only A- record I have listed for him is a trio with Marilyn Crispell and Paul Lytton (Phases of the Night), who play the middle of three hour-long sets at this extended birthday bash. This one is also superb, plus it's bracketed by two duos that are every bit as dazzling: the opener with pianist Agustí Fernandez, and a closer with bassist Joëlle Léandre. Not everyday music, but fits the occasion. A- [bc]

Hamar Trio: Yesterday Is Here (2016 [2018], Clean Feed): Norwegian reeds player Klaus Ellerhusen Holm (clarinet/alto sax), with an improv set in Portugal with Hernâni Faustino (bass) and Nuno Morão (drums). B+(***)

Eric Harland: 13th Floor (2018, 13th Floor): Drummer, many side credits since c. 2000, two previous albums attributed to Voyager, basically the same group here: Walter Smith III (tenor sax), Taylor Eigsti (piano), Julian Lage and/or Nir Felder (guitar), Harish Raghavan (bass). Postbop, sometimes fancy, mostly bright and cheery. B+(*)

Stefon Harris + Blackout: Sonic Creed (2017 [2018], Motéma): Vibraphone-marimba player, major label debut in 1998, group name dates from 2004. All soft edges here, a couple of neo-soul vocals, little of interest. B-

Marquis Hill: Modern Flows Vol. 2 (2018, Black Unlimited Music Group): Mainstream trumpet player, from Chicago, based in New York, Vol. 1 was a 2014 EP. This one has Josh Johnson on alto sax, Joel Ross on vibraphone, plus bass and drums, and various vocal guests, both singers and rappers. B

John Hollenbeck Large Ensemble: All Can Work (2017 [2018], New Amsterdam): Drummer, main vehicle since 2004 has been the Claudia Quintet but this is his third Large Ensemble album. Close to standard horn count, but reeds favor clarinet and flute, with vibraphone/marimba for soft sparkle, and Theo Bleckman's voice gliding through it all. B [bc]

Lonnie Holley: MITH (2018, Jagjaguwar): From Alabama, performance artist, best known for his sculptures, recorded his first album at 62, this his third. This is odd and off-putting at first, but through sheer persistence finds its groove. B

François Houle/Alexander Hawkins/Harris Eisenstadt: You Have Options (2016 [2018], Songlines): Clarinet-piano-drums piano, two Canadians and a Brit, all write, plus choice covers of Charles Ives, Steve Lacy, and Andrew Hill. B+(***)

Ingrid Jensen/Steve Treseler: Invisible Sounds: For Kenny Wheeler (2018, Whirlwind): Wheeler was Canadian, moved to England in 1952, played more flugelhorn than trumpet, often appeared in avant-garde outfits but his own records (especially at ECM) were pretty mild-mannered. Jensen (trumpet) and Tresler (tenor sax) are also Canadians, studied with him, lead a quintet with Geoffrey Keezer (piano) here playing his songs with great vigor. B+(***)

Park Jiha: Communion (2016 [2018], Tak:til): South Korean, plays piri (double reed bamboo flute), saenghwang (mouth organ), and yanggeum (hammered dulcimer), joined by Kim Oki (tenor sax and bass clarinet), John Bell (vibraphone), and Kang Tekhyun (percussion). Mostly pleasant exotica, sometimes haunting, can even push your buttons. B+(**)

JLin: Autobiography [Music From Wayne McGregor's Autobiography] (2018, Planet Mu): Third album from Gary, IN electronica producer Jerrilynn Patton, meant as a soundtrack but holds up nicely on its own. B+(***)

Phillip Johnston: The Adventures of Prince Achmed (2013 [2018], Asynchronous): Saxophonist (soprano here), born in Chicago, grew up in New York, but based in Sydney, Australia since 2005. Best known as co-leader of the Microscopic Septet (since 1983), involved in a number of other projects plus a handful of albums under his own name, starting with Music for Films in 1998. This is another soundtrack project, with trombone, two organ/keyb players, and drums. Lays the organ on pretty thick, but the trombone helps. B+(*) [bc]

Phillip Johnston & the Coolerators: Diggin' Bones (2017 [2018], Asynchronous): Australian group led by the American expat saxophonist (alto/soprano), "funky organ combo jazz with modernist jazz composition" -- Alister Spence (organ), Lloyd Swanton (bass, producer, from the Necks), and Nic Cecire (drums). B+(***) [bc]

Khruangbin: Con Todo El Mundo (2018, Dead Oceans): Guitar-bass-drums trio from Houston, their name a Thai word meaning "flying engine" -- bassist Laura Lee was learning Thai at the time, and their first album was heavily influenced by Thai music -- don't have much use for words although there are some, partly buried in the mix. This one has more Latin tinge. B+(*)

Quin Kirchner: The Other Side of Time (2018, Astral Spirits): Drummer, based in Chicago, first album, also credited with kalimba, sampler, synthesizer. With bass (Matt Ulery), three horns -- Jason Stein (bass clarinet), Nate Lepine (tenor sax), Nick Broste (trombone) -- piano on one cut. B+(***) [bc]

Knalpot: Dierendag (2017 [2018], Shhpuma): Dutch instrumental group, principally Gerri Jäger (drums) and Raphael Vanoli (guitar), both also synth and electronics, with "sounddesign" by producer Sandor Caron. B+(*)

Kirk Knuffke/Steven Herring: Witness (2017 [2018], SteepleChase): Cornet player, paired with "New York's up and coming operatic baritone singer," backed by Ben Goldberg (clarinte, contra alto clarinet) and Russ Lossing (piano). The trad. gospel pieces are most impressive, but Rossini, Puccini, and Verdi remain opera, even if Mancini isn't. B

Martin Küchen/Rafal Mazur: Baza (2017 [2018], NoBusiness): Sax-bass duo, more specifically alto/soprano sax and acoustic bass guitar. Talented musicians with distinctive sounds, but no guarantee that every chance encounter will turn magical. B+(*) [cdr]

Andrew Lamb Trio: The Casbah of Love (2018, Birdwatcher): Saxophonist (tenor/alto/clarinet/flute), with Tom Abbs (bass, cello, didgeridoo, violin, tuba) and Ryan Jewell (drums). Aims for something spiritual. Achievement is subtler. B+(**)

Leikeli47: Wash & Set (2017, Hardcover/RCA): Brooklyn rapper, first album, wears a ski mask, doesn't have a Wikipedia page or any bio I'm aware of. B+(***)

Leikeli47: Acrylic (2018, Hardcover/RCA): Second album, pushes the envelope musically -- nay, more like shreds it, which doesn't mean it always works, even close, leaving the masked woman more opaque than ever. B+(**)

Lotic: Power (2018, Tri Angle): Electronica producer J'Kerian Morgan, originally from Texas, based in Berlin. Name seems to mean "inhabiting or situated in rapidly moving fresh water." Second album. Has a gaudy ring to it, not unlike the contorted cover. B

Low: Double Negative (2018, Sub Pop): Trio from Duluth, Minnesota, basically invented slowcore starting in 1994, 12th album. Always seemed like a neat idea, but I've usually found their records unbearable. This seems likely their best received ever: I suspect because the electronics have taken over and confounded and camouflaged their usual depression. B+(*)

Jessica Lurie: Long Haul (2017, Chant): Alto saxophonist, record produced by bassist Todd Sickafoose, with Brian Marsella (piano), Mike Gamble (guitar), Allison Miller (drums), and "special guest" Naomi Siegel (trombone). Fast and slippery, falls down on occasion. B+(**)

Roberto Magris: World Gardens (2015 [2018], JMood): Pianist, from Trieste in Italy, based in US, with 15+ records since 1982. Quartet, with bass, drums, and extra percussion, about half originals although the standards more often stand out. B+(***) [cd]

Masta Ace & Marco Polo: A Breukelen Story (2018, Fat Beats): Rapper Duval Clear, past 50 now, which moves him from gangsta to old school, teamed up with beats producer Marco Bruno, tells the story of someone moving from Toronto to New York to break into hip-hop (roughly speaking, much Bruno's story), although the music easily tops the story. B+(***) [bc]

Master Oogway: The Concert Koan (2017 [2018], Clean Feed): Norwegian fusion quartet, named for a character in Kung Fu Panda, guitarist Håvard Nordberg Funderud more often than not gets the top hand over saxophonist Lauritz Lyster Skeidsvoll. B+(**)

Wojtek Mazolewski Quintet: Polka (2018, Whirlwind): Polish bassist, Quintet dates to 2011 although he has earlier records back to 2008. This one refers back to a 2014 album: not sure if it's a reissue, a remix, or a revision -- this is presented as "Worldwide Deluxe Edition," and there's also a Polka Live and a Polka Remixed. "Polka" is a song, not the genre here. The music is intricate, layered, meditative, measured, often quite lovely. A-

Peter McEachern Trio: Bone-Code (2017 [2018], Clean Feed): Trombonist, first album I can find under his name but he has side-credits going back to 1979, mostly with Thomas Chapin and/or Mario Pavone -- the bassist here, along with Michael Sarin on drums. I've long had a soft spot for trombone, but this is an exceptional trio. A-

Father John Misty: God's Favorite Customer (2018, Sub Pop): Singer-songwriter Josh Tillman, recorded as J. Tillman 2003-10, joined Fleet Foxes for their 2011 album, now has four albums under this moniker. About par for the course. Closing title: "We're Only People (and There's Not Much Anyone Can Do About That)." B

Liudas Mockünas: Hydro 2 (2017 [2018], NoBusiness): Soprano saxophonist, working solo but also credited with percussion, Hydro reflecting his use of "water-prepared" saxophones. B+(*) [cd]

François Moutin & Kavita Shah Duo: Interplay (2018, Dot Time): French bassist and American vocalist. I don't think he's ever had his name first on an album before, but he's co-led various groups with his brother Louis Moutin, as well as playing in high-profile piano trios with Martial Solal and Jean-Michel Pilc. She has a remarkable resume, including classical piano from age 5, membership in the Young People's Chorus of New York City, a major in Latin American studies at Harvard, fieldwork in Brazil, work for Human Rights Watch, and a chance meeting with Sheila Jordan which steered her toward a Master's in Jazz Voice from Manhattan School of Music. Two guests, two cuts each: Solal and Jordan. B+(***)

Música De Selvagem: Volume Único (2017 [2018], Shhpuma, EP): Brazilian quintet, name translates as Music of Savages, with two saxes, trumpet/euphonium, bass and drums -- vocal not credited. Four cuts, 27:44. B+(*)

Simon Nabatov/Barry Guy/Gerry Hemingway: Luminous (2015 [2018], NoBusiness): Piano-bass-drums trio: Nabatov a Russian who moved to Germany in 1989, has more than two dozen albums; the others, better known for longer -- perhaps the edge that lifts this above his many other fine performances. A- [cd]

Rico Nasty: Nasty (2018, Sugar Trap): Rapper Maria-Cecilia Simone Kelly, several mixtapes, this something of a breakthrough. B+(**)

Fredrik Nordström: Needs (2018, Clean Feed): Swedish saxophonist (tenor/baritone), organized this as a double quartet, inspired by Ornette Coleman's Free Jazz, with trombone (Mats Åleklint), bass, and drums on the left channel, Fredrik Ljungkvist (clarinet/tenor sax), Niklas Barnö (trumpet), bass and drums on the right. Gets the spirit and much of the effect, but not always. B+(***)

Now Vs Now: The Buffering Cocoon (2018, Jazzland): Group name comes from an album pianist Jason Lindner released in 2009 (Gives You Now Vs Now, with bassist Panagiotis Andreou the only other continuity. Third face on their website is probably drummer Justin Tyson, although there are a few other credits -- notably vocalists, although they tend to get in the way of what otherwise is a pretty decent (albeit cheesy) groove record. B

Miles Okazaki: Work: The Complete Compositions of Thelonious Monk, Volumes 1-6 (2018, self-released): Guitarist, from Port Townsend, Washington; based in New York. Four previous albums, so this one more than doubles his catalog, rendering all 70 Monk compositions as solo guitar. B+(***)

Onyx Collective: Lower East Suite Part Three (2018, Big Dada): New York group, "de facto leader" Isaiah Barr (alto/tenor sax, with Roy Nathanson playing alto on 4/10 tracks). First two parts were released as EPs (8 tracks each, but short ones: 19:03 and 22:28; this one runs 37:54). Not a big collective -- just drums and a bass or two, so mostly a sax album: a bit brooding at first, but snaps to. B+(***)

Onyx Collective: Lower East Suite Part One (2017, Big Dada, EP): Not seeing credits here, but basic sax-bass-drums, possible doubles, several pieces named for the streets they were recorded on, only one piece longer than 2:39. Starts with spoken word over sax vamps, but loses that after two tracks. Hit and miss after that. B+(*)

Onyx Collective: Lower East Suite Part Two (2017, Big Dada, EP): A little longer with four tracks topping 3:00, and a bit less focused, too, but has some strong sax moments. B+(*)

Caterina Palazzi/Sudoku Killer: Asperger (2017 [2018], Clean Feed): Double bassist, from Italy, released a quartet album in 2010 called Sudoku Killer, kept that name for two more albums with Giacomo Ancillotto (guitar) and Maurizio Chiavaro (drums), using various saxophonists (two here: Silvio Pomante on 4 cuts, Antonio Raia on the other). I've seen this called noise jazz. There's an element of that, as well as an interest in rock-hard riffs. B+(***)

Barre Phillips: End to End (2017 [2018], ECM): Bassist, born in San Francisco, moved to New York in 1962, then to Europe in 1967, since which he's mostly been associated with European musicians. Tenth album for ECM, starting with Music for Two Basses (1971, with Dave Holland), but his previous one came out in 2006. This is solo bass, inevitably slow and ponderous, but quite lovely in its own way. B+(***)

Chris Pitsiokos/Susana Santos Silva/Torbjörn Zetterberg: Child of Illusion (2017 [2018], Clean Feed): Two clashing horns -- alto sax and trumpet -- with bass in the middle, not as effective an arbiter as drums are. B+(*)

Antonio Raia: Asylum (2017 [2018], Clean Feed): Tenor saxophonist, from Naples, evidently his first album, solo, raw but gets something going. B+(**)

Mattias Risberg: Stamps (2017 [2018], Clean Feed): Pianist, from Sweden (I think), has a previous duo album (with Fredrik Ljungkvist, a tribute to Carla Bley). Solo piano, sometimes prepared, augmented with a pedal-operated Moog Taurus -- an analogue bass synthesizer. B+(*)

Rosalía: El Mal Querer (2018, Sony Music): Spanish flamenco singer, goes by first name, rest Villa Tobella. Rhythm helps. Melodrama doesn't. B

Jacob Sacks: Fishes (2017 [2018], Clean Feed): Pianist, originally from Michigan, studied in New York and is based there, has a couple of previous records, more side credits including the lead role in drummer Dan Weiss' trio. Strong group here with two lead saxophonists (Ellery Eskelin and Tony Malaby), Michael Formanek (bass), and Weiss. The promised joust never really pans out, but everyone gets their spots. B+(**)

Akira Sakata & Chikamorachi With Masahiko Satoh: Proton Pump (2015 [2018], Family Vineyard): Japanese alto saxophonist, from Hiroshima, born 1945, so less than six months old when the bomb hit. Traind as a marine biologists, but started recording in 1975, a major avant-jazz figure in Japan. Chikamorachi is his rhythm section: Darin Gray and Chris Corsano. Satoh is another eminence, a pianist, four years older. Four pieces with science jargon for titles, but otherwise pretty unruly. Sakata's vocal is even rougher than his sax. B+(***)

Akira Sakata/Simon Nabatov/Takashi Seo/Darren Moore: Not Seeing Is a Flower (2017 [2018], Leo): A live set in Japan, Sakata credited with alto sax, clarinet, vocals, percussion. With piano, bass, and drums. Typical free thrash, piano quite strong. B+(**)

Bobby Sanabria Manhattan Big Band: West Side Story: Reimagined (2017 [2018], Jazzheads, 2CD): Drummer-led big band, extra flute/piccolo, electric violin, lots of extra Latin percussion, background vocals and handclaps. Leonard Bernstein's score was never a favorite, so not much peeks through, but as Afro-Cuban big band this sounds pretty generic. B

Scheen Jazzorchester/Eyolf Dale: Commuter Report (2018, Losen): From Norway, thirteen-piece big band, horn sections each one short of a full big band, compositions by pianist Dale (also on harpsichord and celeste), the only other oddity is an accordion. Still leans toward classical in orchestration and temperament. B+(*)

John Scofield: Combo 66 (2018, Verve): Guitarist, amusing to see him listed as "jazz funk" as he basically invented the stuff, a guitar-centric evolution from soul jazz well beyond Wes Montgomery. This is his basic quartet: Gerald Clayton (piano, organ), Vicente Archer (bass), Bill Stewart (drums). Nothing fast or fancy or foolish, just stays very true to himself. B+(**)

Travis Scott: Astroworld (2018, Epic/Grand Hustle): Rapper, Jacques Webster, from Houston, third album. B+(**)

Lauren Sevian: Bliss (2018, Posi-Tone): Baritone saxophonist, bio starts off "Grammy award winning" but not clear on what for. Second album, quintet with Alexa Tarantino on alto sax, Robert Rodriguez (piano), Christian McBride (bass), and E.J. Strickland (drums). B+(**)

Josh Sinton's Predicate Trio: Making Bones, Taking Draughts, Bearing Unstable Millstones Pridefully, Idiotically, Prosaically (2018, Iluso): Mostly plays bass clarinet, here also baritone sax, not much under his own name but he's distinguished himself in a number of groups, like Ideal Bread. With Christopher Hoffman (cello) and Ton Rainey (drums). B+(**) [bc]

Sleep: The Sciences (2018, Third Man): Doom metal power trio from San Jose, started in the early 1990s as Asbestos Death, third album in 2003 (Dopesmoker) credited as stoner rock. This is their first album in 15 years, and the most broadly acclaimed metal album of the year. Indeed, I find myself enjoying the dense, rather flat din, although I still find much of it impenetrable. B+(*)

SLUGish Ensemble: An Eight Out of Nine (2018, SLUGish): Name derived from Steven Lugerner, who plays bass clarinet, baritone sax, Bb clarinet, flute, and alto flute, leading a ten-piece group. Fairly fancy postbop. B+(**) [bc]

Martial Solal: My One and Only Love: Live at Theater Gutersloh (2017 [2018], Intuition): French pianist, possibly the first major jazz figure to emerge from France in the 1950s -- Duke Ellington noted when Solal debuted in the US, "he sparkles with refreshment." Ninety now, playing a solo concert in Germany -- he apologizes for his German and proceeds to narrate in English -- mostly standards (including an Ellington medley). B+(***)

Luciana Souza: The Book of Longing (2018, Sunnyside): Brazilian singer-songwriter, more than a dozen albums since 1999, a couple of titles calling out poets (Elizabeth Bishop, Pablo Neruda), three volumes of Duos -- a fondness for sparse settings for sometimes poignant words. Backed by guitar (Chico Pinheiro) and/or bass (Scott Colley), finds a sad place and tries to find beauty in it. B+(**)

Subtle Degrees: A Dance That Empties (2017 [2018], New Amsterdam): Duo: Travis Laplante (tenor sax) and Gerald Cleaver (drums). Three parts or variations on a common title, with circular breathing turning the sax into a constant rhythm machine. B+(***) [bc]

Earl Sweatshirt: Some Rap Songs (2018, Columbia/Tan Cressida, EP): Thebe Neruda Kgositsile, born in Chicago, raised in Los Angeles, mother a professor of law at UCLA, father (most often absent) a South African poet. No real songs, just fifteen fragments, longest 2:45, only one other topping 2:00, total 24:39. B

Thollem/DuRoche/Stjames Trio: Live in Our Time (2015 [2018], ESP-Disk): Avant piano-bass-drums trio, names on cover a bit mangled, so: Thollem McDonas (piano), Tim DuRoche (drums), Andre St. James (bass). B+(*)

Tirzah: Devotion (2018, Domino): British singer, first album, sort of a low energy, lo-fi approach to r&b, often over minimal backdrops. Could be on to something. B+(**)

Trio HLK: Standard Time (2018, Ubuntu Music): British trio, first album: Richard Harrold (piano), Ant Law (8-string guitar), and Richard Kass (drums), all pieces composed by the pianist, with guest shots up front, three each for Steve Lehman (alto sax) and Evelyn Glennie (vibraphone/marimba). On 2-LP that probably breaks up into more coherent sides, but here comes off as two or three different records. Guitar instead of bass gives them two instruments that can lead and comp, and they push that hard -- also the extra bass strings. Lehman isn't tempted to take over, but he offers his usual brilliance. B+(***) [bc]

Trondheim Jazz Orchestra & Ole Morten Vågan: Happy Endings (2018, Odin): Norwegian jazz orchestra, formed in 1999, twenty-some albums since 2004, almost all tied to a guest star (like bassist Vågan). Seems to have 12 musicians plus voice (Sofia Jernberg), light on brass (trumpet, tromjbone, three reeds) but has violin-cello-bass, synth, two drummers. Has some moments that really threaten to take off. B+(**)

Yves Tumor: Safe in the Hands of Love (2018, Warp): Sean Bowie, born and raised in Tennessee, fled at 17 for California, met Mykki Blanco there, toured with her in Europe and stuck there, currently in Turin. Cites Throbbing Gristle as a major influence -- a legendary group but not one I've ever gotten into, probably because they're too heavy-handed. He is too, but his third album has several charms, like when he lets up a bit and crafts a nice beat. B

Turbamulta: Turbamulta (2018, Clean Feed): Portuguese quintet, translates as "rowdy mob," but nothing mob-like in this group's tinkly avant-chamber music. B

Chucho Valdés: Jazz Batá 2 (2018, Mack Avenue): Outstanding Cuban pianist, cut his first Jazz Batá album in 1972, so this has been a long time coming. He typically plays in a quartet with bass, drums, and congas, replacing the latter here with Dreiser Darruthy Bombale on batá drums -- a mark of the Yoruba vein in Afro-Cuban jazz. I can't say the batá make much difference, but violinist Regina Carter does. B+(***)

Voicehandler: Light From Another Light (2017 [2018], Humbler): Duo -- Jacob Felix Heule (drums) and Danishta Rivero (voice & electronics) -- with at least one previous album. Hard to tell how much voice is involved, as it's heavily treated, effectively electronic. B+(*) [cd]

Walking Distance: Freebird by Walking Distance feat. Jason Moran (2018, Sunnyside): New York quartet -- Caleb Curtis (alto sax + trumpet one cut), Kenny Pexton (tenor sax + clarinet two), Adam Cole (bass + Mellotron one), Shawn Baltzor (drums) -- plus the pianist on 6/12 tracks. Play bebop, one eye firmly attached to Charlie Parker, the other wanders a bit. Maybe not far enough for freebop. B+(***)

The Way Ahead: Bells, Ghosts and Other Saints (2017 [2018], Clean Feed): Albert Ayler tribute band, recorded in Norway, mixed in Sweden: André Roligheten (tenor sax/clarinet), Kristoffer Alberts (alto/baritone sax), Niklas Barnö (trumpet), Mats Äleklint (trombone), Mattias Ståhl (vibraphone), Ola Høyer (bass), Tollef Østvang (drums). B+(*)

Ben Wendel: The Seasons (2018, Motéma): Saxophonist, from Vancouver, BC, based in New York, named twelve songs as months, each dedicated to an "artist who has shaped Wendel's creative vision," but also having something to do with Tchaikovsky. Quintet, with Aaron Parks (piano), Gilad Hekselman (guitar),Matt Brewer (bass), and Eric Harland (drums), with Wendel playing bassoom on four tracks. B+(*)

Mars Williams: Mars Williams Presents an Ayler Xmas (2017, Soul What): Three medleys, like one that sandwiches Albert Ayler's "Spirits" between "O Tannenbaum" and "12 Days of Christmas" -- songs similar to the hymns that inspired Ayler. The saxophonist-leader is up to the concept, and is ably backed up by six other Chicago freethinkers. B+(***) [bc]

Mars Williams: Mars Williams Presents an Ayler Xmas: Volume 2 (2018, Soul What): More, with three cuts (including a full reprise of the central medley from the first volume) recorded with an expanded Witches & Devils band live at Chicago's Hungry Brain, plus two tracks from Vienna with a local group. B+(**) [bc]

Aida Bird Wolfe: Birdie (2018, self-released): Jazz singer, more into vocalese (but doesn't scat) than cabaret, drawing on Jon Hendricks lyrics to Monk and Davis, Joni Mitchell to Mingus. Closes strong, turning the corner on "Valerie," getting crucial sax help on "Goodbye Pork Pie Hat," and finally convincing me with "Every Time I Sing the Blues." B+(***) [cd]

Yoko Yamaoka: Diary 2005-2015: Yuko Yamaoka Plays the Music of Satoko Fujii (2018, Libra, 2CD): Japanese pianist, studied at New England Conservatory but recorded this in Tokyo -- don't know of anything else she's recorded. The "Diary" is a book of compositions Fujii regularly adds to, so for Fujii this is a chance to hear another pianist sift through years of work. Solo, less explosive, exposing a solid musical framework beneath the composer's improvisation. B+(**) [cd]

Flavio Zanuttini Opacipapa: Born Baby Born (2018, Clean Feed): Two-horn trio, Zanuttini on trumpet, Piero Bittolo Bon on alto sax, with Marco D'Orlando on drums, nothing in between to mediate or harmonize. Mostly free, with a bit of swing as the horns stand out. A-

Z-Country Paradise: Live in Lisbon (2017 [2018], Leo): Mostly German group, released an eponymous album in 2015, reprise six (of seven) songs here, plus one new one. With Frank Gratkowski (alto sax/bass clarinet), Kalle Kalima (guitar), Oliver Potratz (electric bass), Christian Marien (drums), plus Jelena Kuljic singing/speaking lyrics from poets Charles Simic and Arthur Rimbaud. A-

Recent Reissues, Compilations, Vault Discoveries

Marion Brown/Dave Burrell: Live at the Black Musicians' Conference, 1981 (1981 [2018], NoBusiness): Duets, alto sax and piano. Starts with two Brown originals, then packs three from Burrell between two Billy Strayhorn pieces, ending with a gorgeous "Lush Life." A- [cd]

John Coltrane: 1963: New Directions (1963 [2018], Impulse!, 3CD): Also available on 5-LP. Short of spending an hour or more tracking down the discography, this looks like a reissue of most of Both Directions at Once: The Lost Album, which came out earlier this year, expanded to pick up master takes from the year's other Coltrane albums, including his session with Johnny Hartman and live shots at Newport and Birdland. The Hartman never amounted to much -- Coltrane was so laid back you barely noticed him, and the singer's pristine baritone will never be taken for soul -- but everywhere else, well, even in an era when everyone tries to sound like Coltrane, you can still identify the real thing. Especially on the third disc, with the live cuts. But you do already own Coltrane Live at Birdland, don't you? B+(***)

Detail [Johnny Mbizo Dyani/Frode Gjerstad/Evin One Pedersen/John Stevens]: Detail at Club 7 (1982 [2017], Not Two): Free jazz group -- bass, soprano/tenor sax/bass clarinet, piano/synth, drums -- formed in 1982, continued after Dyani's death in 1986 up to about 1994. This previously unreleased live set was recorded a month before their First Detail album (as it was called when reissued in 2015). B+(***)

Joan Jett: Bad Reputation [Music From the Original Motion Picture] (1976-2016 [2018], Legacy): Various artists, but thirteen tracks attributed to Jett (10 "& the Blackhearts"), two earlier cuts from her earlier teenaged tenure with The Runaways, two more tracks from Bikini Kill (1992, with Jett) and FEA (2016, on Jett's label). Seems to me like Fit to Be Tied (1997) is still a better best-of, but the longer spread here might be a plus. Digital adds a live "Smells Like Teen Spirit" -- was tempted to dock it for that, but I guess not. A-

L7: Fast and Frightening (1990-98 [2016], Easy Action, 2CD): A favorite band in the early 1990s, closed shop in 2000 only to regroup in 2015, then released this odds and sods collection -- covers, odd single sides, contributions to various artist sets, plus a second disc with two live sets (1990 live in Chicago, 1992 radio shot from Brisbane, Australia). I find myself first inspired, then amused, and ultimately exhausted and a bit miffed. B+(**)

L7: Wireless (1992 [2016], Easy Action): A fairly short live shot in Australia about the time of their breakthrough Bricks Are Heavy, part of Fast and Frightening but available separately [looks like the 2-CD was broken up into three digital releases]. Some of their hits, played rough, but tight. B+(***)

Howard Riley: Live in the USA (1976 [2018], NoBusiness): British pianist, a founding figure in the British avant-garde, although less known now than many of the musicians he started playing with in the late 1960s -- Evan Parker, Barry Guy, Tony Oxley, John McLaughlin. Big Penguin Guide favorite, including a crown for 1970's The Day Will Come. That and Angle (1969) are on my A-list, but I've heard little else by him -- chiefly his fine career-spanning 5-CD box, Constant Change 1976-2016 -- but this selection of four longish solo pieces from stops in Buffalo and New York City is dazzling all the way through. A [cd]

Wadada Leo Smith/Sabu Toyozumi: Burning Meditation (1994 [2018], NoBusiness): Trumpet and drums duo, a joint improv set recorded in Yamaguchi, Japan, part of the label's Chap Chap Series (not sure if these are reissues). More recently Smith has emerged as a major composer. This is a reminder of how sharp he could be in an improv setting. A- [cd]

Soul of a Nation: Jazz Is the Teacher/Funk Is the Preacher (1969-75 [2018], Soul Jazz): Second volume in what could develop into a long series, the first subtitled Afro-Centric Visions in the Age of Black Power, which led off promising "the roots of rap 1968-79." This one offers another Gil Scott-Heron spoken word piece ("Whitey on the Moon"), but otherwise focuses more on funk grooves, the best known from Funkadelic, others more obscure, some played by avant-jazz musicians but after social music rather than abstract art. [11/14 tracks] B+(***)

Cecil Taylor: Poschiavo (1999 [2018], Black Sun): Solo piano, one 54:39 improv, recorded in Switzerland at Uncool Festival. Rumbles much, roars on occasion. B+(***)

Old Music

Boneshaker: Unusual Words (2012 [2014], Soul What): Avant-sax trio from Chicago: Mars Williams (reeds/toy instruments), Paal Nilssen-Love (drums), Kent Kessler (bass), second group record after their 2012 debut. B+(***)

John Coltrane: Newport '63 (1963 [1993], Impulse!): A three-track quartet set (41:17) as advertised, with Roy Haynes on drums, plus a 15:25 "Chasin' Another Trane" from the Vanguard back in 1962 (with Eric Dolphy, Reggie Workman, and Haynes). A-

Billie Holiday: Songs for Distingué Lovers (1956 [1958], Verve): Her final recordings for Verve, a week in Los Angeles that got sliced up into three albums: this, Body and Soul, and All or Nothing At All (also the title of the 1995 2-CD compilation that put he sessions back together again). Six songs, all classics: sure, her voice sounds a little off, but still unique. Meanwhile, the orchestra -- with Harry Edison, Ben Webster, Jimmy Rowles, Barney Kessel, bass and drums -- could hardly be improved on. A-

L7: Slap-Happy (1999, Bong Load): Last album before their break-up. Still rockin' hard, not quite all of the time. B+(**)

Barre Phillips: For All It Is (1973, Japo): Bassist, second album with just his name, actually a quartet of bassists -- with Barry Guy, J.F. Jenny-Clarke, and Palle Danielsson -- plus Stu Martin on percussion. B+(**)

Barre Phillips: Journal Violone 9 (2001, Émouvance): Solo bass, continues a series begun in 1969, followed up in 1979 -- despite the title, this appears to be his third. B+(*)

Terry Pollard: Terry Pollard (1955, Bethlehem): Detroit pianist, also played vibraphone (but not here), cut two 10-inch LPs before "retiring" to her family, the first split with Clark Terry as Cats vs Chicks: A Jazz Battle of the Sexes (note that cover makes them both out as white). Eight cuts, with bass and drums, six with guitar (Howard Roberts), four with trumpet (Don Fagerquist). Fine bebop, especially when everyone gets going. [Reissued 2018 along with 10 additional cuts as A Detroit Jazz Legend (Fresh Sound).] B+(***)

Notes

Everything streamed from Napster (ex Rhapsody), except as noted in brackets following the grade:

  • [cd] based on physical cd
  • [cdr] based on an advance or promo cd or cdr
  • [bc] available at bandcamp.com

Ask a question, or send a comment.

Tuesday, December 25, 2018

Music Week

Music: current count 30842 [30808] rated (+34), 269 [269] unrated (+0).

Surprised the count is this high. I was on a tear early in the week, especially between the time I compiled last week's results and when I finally posted them last Wednesday. However, that came to a screeching halt on Thursday or Friday (I can't remember which), when I woke up and found it very difficult and painful to sit up or stand. It doesn't seem like back pain; more in my hips, evenly distributed. I've had something like this happen a few widely scattered times in the past, but it's always cleared up in a couple of days. This doesn't seem to be getting better. Once I straighten up I can walk around without too much pain, but bending over or kneeling down is tough.

I had ambitious plans for fixing a Christmas Eve dinner, working mostly out of two Yotam Ottlenghi cookbooks, Ottolenghi and Jerusalem. I figured I should do some preliminary shopping on Friday, even though I hadn't fully sorted the menu out, and do a bit more on Sunday before starting to cook that evening. But with the pain and immobility, I started cutting back. I got my wife to drive me to Dillons for the Friday shopping, and made do with the single stop. Then I asked one of my guests to help out with the cooking. Linda Jordan joined me for several hours Saturday evening and from 1:30 through dinner on Sunday, and somehow we knocked out a decent menu of dishes (descriptions from memory):

  • Shawarma: a leg of lamb, marinated overnight in a spice paste, and roasted.
  • Sweet potato gratin: sliced into rounds, packed with garlic and sage, partly baked, then covered with cream and baked more to finish.
  • Eggplant: cut in half, roasted, topped with sauteed onions, spices, and feta cheese.
  • Eggplant: cut into cubes, roasted, in a saffron-yogurt sauce.
  • Endive: split, carmelized, stuffed with a mix (bread crumbs, parmesan, herbs, cream), topped with prosciutto, and baked.
  • Pearl barley and parsley salad: also with toasted cashews and spiced feta cheese.
  • Zucchini and tomato salad: also with walnuts, in a yogurt sauce.
  • Tomatoes: cut into chunks, with basil and dressing.
  • Mast va khiar: cucumber, scallions, golden raisins, walnuts, and mint in yogurt.
  • Amish Door's date pudding, topped with caramel sauce and whipped cream.

Saturday night Linda made the pudding and caramel sauce; we roasted the eggplants, cooked the barley, prepped the feta, mixed up the marinade and rubbed it into the lamb. After Linda left I did the mast va khiar and the whipped cream.

Sunday I had to get the lamb into the oven by 1:30. I sliced an onion, and started frying it. Linda arrived and took over. I mostly mixed sauces. I tried cutting the sweet potatoes with a mandoline, but gave up and used the food processor instead (harder to set up, but cut much faster). Two ovens were the key: while the lamb was roasting at 325F, the gratin and the endive needed 400F: 70 minutes for the sweet potatoes and 20 for the endive. We actually had all the side dishes and the latter ready for the oven by 4:30, so there was no last-minute drama. I hadn't really thought that through in the planning, but it worked out perfectly. Food was pretty good, too.

Pain wasn't too bad walking around, or sitting on a high bar stool doing prep. Linda did pretty much all of the stovetop cooking, as well as shuffling things in and out of the ovens. Got a good night's sleep, but this morning was the worst yet -- especially after sitting at the computer 15-20 minutes. This stretch on the computer has gone on for two hours. Not too bad crouched over working here, but I expect it will be tough getting up.

Plan is to come back and post this later tonight. I'm due to post December's Streamnotes sometime this week. I may go ahead and push it out without the usual indexing. Music count for the last 3-4 days has been close to zero. No idea when I'll be able to do more.

I should note that the Howard Riley album below (Live in the USA) would have topped my Reissues/Historical ballot in the Jazz Critics Poll had I gotten to it in time. I've said before that most years I find another A-list album within 2 days of filing my ballot, and a ballot-contender within two weeks. I'm usually thinking of new releases there, but note that Adam Forkelid's Reminiscence (also below) is up at number 12 in my Best Jazz Albums of 2018 list, so just barely below top ten.

New records rated this week:

  • Lynne Arriale Trio: Give Us These Days (2017 [2018], Challenge): [r]: B+(*)
  • Bob Baldori/Arthur Migliazza: The Boogie Kings: Disturbing the Peace (2018, Blujazz/Spirit): [cd]: B+(*)
  • Eraldo Bernocchi: Like a Fire That Consumes All Before It (2018, RareNoise): [cdr]: B+(*)
  • The Beths: Future Me Hates Me (2018, Carpark): [r]: B+(*)
  • Samuel Blaser: Early in the Mornin' (2017 [2018], Out Note): [r]: B+(*)
  • Bobby Bradford/Hafez Modirzadeh: Live at the Blue Whale (2017 [2018], NoBusiness): [cdr]: B+(***)
  • Brockhampton: Iridescence (2018, RCA): [r]: B+(**)
  • Marie Davidson: Working Class Woman (2018, Ninja Tune): [r]: A-
  • Orrin Evans and the Captain Black Big Band: Presence (2018, Smoke Sessions): [r]: B
  • Adam Forkelid: Reminiscence (2017 [2018], Moserobie): [cd]: A-
  • John Hollenbeck Large Ensemble: All Can Work (2017 [2018], New Amsterdam): [bc]: B
  • Park Jiha: Communion (2016 [2018], Tak:til): [r]: B+(**)
  • JLin: Autobiography [Music From Wayne McGregor's Autobiography] (2018, Planet Mu): [r]: B+(***)
  • Phillip Johnston: The Adventuers of Prince Achmed (2013 [2018], Asychronous): [bc]: B+(*)
  • Phillip Johnston & the Coolerators: Diggin' Bones (2017 [2018], Asynchronous): [bc]: B+(***)
  • Martin Küchen/Rafal Mazur: Baza (2017 [2018], NoBusiness): [cdr]: B+(*)
  • Lotic: Power (2018, Tri Angle): [r]: B
  • François Moutin & Kavita Shah Duo: Interplay (2018, Dot Time): [r]: B+(***)
  • Now Vs Now: The Buffering Cocoon (2018, Jazzland): [r]: B
  • Jacob Sacks: Fishes (2017 [2018], Clean Feed): [r]: B+(**)
  • Scheen Jazzorchester/Eyolf Dale: Commuter Report (2018, Losen): [cd]: B+(*)
  • SLUGish Ensemble: An Eight Out of Nine (2018, SLUGish): [bc]: B+(**)
  • Martial Solal: My One and Only Love: Live at Theater Gutersloh (2017 [2018], Intuition): [r]: B+(***)
  • Luciana Souza: The Book of Longing (2018, Sunnyside): [r]: B+(**)
  • Subtle Degrees: A Dance That Empties (2017 [2018], New Amsterdam): [bc]: B+(***)
  • Earl Sweatshirt: Some Rap Songs (2018, Tan Cressida/Columbia, EP): [r]: B
  • Trio HLK: Standard Time (2018, Ubuntu Music): [bc]: B+(***)
  • Trondheim Jazz Orchestra & Ole Morten Vågan: Happy Endings (2018, Odin): [r]: B+(**)
  • Yves Tumor: Safe in the Hands of Love (2018, Warp): [r]: B
  • Ben Wendel: The Seasons (2018, Motéma): [r]: B+(*)

Recent reissues, compilations, and vault discoveries rated this week:

  • Marion Brown/Dave Burrell: Live at the Black Musicians' Conference, 1981 (1981 [2018], NoBusiness): [cd]: A-
  • Detail [Johnny Mbizo Dyani/Frode Gjerstad/Evin One Pedersen/John Stevens]: Detail at Club 7 (1982 [2017], Not Two): [r]: B+(***)
  • Howard Riley: Live in the USA (1976 [2018], NoBusiness): [cd]: A
  • Wadada Leo Smith/Sabu Toyozumi: Burning Meditation (1994 [2018], NoBusiness): [cd]: A-
  • Cecil Taylor: Poschiavo (1999 [2018], Black Sun): [r]: B+(***)

Unpacking: Found in the mail last week:

  • Ran Blake/Jeanne Lee: The Newest Sound You Never Heard (1966-67, A-Side, 2CD): January 25
  • Blue Standard: A Good Thing (Big Time): January 18
  • Benjamin Boone/Philip Levine: The Poetry of Jazz: Volume Two (Origin): January 18
  • Eric Dolphy: Musical Prophet: The Expanded 1963 New York Studio Sessions (Resonance, 3CD): January 26
  • Kresten Osgood: Kresten Osgood Quintet Plays Jazz (ILK, 2CD)
  • Alister Spence and Satoko Fujii Orchestra Kobe: Imagine Meeting You Here (Alister Spence Music): January 18
  • Stephan Thelen: Fractal Guitar (Moonjune): January 18

Ask a question, or send a comment.

Wednesday, December 19, 2018

Music Week

Music: current count 30808 [30774] rated (+34), 269 [259] unrated (+10).

Collected the lists late Sunday night, after I wrapped up Weekend Roundup, but still didn't get started writing this until late Tuesday night. Francis Davis was supposed to hand in the 13th Annual Jazz Critics Poll results and analysis today. I assume that happened. At least, I have 139 ballots tabulated (including a couple days of stragglers, but safe to say it's too late to weigh in now). We went back over several contentious and/or confusing issues Monday, making minor adjustments to the votes in cases where some voters got the New and Reissue/Historical categories mixed up. We also carried 2017 votes forward in cases where a record got more votes (not just more points) this year than last.

The poll won't be published until January. Evidently NPR needs the extra lead time to line up sample music and such. I'll try to refrain from commenting until then. One thing the delay does is give me some time to do little bits of programming to clean things up. Probably the most annoying thing for me is that the sort beyond points/votes looks to be accidental. (I think it actually follows the order of albums in the table, which this year were entered as I encountered them on the ballots, mostly in submission order.) Whether I get around to that remains to be seen. Also whether I write up any real commentary on whatever I learned in the process. I've thought about that the last few days, and have a few scattershot notions, but I'm not being very productive.

Actually, I'm feeling pretty fucking depressed. The season may have something to do with it. My mother was a very big Christmas fan, and it's never been the same for me since she passed. And it diminished further when my brother and his family moved away. Then my sister died in March, so this year I'll be cooking Christmas Eve dinner for one nephew, and maybe a couple of friends who don't have their own family obligations. Still, that dinner is a project that give me some meaning. It's much of what I thought about today, and will be until the date. Doesn't seem like much else pressing to do.

We had a tough time organizing our annual latke dinner (Hannukah, but the point is potato pancakes). Did that on Sunday, and my nephew was the only guest who showed up. I grated five russet potatoes, two onions, added five eggs, salt, and pepper, and fried up a bunch of 6-inch discs. Salted some average-looking salmon, and sliced it up. Served sour cream and applesauce (actually the leftover pear-apple mix from the Peace Center desserts). In the past I've made various side dishes, but none of that this time. I did make an apple shalet for dessert: basically, bread pudding with baked sliced apples. It could have used some ice cream, but that's my usual reaction to fruit.

Weather bothers me too. Back in the summer I hated the heat so much I couldn't even recall what cold felt like, but it turns out that it hurts -- even more. I wanted to do some work on my nephew's house, but haven't felt like it (nor has he). Haven't done any projects here, at least beyond some minor leaf work. Nothing inside either. I keep talking about replacing the floor drain in the basement, and spent some money (bought the replacement drain, also a cement chisel since the hard part is busting up the old floor and mixing and pouring a new one), but have yet to start the work. (I did look into renting a small jack hammer, in case the hand tools aren't up to the job.)

And, of course, I'm running into various "confuser" problems. Since I set up an email list for technical advisors, I've been getting ten emails from my server every hour complaining about "excessive resource use" by the various Mailman scripts (none of which have delivered a single email as yet). I'm pretty sure they're false alarms -- e.g., the processes are sleeping, not using anything more than a little RAM -- but this means I find close to 200 new emails when I get up (obviously, not my only source of nuisance email, but a big one). I doubt the list itself will be any help for this particular problem: only two people have asked to join so far, both known to me and neither likely to be much technical help. If you can help on website tech issues, or just want to monitor and occasionally weigh in on user issues, please email me and ask to be signed up.

One tech problem I would have liked to throw open to the list had to do with the RSS Feed at Robert Christgau's website. When I checked it, after posting yesterday's XgauSez Q&A, my browser dropped all of the formatting I had seen from previous tests. I ran it through a validator, found and fixed a couple problems (mostly date/time format), and finally got it to validate. But I still get no format in Firefox. Since I've never used RSS feed clients, I'm having lots of trouble figuring out whether it's working. It could be that Firefox itself has changed: I know now that they've dropped their "Live Bookmarks" feature, but I'm not sure when (or aware of an update on my end). I need to do more research when I get some time, but it's one of those questions that someone probably knows much more about than I do.

I want to backport the RSS code to my own website, but should hold off until I understand it better. I thought I might try some experiments with my WordPress-based Notes on Everyday Life website, but I found it in a terrible mess -- itself a rabbit hole that would take me days (or weeks) to work back out of. Seemed easy when I originally built the site, but I don't seem to be able to get my mind around the tools this time (or have lost the patience for doing so). In fact, I still haven't fixed the boot problem on my new main working computer. Just did a software update this afternoon, so now it wants to be rebooted. Trouble is, it doesn't book cleanly since the last major update. I've been able to overcome this by switching into the BIOS and manually booting from there, but that always seems risky. So for now I think it would be a good idea to hold off until I post this and update everything else. Just a precaution, but as they keep telling us, we live in a dangerous world, where things we depend on can no longer be trusted to fucking work.

I should write something about progress with the EOY Aggregate file, but will have to save that for another day.

New records rated this week:

  • Andrew Barker/Daniel Carter: Polyhedron (2017 [2018], Astral Spirits): [bc]: B+(**)
  • Jon Batiste: Hollywood Africans (2018, Verve): [r]: B+(*)
  • Beak>: >>> (2018, Temporary Residence): [r]: B+(*)
  • Boygenius: Boygenius (2018, Matador, EP): [r]: B
  • Christine and the Queens: Chris (2018, Because Music): [r]: B+(**)
  • Maria Da Rocha: Beetroot & Other Stories (2018, Shhpuma): [r]: B+(**)
  • El Eco With Guillermo Nojechowicz: Puerto de Buenos Aires 1933 (2017, Zoho): [r]: B+(*)
  • Satoko Fujii Orchestra Tokyo: Kikoeru: Tribute to Masaya Kimura (2018, Libra): [cd]: A-
  • Fernando Garcia: Guasabara Puerto Rico (2017 [2018], Zoho): [r]: B+(*)
  • Vinny Golia/Henry Kaiser/Bob Moses/Damon Smith/Weasel Walter: Astral Plane Crash (2018, Balance Point Acoustics): [r]: B+(**)
  • Hamar Trio: Yesterday Is Here (2016 [2018], Clean Feed): [r]: B+(***)
  • Lonnie Holley: MITH (2018, Jagjaguwar): [r]: B
  • François Houle/Alexander Hawkins/Harris Eisenstadt: You Have Options (2016 [2018], Songlines): [r]: B+(***)
  • Quin Kirchner: The Other Side of Time (2018, Astral Spirits): [bc]: B+(***)
  • Knalpot: Dierendag (2017 [2018], Shhpuma): [r]: B+(*)
  • Leikeli47: Wash & Set (2017, Hardcover/RCA): [r]: B+(***)
  • Leikeli47: Acrylic (2018, Hardcover/RCA): [r]: B+(**)
  • Master Oogway: The Concert Koan (2017 [2018], Clean Feed): [r]: B+(**)
  • Peter McEachern Trio: Bone-Code (2017 [2018], Clean Feed): [r]: A-
  • Música De Selvagem: Volume Único (2017 [2018], Shhpuma, EP): [r]: B+(*)
  • Rico Nasty: Nasty (2018, Sugar Trap): [r]: B+(**)
  • Barre Phillips: End to End (2017 [2018], ECM): [r]: B+(***)
  • Antonio Raia: Asylum (2017 [2018], Clean Feed): [r]: B+(**)
  • Mattias Risberg: Stamps (2017 [2018], Clean Feed): [r]: B+(*)
  • Bobby Sanabria Manhattan Big Band: West Side Story: Reimagined (2017 [2018], Jazzheads, 2CD): [r]: B
  • Travis Scott: Astroworld (2018, Epic/Grand Hustle): [r]: B+(**)
  • Thollem/DuRoche/Stjames Trio: Live in Our Time (2015 2018], ESP-Disk): [r]: B+(*)

Recent reissues, compilations, and vault discoveries rated this week:

  • John Coltrane: 1963: New Directions (1963 [2018], Impulse!, 3CD): [r]: B+(***)
  • Soul of a Nation: Jazz Is the Teacher/Funk Is the Preacher (1969-75 [2018], Soul Jazz): [r]: B+(***)

Old music rated this week:

  • John Coltrane: Newport '63 (1961-63 [1993], Impulse!): [r]: A-
  • Barre Phillips: For All It Is (1973, Japo): [r]: B+(**)
  • Barre Phillips: Journal Violone 9 (2001, Émouvance): [r]: B+(*)

Unpacking: Found in the mail last week:

  • Bob Baldori/Arthur Migliazza: The Boogie Kings: Disturbing the Peace (Blujazz)
  • Bobby Bradford/Hafez Modirzadeh: Live at the Blue Whale (NoBusiness): cdr (lp only)
  • Marion Brown/Dave Burrell: Live at the Black Musicians' Conference, 1981 (NoBusiness)
  • Satoko Fujii Orchestra Tokyo: Kikoeru: Tribute to Masaya Kimura (Libra)
  • Jones Jones [Larry Ochs/Mark Dresser/Vladimir Tarasov]: A Jones in Time Saves Nine (NoBusiness): cdr (lp only)
  • Martin Küchen/Rafal Mazur: Baza (NoBusiness): cdr (lp only)
  • Doug MacDonald Trio: View of the City (Blujazz)
  • Liudas Mockünas: Hydro 2 (NoBusiness)
  • Joel Moore/Nick Mizock/Paul Scherer/Michael Barton/Paul Townsend: Magnetic EP (Blujazz, EP)
  • Simon Nabatov/Barry Guy/Gerry Hemingway: Luminous (NoBusiness)
  • Judy Night Quintet: Sliding on Glass: Live at 210 (Blujazz)
  • Howard Riley: Live in the USA (1976, NoBusiness)
  • Wadada Leo Smith/Sabu Toyozumi: Burning Meditation (1994, NoBusiness)

Ask a question, or send a comment.

Sunday, December 16, 2018

Weekend Roundup

Some scattered links this (or the previous) week:

Ask a question, or send a comment.

Tuesday, December 11, 2018

Music Week

Music: current count 30774 [30736] rated (+38), 259 [264] unrated (-5).

No Weekend Roundup this week. Sunday was the deadline for ballots for the 13th Annual Jazz Critics Poll, and I spent pretty much every waking hour collecting and compiling mail, checking details on records, and occasionally kicking back requests for clarification or changes -- main problem is the arbitrary 10-year cutoff date between new and historical music categories. Still counted a couple of stragglers today, giving us 137 ballots -- same as in 2017. I expect results to be published at NPR sometime next week, but don't know anything for sure. Presumably they'll let me know in time for me to set up the complete totals and individual ballots on my website. I still have some annotation to do, but everything is pretty well set up on my end. That means I should get back to normal shortly -- it's just that aside from JCP, nothing I had planned to do last week got done, so I'm starting from a hole.

I did wind up making one minor change to my JCP ballot (see last week): I dropped Nik Bärtsch's Ronin: Awase from 10th place on my new list and moved Martin Küchen & Landaeus Trio: Vinyl into its slot from the Reissues/Historical list (moving the following three records there up). Küchen's music dates from 2013-14, so doesn't qualify as historical given the 10-year rule. And I decided that it isn't really a reissue, even though the music was previously released on two vinyl LPs. This was their first appearance on CD, and it's not unusual for new records to go through changes from format to format. Seemed like the best answer for JCP, although I still have it Reissue/Historical in my own still-evolving EOY lists Jazz (also Non-Jazz). Both of those lists grew by 2 last week, so now are 55-49. Still, none of the new records came close to being ballot picks.

No incoming CDs last week, although I did get a couple packages this week, including new releases from NoBusiness in Lithuania. I don't think I've ever run the numbers before, but my impression has long been that close to half of my top-rated albums come from European artists (22/55 this year) and/or labels (25/55) -- not that I'm sure I'm counting either right. (Add one in both columns for Japan/Asia.)

I should also offer a link to the EOY Aggregate file. I was close to caught up a week ago, but since then I've fallen way behind -- lots of lists are coming out, and I've only counted a few. So I expect quite a bit of change as I catch up.

New records rated this week:

  • Albatre: The Fall of the Damned (2018, Shhpuma): [r]: B
  • Anguish: Anguish (2018, RareNoise): [cdr]: B+(**)
  • Lotte Anker/Pat Thomas/Ingebrigt Håker Flaten/Ståle Liavik Solberg: His Flight's at Ten (2016 [2018], Iluso): [bc]: B+(**)
  • Kadhja Bonet: Childqueen (2018, Fat Possum): [r]: B-
  • Butcher Brown: Camden Session (2018, Gearbox): [r]: B+(*)
  • Carla Campopiano Trio: Chicago/Buenos Aires Connections (2018, self-released): [cd]: B
  • Guillermo Celano/Jachim Badenhorst/Marcos Baggiani: Lili & Marleen (2016 [2018], Clean Feed): [r]: B+(**)
  • Coyote Poets of the Universe: Strange Lullaby (2018, Square Shaped, 2CD): [cd]: A-
  • Dystil: Dystil (2017 [2018], Clean Feed): [r]: B+(*)
  • Satoko Fujii/Joe Fonda: Mizu (2018, Long Song): [bc]: B+(***)
  • The Goon Sax: We're Not Talking (2018, Wichita): [r]: A-
  • Guillermo Gregorio/Rafal Mazur/Ramón López: Wandering the Sounds (2018, Fundacja Sluchaj): [bc]: B+(***)
  • Barry Guy: Barry Guy @ 70: Blue Horizon: Live at Ad Libitum ()2017 [2018], Fundacja Sluchaj, 3CD): [bc]: A-
  • Eric Harland: 13th Floor (2018, 13th Floor): [r]: B+(*)
  • Stefon Harris + Blackout: Sonic Creed (2017 [2018], Motéma): [r]: B-
  • Ingrid Jensen/Steve Treseler: Invisible Sounds: For Kenny Wheeler (2018, Whirlwind): [r]: B+(***)
  • Jessice Lurie: Long Haul (2017, Chant): [r]: B+(**)
  • Masta Ace & Marco Polo: A Breukelen Story (2018, Fat Beats): [bc]: B+(***)
  • Wojtek Mazolewski Quintet: Polka (2018, Whirlwind): [r]: A-
  • Onyx Collective: Lower East Suite Part One (2017, Big Dada, EP): [r]: B+(*)
  • Onyx Collective: Lower East Suite Part One (2017, Big Dada, EP): [r]: B+(*)
  • Onyx Collective: Lower East Suite Part Three (2018, Big Dada): [r]: B+(***)
  • Chris Pitsiokos/Susana Santos Silva/Torbjörn Zetterberg: Child of Illusion (2017 [2018], Clean Feed): [r]: B+(*)
  • Rosalía: El Mal Querer (2018, Sony Music): [r]: B
  • Akira Sakata & Chikamorachi With Masahiko Satoh: Proton Pump (2015 [2018], Family Vineyard): [r]: B+(***)
  • Akira Sakata/Simon Nabatov/Takashi Seo/Darren Moore: Not Seeing Is a Flower (2017 [2018], Leo): [r]: B+(**)
  • Josh Sinton's Predicate Trio: Making Bones, Taking Draughts, Bearing Unstable Millstones Pridefully, Idiotically, Prosaically (2018, Iluso): [bc]: B+(**)
  • Tirzah: Devotion (2018, Domino): [r]: B+(**)
  • Turbamulta: Turbamulta (2018, Clean Feed): [r]: B+(*)
  • Chucho Valdés: Jazz Batá 2 (2018, Mack Avenue): [r]; B+(***)
  • Voicehandler: Light From Another Light (2017 [2018], Humbler): [cd]: B+(*)
  • Walking Distance: Freebird by Walking Distance feat. Jason Moran (2018, Sunnyside): [r]: B+(***)
  • Aida Bird Wolfe: Birdie (2018, self-released): [cd]: B+(***)
  • Z-Country Paradise: Live in Lisbon (2016 [2018], Leo): [r]: A-

Recent reissues, compilations, and vault discoveries rated this week:

  • Joan Jett: Bad Reputation [Music From the Original Motion Picture] (1976-2016 [2018], Legacy): [r]: A-
  • L7: Wireless (1992 [2016], Easy Action): [r]: B+(***)
  • L7: Fast and Frightening (1990-98 [2016], Easy Action, 2CD): [r]: B+(**)

Old music rated this week:

  • L7: Slap-Happy (1999, Bong Load): [r]: B+(**)

Unpacking: Found in the mail last week: no music albums, but let's list some recent music books:

  • Robert Christgau: Is It Still Good to Ya? Fifty Years of Rock Criticism 1967-2017 (paperback, 2018, Duke University Press)
  • John Corbett: Vinyl Freak: Love Letters to a Dying Medium (paperback, 2017, Duke University Press)
  • Tom Smucker: Why the Beachboys Matter (paperback, 2018, University of Texas Press)

Ask a question, or send a comment.

Tuesday, December 4, 2018

Music Week

Music: current count 30736 [30692] rated (+44), 264 [271] unrated (-7).

Got so jammed up Monday I didn't get a word of this written on its appointed day, but I did manage to move the records from the scratch file and start on next week while I was falling behind. One task was to format Robert Christgau's latest XgauSez question and answer session, which came out in the wee hours of Tuesday morning. Another was counting ballots for the 13th Annual Jazz Critics Poll (56 in at present, deadline Sunday, December 9, 7pm). I can't show you any of that, but I've also been counting EOY lists for my EOY Aggregate, which you can track the progress of. Although lists started to appear before Thanksgiving, there wasn't much until December 1 (or the Monday after).

It occurs to me I should probably nail down my Jazz ballot now, rather than wait for the end of the week. Of course, my real list remains subject to change. If the past is any guide, I'll probably find a new A- record within 2-3 days, and something to nudge into the ballot territory in 10-15 days.

New Music:

  1. Joakim Milder/Fredrik Ljungkvist/Mathias Landraeus/Filip Augustson/Fredrik Rundkvist: The Music of Anders Garstedt (Moserobie)
  2. Peter Kuhn Trio: Intention (FMR)
  3. Kira Kira: Bright Force (Libra)
  4. Rich Halley 3: The Literature (Pine Eagle)
  5. Rodrigo Amado: A History of Nothing (Trost)
  6. James Brandon Lewis/Chad Taylor: Radiant Imprints (OFF) **
  7. Sons of Kemet: Your Queen Is a Reptile (Impulse!) **
  8. Henry Threadgill 14 or 15 Kestra: Agg: Dirt . . . and More Dirt (Pi)
  9. Kevin Sun: Trio (Ectomorph Music)
  10. Nik Bärtsch's Ronin: Awase (ECM) **

Reissues/Historical:

  1. Martin Küchen & Landaeus Trio: Vinyl (2013-14, Moserobie)
  2. Alexander Von Schlippenbach/Aki Takase: Live at Café Amores (1995, NoBusiness)
  3. Art Pepper: Unreleased Art Pepper Vol. 10: Toronto (1977, Widow's Taste, 3CD)
  4. Fred Hersch: Fred Hersch Trio '97 @ The Village Vanguard (Palmetto)

Vocal:

  1. Benjamin Boone/Philip Levine: The Poetry of Jazz (Origin)

Debut:

  1. Kevin Sun: Trio (Ectomorph Music)

Latin Jazz:

  1. David Virelles: Igbó Alákorin (The Singer's Groove) Vol I & II (Pi)

You may notice that the Reissues/Historical list doesn't match the EOY file. I decided to only include records that I have physical copies of -- partly to credit the few good publicist who actually still send me eligible records, and partly because some of the records on the current list (like the expanded Sonny Rollins Way Out West and the reduced Anthony Braxton Quartet (Willisau) 1991 Studio) are items I was already pretty familiar with. Also, note that only three Reissue/Historical albums will be counted. I went to four in case the judge decides that the Küchen album is too recent (although it is literally a reissue of recent vinyl releases).

[PS: I finally decided to treat Küchen/Landaeus as new and slot it at number 10, bumping Nik Bärtsch's Ronin from the top ten. So, turns out my blog-posted ballot didn't last 30 minutes before I had a change of heart/mind.]

I published Streamnotes (November 2018) last Friday, so most of this week's batch of newly rated records got written up there. I added one more jazz A- in the two days after Streamnotes (Flavio Zanuttini), and I've actually added one more in the two days between when I ended last week and as I'm writing now (Wojtek Mazolewski Quintet's Polka). My current division of A-lists is 53 Jazz vs. 47 Non-Jazz, so it's tilted a bit toward jazz over the last couple weeks.

I was hoping to get a couple of technical things set up so I could announce them this week, but didn't get around to doing the necessary work:

  • I plan on setting up an RSS feed, like I did for Robert Christgau's website. Same idea: manually manage a list of new/updated files (checking against a time-sorted list of files), and write a bit of code to format that list as RSS 2.0. This could just include the faux blog files -- that's certainly the piece that needs RSS exposure. Shouldn't take more than a couple hours to set up at this point.

  • I want to add a question-and-answer feature, like I did for Robert Christgau with XgauSez. It will take a couple hours to set up a special email account, add the captcha code, port the question form and the Q&A reader, and add some links. I'd also like to add some new features, like a keyword search.

  • I want to set up an email list (based on GNU Mailman) for people who would like to offer advice (technical but also user) on my various website projects (especially robertchristgau.com and tomhull.com, and a future music website, to be hosted at terminalzone.net). I've often found myself wishing I could tap into a pool of technical help, as well as to get comments on user design questions, especially as I undertake development projects, like the recent RSS feeds, and more importantly a redesign of the Christgau website. I expect this to be set up shortly after I post this, but it will (at least for the time being) be a private list, so if you want to join (to participate or maybe just to lurk) please send me email. Most likely I will subscribe you then, and you will receive email with an account password (which you can change). You can use your password to change your options (such as to elect to receive a daily digest instead of every email message as it's sent), or to unsubscribe. You may also at any time ask me to unsubscribe you.

So, one (mostly) down. The others shouldn't be too hard to get working in the next week. Also managed to get a stub set up over at Terminal Zone, so I can start hanging things there. Still, most of this coming week will go to tabulating ballots and collecting lists. I guess the latter qualifies as my favorite waste of time. At some point I need to stop and get onto other work, but for now, 'tis the season for it.

New records rated this week:

  • Juhani Aaltonen/Raoul Björkenheim: Awakening (2016 [2018], Eclipse): [r]: B+(**)
  • Tom Abbs & Frequency Response: Hawthorne (2018, Engine Studios): [r]: B+(***)
  • Anderson .Paak: Oxnard (2018, Aftermath/12 Tone Music): [r]: A-
  • Brom: Sunstroke (2017 [2018], Trost): [bc]: B+(**)
  • Peter Brötzmann/Heather Leigh: Sparrow Nights (2018, Trost): [bc]: B+(*)
  • Dustin Carlson: Air Ceremony (2017 [2018], Out of Your Head): [cd]: B+(**)
  • Neneh Cherry: Broken Politics (2018, Smalltown Supersound): [r]: B+(***)
  • Chicago Edge Ensemble: Insidious Anthem (2018, Trost): [bc]: B+(***)
  • Lando Chill: Black Ego (2018, Mello Music Group): [r]: B+(*)
  • Zack Clarke: Mesophase (2017 [2018], Clean Feed): [r]: B+(*)
  • Collective Order: Collective Order Vol. 3 (2018, self-released): [cd]: B
  • Francesco Cusa & the Assassins Meets Duccio Bertini: Black Poker (2017 [2018], Clean Feed): [r]: B+(*)
  • Drone Trio [Evelyn Davis/Fred Frith/Phillip Greenlief]: Lantskap Logic (2013 [2018], Clean Feed): [r]: B+(*)
  • James Francies: Flight (2018, Blue Note): [r]: B
  • Full Blast: Rio (2016 [2018], Trost): [bc]: B+(***)
  • Marquis Hill: Modern Flows Vol. 2 (2018, Black Unlimited Music Group): [r]: B
  • Khruangbin: Con Todo El Mundo (2018, Dead Oceans): [r]: B+(*)
  • Frank Kimbrough: Monk's Dreams: The Complete Compositions of Thelonious Sphere Monk (2017 [2018], Sunnyside, 6CD): [r]: A-
  • Roy Kinsey: Blackie: A Story by Roy Kinsey (2018, Not Normal): [bc]: B+(***)
  • Simone Kopmajer: Spotlight on Jazz (2018, Lucky Mojo): [cd]: B+(**)
  • Andrew Lamb Trio: The Casbah of Love (2018, Birdwatcher): [r]: B+(**)
  • Low: Double Negative (2018, Sub Pop): [r]: B+(*)
  • Kirk Knuffke/Steven Herring: Witness (2017 [2018], SteepleChase): [r]: B
  • Thomas Marriott: Romance Language (2017 [2018], Origin): [cd]: B+(**)
  • Joakim Milder/Fredrik Ljungkvist/Mathias Landraeus/Filip Augustson/Fredrik Rundkvist: The Music of Anders Garstedt (2016 [2018], Moserobie): [cd]: A
  • Father John Misty: God's Favorite Customer (2018, Sub Pop): [r]: B
  • Fredrik Nordström: Needs (2018, Clean Feed): [r]: B+(***)
  • Miles Okazaki: Work: The Complete Compositions of Thelonios Monk (2018, self-released, 6CD): [bc]: B+(***)
  • Caterina Palazzi/Sudoku Killer: Asperger (2017 [2018], Clean Feed): [r]: B+(***)
  • Charlie Porter: Charlie Porter (2018, Porter House): [r]: B+(*)
  • Quoan [Brian Walsh/Daniel Rosenboom/Sam Minaie/Mark Ferber]: Fine Dining (2017 [2018], Orenda): [r]: B+(**)
  • Ernesto Rodrigues/Guilherme Rodrigues/Bruno Parrinha/Luís Lopes/Vasco Trillo: Lithos (2017 [2018], Creative Sources): [cd]: B+(**)
  • Renee Rosnes: Beloved of the Sky (2017 [2018], Smoke Sessions): [r]: B+(**)
  • John Scofield: Combo 66 (2018, Verve): [r]: B+(**)
  • Sleep: The Sciences (2018, Third Man): [r]: B+(*)
  • Marcus Strickland Twi-Life: People of the Sun (2018, Blue Note): [r]: B
  • Trio Heinz Herbert: Yes (2018, Intakt): [cd]: B+(***)
  • The Way Ahead: Bells Ghosts and Other Saints (2017 [2018], Clean Feed): [r]: B+(*)
  • Mars Williams: Mars Williams Presents an Ayler Xmas (2017, Soul What): [bc]: B+(***)
  • Mars Williams: Mars Williams Presents an Ayler Xmas: Volume 2 (2018, Soul What): [bc]: B+(**)
  • Yoko Yamaoka: Diary 2005-2015: Yuko Yamaoka Plays the Music of Satoko Fujii (2018, Libra, 2CD): [cd]: B+(**)
  • Flavio Zanuttini Opacipapa: Born Baby Born (2018, Clean Feed): [r]: A-

Old music rated this week:

  • Boneshaker: Unusual Words (2012 [2014], Soul What): [bc]: B+(***)
  • Billie Holiday: Songs for Distingué Lovers (1957 [1958], Verve): [r]: A-
  • Terry Pollard: Terry Pollard (1955, Bethlehem): [r]: B+(***)

Unpacking: Found in the mail last week:

  • Sam Broverman: A Jewish Boy's Christmas (Brovermusic)
  • Scheen Jazzorchester/Eyolf Dale: Commuter Report (Losen)

Ask a question, or send a comment.

Sunday, December 2, 2018

Weekend Roundup

Any week since Trump became president, spend a day or two and you'll come up with a fairly long list of pieces worth citing, and the sense that you're still missing much of what is going on. For instance, my usual sources on Israel/Palestine have yet to catch up with this: Josef Federman: Israeli Police Recommend Indicting Netanyahu on Bribery Charges. Seems like that should be at least as big a story as Putin and Saudi crown prince high-five at G20 summit. But this is all I came up with for the week.

I probably should have written standalone pieces on GWH Bush and on Jill Lepore's These Truths, but wound up squeezing some notes here for future reference. Under Bush, I wondered how many articles I'd have to read -- critical as well as polite or even adulatory -- before someone would bring up what I regard as the critical juncture in his period as president: his invasion of Panama. I lost track, but in 20-30 pieces I looked at, none broached the topic. I had to search specifically before I came up with this one: Greg Grandin: How the Iraq War Began in Panama. When Bush became president, people still talked about a "Vietnam syndrome" which inhibited American politicians and their generals from starting foreign wars. Bush is generally credited as having "kicked the Vietnam syndrome," with two aggressive wars, first in Panama, then in Iraq. Bush and the media conspired to paint those wars as glorious successes, the glow from which enabled Clinton, Bush II, and Obama to launch many more wars: Somalia, Haiti, Kosovo, Afghanistan, Iraq (again), Syria, as well as dozens of more marginal operations. Woodrow Wilson once claimed to be fighting "a war to end all wars." Bush's legacy was more modest: a war to kindle many more wars.

Oddly enough, the story below that links up most directly to Bush's legacy of war is the one about the increasing rate of premature deaths (suicides and overdoses). That's what you get from decades of nearly continuous war since Bush invaded Panama in 1989. The other contributing factor has been increasing income inequality, which has followed a straight line ever since 1981, when the Reagan/Bush administration slashed taxes on the rich.

Recently, we've seen many naive people praise Bush for, basically, not being as flat-out awful as his Republican successors. They've done this without giving the least thought to how we got to where we are now. The least they could do is check out Kevin Phillips' 2004 book: American Dynasty: Aristocracy, Fortune, and the Politics of Deceit in the House of Bush.

Some scattered links this week:

Ask a question, or send a comment.

Friday, November 30, 2018

Streamnotes (November 2018)

Starting to sift through and sort out EOY lists, including my own Jazz and Non-Jazz lists. I've also started to compile this year's EOY Aggregate list. Not enough lists yet for the latter to be of much use.

Most of these are short notes/reviews based on streaming records from Napster (formerly Rhapsody; other sources are noted in brackets). They are snap judgments, usually based on one or two plays, accumulated since my last post along these lines, back on October 31. Past reviews and more information are available here (12132 records).

Recent Releases

Juhani Aaltonen/Raoul Björkenheim: Awakening (2016 [2018], Eclipse): Two of Finland's most famous jazz musicians, the former established himself as a tenor saxophonist in the late 1970s, the latter as an electric guitarist in the 1990s. Duo here, opting for softer instruments -- flute vs. 6- or 12-string guitar or viola da gamba -- not that they roll over and play nice. I'm not much of a flute fan, but nothing here makes me regret the times I've voted for him in polls. B+(**)

Ambrose Akinmusire: Origami Harvest (2018, Blue Note): Trumpet player, from Oakland, major label has given him a big profile and encouraged him to break new ground, attempting here a novel mix of chamber jazz and hip-hop -- most songs have lyrics from Victor Vasquez (Kool A.D.), one from Terrard Robinson (LMBR-JCK T). Reminds me how after dragging my feet what finally sold me on hip-hop was the beats, mostly because they're so slack here: Marcus Gilmore programs as well as drums, but the music is mostly plain strings (MIVOS Quartet). B+(*)

Joey Alexander: Joey. Monk. Live! (2017, Motéma): Pianist, from Bali, Indonesia, father named Denny Sila, dropping the patronymic name seems to be common there. Third album, cut at Lincoln Center shortly before he turned 14. I'm not easily impressed by prodigies, but his first album was a pleasant surprise, helped more than a little by adults on bass and drums. Scott Colley and Willie Jones III fill that role here, after opening with a solo "Round Midnight." B

Joey Alexander: Eclipse (2017 [2018], Motéma): Fourth album, eight trio tracks with Reuben Rogers on bass and Eric Harland on drums, plus three with Joshua Redman on tenor sax. The latter are quite nice, especially the opener ("Bali"). Not my idea of a great pianist, but technically he's very solid. B+(**)

Amu: Weave (2018, Libra, CD+DVD): Part of pianist Satoko Fujii's album-per-month 60th birthday celebration, a trio with Natsuki Tamura (trumpet) and Takashi Itani (drums) plus "percussive dancer" Mizuki Wildenhahn -- although not percussive enough to make much of an impression on the CD. She does fare better on the DVD (if you're into that sort of thing), at least filling in some of the otherwise unintelligible stretches. Also helps when the piano and/or trumpet explode, although not by changing the video focus. B+(*)

Anderson .Paak: Oxnard (2018, Aftermath/12 Tone Music): Working his way up the California coastline, perhaps on his way to Big Sur to complete his transformation into hippiedom (or underground literary renown). I haven't sorted this all out -- doubt I ever will -- but it's as fetching as his previous one. A-

Ethan Ardelli: The Island of Form (2018, self-released): Drummer-composer, from Nova Scotia, based in Toronto, first album, an alto sax quartet featuring Luis Deniz, with Chris Donnelly (piano) and Devon Henderson (bass). Lovely tone on the alto, nice flow throughout with just enough tension to keep it interesting. B+(***) [cd]

Mandy Barnett: Strange Conversation (2018, Dame Productions/Thirty Tigers): Country singer, first claim to fame came in 1995 when she starred in a Patsy Cline tribute, but didn't follow up her superb 1998 I've Got a Right to Cry until 2011, and this is the first I've noticed in 20 years. Covers of pop obscurities, most terrific -- my pick is the doo-wop of "It's All Right (You're Just in Love)," originally by the Tams. Christgau's favorite is a rockabilly piece called "The Fool." The only one I immediately recognized was from Sonny & Cher. Archivalism on a par with prime Ry Cooder. A-

Pat Bianchi: In the Moment (2018, Savant): Organ player, seems like he's been around a while but he's only 42, just a couple albums under his own name. Trio with Paul Bollenback (guitar) and Byron Landham (drums) plus various guests: Peter Bernstein, Carmen Intorre Jr., Joe locke, Kevin Mahogany, Pat Martino. B

Big Bold Back Bone: Emerge (2015 [2018], Wide Ear): Jazztronica group, I guess: Marco von Orelli (trumpet/slide trumpet), Luis Lopes (electric guitar and objects), Travassos (electronics), Sheldon Suter (prepared drums). Scattered sounds, improvised without much beat. B+(*) [cd]

BROM: Sunstroke (2017 [2018], Trost): Russian avant sax trio -- Anton Ponomarev (tenor sax), Dmitry Lapshin (electric bass), Yaroslav Kurillo (drums) -- started around 2008 (first two), sax shows a strong Brötzmann/Gustafsson influence, but the bassist rocks. Probably too tricky for metalheads and noise freaks, but up their alley. B+(**) [bc]

Magnus Broo Trio: Rules (2017 [2018], Moserobie): Swedish trumpet player, best known in groups like Atomic and the Godforgottens and side-credits, but recorded four quartet albums 1999-2008. This frames him nicely in a trio with Ingebrigt Håker Flaten on bass and Håken Mjåset Johanson on drums, relatively short at 35:11. B+(**)

Bobby Broom & the Organi-sation: Soul Fingers (2018, MRi): Guitarist, group is a trio with Ben Paterson on organ and Kobie Watkins on drums, plus you get the occasional guest. Mostly chintzy pop trifles ("Come Together," "Ode to Billie Joe," "Do It Again," "While My Guitar Gently Weeps," "Summer Breeze," etc.): problem with such tunes is that they inevitably taste of Muzak, not that this isn't a cut above that. B [cd]

Peter Brötzmann/Heather Leigh: Sparrow Nights (2018, Trost): Leigh plays pedal steel guitar; Brötzmann credit reads: "b-flat/bass/contra-alto clarinet, alto/tenor/bass saxophone." Duo has recorded several albums since 2015, but never struck me as an especially good fit. The extra range of horns helps. B+(*) [bc]

Don Byron/Aruán Ortiz: Random Dances and (A)tonalities (2017 [2018], Impakt): Duets, clarinet/saxophone and piano, the latter from Cuba with a strong run of recent records (mostly trios), the former an instant star on jazz clarinet with his 1992 debut but hasn't led an album since his 2006 Jr. Walker tribute. Patient listening here, an even match which doesn't blow you away but is always interesting. B+(***) [cd]

Francesco Cafiso Nonet: We Play for Tips (2017 [2018], EFLAT/Inciipt): Alto saxophonist, from Italy, was 12 in 2001 when he cut his first record. Two trumpets, trombone, three saxes (each also on a clarinet or flute), piano-bass-drums. B+(**)

Rosanne Cash: She Remembers Everything (2018, Blue Note): Singer-songwriter, born into country music but retains little beyond a basic naturalism and an eye for detail. Good songs here. Also perks for Elvis Costello and Kris Kristofferson. B+(***)

Annie Chen Octet: Secret Treetop (2018, Shanghai Audio & Video): Chinese singer-songwriter, born in Beijing but based in New York, nominally jazz although I hear more affinity to light opera. The singer is counted in an octet with trumpet, alto sax, piano (Glenn Zaleski), guitar, violin, bass, drums. B [cd]

Neneh Cherry: Broken Politics (2018, Smalltown Supersound): Afro-Swedish singer, original surname Karlsson, mother married trumpet player Don Cherry, grew up in US and UK, sang in punk bands including the Slits, recorded two brilliant hip-hop albums 1989-92, then nothing until The Cherry Thing (with Norwegian avant-jazz trio Thing) in 2012. This one is produced by Kieran Hebden (dba Four Tet), electronics that sneak up and grow on you. B+(***)

Chicago Edge Ensemble: Insidious Anthem (2018, Trost): Chicago avant quintet, I figure guitarist Dan Phillips for the leader, with two Vandermark 5 founders -- Mars Williams (saxophones) and Jeb Bishop (trombone) -- Krzysztof Pabian on bass and Hamid Drake on drums. Often terrific, but stumbles here and there. B+(***) [bc]

Lando Chill: Black Ego (2018, Mello Music Group): Rapper, "equal parts west coast funk and deert trip-hop," clever music obscured the lyrics at first, then got a bit too clever as I lost my way. B+(*)

The Chills: Snow Bound (2018, Fire): Pop rockers from New Zealand, principally Martin Phillipps, started around 1980, peaked with two 1990-92 albums, split up, regrouped, lost more than a decade before coming back in 2013, 2015, and here. Unmistakable sound, just not as struck by the songs here as last time (Silver Bullets). B+(**)

Eric Church: Desperate Man (2018, EMI Nashville): Country singer-songwriter, seemed headed for rock stardom a few years back, sporting one of the loudest bands in Nashville. Dials it back a bit here, giving the songs more air and resonance, leaning toward Steve Earle territory. Happy to hear more of that. A-

Richie Cole: Cannonball (2018, RCP): Alto saxophonist, started recording in 1976, prolific through the 1980s, slowed down later but never skipped more than five years, and has rebounded a bit lately. Back cover lists a sextet here, with trombone (Reggie Watkins) the other horn, plus guitar, piano, bass, and drums, swinging through Cannonball Adderley's songbook, but this sometimes sounds more like a big band -- indeed, the notes inside list additional musicians, including singer Denia on two cuts. B+(**) [cd]

Collective Order: Collective Order Vol. 3 (2018, self-released): Toronto outfit, 21 members listed, no idea of the internal dynamics and relationships, probably because it's too much work to care at this distance. I will say too many vocals. Also that I did hear some interesting music, but no longer recall where or when. B [cd]

The Chick Corea + Steve Gadd Band: Chinese Butterfly (2017 [2018], Stretch/Concord, 2CD): Piano and drums for the leaders, the drummer four years younger -- they played together as far back as 1976 (My Spanish Heart), reunited in 2006's Super Trio (with Christian McBride). With Steve Wilson (sax/flute), Lionel Loueke (guitar), Luisito Quintero (percussion), and Philip Bailey (vocals, featured on one track but present elsewhere). Voted Jazz Album of the Year by Downbeat readers, doesn't strike me as offering much beyond pleasant background groove. B+(*)

Roxy Coss: The Future Is Female (2018, Posi-Tone): Tenor saxophonist (also plays bass clarinet), originally from Seattle, now New York, fourth album, postbop quintet with guitar (Alex Wintz), piano (Miki Yamanaka), bass and drums. Woke titles, the guitar often stealing solo space, the sax more engaging, but rather thick and slick. B

Mario Costa: Oxy Patina (2017 [2018], Clean Feed): Portuguese drummer-composer, debut album, with Marc Ducret (guitar) and Benoît Delbecq (piano) -- both formidable musicians. B+(**)

Andrew Cyrille: Lebroba (2017 [2018], ECM): Legendary drummer, with even bigger names just below the title: Wadada Leo Smith (trumpet) and Bill Frisell (guitar). All three contribute pieces (Smith's by far the longest): abstract, scattered, often evocative, but nothing much in the way of flow. B+(***)

Josephine Davies: Satori (2016 [2017], Whirlwind): British saxophonist, photos show tenor but I'm also hearing soprano, leads a trio with Dave Whitford (bass) and Paul Clarvis (drums), live at Iklectik in London. I may be a sucker for sax trios, but only if they're as consistently on point at this one is. A-

Josephine Davies' Satori: In the Corners of Clouds (2018, Whirlwind): Tenor sax trio again, same bassist (Dave Whitford), new drummer (James Madden). Pretty much the same sound and dynamics as on her group-defining Satori. A- [bc]

Doctor Nativo: Guatemaya (2018, Stonetree): From Guatemala, first album, Christgau noted a rhythmic likeness to Manu Chao (which was enough to get me interested). Roger that, although he's less cosmopolitan and more rooted in cumbia, namechecked with some frequency here. A-

David Dominique: Mask (2018, Orenda): Credited with "flugabone and voices," claims Mingus as a "major influence," but also Zappa -- neither occurred to me, but the latter explains a lot. With three saxophonists, viola, guitar, bass, and drums. C [cd]

Kaja Draksler/Petter Eldh/Christian Lillinger: Punkt. Vrt. Plastik (2016 [2018], Intakt): Piano trio, the pianist from Slovenia, bassist Swedish, drummer German. Hard to say what makes this one of the year's finest piano trio albums: maybe inner strength, which gives her unpredictable moves an air of destiny. An attentive rhythm section helps, too. A- [cd]

Open Mike Eagle: What Happens When I Try to Relax (2018, Auto Reverse, EP): Rapper, underground, points out "some people are dummies but I'm intellectual"; true that, but he doesn't separate himself from the dummies. Six cuts, 19:41. B+(***)

Kurt Elling: The Questions (2017 [2018], Okeh): Jazz singer, used to do lots of fancy inflections and such that I never much cared for. Lately, seems to have lost his shtick as well as his voice, leaving rather little. B-

John Escreet: Learn to Live (2018, Blue Room): Pianist, half-dozen albums so far, opens with electric keyboard here, adding trumpet (Nicholas Payton), sax (Greg Osby), bass, and two drummers for fusion groove -- sometimes packed with tension, sometimes cheesy. B

The Gil Evans Orchestra: Hidden Treasures Monday Nights: Volume One (2016-17 [2018], Bopper Spock Suns Music): Produced by Noah Evans, co-produced by Miles Evans (trumpet), executive producer Anita Evans, core band has 10 members, 15 more guests here and there, most fairly famous, I count 13 in the inside jacket picture. Closes with two Gil Evans pieces, after five from five others (including one by Miles Evans). No doubt where the ideas come from, but little memorable ensues. B+(*) [cd]

Marianne Faithfull: Negative Capability (2018, BMG): Past 70 now, if you thought her voice was shot a decade ago, you should hear her now -- starting excruciatingly rough, gradually gaining hard-earned grandeur. Many songs are familiar, including her Nth "As Tears Go By" and a particularly affecting "Witches Song" (from her masterpiece, Broken English). Nick Cave and Ed Harcourt contribute songs and help out. "No Moon in Paris" is such a perfect closer you forgo the extra "Deluxe Edition" cuts. B+(***)

Alan Ferber Big Band: Jigsaw (2016 [2017], Sunnyside): Trombonist, has often worked in large groups and goes whole hog here, with a conventional 17-piece big band -- mostly name players, working in New York, including some crack soloists. Ferber's pieces, with a little Latin tinge. B+(**)

Birgitta Flick Quartet: Color Studies (2018, Double Moon): Tenor saxophonist, based in Berlin, two previous Quartet albums, also two with her Flickstick group, and a duo with Carol Liebowitz (below). With piano (Andreas Schmidt), bass (James Banner), and drums (Max Andrzejewski). B+(**)

Michael Formanek Elusion Quartet: Time Like This (2018, Intakt): Bassist, an important figure and leader since 1990. Quartet with Tony Malaby (tenor/soprano sax), Kris Davis (piano), and Ches Smith (drums/vibes/Haitian tambou) -- stars in their own right, but here they shape their efforts to add color and (rarely) spice to the bassist's compositions. B+(**) [cd]

James Francies: Flight (2018, Blue Note): Young pianist (23), from Houston, based in New York, first album. Derrick Hodge produced, throwing a lot of flash and muscle his way: Chris Potter sax, Mike Moreno guitar, vibes, two drummers, "three uniquely powerful singers . . . highlight one track apiece." The singers aren't the only problem here, but they detract from whatever jazz promise he had. Hope he escapes soon. Also hope he retains Potter's business card. B

Gabriela Friedli Trio: Areas (2015 [2018], Leo): Swiss pianist, second trio album with Daniel Studer (bass) and Dieter Ulrich (drums). Rigorously avant, keeps you off guard. B+(**)

David Friesen: My Faith, My Life (2017-18 [2018], Origin, 2CD): Best known as a bassist, also a composer of notes, has headlined albums since 1976, summing up his career here with one disc of solo bass, a second of solo piano. Easily proficient at the latter, but I prefer the bass work, spiced with a bit of shakuhachi. B+(***) [cd]

Full Blast: Rio (2016 [2018], Trost): Avant sax trio -- Peter Brötzmann credited with reeds, Marino Pliakis "E-Bass," Michael Wertmüller drums -- recorded live in Brazil but otherwise making no concessions to their hosts. Group name from their 2009 album. Not quite as full a blast as expected: maybe Brötzmann is mellowing a bit at 75, or maybe my ears are finally adjusting. B+(***) [bc]

Aaron Goldberg: At the Edge of the World (2016 [2018], Sunnyside): Pianist, originally from Boston, records start in 1999, trio here, with Matt Penman on bass and Leon Parker on drums and "vocal percussion" -- playing this after Amu made me think of tap. B+(**)

Randy Halberstadt: Open Heart (2018, Origin): Pianist, from Seattle, previous albums date back to 1991. Septet: three horns, vibes, piano trio, originals sprinkled with classics -- I prefer the Gershwin to the Chopin -- some quite nice, some run on a bit. B+(*) [cd]

Clay Harper: Bleak Beauty (2018, self-released): Singer-songwriter from Atlanta, started in a group called the Coolies, third album since 1997. B+(*)

David Hazeltine: The Time Is Now (2018, Smoke Sessions): Mainstream pianist, been around, trio with Ron Carter and Al Foster. Six originals, some nice standards. B+(*)

Claus Højensgård/Emanuele Mariscalco/Nelide Bendello: Høbama (2017 [2018], Gotta Let It Out): Trumpet/keyboards/drums trio, the leader (and label) Danish, produced by Tomo Jacobson. Tightly wound, relatively short (32:54). B+(*) [cd]

Christopher Hollyday: Telepathy (2018, Jazzbeat Productions): Alto saxophonist, originally from Connecticut, recorded six albums 1985-92, moved to California in 1993, and this is his first album in over 25 years. Classic bop quintet with trumpet (Gilbert Castellanos), piano (Joshua White), bass and drums, doing standards and classics -- nothing more recent than Freddie Hubbard. Six tracks, 33:01, "I've Got the World on a String" certainly does. B+(***) [cd]

Homeboy Sandman & Edan: Humble Pi (2018, Stones Throw, EP): New York underground rapper Angel Del Villar II, working with Edan Portnoy's beats. Considers this an album, but like most of his output is within EP range (seven tracks, 22:57). B+(**)

Adam Hopkins: Crickets (2018, Out of Your Head): Bassist, from Baltimore, based in Brooklyn, first album after a 2017 EP and a fairly wide range of side credits (e.g., Quartet Offensive, Ideal Bread, Dave Ballou & BeepHonk). Sextet, three saxophones (Anna Webber, Ed Rosenberg, Josh Sinton, ranging from tenor to bass plus bass clarinet), guitar (Jonathan Goldberger), and drums (Devin Gray). B+(**) [cd]

Jason Kao Hwang Burning Bridge: Blood (2018, True Sound): Violinist, has done a lot to incorporate traditional Chinese music into avant-jazz. Band here includes erhu (Wang Guowei) and pipa (Sun Li), as well as Taylor Ho Bynum (cornet), Steve Swell (trombone), Joseph Daley (tuba), Ken Filiano (bass), and Andrew Drury (drums). A- [cd]

Rocco John Iacovone/Jack DeSalvo/Mark Hagan/Phil Sirois/Tom Cabrera: Connoisseurs of Chaos IV (2018, Woodshedd): Should probably file this under drummer Cabrera, as he's the only constant over four volumes, or for that matter on all six tracks here: the alto saxophonist (who usually dba Rocco John) but drops out on two tracks (a bass-drums duo and a guitar-bass-drums trio). DeSalvo plays guitar. Hagan and Sirois split the bass duties. B+(***) [bc]

Tomo Jacobson/Maria Laurette Friis/Emanuele Maniscalco + Karlis Auzixs: Split : Body (2016-17 [2018], Getta Let It Out): Originally a cassette release, the trio (bass, voice/electronics, piano) filling one 44:08 side, the other a 40:56 soprano saxophone solo. The first piece doesn't make much of an impression, but the solo is rather engaging, even given the usual limits. B+(*) [cdr]

Jazz at Lincoln Center Orchestra With Wynton Marsalis: Handful of Keys (2016 [2017], Blue Engine): Title suggests Fats Waller to me, but the uptown rulers opted for a more generic piano-focused program, featuring six pianists in age from 13 (Joey Alexander) to 89 (Dick Hyman). Starts with James P. Johnson's "Jingles" (Hyman) and a standard Waller used to play ("Lulu's Back in Town") before they move into the modern era with pieces by Tyner, Evans, Kelly, Peterson, and in a startling departure from their canon, Myra Melford. B+(**)

Jazz at Lincoln Center Orchestra With Wynton Marsalis: Una Noche Con Rubén Blades (2014 [2018], Blue Engine): Latin night, the big band positively bubbling with enthusiasm. The Panamanian singer, who seemed poised to be a huge star back in the 1980s -- there was even talk of running for president -- has settled into a steady career. Here he slips in a couple of English-language standards with Sinatra-esque flair, notably "Too Close for Comfort." B+(**)

Jentsch Group No Net: Topics in American History (2016 [2018], Blue Schist): Guitarist Chris Jentsch, with a nine-piece group conducted by JC Sanford -- flutes, clarinets, saxophones (Jason Rigby), trumpet (David Smith), trombone (Bryan Drye), piano (Jacob Sacks), bass, drums. Postbop, lush, a bit overgrown. B+(**) [cd]

Russ Johnson: Headlands (2018, Woolgathering): Trumpet player, quartet with Rob Clearfield (keyboards), Matt Ulery (double bass), and Jon Deitemyer (drums). B+(***) [bc]

Frank Kimbrough: Monk's Dreams: The Complete Compositions of Thelonious Sphere Monk (2018, Sunnyside, 6CD): Seventy tracks, not the first to tackle them all -- Alexander von Schlippenbach did that in Monk's Casino (2005, 3CD) -- nor the only one to act on the idea during the centennial of Monk's birth (see guitarist Miles Okazaki's Work). With Scott Robinson (saxophone and trumpet), Rufus Reid (bass), and Billy Drummond (drums). Way too much for me to let it sink in, but Robinson both does a perfect Charlie Rouse but can switch up on the horns to give you some variety. Meanwhile, the others understand that much of Monk's appeal is rhythmic, and they're up to it. A-

Roy Kinsey: Blackie: A Story by Roy Kinsey (2018, Not Normal): Chicago rapper, "fourth album but first physical offering," a story cycle that starts in "Mississippi Mud" and migrates north, inspired y his late grandmother. B+(***)

Simone Kopmajer: Spotlight on Jazz (2018, Lucky Mojo): Standards singer from Austria, thirteen albums since 2004, sings in English, backed by piano, guitar, bass, drums, plus some tasty sax and clarinet by Terry Myers, putting the spotlight on songs like "Struttin' With Some Barbecue" and "Stompin' at the Savoy," "Mood Indigo" and "Poinciana." Closes with a jumpier remix of "Dig That Riff." B+(**) [cd]

Fredrik Kronkvist: Kronicles (2017 [2018], Connective): Swedish alto saxophonist, fifteen records since 2003, this a quartet with Orrin Evans (piano), Martin Sjoset (bass), and Jeff 'Tain' Watts (drums). Rhythm section is roiling, and the sax wants to soar. B+(**)

Rich Krueger: NOWThen (2018, Rockin'K Music): Born in New York, based in Chicago, singer-songwriter, wrote some songs back in 1985-98 while he was training to become a doctor, then set them aside until 2007, when he started writing new material. This combines both early ("Then") and late ("NOW") material. Something about his sound bothers me, but he's smart and literate and I can imagine warming to his recent albums -- this follows one called Life Ain't That Long -- even though I'm not quite there yet. B+(***)

Ingrid Laubrock: Contemporary Chaos Practices: Two Works for Orchestra With Soloists (2017 [2018], Intakt): Alto saxophonist, working with a large orchestra -- strings, a full assortment of winds, voices (although I never seem to notice them) -- conducted by Eric Wubbels (title piece) or Taylor Ho Bynum ("Vogelfrei"). The other soloists are Mary Halvorson (guitar), Kris Davis (piano), and Nate Wooley (trumpet). The huge scale is striking, the details interesting. B+(***) [cd]

Lawful Citizen: Internal Combustion (2018, self-released): Canadian quartet, led by tenor saxophonist Evan Shay (born in Seattle, based in Montreal). First group album, with guitar (Aime Duquet), electric bass (Antoine Pelegrim), and drums (Kyle Hutchins). Stated influences include metal, but really they just like a little noise. B+(*) [cd]

Robbie Lee & Mary Halvorson: Seed Triangular (2018, New Amsterdam): Lee, has a couple albums, credited here with baroque flute, 8-key flute, chalumeau [clarinet], soprillo [sax], melodica, and bells; Halvorson with guitar and banjo. B+(**)

Ravyn Lenae: Crush (2018, Atlantic, EP): Neo-soul singer from Chicago, third EP (5 tracks, 16:33), still in her teens, produced by Steve Lacy, a little choppy. B+(*)

LFU: Lisbon Freedom Unit: Praise of Our Folly (2015 [2018], Clean Feed): Nine-piece free jazz ensemble, Portuguese as far as I can tell -- best known musicians here are Luis Lopes (guitar), Rodrigo Amado (tenor sax), and all three members of RED Trio (Rodrigo Pinheiro, Hernani Faustino, Gabriel Ferrandini). Most impressive flat out, but when they hold back you can feel the tension build. A- [cd]

Carol Liebowitz/Birgitta Flick: Malita-Malika (2017 [2018], Leo): Duets, piano and tenor saxophone, most hauntingly slow pieces with delicate shading but nothing remotely resembling cocktail or chamber cliché. Liebowitz also credited with voice, singing "September in the Rain" and "You Don't Know What Love Is" -- brings to mind Sheila Jordan, not nearly as expert but clearly an inspiration. B+(***) [cd]

Chris Lightcap: Superette (2018, The Royal Potato Family): Bassist, called a 2002 album Bigmouth and has since used that title for a group name, switches to bass guitar here, adds guitar (Jonathan Goldberger and Curtis Hasselbring) and drums, plus guests John Medeski (organ) and Nels Cline (more guitar). Seems too subtle for fusion, but develops a bit under pressure, and the surf echoes appeal. B+(*)

Lithics: Mating Surfaces (2018, Kill Rock Stars): Portland, Oregon postpunk band, two-guitar quartet, songs tight, guitars sound a lot like Wire, vocals only a bit less. ["abridged": 6/12 cuts] B+(***) [bc]

Maisha: There Is a Place (2018, Brownswood): London group led by drummer Jake Long, nominally a sextet -- best known is saxophonist Nubya Garcia -- but has more credits, including a bunch of strings, including harp. B+(*)

Roc Marciano: RR2: The Bitter Dose (2018, Marci Enterprises): Rapper Rakeem Calief Myer, with a solid sequel to last year's Rosebudd's Revenge. B+(***)

  • Thomas Marriott: Romance Language (2017 [2018], Origin): Trumpet player, from Seattle, close to a dozen albums since 2005, goes for ballads this time and come up with a lovely set (but "Somewhere Over the Rainbow" is a bit much). Backed by Joe Locke (vibes), Ryan Cohan (keybs), Jeff Johnson (bass), and John Bishop (drums). B+(**) [cd]

    Christian McBride: Christian McBride's New Jawn (2017 [2018], Mack Avenue): Bassist, pretty much the top mainstream guy ever since his major label debut in 1995, last heard fronting a big band that did him no credit. Here he goes for the other extreme, with a talented pianoless quartet: Josh Evans (trumpet), Marcus Strickland (sax), and Nasheet Waits (drums). Everyone kicks in two songs, with the closer from Wayne Shorter. B+(**)

    Donny McCaslin: Blow. (2018, Motéma): Tenor saxophonist, has few peers in terms of chops, but I've rarely taken to his albums -- 2006's Recommended Tools is an exception, and he can tear the roof off other artists' albums, as he did with Art Hirahara's Sunward Bound earlier this year. His most famous side-credit was on David Bowie's Blackstar, and he seems to be intent here on producing a sequel, studded with various Bowie-isms, rendered by a bunch of guest vocalists (Mark Kozelek is the one I recognized). B+(*)

    Makaya McCraven: Universal Beings (2017-18 [2018], International Anthem): Drummer, pieced this album together from four sessions (each given an LP side) recorded by different groups in New York, Chicago, London, and Los Angeles -- the rhythm a unifying thread, whether with the softer New York instruments (harp, vibes, cello, bass) or the horns that pop up elsewhere. A-

    Joakim Milder/Fredrik Ljungkvist/Mathias Landraeus/Filip Augustson/Fredrik Rundkvist: The Music of Anders Garstedt (2016 [2018], Moserobie): Two tenor saxes (latter also credited with soprano and clarinet), plus piano-bass-drums. The composer was Swedish, played trumpet, died in 2000 at age 31, didn't leave any records under his own name, not many side credits either (one each with Fredrik Norén and Christian Falk). The musicians claim ties to him, and bring his music brilliantly to life. A [cd]

    Rhett Miller: The Messenger (2018, ATO): Singer-songwriter, mostly with the Old 97's, but has seven solo albums since 2002. Nothing very pop, but soft-edged and tuneful, songs that could grow on you but won't knock you over. B+(**)

    Mr. Fingers: Cerebral Hemispheres (2018, Alleviated): Chicago DJ Larry Heard, started in the 1980s (guess that makes him house), had a group in 1988 called Fingers, Inc., released three albums as Mr. Fingers 1988-94, returns to the alias here with a rather chill downtempo album, brightened by bits of Zachary McElwain tenor sax. B+(**)

    Kyle Nasser: Persistent Fancy (2018, Ropeadope): Tenor saxophonist (also soprano), from Massachusetts, second album, sextet with Roman Filiu on alto sax, plus both guitar and piano as well as bass and drums. Postbop leaning toward groove, or vice versa. B [cd]

    Jorge Nila: Tenor Time (Tribute to the Tenor Masters) (2018 [2019], Ninjazz): Tenor saxophonist, offers this "tribute to the tenor masters" -- pieces by Dexter Gordon, Hank Mobley, Wayne Shorter, Joe Henderson, Sonny Stitt, Harold Vick, Tadd Dameron, and, well, Stevie Wonder. Ably backed by guitar (Dave Stryker), organ (Mitch Towne), and drums (Dana Murray). B+(***) [cd]

    John O'Gallagher Trio: Live in Brooklyn (2015 [2016], Whirlwind): Alto saxophonist, with Johannes Weidenmueller (bass) and Mark Ferber (drums), coming off two excellent albums (The Anton Webern Project and The Honeycomb). Strong performance here. B+(***)

    Old Man Saxon: The Pursuit (2018, Pusher, EP): Los Angeles rapper, first song has a metalic thrash like Death Grips, second dials it back to beats, then works within that range. Single is called "Stop Shooting." Five tracks, 18:55. B+(*)

    Evan Parker/Eddie Prévost: Tools of Imagination (2017 [2018], Fundacja Sluchaj): Tenor sax and drums duo, although the latter's percussion includes metallic drones as well as thumps. One long piece (58:24), much of it rather tentative, although they do have moments -- some that put you on edge. B+(*)

    William Parker: Flower in a Stained-Glass Window/The Blinking of the Ear (2018, Centering/AUM Fidelity, 2CD): Two albums packed together, continuing the bassist's recent interest in singers. The first features Leena Conquest, mostly declaiming slogan-worthy political screeds, things I mostly agree with but are mixed blessings as music. The band -- five piece including Steve Swell on trombone, plus two extra alto saxes on three pieces -- is quite interesting on its own. Second is another quintet -- Swell again, Daniel Carter, Eri Yamamoto on piano -- is if anything more potent, but I find mezzo soprano AnnMarie Sandy harder to listen to. B+(**)

    Chris Pasin: Ornettiquette (2018, Piano Arts): Trumpet player, third album, playing five Ornette Coleman tunes, one from Ayler, two originals. Karl Berger is especially notable on vibes and piano, along with Michael Bisio (bass), Harvey Sorgen (drums), with Adam Siegel (alto sax) and Ingrid Sertso (vocals) on a couple tunes. B+(**) [cd]

    Hanna Paulsberg Concept & Magnus Broo: Daughter of the Sun (2018, Odin): Norwegian tenor saxophonist, fourth album with this group, adds a trumpet this time. Seems unhelpful at first but eventually finds his stride. B+(**)

    Ken Peplowski Big Band: Sunrise (2017 [2018], Arbors): Conventional big band (both piano and guitar), leader and whole section credited with saxophone/clarinet/flute, mostly familiar names at the label, swing-to-bop standards, Mark Lopeman and Billy May the main arrangers.

    Ivo Perelman/Mat Maneri/Mark Feldman/Jason Kao Hwang: Strings 1 (2018, Leo): Avant tenor saxophonist, from Brazil, releases records in bunches. Maneri plays viola, the others violin -- instruments I almost automatically associate with dreaded classical music, although this trio breaks that mold in distinctive ways. B+(***)

    Ivo Perelman/Mat Maneri/Hank Roberts/Ned Rothenberg: Strings 2 (2018, Leo): Tenor sax and viola on all tracks, Roberts (cello) on 7 (of 9), so the strings aren't so overwhelming here. Also, Rothenberg plays bass clarinet on 4 tracks, in a reminder of Perelman's summer batch of bass clarinet duos. B+(**)

    Lucas Pino's No Net Nonet: That's a Computer (2018, Outside In Music): Tenor saxophonist, also plays bass clarinet, group has two brass, three saxophones, guitar, piano (Glenn Zaleski) trio. Opens with nicely layered, interesting postbop, but I start to lose interest when the voice (Camilla Meza) joins in. Then I get confused when they go Latin for the closer (not bad). B+(*)

    Pistol Annies: Interstate Gospel (2018, RCA Nashville): Country supergroup, although only Miranda Lambert was well known before their 2011 debut. Group went on hiatus after their 2013 album, with Ashley Monroe and Angaleena Presley as well as Lambert releasing pretty good solo albums. Still, this is a group effort, with nearly all songs jointly credited. A-

    Charlie Porter: Charlie Porter (2018, Porter House): Trumpet player, from Portland, first album (as far as I can tell), eleven pieces (originals plus an Ellington), using various groups from solo to sextet "and back again" with a total of 21 musicians -- perhaps there's a syndrome for trying to do too much on a debut. Sounds pretty respectable, just not that interesting. B+(*)

    Quoan [Brian Walsh/Daniel Rosenboom/Sam Minaie/Mark Ferber]: Fine Dining (2017 [2018], Orenda): Quartet, with two avant horns from Los Angeles -- (clarinet, bass clarinet, contrabass clarinet) vs. (trumpet, piccolo trumpet, flugelhorn) -- fired up by bassist and drummer from New York. B+(**)

    Nikita Rafaelov: Spirit of Gaia (2016-17 [2018], Gotta Let It Out): Pianist, born in Russia, based in Finland, first album, on a Danish label, solo but multilayered, aiming at a dense minimalism. B+(**) [cd]

    Ernesto Rodrigues/Guilherme Rodrigues/Bruno Parrinha/Luís Lopes/Vasco Trillo: Lithos (2017 [2018], Creative Sources): Portuguese group -- viola, cello, bass clarinet, electric guitar, percussion -- looks a bit like avant-chamber but feels closer to ambient industrial. B+(**) [cd]

    Rich Rosenthal/Jack DeSalvo/Tom Cabrera: Connoisseurs of Chaos (2018, Woodshedd): First of four volumes released this year -- don't have recording dates -- all with drummer Tom Cabrera, his name always listed last so my rules file then under other artists. Rosenthal plays guitar. DeSalvo switches from the guitar he plays in other volumes to cello and bass ukulele here. B+(**) [bc]

    Renee Rosnes: Beloved of the Sky (2017 [2018], Smoke Sessions): Pianist, from Saskatchewan, 18 albums since 1989, wrote 7/9 tracks here. Group features Chris Potter (sax and flute), with Steve Nelson (vibes), Peter Washington (bass), and Lenny White (drums). [6/9 tracks] B+(**)

    Rudy Royston: Flatbed Buggy (2018, Greenleaf Music): Drummer, third album, quintet with a soft front line -- John Ellis (bass clarinet/saxophones), Gary Versace (accordion), Hank Roberts (cello) -- and bass. Takes a bit to find its center. B+(**)

    Jerome Sabbagh/Greg Tuohey: No Filter (2017 [2018], Sunnyside): Quartet actually, leaders, who attended Berklee together in the early 1990s, play tenor sax and guitar, backed with bass and drums. Sax seems typical of Sabbagh's soft-edged postbop, but guitar doesn't add much. B

    Dave Sewelson: Music for a Free World (2017 [2018], FMR): Baritone saxophonist (also sopranino), first album with his name up front but he's been around a while: I think I first noticed him in Microscopic Septet (or maybe its Fast 'N' Bulbous spin-off), but he's also been in William Parker's orchestras and is on a couple albums with Peter Kuhn. Freewheeling two-horn quartet here, with Steve Swell (trombone) facing off, Parker on bass, and Marvin Smith on drums. A little ragged, but freedom's like that. A- [cd]

    Julian Siegel Quartet: Vista (2018, Whirlwind): British tenor saxophonist (also soprano sax/bass clarinet), first album 1997, only a few widely scattered since, this one with Liam Noble (piano), Oli Hayhurst (bass), and Gene Calderazzo (drums). Solid mainstream effort. B+(**)

    Paul Simon: In the Blue Light (2018, Legacy): New recordings of ten songs from previous albums, four from 2000's You're the One, one each from six other albums spanning 1973-2011. A songwriter I never liked except when he picked an outstanding rhythm and baited his hooks liberally. He does none of that here, but doesn't make himself obnoxious either. B

    Esperanza Spalding: 12 Little Spells (2018, Concord): Started as a promising mainstream jazz bassist, then started to sing and crossed over into a form of r&b that doesn't really succeed at either. B-

    Vince Staples: FM! (2018, Def Jam, EP): Off the mean streets ("Don't Get Chipped") and into the warm sun ("Feels Like Summer"), runs through 11 tracks in 22:16 -- one skit, two very short interludes, but still nothing runs over 3:08. B+(**)

    Marcus Strickland Twi-Life: People of the Sun (2018, Blue Note): Tenor saxophonist, first appeared as a mainstream player with tremendous chops, but Blue Note's tempted him to cross over to their "new groove" hip-hop fusion model -- possibly the worst idea a major label has embraced since soul-fusion destroyed Blue Note back in the early 1970s. This is sharper than 2016's Nihil Novi, but mostly on the strength of the leader's towering lines. Beyond that, I have little idea, but note that the label's hype doesn't offer any credits info, perhaps because none is merited. B

    Yuhan Su: City Animals (2018, Sunnyside): Vibraphonist, born in Taiwan, based in New York, second album, fanciful cover shows penguins flying over Battery Park. With Matt Holman (trumpet), Alex LoRe (alto sax), bass and drums. B+(**)

    Subtone: Moose Blues (2018, Laika): German group (I think): Magnus Schrieft (trumpet/flugelhorn), Malte Dürrschnabel (tenor sax/clarinet/flute), Florian Hoefner (piano), Matthias Pichler (bass), Peter Gall (drums) -- Hoefner, the one I'm familiar with, wrote four songs, Schrieft four, Gall three. Bright and cheery post-bop. B+(*) [cd]

    Jay Thomas With the Oliver Groenewald Newnet: I Always Knew (2018, Origin): Plays alto/tenor sax, but trumpet is his lead credit here. Arranger Groenewald also plays trumpet, as does Brad Allison, credited as "lead trumpet." Ten-piece group, nicely layered, favors those trumpets. B+(*) [cd]

    Trio Heinz Herbert: Yes (2018, Intakt): Swiss fusion (jazztronica) group -- Dominic Landolt (guitar/effects), Ramon Landolt (synthesier/sampler/piano), Mario Hänni (drums/effects) -- novel sounds, nothing slick, some intense. B+(***) [cd]

    Harriet Tubman: The Terror End of Beauty (2018, Sunnyside): Guitar-bass-drums trio -- Brandon Ross, Melvin Gibbs, JT Lewis -- fifth album since 1998. Dense, heavy riffs, seems a bit monochromatic without the guest trumpet that lifted their last two albums (especially Araminta, with Wadada Leo Smith). B+(*)

    The David Ullmann Group: Sometime (2018, Little Sky): Guitarist, has a couple previous records, core group includes organ, drums, and extra percussion, but most songs pick up horns, also some keyboards, guitar-like instruments (tres, sitar, mandolin), and vibes. Fusion with a full kitchen sink. B [cd]

    Piet Verbist: Suite Réunion (2018, Origin): Bassist, from Belgium, third album plus one by Mamutrio and a couple of side credits. Postbop quartet, no idea what "Suite" means here but the group is stocked with early collaborators, notably Bart Borremans (tenor sax) and Bram Weijters (piano), plus drums (split in two). B+(***)

    Harry Vetro: Northern Ranger (2018, T.Sound): Canadian drummer, leads a sextet on six (of 12) tracks, which drops down to piano or guitar trio, solo piano or guitar, and string quartet. Still flows nicely, with scattered riches. B+(**) [cd]

    David Virelles: Igbó Alákorin (The Singer's Groove) Vol I & II (2017 [2018], Pi): Pianist, born in Cuba, moved to New York in 2009, studying with Henry Threadgill. Combines two volumes on a single CD: the 35:19 "David Virelles Introduces Qrquesta Luz de Oriente" and the 23:17 "Danzones de Romeu at Café La Diana." The latter are duos with güiro player Rafael Abalos, offering an engaging code to the main action, which is the medium-sized orchestra with lead singers Alejandro Almenares and Emilio Despaigne Robert. I often find myself enjoying Latin jazz groups yet wondering what if anything makes one special. No doubts here, not that I can really explain it. A- [cd]

    Cuong Vu 4Tet: Change in the Air (2017 [2018], Rare Noise): Trumpet player, from Vietnam, left for Seattle at 6 (1975), has a dozen albums since 1997. Quartet with Bill Frisell (guitar), Luke Bergman (bass), and Ted Poor (drums), one piece from Bergman, three each for the others. B+(**) [bc]

    David S. Ware Trio: The Balance (Vision Festival XV+) (2009-10 [2018], AUM Fidelity): Tenor saxophonist, Ayler school, his long-running Quartet exemplified free jazz in the 1990s, died in 2012 after kidney problems. Fourth posthumous release, combining a Vision Festival performance with out-takes from Onecept, both with William Parker (bass) and Warren Smith (drums). B+(***)

    Becky Warren: Undesirable (2018, self-released): Nashville singer-songwriter, second album after 2016's excellent War Surplus. This lacks that album's overarching concept, but extends its sensibility. Rocks harder, too. Occasionally reminds me of Lucinda Williams. A-

    Trevor Watts & RGG: RAFA: Live in Klub Zak Jazz Jantar 2018 (2018, Fundacja Sluchaj): Cover seems to list RGG -- Polish piano trio of Lukasz Ojdana, Maciej Garbowski, and Krzysztof Gradziuk -- first, but the alto avant-saxophonist is the guest and the star at this Gdansk festival. Didn't recall the "probably greatest Polish piano trio," but their Live @ Alchemia with Evan Parker (2017) was even better. B+(***)

    Way North: Fearless and Kind (2018, self-released): Toronto group: Rebecca Hennessy (trumpet), Petr Cancura (tenor sax), Michael Herring (bass), Richie Barshay (drums). Postbop with some edge and freedom. B+(**)

    Kenny Werner: The Space (2016 [2018], Pirouet): Pianist, first album came out in 1978 (The Piano Music of Bix Beiderbecke/Duke Ellington/George Gershwin/James P. Johnson), several dozen since then. This one is solo, quiet, thoughtful, a mix of originals and unobvious covers. B+(*) [cd]

    Jeff Williams: Lifelike (2017 [2018], Whirlwind): Drummer, originally from Ohio, discography stretches back to 1975 but only a handful of albums under his own name. This was recorded live in London with trumpeter Gonçalo Marquez "featured guest" -- also John O'Gallagher (alto sax), Josh Arcoleo (tenor sax), Kit Downes (piano), and Sam Lasserson (bass). The trumpeter (elsewhere known as Marques) makes an impression, the saxes even more so. B+(***)

    Recent Reissues, Compilations, Vault Discoveries

    Dexter Gordon Quartet: Espace Cardin 1977 (1977 [2018], Elemental Music): Previously unreleased live set, from Espace Pierre Cardin in Paris, with Al Haig (piano), Pierre Michelot (bass), and Kenny Clarke (drums). A typical set, the songs averaging 10+ minutes, in fine form throughout, maybe a hair better than the Tokyo 1975 release earlier this year (although I'm bothered by the discrepancies between the LP and digital releases). [LP has 4 songs, Napster has 5/6]. B+(***)

    Charlie Haden & Brad Mehldau: Long Ago and Far Away (2007 [2018], Impulse): Recorded at a festival in Mannheim, Germany, just bass and piano. Not revelatory, but lovely nonethless -- you don't often hear sensitize comping behind tear-jerking bass solos every day, but Haden often brought such emotion to bear. A-

    Jimi Hendrix: Both Sides of the Sky (1968-70 [2018], Legacy): A compilation of "posthumously released 'archival recordings'" post-Electric Ladyland, a reorganization that has now run to three CDs -- after Valleys of Neptune (2010) and People, Hell and Angels (2013). I haven't heard those two, and I'm not enough of a fan to be able to identify how any of them maps onto previous waves of posthumous releases. (Wasn't First Days of the New Rising Sun, in 1997, supposed to be the official fourth Hendrix album? I've heard lots of late Hendrix, but somehow missed that one). Mixed bag here, with "Georgia Blues" outstanding, "Mannish Boy" fine -- found the latter on Blues (1994), the former on Martin Scorsese Presents the Blues: Jimi Hendrix (2003). Some terrific guitar scattered amongst lots of filler. B+(**)

    Fred Hersch: Fred Hersch Trio '97 @ The Village Vanguard (1997 [2018], Palmetto): Previously unreleased tape, with Drew Gress and Tom Rainey, predates four other Village Vanguard records I've heard, and probably the best of the bunch. Came at a time when he was releasing a series of songbook albums. Two originals, one from the bassist, five standards -- got the mix just right. A- [cd]

    Keith Jarrett: La Fenice (2006 [2018], ECM, 2CD): Umpteenth solo piano album, from a concert at Teatro La Fenice in Venice, Italy, parts of the title piece extending well into the second disc, ending with "My Wild Irish Rose," "Stella by Starlight," and "Blossom", running 97:39. Crowd is enthusiastic. B+(*)

    Jazz at the Philharmonic [Oscar Peterson/Illinois Jacquet/Herb Ellis]: Blues in Chicago 1955 (1955 [2018], Verve): Not a group per sé, just an ad hoc collection of stars who Norman Granz brought together for jam session shows all over the world. Just three names on the cover, and Jacquet only appears on 3 (of 4) tracks, same as unlisted stars Flip Phillips, Lester Young, Dizzy Gillespie, and Roy Eldridge. The rhythm section -- Peterson, Ellis, Ray Brown, and Buddy Rich -- are on all four. Starts with 20:00 of "The Blues" -- same title as on JATP's 1944 First Concert starring Jacquet -- backed with a 13:06 "Ballad Medley" giving each horn player a solo. Rounded out with two shorter pieces, "The Modern Set" (Gillespie and Young) and "The Swing Set" (Eldridge, Phillips, and Jacquet). A-

    The Gene Krupa Quartet: Live 1966 (1966 [2018], Dot Time Legends): Drummer (1909-73), rose to fame with Benny Goodman, led his own big band and small combos, the most famous with Anita O'Day and Roy Eldridge. He mostly recorded for Norman Granz 1953-62, and trailed off after that, with nothing after 1965. Recorded at the Indiana Jazz Festival in Evansville, a small swing combo with Eddie Shu (sax), Dill Jones (piano), and Benny Moten (bass, not to be confused with pre-Basie pianist Bennie Moten). Unremarkable, except that some of the drum parts couldn't be anyone else. B+(*)

    Thelonious Monk: Mønk (1963 [2018], Gearbox): Quartet set, recorded live in Copenhagen with Charlie Rouse (tenor sax), John Ore (double bass), and Frankie Dunlop (drums). Limited edition vinyl, collector-priced, good sound on classic tunes, nothing you haven't heard before, but superb. A-

    Frank Morgan/George Cables: Montreal Memories (1989 [2018], High Note): Alto sax/piano duets, previously unreleased live tape. Morgan had made an impression as a be-bopper early on, but landed in jail in 1955 and didn't get out until 1985, when he started out on an impressive comeback, recording regularly up to his death in 2007. Boppish program here, with "Now's the Time," "A Night in Tunisia," and "Confirmation" in the first half, separated by "All the Things You Are" and "'Round Midnight." Cables, who had done similar work with Morgan's old San Quentin bandmate Art Pepper, is perfect here. B+(***)

    Outlaws & Armadillos: Country's Roaring '70s (1971-79 [2018], Legacy, 2CD): Discogs only lists a 12-track LP, but I slogged through the entire 35-track stream, collated from more than just Sony's back catalogue (mostly Columbia and RCA), the emphasis on covering all the bases in Texas (Jerry Jeff Walker and Terry Allen bring up the armadillos), including some blues as well as a lot of Lubbock. B+(**)

    Art Pepper: Unreleased Art Pepper Vol. 10: Toronto (1977 [2018], Widow's Taste, 3CD): Much discussion here of this being Pepper's first-ever band tour, which seems strange given that he toured relentlessly in his last years, up to his death at 56 in 1982. He had spent the better part of 1954-65 in jail, and didn't record much in the following decade, until the superb Living Legend in 1975, starting one of the most extraordinarily productive runs in history. The best place to start is his big (16-CD) box of Complete Galaxy Recordings: dive in anywhere and be amazed. Another choice is his pivotal 1977 Village Vanguard Sessions, originally released in four volumes then boxed up complete for 9-CD. Then there are the live bootlegs from the period, which Laurie Pepper has collated into ten volumes: nearly every disc has its share of breathtaking stretches, and this one is no exception. This is touted as a tune-up for the Village Vanguard stand, but the rhythm section here (Bernie Senensky, Gene Perla or Dave Piltch, Terry Clarke) was to be replaced by much more familiar names (George Cables, George Mraz, Elvin Jones). Still, Pepper adjusts by blowing even harder. Third disc is padded out with a 30-minute interview, which I may not play again but was never for a moment tempted to eject. Among other things, he talks about falling in love with Miles Davis' Live-Evil, and wishing to play with that rhythm section. Too bad that never happened -- would have been especially poignant given that one of his first great albums was a chance meeting with Davis' famous 1957 rhythm section. A- [cd]

    Art Pepper: The Art Pepper Quartet (1956 [2017], Omnivore): Recorded a couple months before his famed Meets the Rhythm Section (with Red Garland, Paul Chambers, and Philly Joe Jones from Miles Davis' first great hard bop quintet), this rhythm section epitomized West Coast cool: Russ Freeman (piano), Ben Tucker (bass), and Gary Frommer (drums). Filling the CD out with alternate takes (including a false start) brings this to an odd end, but the original record is superb -- as was pretty much everything Pepper did during this brief period between jail terms. A-

    Art Pepper: Blues for the Fisherman: Unreleased Art Pepper Vol VI (1980 [2011], Widow's Taste, 4CD): Live at Ronnie Scott's in London, recorded over two nights, with what was probably Pepper's most regular quartet lineup: Milcho Leviev (piano), Tony Dumas (bass), and Carl Burnett (drums). At the time, the publicist (or label) balked at sending out full sets, so all I received was a useless sampler. Looks like the digital is released in four parts, but it would be a hopeless task to choose between them. Only repeats are "Ophelia" and "Make a List." Even though he talks about being nervous the first night, all four discs are terrific -- better than the earlier Toronto, enough so that I can imagine eventually bumping the grade. And while that's mostly Pepper, the band has grown (especially Leviev). A-

    Woody Shaw/Louis Hayes: The Tour: Volume One (1976 [2016], High Note): Recorded at Liederhalle Mozartsaal in Stuttgart, Germany, a crack hard bop quintet with the leaders on trumpet and drums, plus Junior Cook on tenor sax, Ronnie Matthews on piano, and Stafford James on bass. Hot stuff, Shaw is in especially good form. A-

    Woody Shaw/Louis Hayes: The Tour: Volume Two (1976-77 [2017], High Note): Six cuts from the same tour, collected from five more shows, mostly in Germany (one in Austria), mostly with the same band (René McLean replaces Junior Cook for the 1977 Munich track). As on Volume One, the trumpeter is in imposing form. B+(***)

    Joe Strummer: 001 (1981-2002 [2018], Ignition, 2CD): Singer-songwriter (with Mick Jones) in the Clash, which released two insanely great albums in 1977 and 1979, two merely great ones in 1978 and 1980 (the latter sprawling over 3LP), and a swansong in 1982 which only disappointed in context. After that, Mick Jones left for Big Audio Dynamite -- I loved their first album, but Christgau panned it, and I quickly lost interest in later albums -- while Strummer released a final album under the Clash brand (Cut the Crap), and occasionally popped up with something or other, including a band called the Mescaleros shortly before he died in 2002 (age 50). None of that seemed to work, although I thought his half of the soundtrack to the 1988 film Permanent Record showed that he could still do something terrific. It turns out that he left thousands of tapes when he died, and 16 years later we're finally getting a glimpse of what he had been working on. Slightly more than half of this came out on various albums and soundtracks, but not much here that really stands out -- just little bits that invariably remind you of better work on older albums (like the still marvelous "Trash City," from Permanent Record). [Napster omits 6/32 tracks. More extravagant product offerings add some extra material.] B+(**)

    Ben Webster: Valentine's Day 1964 Live! (1964 [2018], Dot Time): Recorded at the Half Note in New York, with Dave Frishberg (piano), Richard Davis (bass), and Grady Tate (drums). Sound is a bit iffy, and early on the pieces run faster than you'd expect, a roughness that pays dividends in places. B+(***)

    Old Music

    Mandy Barnett: The Original Nashville Cast Recordings of "Always . . . Patsy Cline": Live at the Ryman Auditorium (1995, Decca): Cline's picture on the cover, with no mention of Barnett, who established her own name with an eponymous album in 1996 and a still better one in 1999, but most sources file this under Barnett. She was the singer, with her perfect renditions of Cline's hits. In between you hear uncredited narrative from a Houston fan Cline befriended, Louise Seger. Author Ted Swindley has restaged the show regularly, showcasing many Patsy Cline impersonators, but Barnett set the standard. B+(*)

    Mandy Barnett: Sweet Dreams (2011, Opry Music): Not sure why she didn't follow up her 1996-99 albums, but aside from a Christmas album distributed by Cracker Barrel, this was her first in 12 years, a return to Patsy Cline's songbook, suggesting that's how she made her living. My guess is that this was recorded as a fungible souvenir of her live act. Near perfect, so much so it can't avoid charges of redundancy. B+(**)

    Jimi Hendrix: First Rays of the New Rising Sun (1968-70 [1997], MCA): With the Hendrix Estate taking charge of what had been a messy scattershot of posthumous releases, this appeared as an imagined fourth album along with remasters of the three he released during his brief life. Nothing actually new here, as the tracks had been previously released on The Cry of Love (1971), Rainbow Bridge (1971), and War Heroes (1972). (Nor was this an original idea, as 1995's Voodoo Soup started with the same idea, but added extra dubs so the Estate quashed it.) Could have been tightened up a bit for a proper release, but pretty unique. A-

    Allan Holdsworth: I.O.U. (1982 [1985], Enigma): British fusion guitarist (1946-2017), I knew his name, noted his recent death, had him filed under rock, listing three albums highly rated by AMG, none heard by me. I probably would have left it at that, but he's finished second in Downbeat's Readers Poll the last two years (losing first to Wynton Marsalis, then to Ray Charles, and not by much). Lots of their picks are dubious: e.g., this year Snarky Puppy won Jazz Group, and Trombone Shorty topped the list of trombonists, but those are picks I know better than, whereas I knew next to nothing of Holdsworth. This seemed to be the place to start (second, album, but "the first solo album over which he had full artistic control"). Guitar not bad but not up to the brag of his 12-CD box set (The Man Who Changed Guitar Forever). Vocals by Paul Williams explain why this was taken (and ignored) as rock. B

    Allan Holdsworth With I.O.U.: Metal Fatigue (1985, Enigma): Alan Pasqua joins on keyboards, a respected jazz pianist mostly wasted here. Vocals on only three (of six) tracks, the three shortest, with Paul Korda replacing Paul Williams on the last (and best). Nothing here makes me think "guitar genius." B-

    Allan Holdsworth: Atavachron (1986, Enigma): Plays SynthAxe (a fretted, guitar-like MIDI controller) as well as guitar, using bass (Jimmy Johnson) and alternating between two keyboardists (Alan Pasqua on three tracks) and three drummers (Gary Husband on four, Tony Williams on one). Vocals down to one (Rowanne Mark). C+

    Allan Holdsworth: Sand (1987, Relativity): No vocals, more sound effects (John England's credit), Alan Pasqua on keyboards, a split decision on bass and drums. His most fusion-sounding album to date, though I can't say that means he's getting better. B-

    Allan Holdsworth: Secrets (1989, Intima): Vocals return: one track each from Rowanne Mark and Craig Copeland, plus some spoken word -- nothing out of the ordinary. C+

    Allan Holdsworth: Wardenclyffe Tower (1992, Restless): Still Jimmy Johnson on bass, but various keybs and drums, including three tracks with Gordon Beck, a fine jazz pianist who worked with Holdsworth early on (and before that discovered John McLaughlin). B-

    Allan Holdsworth: The Sixteen Men of Tain (2000, Gnarly Geezer): Skipping ahead a few albums, nothing much has changed: well, drop the keyboards, add a trumpet, but still, nothing much. B-

    Allan Holdsworth/Alan Pasqua/Jimmy Haslip/Chad Wackerman: Blues for Tony (2007 [2009], Moonjune, 2CD): Presumably Tony Williams, the young drummer in the 1965-70 Miles Davis Quintet who went on to run a pathbreaking fusion group in the 1970s. Holdsworth appeared on the 1975-76 New Tony Williams Lifetime albums, and Williams played on a couple of the guitarist's efforts, along with Pasqua. Yellowjackets bassist Haslip adds some muscle at bass, and Wackerman establishes himself early with a big drum solo. B+(*)

    Joakim Milder: Ways (1990-92 [1993], Dragon): Swedish tenor/soprano saxophonist, 20+ albums since 1988, seven in my database as Penguin Guide picks but none I've heard (although I A-listed 2014's Spark of Life, filed under Marcin Wasilewski). Thought I'd look him up after I got a new record, but only found this one item: eleven pieces by various lineups mostly with piano and strings (drums on less than half). Probably not the place to start, although note that the one cut with conventional tenor sax-piano-bass-drums, "Buurgogne," really stands out. B+(*)

    Red Mitchell/Joakim Milder/Roger Kellaway: Live in Stockholm (1991 [1993], Dragon): Bass-tenor sax-piano, recorded at Jazzclub Fasching a year before the bassist died. "Sophisticated Lady" drags a bit, but good solos in "Life's a Take." B+(**)

    Frank Morgan: City Nights: Live at the Jazz Standard (2003 [2004], High Note): Alto sax quartet, with George Cables (piano), Curtis Lundy (bass), and Billy Hart (drums), doing a classic bop set, starting with a "Georgia on My Mind" (gorgeous) and "Cherokee" (rip roaring), ending with a couple of Coltrane tunes. A-

    Frank Morgan: Raising the Standard: Live at the Jazz Standard Vol. 2 (2003 [2005], High Note): Same group, recorded over three days so some sorting has been done, pushing the fast ones out on City Lights, with enough left over for a Vol. 3 in 2007. They slow it down here, starting with "Polka Dots and Moonbeams," ending with "Bessie's Blues," highlighted with two Ellingtons. A-

    Louis Prima/Keely Smith With Sam Butera and the Witnesses: The Wildest Shoe at Tahoe (1957, Capitol): Smith is by far the more presentable singer, but Prima gets top billing and his Italian "Zooma Zooma" shit is the most distinctive. Still not as wild as 1958's Live From Las Vegas. B+(**)

    Woody Shaw: Live Volume One (1977 [2000], High Note): The trumpeter's recordings are mostly divided between Muse and Columbia, so not too surprising that a bunch of live tapes wound up in the hands of Muse co-founder Joe Fields. This is the first of four volumes, year listed but no specific dates, with Carter Jefferson (tenor/soprano sax), Larry Willis (piano), Stafford James (bass), and Victor Lewis (drums). B+(***)

    Woody Shaw: Live Volume Two (1977 [2001], High Note): Again not seeing many details, same group as above except that Steve Turre (trombone) replaces Carter Jefferson (tenor/soprano sax) on 3 of 4 long tracks. B+(**)

    Woody Shaw: Live Volume Three (1977 [2002], High Note): Live from the Keystone Korner in San Francisco, two quartet tracks with Stafford James (bass), Victor Lewis (drums), and either Larry Willis or Mulgrew Miller (piano), plus three tracks adding Steve Turre (trombone). B+(*)

    Woody Shaw: Live Volume Four (1981 [2005], High Note): Again from Keystone Korner, a few years later with no sax but trombonist Steve Turre nearly stealing the show. B+(***)

    Notes

    Everything streamed from Napster (ex Rhapsody), except as noted in brackets following the grade:

    • [cd] based on physical cd
    • [cdr] based on an advance or promo cd or cdr
    • [bc] available at bandcamp.com

    Ask a question, or send a comment.

    Saturday, November 26, 2016

    Music Week

    Music: current count 30692 [30635] rated (+57), 271 [293] unrated (-22).

    Cooked Thanksgiving dinner for my nephew, his girlfriend, and a few scattered friends who didn't have other engagements. Figured I'd pick off a few French recipes I had missed on my birthday. I figured the roast bird could simply be a chicken, especially since I hadn't done any chicken on birthday. I repeated the potatoes (gratin dauphinois) and chopped chicken liver (but none of the other spreads). For new dishes, I had carrots (cooked with ginger and cardamom), green beans (with pancetta), tian (zucchini and tomato slices roasted on top of onion), and a salad (frisee aux lardons -- I had a nice-sized chunk of slab bacon left over, and mixed a little liver into the vinaigrette). For dessert, I made three pies: sweet potato, chocolate pecan, and key lime. Probably should have offered ice cream, but just whipped some cream. (In fact, had so much cream left over, I probably should have made ice cream.) Had a couple bake-it-yourself baguettes. Figured I needed them for the liver and croutons for the frisee, but turned out that butter on bread was popular. Had I realized that, I could have mixed up an herbed/spiced butter spread.

    Thanksgiving probably cost me two days of listening, but I started the week strong, and finished it stronger. Still, that should have yielded something like 40 records. However, when I ran the numbers, the increase was less than the list, so I made a pass through the unrated albums list and a dozen more I had missed. And by the time I straightened that out, I had rated some more. In the end it seemed easier to get current than to respect yesterday's cutoff.

    I've started collecting EOY lists. Thus far there's not a lot to go on: some long lists from UK record stores, UK pubs like Mojo and Uncut, a couple of metal-oriented lists, and Paste -- closer to what I expect from major US lists, although still pretty shy of hip-hop. I've retained some data from mid-year lists, which helps balance out the early skews. At the moment, the top five are Janelle Monáe, Courtney Barnett, Rolling Blackouts CF, Kamasi Washington, and Cardi B. Without the mid-year boost, Barnett would be leading Monáe, and Cardi B wouldn't be in the top 100.

    I'm also tabulating Jazz Critics Poll ballots. Can't share any of that with you yet, but I have about 20 ballots counted at this point. That info is pushing me to check out lots of albums, although my priority this and next week will be to catch up with my own CD queue.

    Meanwhile, I've done a preliminary sort on my own Best of 2018 lists, split for Jazz and Non-Jazz I'll keep adding to these well into the future.

    Also, expect a Streamnotes by the end of the month. I guess that's like Friday. I have a pretty decent-sized draft file already.

    New records rated this week:

    • Ambrose Akinmusire: Origami Harvest (2018, Blue Note): [r]: B+(*)
    • Big Bold Back Bone: Emerge (2015 [2018], Wide Ear): [cd]: B+(*)
    • Francesco Cafiso: We Play for Tips (2017 [2018], EFLAT/Incipit): [r]: B+(**)
    • The Chills: Snow Bound (2018, Fire): [r]: B+(**)
    • Eric Church: Desperate Man (2018, EMI Nashville): [r]: A-
    • Roxy Coss: The Future Is Female (2018, Posi-Tone): [r]: B
    • Mário Costa: Oxy Patina (2017 [2018], Clean Feed): [r]: B+(**)
    • Kaja Draksler/Petter Eldh/Christian Lillinger: Punkt. Vrt. Plastik (2016 [2018], Intakt): [cd]: A-
    • Open Mike Eagle: What Happens When I Try to Relax (2018, Auto Reverse, EP): [r]: B+(***)
    • The Gil Evans Orchestra: Hidden Treasures Monday Nights: Volume One (2016-17 [2018], Bopper Spock Suns Music): [cd]: B+(*)
    • Marianne Faithfull: Negative Capability (2018, BMG): [r]: B+(***)
    • Alan Ferber Big Band: Jigsaw (2016 [2017], Sunnyside): [r]: B+(**)
    • Birgitta Flick Quartet: Color Studies (2018, Double Moon): [r]: B+(**)
    • Gabriela Friedli Trio: Areas (2015 [2018], Leo): [r]: B+(**)
    • David Friesen: My Faith, My Life (2017-18 [2018], Origin, 2CD): [cd]: B+(***)
    • Claus Højensgård/Emanuele Mariscalco/Nelide Bendello: Høbama (2017 [2018], Gotta Let It Out): [cd]: B+(*)
    • Rocco John Iacovone/Jack DeSalvo/Mark Hagan/Phil Sirois/Tom Cabrera: Connoisseurs of Chaos IV (2018, Woodshedd): [bc]: B+(***)
    • Jentsch Group No Net: Topics in American History (2016 [2018], Blue Schist): [cd]: B+(**)
    • Ingrid Laubrock: Contemporary Chaos Practices: Two Works for Orchestra With Soloists (2017 [2018], Intakt): [cd]: B+(***)
    • Robbie Lee & Mary Halvorson: Seed Triangular (2018, New Amsterdam): [r]: B+(**)
    • Ravyn Lenae: Crush (2018, Atlantic, EP): [r]: B+(*)
    • LFU: Lisbon Freedom Unit: Praise of Our Folly (2015 [2018], Clean Feed): [cd]: A-
    • Carol Liebowitz/Birgitta Flick: Malita-Malika (2017 [2018], Leo): [cd]: B+(***)
    • Maisha: There Is a Place (2018, Brownswood): [r]: B+(*)
    • Christian McBride: Christian McBride's New Jawn (2017 [2018], Mack Avenue): [r]: B+(**)
    • Jorge Nila: Tenor Time (Tribute to the Tenor Masters) (2018 [2019], Ninjazz): [cd]: B+(***)
    • Evan Parker/Eddie Prevost: Tools of Imagination (2017 [2018], Fundacja Sluchaj): [bc]: B+(*)
    • William Parker: Flower in a Stained-Glass Window/The Blinking of the Ear (2018, Centering/AUM Fidelity, 2CD): [r]: B+(**)
    • Hanna Paulsberg Concept & Magnus Broo: Daughter of the Sun (2018, Odin): [r]: B+(**)
    • The Ken Peplowski Big Band: Sunrise (2017 [2018], Arbors): [r]: B
    • Ivo Perelman/Mat Maneri/Mark Feldman/Jason Hwang: Strings 1 (2018, Leo): [cd]: B+(***)
    • Ivo Perelman/Mat Maneri/Hank Roberts/Ned Rothenberg: Strings 2 (2018, Leo): [cd]: B+(**)
    • Rich Rosenthal/Jack DeSalvo/Tom Cabrera: Connoisseurs of Chaos (2018, Woodshedd): [bc]: B+(**)
    • Dave Sewelson: Music for a Free World (2017 [2018], FMR): [cd]: A-
    • Julian Siegel Quartet: Vista (2018, Whirlwind): [r]: B+(***)
    • Jay Thomas With the Oliver Groenewald Newnet: I Always Knew (2018, Origin): [cd]: B+(*)
    • Harriet Tubman: The Terror End of Beauty (2018, Sunnyside): [r]: B+(*)
    • The David Ullman Group: Sometime (2018, Little Sky): [cd]: B
    • Piet Verbist: Suite Réunion (2018, Origin): [cd]: B+(***)
    • David Virelles: Igbó Alákorin (The Singer's Groove) Vol I & II (2017 [2018], Pi): [cd]: A-
    • Trevor Watts & RGG: RAFA (2018, Fundacja Sluchaj): [bc]: B+(***)

    Recent reissues, compilations, and vault discoveries rated this week:

    • Fred Hersch: Fred Hersch Trio '97 @ The Village Vanguard (1997 [2018], Palmetto): [cd]: A-
    • Jazz at the Philharmonic [Oscar Peterson/Illinois Jacquet/Herb Ellis]: Blues in Chicago 1955 (Verve): [r]: A-
    • The Gene Krupa Quartet: Live 1966 (1966 [2018], Dot Time Legends): [r]: B+(*)
    • Thelonioous Monk: Mønk (1963 [2018], Gearbox): [r]: A-

    Old music rated this week:

    • Louis Prima/Keely Smith With Sam Butera and the Witnesses: The Wildest Shoe at Tahoe (1957, Capitol): [r]: B+(**)

    Unpacking: Found in the mail last week:

    • Kaja Draksler/Petter Eldh/Christian Lillinger: Punkt. Vrt. Plastik (Intakt)
    • Jentsch Group No Net: Topics in American History (Blue Schist): November 30
    • Ingrid Laubrock: Contemporary Chaos Practices: Two Works for Orchestra With Soloists (Intakt)
    • Roberto Magris: World Gardens (JMood): December 1
    • Dave Sewelson: Music for a Free World (FMR)
    • Trio Heinz Herbert: Yes (Intakt)
    • Voicehandler: Light From Another Light (Humbler)

    Ask a question, or send a comment.

    Sunday, November 25, 2018

    Weekend Roundup

    Seems like it's been a slow news week, probably because the holiday both cut into the political world's capacity for misdeeds and my (and others') attention span. I'm also preoccupied with music poll matters. Still, figured I should at least briefly go through the motions, if only to keep the record reasonably intact.

    Some scattered links this week:

    • Matthew Yglesias: House Democrats don't need a leader, they need someone to represent them on TV: I see two basic knocks on Pelosi as Speaker: one is the sense of failure with the 2010 and subsequent losses; another is that in many parts of the country Republicans have been able to use her (so-called radical agenda) to scare voters. (This was painfully clear in my own district, which voted solidly Republican, despite an exceptional Democratic candidate.) As far as I can tell, Pelosi is moderate-left by national standards, but her district in San Francisco could easily support someone further left. I suspect that most Democrats would prefer for her to step aside and let someone else (younger and more charismatic) take over, but as it is the only challengers are coming from the right -- not because the caucus wants to move right but because some winners in close districts pledged to vote against her. Yglesias finds a third knock against her: that she's not very effective on TV either representing her party or parrying against Trump. He suggests designating someone else to take the publicity role, limiting her to in-house strategizing (which she's arguably good at). I'm reminded here that in Britain they have an interesting system where the opposition party designates a "shadow cabinet" -- one member for each cabinet position, so there's always a recognized point person for whatever issues crop up. A big advantage there is that it would open up more prominent roles for more people. Might even be . . . more democratic. Other Yglesias pieces:

      • There's nothing "America First" about Trump's Saudi policy: Worth including not just the links but the linked-to titles in this quote:

        President Donald Trump must be giving thanks this morning for press coverage of his extraordinarily inappropriate statement on the murder of dissident and journalist Jamal Khashoggi [ Zack Beauchamp: Trump's Khashoggi statement is a green light for murder].

        Trump has secretive sources of income and murky financial ties to Saudi interests [ America deserves to know how much money Trump is getting from the Saudi government], and keeps touting entirely bogus statistics about the jobs impact of arms sales to Saudi Arabia [ Trump says selling weapons to Saudi Arabia will create a lot of jobs. That's not true.]. Nevertheless, much of the coverage of his statement simply takes at face value his assertions that his handling of this issue is driven by American interests -- rather than by his own self-interest or the interests of his donors in the defense contracting industry.

        Yglesias argues that "America has a strong interest in curtailing murder." I agree that America should have such an interest, but can't think of many examples of pre-Trump US governments doing anything like that. The US continued to support Pinochet when his agents gunned down a Chilean dissenter in the streets of Washington -- probably the most similar incident, but far from unique. The US has long and lavishly supported Israel's targeted assassination programs -- the model for America's even more extensive "drone warfare" program. More generally, the US supported "death squads" in Latin America and elsewhere, as well as providing intelligence, training, and weapons to "security forces" -- Indonesia's slaughter of 500,000 "communists" is one of the more striking examples. Then there are arms sales in support of aggressive wars, such as the one Saudi Arabia is waging in Yemen. Or you can point to the US refusal to support the International Criminal Court. You can argue that Trump is even worse than past US presidents in this regard -- both for his tasteless embrace of flagrant killers like Philippines President Rodrigo Duterte and for his slavish devotion to "allies" like Saudi Arabia and Israel -- but he's mostly just following past practices (even if he seems to be enjoying them too much).

        The more interesting question is why has the murder of Khashoggi different? I don't have time to trot my theories out there, but even if anti-Islam bigotry is part of the equation, the basic realization that governments shouldn't go around killing their dissidents is one more people should embrace more consistently.

      • The time Nancy Pelosi saved Social Security: Credits Pelosi with blocking the privatization scheme GW Bush claimed as his mandate after winning the 2004 election. I never thought the scheme had a chance, because I knew they could never afford to bridge the gap between pay-as-you-go and funded schemes (even a far-from-adequately funded one). But sure, give Pelosi credit for her blanket rejection of all Republican schemes. A big problem that Democrats had all through the Reagan-Bush-Bush years has been their callow willingness to accept (and legitimize) conservative talking points, so it's good to point to examples where they didn't, and saved themselves. Also on Pelosi: Ella Nilsen: Why House progressives have Nancy Pelosi's back.

      • The 2016 election really was dominated by a controversy over emails. Does a good job of summing up the view that media and ultimately voter perception of the 2016 election was decisively dominated by the "email scandal" -- the Gallup Daily Tracking word cloud shows this graphically, but there are many other telling details. Why is a question that remains unanswered. Is it really just as simple as the endless repetition -- by the partisan right-wing media, echoed by mainstream media that covered propaganda as news -- or was there such underlying dislike and distrust of Clinton that let such a trivial mistake (at worst) signify some kind of deeply disturbing character flaw? And if so, why didn't Trump's own obvious character flaws disqualify him? One thing well established by polling is that both candidates were viewed negatively by most people, yet when forced to choose, a decisive number of Americans opted to rid themselves of Clinton to tip the election to the equally (or more, but not more deeply) disliked Trump.

      • The Beto O'Rourke 2020 buzz, explained: "hey, losing a high-profile Senate race was good enough for Abraham Lincoln.".

    • Arthur C Brooks: How Loneliness Is Tearing America Apart: Head of American Enterprise Institute, pushing a Sen. Ben Sasse (R-NE) book, Them: Why We Hate Each Other, blaming America's numerous woes on cultural factors. I think that may have some superficial validity, but only after taking a hard look at inequality, powerlessness, and perpetual war.

    • Matthew Choi: Trump hits back at Chief Justice Roberts, escalating an extraordinary exchange: Roberts is no hero for a judicial system and sense of justice that transcends party and respects all people, but he reminds us that many conservatives (and, by the way, most liberals) at least go through the motions of wanting to be seen in that light. Trump clearly sees no point in looking beyond political tags -- in part, no doubt, because his grasp of actual issues is so shallow, but but mostly because he's convinced that naked, blatant partisanship gives him an out from any charges of malfeasance (just blame "fake news" and your fans will rally behind you). Trump took the same tack in attacking Admiral Bill McRaven after McRaven had the temerity to note that Trump's ravings about the "fake news" media constitute a threat to American democracy. Trump's first thought was that he could dismiss McRaven by calling him a "Hillary supporter." Clearly, he relishes another presidential campaign against Clinton -- probably figuring she's the only Democrat he can still whip.

    • Aaron Gell: The Unbearable Rightness of Seth Abramson: On a blogger who has deeply investigated the whole Trump-Russia thing, publishing the book: Proof of Collusion: How Trump Betrayed America.

    • William D Hartung: America's Post-9/11 Wars Have Cost $5.9 Trillion: "Not to mention 240,000 civilian deaths and 21 million displaced. And yet a congressional commission is urging yet more money for a bloated Pentagon." Also: Murtaza Hussain: It's Time for America to Reckon With the Staggering Death Toll of the Post-9/11 Wars, which puts the death toll twice as high ("at least 480,000 people").

    • Rebecca Jennings: The death of small businesses in big cities, explained: Interview with Jeremiah Moss.

    • Jen Kirby: Theresa May and the EU have a Brexit deal. What's next?

    • Andrew Kragie: Trump's New Kavanaugh for the US Court of Appeals: Meet Neomi Rao.

    • Mark Landler: In Extraordinary Statement, Trump Stands With Saudis Despite Khashoggi Killing. Also: Karoun Demirjian: More Republicans challenge Trump on defense of Saudi crown prince.

    • Dara Lind: Trump's reportedly cutting a deal to force asylum seekers to wait in Mexico.

    • Bill McKibben: How Extreme Weather Is Shrinking the Planet. Also: Robinson Meyer: A Grave Climate Warning, Buried on Black Friday; and David Sirota: Big Oil v the planet is the fight of our lives. Democrats must choose a side.

    • Anna North: How Trump helped inspire a wave of strict new abortion laws.

    • Daniel Politi: US Agents Fire Tear Gas at Migrants Approaching the Border From Mexico.

    • Robert Reich: Break up Facebook (and while we're at it, Google, Apple and Amazon): The sheer size of these four companies, each built to dominate major niches on the internet, certainly suggests some sort of antitrust remedy. (I'm less concerned here with physical products -- still most of what Apple produces, but tightly interwoven with their network products, even more so for Google, Amazon, and we might as well include Microsoft in this list.) On the other hand, given how important network effects are to each of these businesses, they're more than a little like natural monopolies, which occur in markets that are never able to support healthy competition. The difference is that utilities and such are most efficient with common infrastructure shared by all customers, the winning vendor for services like Facebook (and Amazon) is inevitably the first one with the widest network. The problem with such monopolies is less the usual problem of restricting competition than abuse of power. Moreover, where product monopolies tend to abuse power by extorting high prices and/or delivering poor service, services like Facebook and Google make their profits by exploiting their user base (by capturing and reselling private information). It may not have been obvious before Facebook that there was a public interest in social media, and indeed one might never have developed had customers directly had to bear the full development costs, but by now it's pretty clear that: a) people want social media; b) that the market will be captured by a single vendor; and c) that the profit motive will lead that vendor to take advantage of and harm users. There is an obvious solution to problems like this, and it isn't antitrust (not that there aren't cases here for antitrust and/or other forms of regulation). The solution is to build publicly funded non-profit utilities to provide web services that are not subject to profit-seeking exploitation.

    • Dylan Scott: Bernie Sanders's new plan to bring down drug prices, briefly explained: Better than nothing, I suppose, but this still assumes the necessity of patents to incentivize profit-seeking companies to develop new drugs. The main thing it does is to provide some limits on how much drug companies can extort from customers and their insurers, and even then depends on generics based on patent licensing to introduce a bit of competition. A more immediately effective scheme would allow importation of drugs from a much wider range of countries, ideally including ones not beholden to US patent laws. (A compromise might be to allow a fixed import tax to be claimed by the patent holder.) Better still would be to eliminate patents altogether, and do research and development through publicly-funded "open source" institutions around the world.

    • Dylan Scott: The Mississippi Senate runoff, Dems' last chance for one more 2018 upset, explained: "Mike Espy could become the first black senator from Mississippi since Reconstruction." We, and for that matter, the long-suffering people of Mississippi, should be so lucky. Cindy Hyde-Smith tweet: "Did you know extremists like Cory Booker are campaigning for Mike Espy here in MS?" Isn't Booker the guy with all the big bank money behind him? Who's the real extremist here?

    • Somini Sengupta: The World Needs to Quit Coal. Why Is It So Hard?

    • Emily Stewart: Ivanka Trump's personal email excuse shows she only wants to seem competent some of the time: "She violated the rule by using a personal email but wants you to believe she didn't know better."

    • Kaitlyn Tiffany: Wouldn't it be better if self-checkout just died? A personal pet peeve. I, for one, pretty much never use the systems, for lots of reasons, which start with I don't like machines lecturing me. But then I guess I've never been good with authority figures, let alone fascism.

    Ask a question, or send a comment.

    prev -- next

    		•