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An occasional blog about populist politics and popular music, not necessarily at the same time. LinksLocal Links Social Media My Other Websites Music Politics Others Networking Music DatabaseArtist Search: Website SearchGoogle: Recent Reading
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Blog Entries [960 - 969]Monday, September 19, 2016 Music Week
Music: Current count 27153 [27128] rated (+25), 376 [374] unrated (+2). First, I screwed up last night and misnumbered my Weekend Roundup post, so for various technical reasons the link I tweeted last night needs to be removed. Since the half-life of tweets seems to be less than two hours, the old one should soon be forgotten. Second, here again is the download link for my book-in-progress, Recorded Jazz in the Early 21st Century: A Consumer Guide. It is currently at what I call Stage One, which is to say that I've collected and sorted reviews from all of the 2004-11 Jazz Consumer Guide columns, but haven't done much further editing. Stage Two will add reviews for many more records: things I'm currently collecting from my Jazz Prospecting, Recycled Goods, and Rhapsody Streamnotes files. I currently have all of the JCG prospecting notes collected, and about one-third of Recycled Goods, so I'm at least a week away from starting to revise the draft. The PDF file is unchanged from last week, so no need to download it again, but if you haven't yet, please do. I've made a couple of piddly decisions on formatting since then: to remove the bold from the parenthetical label/year, and to change the year notation from '## to -## -- the latter because I've started to use "smart quotes" and getting all that consistent is going to be difficult. I'm also considering making a fairly substantial change to the grading system. I thought it might be better to convert the letter grades (with their 3-star subdivision of B+) into a numeric scale (1-10). My first attempt at a conversion was: 10 = A+, 9 = A, 8 = A-, 7 = B+(***), 6 = B+(**), 5 = B+(*), 4 = B, 3 = B- or C+, 2 = C or C-, 1 = any D, 0 = any E. Two problems there, one at the top of the scale, the other near the bottom. The former started when I initially applied my letter grade scale to my records list, A and A+ made sense only for records that had stood the test of time and many plays. However, after JCG started my working methodology changed so that I almost never managed the several dozen plays those older records had enjoyed. I basically stopped using those grades. For instance, the one and only A+ I've given to a jazz record released this century was James Carter's Chasin' the Gypsy, and that was released in 2000. (I'm pretty sure my most recent A+ was Lily Allen's It's Not Me, It's You in 2009, although it didn't get promoted until several years later.) Actually, there's not much A+ jazz earlier either: I count 41 albums, one each (or more in parens, but some are redundant) for: Louis Armstrong (5), Ornette Coleman, John Coltrane, Miles Davis (2), Duke Ellington (9), Ella Fitzgerald (3), Coleman Hawkins (2), Billie Holiday (2), Fletcher Henderson, Johnny Hodges (2), Louis Jordan, Charles Mingus, Thelonious Monk, Art Pepper, Don Pullen, Sonny Rollins (3), Roswell Rudd, Jimmy Rushing, Pharoah Sanders, Horace Silver, Frank Sinatra, Art Tatum. That's out of 14032 jazz albums rated, so 1/334 (0.2%). That's, well, even I have to admit that's pretty picky -- rarefied even -- especially if the concept is to grade on some sort of curve. There are a good deal more A records, ten times as many (419, or 2.9% of the total), but they too are concentrated among older artists. From 2000 onward, I've given out 65 A grades (counting Carter's A+), an average of 4 per year (exactly, not counting 2016, which so far has 1). I don't have an easy way of counting the sample size there, but it's at least 5000 and probably closer to 7000 so we're looking at a number that will round off (probably up) to 1%. Seems to me like I could combine A and A+ at 10 and still have no more than 1% at that level -- less than 100 records covering two decades. The other problem is at the bottom. Keeping the three subdivisions of B+, which I think is well justified by my recent practice, pegging A- at 8 pushes B down to 4, and forces me to combine lower grades. This is less important, but intuitively it seems to me that B should be 5, and that the distinction between B- and C+ is meaningful (not that the difference between 4 and 3, or 3 and 2, is really going to sway any of your buying decisions). Below that matters less, not least because I put so little effort into discerning qualitative distinctions between records I actively dislike. In recent years my impression has been that each of the three B+ levels were fairly evenly distributed (possibly with a slight bulge in the middle, at **), with A- and B tapered off, and sub-B grades rare -- partly because I don't seek out records I'm unlikely to like, and partly because many of their publicists have given up on me. But I've never counted until now. I did three counts, first on the entire rated database (27526 albums), then on the jazz subset (14032), and finally on the post-2000 jazz subset (undercounted a bit at 8268), which breaks down thus: A+ 1 (0.01%), A 63 (0.76%), A- 883 (10.7%), B+(***) 1445 (19.0%), B+(**) 2122 (27.7%), B+(*) 1730 (22.6%), B 1064 (12.9%), B- 364 (4.4%), C+ 81 (0.97%), C 30 (0.36%) C- 15 (0.18%), D+ 2 (0.02%), D 2 (0.02%), plus 455 additional B+ albums (divided proportionately for the percentages; the overall B+ percentage is 69.56%). This actually looks rather like a pretty normal distribution, left-shifted by various factors biased in favor of selecting better records (ones I bought, sought out, or that savvy promoters sent my way) in an idiom that I broadly respect and enjoy. Or it may just be that the left-shift is to be expected, just because the skillset jazz demands is so exceptional. Taking all this into account, a few days back I proposed to shift my grade scale a bit leftward, combining A/A+ at 10 (still just the top 1% of rated albums), moving A- to 9 (10%, so the top decile), the B+ tiers to 8-7-6 (all records that will repay your interest), B to 5, B- to 4, C+ to 3, C or C- to 2, all D to 1. Of course, the latter ranks will be underrepresented. The only real reason for flagging a bad album is to warn consumers who might otherwise be tempted, but most bad records never tempt anyone -- they come from people you don't know or care about, and quickly vanish without a trace. So I wrote my proposal up and sent it around to various critics, most of whom didn't like it. For example, Robert Christgau wrote back: "I definitely think everything shd be a notch down, with perhaps a somewhat lenient view of what constitutes an A plus than in my system." So I should shift some A records to 10, leave the rest at 9, peg A- at 8, and let everything else fall accordingly, combining various lower grades I rarely use anyway. Splitting out more bins on the left would provide a more even distribution, but keeping 9 and 10 reserved for less than 1% also suggests a fetish for perfection that hardly anything can achieve. I'm not sure that's either useful or achievable. A couple others mentioned the Spin guide as a familiar model, with the implication that A- should be pegged at 8 (or maybe split between 7-8). However, my copy defines 10 as "an unimpeachable masterpiece or a flawed album of crucial historical importance" and 7-9 as "well worth buying, sure to provide you with sustained pleasure," and they even have kind words for 4-6 if you're "deeply interested in the artist or genre." I'm not sure what I'd be curious to see a histogram of those grades: how does the distribution line up with my own data? My mapping would put A- through B+(**) into the 7-9 range, as various degrees of records I recommend (indeed, that I store separately from recent jazz graded lower), while the 4-6 range gets B- to B+(*) -- the latter are records that I respect and sometimes even admire but don't much feel like playing again (those usually go to the basement, but thus far I haven't discarded any). Of course, if one started from scratch, one could devise an elegant distribution curve (say 4-7-10-13-16-16-13-10-7-4, or 2-5-9-14-20-20-14-9-5-2) and sort everything accordingly. But that assumes you can rank everything before slicing it into tranches, something that based on no small experience I find impossible. But more importantly for me, I need some way to mechanically transcribe the letter grades I have into numerical grades. So while I might get a more pleasing curve if I could move the uper half of my A- records from 8 to 9 and the upper third of my B+(***) albums from 7 to 8 and slide some slice starting at B+(*) down a notch, it would be hell for me to try to figure out how to split my existing levels. (It's going to be bad enough just to divvy up the unsorted B+ records.) Sorry to run on like that. I imagine everyone's eyes glazed over, but mapping it all out like that is helping me think it through. I'll let you know when I reach a conclusion. Meanwhile, feedback always welcome. Minor discrepancy in the rated count, which only includes one of the three Made to Break albums below. I wrote up the others while working on this post, but thought it made more sense to keep them grouped together. The Beatles stuff was in response to the belated CD release of the Hollywood Bowl album. I also played 1962-1966, which I had previously rated at A and found every bit as great. I hadn't previously rated 1967-1970, but knew everything on it. Even so, better than I expected. I also meant to get the third Anthology in, but had some problems with Napster that locked me out for a couple days. Finally got to it tonight and, well, it's not very good. Might as well add it too. New records rated this week:
Recent reissues, compilations, and vault discoveries rated this week:
Old music rated this week:
Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, September 18, 2016 Weekend RoundupMostly writing this today because I have various tabs opened to possibly interesting articles, and it's only a matter of time before my antiquated browser crashes. Better, I think, to note them briefly than to lose them forever. I wrote some on the campaign horserace a couple days ago (see Looks Like She Blew It), and nothing much has changed on that front -- TPM still has Trump ahead by 0.1%, but 538 shows Clinton with slightly better chance of winning (61.3%, up from 60.0%). So she may still pull this out, but if she does she'll still wind up with the lowest share of popular vote since 1992, when someone else named Clinton won. Some scattered links this week:
Also, a few links for further study (briefly noted:
Ask a question, or send a comment. Friday, September 16, 2016 Looks Like She Blew ItTrump up 44.6% to Clinton's 44.5% in TPM's tracking poll together. Electoral college split 254-242 for Clinton, 42 "tossup" (need 270 to win). I tweeted:
I also replied to myself:
Was tempted to add something to the effect that maybe Bernie Sanders could rescue her campaign. We saw him with Seth Myers last night and he made a totally coherent, credible pitch for Clinton, based not at all on personal characteristics but on real political issues and commitments made in the Democratic Party platform. Still, my gut reaction was to swear off politics until November, then vote for Clinton so I could say "don't look at me" when Trump wins. The silver lining is that Clinton losing to Trump is pretty sure to destroy both major political parties, at least in the sense of discrediting their old controllers. Clinton's loss would be the end of her family control of the Democratic Party, creating a huge opening for new leaders to emerge, and those leaders would define themselves by how effective they are in opposing a certainly disastrous Trump regime. As for the Republicans, the only thing that breathed life into the GOP these past eight years was rage against an administration that they scarcely bothered to understand, instead taking its very existence as some sort of personal affront. With Trump winning they will lose their drive. Rather, they'll be forced to backpeddle and make excuses for an administration that is virtually certain to make one stupid mistake after another, not least temporary "successes" because at this point all Republican agendas are based on defective ideology. Sure, Trump winning will hurt lots of people -- in the long run I'd even say everyone -- and that's reason enough to vote against him. But if people can't see that now -- and it's really glaringly obvious, isn't it? -- then maybe they'll have to learn the hard way. Laura retweeted this from Connor Kilpatrick:
On the other hand, Trump would have been hard pressed to charge that Sanders is crooked and a liar, which are the charges that are doing the real damage to Clinton -- even though, sure, she's a piker in both respects compared to Trump. Her own aura of culpability -- all those irresponsible innuendos about "shadows" and "questions raised" that major media never seem to get around to disposing of -- evidently makes it that much harder for her to challenge Trump on those same grounds. But Sanders suffers from no such taint, which would have made him a clear contrast to Trump. I think that if there is any one thing that the American people overwhelmingly agree on -- much, much more than their "representative" politicians do (or more tellingly, are willing to do anything about) -- it's that Washington is a cesspool of corruption. Trump is tapping into that by claiming to be an outsider, a contrast that consummate insiders like the Clintons make easy, even for someone who freely admits to having bought influence (including from the Clintons -- recall the old joke that we know Iraq has WMD because we still have the receipts?) -- which should make him as big a part of the problem as the politicians (but, as with sex, we tend to go easier on those who buy than those who sell). On the other hand, if Trump had to run against Sanders, sure he'd try to paint him as some far-out wild-eyed radical -- and no doubt Trump's more rabid supporters would add "Commie" to the charges, but red-baiting like that seems to have lost much of its punch (not least from overuse against Obama, although pre-Cold War it was also ineffective against FDR). That isn't to deny that such charges would resonate among the donor class: Trump would have a clear money advantage against Sanders that he doesn't have against Clinton. But turning the contest into a referendum on the 1% vs. the 99% won't necessarily work in the billionaire's favor. (And if Bloomberg entered, as he threatened, wouldn't that just have split the 1% vote?) I got a response to my initial tweet from Robert Christgau:
First point: "inevitable." Hillary Clinton locked up the Democratic Party donor money so early that no mainstream Democrat dared to run against her. OK, O'Malley, but he started on the assumption that she wouldn't run and tried to pass his lame campaign off as a fallback, in case, you know, she got sick and incapacitated, or got indicted, or ran afoul of those "2nd Amendment People." Sanders, on the other hand, had issues to run on, and wound up totally bypassing the party's donor network. But Biden, for instance, gave up a huge structural advantage -- the last four sitting VP's who ran (Nixon, Humphrey, Bush, Gore[1]) easily won their party's nomination -- rather than oppose Clinton. Maybe this inevitability wasn't explicit -- and, sure, it never extended to a guaranteed win over any Republican -- but before the Sanders campaign kicked in as a real possibility even I was pretty much reconciled to Hillary being the nominee. The clincher for me was reading that she expected to raise more than a billion dollars for the race. Not even the Kochs were promising that much. I don't know what Bob's second sentence means -- seems like a victim of Twitter compression. I disagree that Sanders "lost big." Clinton won a solid 56% of the votes, a surprisingly lame showing given her initial advantages in recognition, money, and party organization, and over time she had to move notably toward Sanders' positions to stay competitive. As for attack ads, sure, neither candidate waged a scorched earth campaign, with Sanders being especially generous in waving off any concerns about her email controversy. Clearly, neither candidate wanted to split or weaken the party against the Republican nominee, but also both realized that the sort of gross slanders the Republicans use were unlikely to gain any traction among Democratic voters. Still, I don't see any point about the general election one can draw from this. We don't know whether Sanders would have been buried under a full-throated "red smear" attack, but we do know that Clinton has suffered a great deal from endlessly repeated attacks on her honesty and integrity, and that those issues have made it harder for her to gain from Trump's same (in many ways more blatant) faults. Back during the primaries many Clinton supporters argued that she was more electable than Sanders -- that she had been "vetted," having withstood the very worst the Republicans could do to her -- whereas they feared that Sanders would be ground to dust like Henry Wallace in 1948. All Sanders supporters could counter with were actual polls showing him doing better against most Republicans (but especially Trump) than she would do. All I can say is that she's turned out to be more compromised and more vulnerable than any of us expected. Sure, "blow" is my word, and true, she's only blown her lead (about 5-6 points at post-convention peak), not the whole race. Even today she might still win, and there's still way too much time left until votes are cast. She's sitting on a lot of money, which has yet to blanket the airwaves, and perhaps more importantly organize that "ground game." The election will ultimately hinge on how many people (and who) show up and vote. Obama excelled at that in 2012, while he let the Democrats flail in 2010 and 2014 -- an instance of selfishness at the top of the ticket that her husband practically invented. But what's different this time is Americans' Distaste for Both Trump and Clinton Is Record-Breaking. Motivation to vote this year largely hinges on who you detest the most. As the chart shows, back in March/April Trump was significantly more disliked than Clinton (looks like about 54% vs. 37%, the two highest figures going back to 1980). In The race is tightening for a painfully simple reason, Matthew Yglesias notes that her favorable/unfavorable poll split is now 42-56% ("truly, freakishly bad" -- chart here). Sure, Trump's is even worse, 38-59% (chart here), but has been relatively steady while her ratings have dipped, and being the "hate" candidate he's uniquely positioned to take advantage of her disapproval. Still, steering the campaign toward personal character issues isn't very smart when only 3% of the electorate view you less unfavorably. Of course, they're doing it because they realize how shady and shabby a candidate Trump is, but also because they don't understand how exposed Clinton appears to an electorate that is so sick of and disgusted by Washington's culture of corrupt insider favors. If they keep going down this path they're going to wind up reprising Edwin Edwards' winning campaign slogan when he ran for governor of Louisiana and was fortunate enough to draw KKK honcho David Duke as his opponent: "Elect the crook. It's important." But there is an alternative, which is to refocus the campaign on left-right economic issues, and appeal to the vast majority's sense of economic justice (and pocketbooks). There's so much mud in the water people will believe whatever they want about character issues, but there's no way to spin Trump's policies into something that helps a popular majority. Still, more important than persuade the occasional Trump fan to switch sides is to convince everyone else that they have much more at stake than stroking Hillary's vanity. FiveThirtyEight still gives Hillary a 60% chance of winning, wtih slim leads both in popular vote (46.5-44.3%) and electoral votes (289-249). They show Trump having gained the lead in four states that had previously been in the Democratic column: Florida (51.6%), North Carolina (54.6%), Ohio (57.6%), and Iowa (61.8%). Trump would have to hang on to those four, plus pick up Nevada (48.5%) and/or New Hampshire (36.1%) to win. Trump's next closest states are Colorado (34.5%), Pennsylvania (30.6%) and Wisconsin (30.4%). The actual percentage spreads are much closer, with Clinton leading by 3.7% in Wisconsin, 3.4% in Pennsylvania, 2.8% in Colorado, 2.8% in New Hampshire, and 0.3% in Nevada, whereas Trump leads by 0.2% in Florida, 0.7% in North Carolina, 1.3% in Ohio, and 2.2% in Iowa. It's also worth noting that she runs worse in four-way polls (i.e., the real world) than head-to-head against Trump, which is to say that when restricted to an either-or choice, more people who dislike both see Trump as the lesser evil. Johnson is polling about 9%, and Stein 2.7% -- as Yglesias notes Stein is actually doing better than Nader did in 2000. Clinton has had a problem all year long in that even when she had a big lead she was never able to crack 50% nationwide. [1] Before Biden, the only sitting VP since 1952 who didn't run for his party's nomination under the circumstances was Cheney, who took a rather perverse pride in his unelectability, and whose favorable ratings as the 2008 election approached were down around 9%, about half of Bush's. (In 1952 Truman VP Alben Barkley briefly ran, but withdrew due to considerations about his age [74] and failing health.) Sure, three of the four lost, but by very close margins. Offhand, I can't recall an open Democratic primary with less than five candidates. This year, the Republicans came up with sixteen -- evidently nearly every billionaire in the party felt entitled to field his own jockey, with Trump somehow gaining extra street cred for running himself. The Democratic Party may be at a disadvantage, but they're not that short of billionaires, but they all made a calculated decision not to cross the Clintons -- even though they saw eight years ago that she could be beat, and should have known that she'd be even more vulnerable this time. Ask a question, or send a comment. Monday, September 12, 2016 Music Week
Music: Current count 27128 [27090] rated (+38), 374 [369] unrated (+5). Fairly ordinary week here. I've mostly been looking for recent jazz beyond what's come in the mail. I don't think there's any non-jazz this week (aside from a Haitian comp that has Jazz in the title). Wound up playing many of the downloads I had been sitting on, including ECM's Peter Erskine (really John Taylor) box, and grabbed some older records while failing to find newer ones. Most turned out to be fairly unremarkable, but I did turn up two A- records fronted by saxophonists I've long enjoyed, one retro and one avant. I suppose the focus on jazz has been a side effect of starting a project to turn my old Jazz Consumer Guide columns into some sort of, well, I call it Recorded Jazz in the Early 21st Century: A Consumer Guide. I wrote 26 Jazz Consumer Guide columns for the Village Voice from April 2004 to May 2011 (archived here), self-published a 27th column in December 2011, and had a draft file open for a 28th. I managed to squeeze a little more than 1000 records into those columns, and I've collected all that writing in a Libre Office Writer file -- using default page and style formats it comes to 144 pages. Probably the best way to view it is as a PDF file, so I've set up a page you can use to download it (make sure you check the enable box -- my quick and dirty alternative to a captcha). The page has a form which asks for some questions before you download. I thought it might be nice to keep a count of how many times the file has been downloaded, and to collect some basic information, but the latter is strictly voluntary. I'm not sure, even, that I'll use any collected email addresses, but they would make it possible to interact more in the future. At 144 pages, the book is far from realizing the ambitions of its title. But I still have a lot more writing I can slide into the manuscript: starting with the 7th column in December 2005 I kept two extra files with extensive working notes ("Prospects" and "Surplus"), covering everything I listened to but didn't include in JCG. After that I posted Jazz Prospecting and Streamnotes, so I've done a fairly good job of covering new jazz from 2004 to present. There are also reviews in Recycled Goods columns from 2003 through 2013, and a few other scattered reviews (in Static Multimedia and the Village Voice). Thus far I've collected about half of the Prospects/Surplus files, some 330,000 words. Maybe half of that is redundant either with itself or with the published drafts, and what's left needs to be edited more compactly. Still, I expect that when I've done that -- what I call "stage two" -- the manuscript will more than double in size. Then on to "stage three" picking up the post-2011 drafts, which will almost certainly add a like amount. I'm less sure about "stage four," which involves trying to fill in important albums I missed -- most obviously from 2000-04 but also later. Perhaps that's why I've been focusing more on jazz lately. It's beginning to seem like I may have something tangible to show for what in recent years has often felt like a colossal waste of time. Not that I'm looking for sheer bulk, but any attempt to cover even just the highlights of jazz records since 2000 is bound to be massive: a quick check of my Music Database shows that I have listings for 9920 jazz albums where my earliest recording or release dats is 2000 or later. Some of those I haven't heard or rated -- about 10% of post-2000 artists (369/3773) -- so I could wind up expanding the current 144 pages by a factor of something like eight (to 1152 pages). I'm not sure I'm up for all that, but the hard part of the job has already been done. Would appreciate any feedback on the book project. New records rated this week:
Recent reissues, compilations, and vault discoveries rated this week:
Old music rated this week:
Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, September 11, 2016 Weekend RoundupWhen I woke up this morning, I didn't have the slightest notion that today was the 15th anniversary of the Al-Qaeda hijackings that brought down the World Trade Center. It's not that I don't remember waking up in a Brooklyn apartment fifteen years ago, looking out the window to see blue skies with a toxic white streak across the middle, emanating from the still-standing towers. I looked down and watched tired people trekking east with the subway system shut down. We watched the towers fall on TV. We saw interviews with John Major and Shimon Peres about how Americans now know what terrorism feels like, barely containing their gloating. We went out for lunch in an Arab restaurant not yet covered in American flags. That was a bad day, but also one of the last days before we went to war. For make no mistake: Bin Laden may have wanted to provoke the US into an act of war, but Al-Qaeda didn't start the war. That was George W. Bush, with the nearly unanimous support of Congress, to the celebration of vast swathes of American media. They made a very rash and stupid decision back then, and much of the world has been suffering for it ever since. Indeed, Americans less than many other people, as was shown by my ability to wake up this morning without thinking of the date. OK, so this is a typical day's news cycle in this election: Hillary Clinton commits a run-of-the-mill gaffe: Clinton Describes Half of Trump Supporters as 'Basket of Deplorables', by which she means "racist, sexist, homophobic, xenophobic, Islamophobic, you name it." Sort of true, but you're always on shaky ground when you start making generalizations about arbitrary groups of people, but that didn't stop her from making an appeal to the other half: "people who feel that government has let them down, the economy has let them down, nobody cares about them, nobody worries about what happens to their lives and their futures . . . Those are people who we have to understand and empathize with as well." Of course, coming from her that all sounds smug and condescending and, let's be realistic here, pretty hollow. Of course, the Trump campaign tried to make what they could of this, partly because they don't have anything real to offer. Still, what did they focus on: well, putting people into baskets, of course. First, there was Pence Blasts Clinton: Trump Backers 'Are Not a Basket of Anything', then there's Trump Campaign Goes After Clinton for 'Basket of Deplorables' Remark. One thing for certain, you can't slip a metaphor past these guys. But they also have a point, which is that when you start dividing people into arbitrary groups and making gross generalizations about them you dehumanize and disrespect them -- and that is as true of the "other half" as it is of the "deplorables." (Contrast Trump's own description of his supporters: "millions of amazing, hard working people.") Of course, in the Kabuki theater of American politics, every insult demands an apology, so whether she would or should not became the next anticipated story. Josh Marshall fired off This Is Critical: Hillary Can't Back Down, arguing:
Clinton, of course, immediately apologized; see Clinton Regrets Saying 'Half' of Trump Backers Are in 'Basket of Deplorables', where she conceded, "Last night I was 'grossly generalistic,' and that's never a good idea. I regret saying 'half' -- that was wrong." In other words, she admitted to a math error, realizing (unlike Marshall) that it doesn't matter how many Trump supporters are racist, sexist, etc. -- a point she made clear enough by repeating "deplorable" a many times in the next paragraph, all directed squarely where they belong, at Donald Trump. She also said, "I also meant what I said last night about empathy, and the very real challenges we face as a country where so many people have been left out and left behind. As I said, many of Trump's supporters are hard-working Americans who just don't feel like the economy or our political system are working for them." She still needs to find an effective way to communicate that, especially to people who are conditioned not to believe a single thing she says, who view her as deeply corrupt, part of a status quo system that is rigged against everyday people. Needless to say, these are problems that Bernie Sanders wouldn't be having. PS: Just when Trump was enjoying this news cycle, this story pops up: Crazed Trumper Assaults Muslim Women in Brooklyn. I guess there are some Trump supporters who are . . . well, isn't "deplorable" a bit more polite than they deserve? Also note: Trump: Clinton Could 'Shoot Somebody' and Not Be Prosecuted. Trump previously said, "I could stand in the middle of 5th Avenue and shoot somebody and I wouldn't lose any voters, OK?" What's this obsession he has with shooting people? Five-Thirty-Eight currently gives Clinton a 70.0% chance of winning, with a 3.5% edge in the popular vote and 310-227 in electoral votes. Iowa, which had a recent poll showing Trump leading, has inched back into Clinton's column, and she's less than a 60% favorite in North Carolina, Ohio, Florida, and Nevada. Meanwhile, the only red states where Trump is less than an 80% favorite are Arizona (65.7%), Georgia (73.0%), and Alaska (79.9%). Some scattered links this week:
Also, a few links for further study (briefly noted: Ask a question, or send a comment. Monday, September 5, 2016 Enough AlreadyI didn't get around to writing up a Weekend Roundup yesterday. I was working on something else (more below) and, as I tweeted last night, I've really gotten sick and tired of this election and its dominance of the news cycle. At least we had a fairly serious earthquake to distract us: about 100 miles south of Wichita, in near Pawnee OK, a town I've occasionally driven through, noting the red sandstone building in the center of town that is now ruined. We were woken with about a minute of ominous shaking, but aside from a few knick-knacks tumbling we were spared any damage. Oklahoma's state government responded to the 5.6 earthquake, the worst in the state's history, by ordering that 37 waste water injection wells be shut down (out of 4200 in the state). In case you haven't been following the story, up until around 2006 Oklahoma suffered an average of two small (3.0) earthquakes per year. Since then the numbers have increased astronomically, to over 900 (3.0 and higher) last year. These directly correlate with waste water injection -- not the same thing as hydraulic fracturing, or fracking, which also injects toxic fluids deep into the earth -- a practice which has increased dramatically over the last decade. (Probably due to Obama's coddling of the oil and gas industry, not something he gets credit for nor that he brags about, but his administration has reversed decades of declining oil production, mostly by increasing the yields of older, largely depleted oil patches like Oklahoma's.) No earthquake this morning (at least nothing above 4.0 -- I've arranged to get USGS notices whenever one strikes in Oklahoma or Kansas). Instead, when I got up today, my wife told me that Twitter was all abuzz about recent pieces claiming that Hillary Clinton was being done dirty by the New York Times -- notably, Paul Krugman: Hillary Clinton Gets Gored, and Josh Marshall: You Failed, Chumps. As it happens, I had already flagged two precursor pieces for Weekend Roundup: Katherine Krueger: NYT Scrambles to Rewrite Botched Story on Trump's Immigration Speech, and Annie Rees: In NYT's Hillary Clinton Coverage, An Obsession With 'Clouds' and 'Shadows'. As someone who's never been a fan of the New York Times, I don't find any of this surprising. It's inevitable that reporters will shade their limited view of the facts with prejudices, including desire to please the corporate hierarchy above them, and the editors who assign and select and (let's face it) edit their stories are one step closer to the moneyed power that runs their world. So with Trump flailing, of course they'll cut him slack on scandals that dwarf any hints of Clinton wrongdoing. And they certainly won't point out the more basic difference: that while Clinton stands accused of using her influence to help other people ("pay to play") the only person Trump has ever sought to help was himself. Still, I wouldn't get all that gloomy about the Times' double standards. The right has made hay for decades by attacking the biases of the "liberal media" -- the New York Times serving double duty, first as an icon of the former, then as a source of legitimacy and validation when they cower to the right (e.g., in their promotion of the Iraq War, or more recently in their adoption of the Clinton Cash book). In doing so they've stolen a page from the Earl Weaver management handbook: always argue with the umpires; even when you lose today it makes a bit more likely to give you the next call. In retrospect it was crsystal clear that the mainstream media spun story after story for Bush and against Gore in 2000. I think that's a tendency that is inherent in their trade, and you see it happening all over again for Trump and against Clinton. So I can't blame Krugman, Marshall, et al., for raising a stink -- Earl Weaver would do no less. But what I do blame Krugman, Marshall, et al., for is their earlier claims that Clinton has already "been vetted" -- that, unlike Bernie Sanders, she has already faced the worst smear campaigns the right can throw up, and has overcome them. Really? If she had really withstood them, she wouldn't be stuck with negative favorability ratings all year long, and she wouldn't be unable to crack 50% against Donald Trump in any nationwide poll. Moreover, she's not just facing the old Whitewater and Benghazi charges, which were whipped up from practically nothing. Her problem today is relatively new stuff, things a smart person running for president should have known better than. While I think her private email server is utter crap, the basic thrust of Peter Schweizer's lurid bestseller -- Clinton Cash: The Untold Story of How and Why Foreign Governments and Businesses Helped Make Bill and Hillary Rich, published with the New York Times' blessing in May 2015 -- is basically true. Indeed, the Clintons themselves validated it when they released their tax returns, showing a $12 million annual income from a skill set consisting of little more than shaking hands and giving speeches. Sure, you can argue that the Clinton Foundation isn't doing anything different than, say, GW Bush's Foundation -- both are basically receptacles for delayed graft for the many favors both presidents showered on their backers -- but one difference is that Laura Bush isn't running for president (and Jeb, not that he ever came close, isn't obviously connected), so only the Clintons have set themselves up for selling graft futures. Maybe that wasn't the intent, but her decision to run made the Foundation inevitably look like a giant political slush fund, and she's never had the credibility to overcome that. That fact is, having set up the Foundation, she shouldn't have run. Too bad the 22nd Amendment didn't also bar the spouses and children of presidents from running. After all, wasn't a major point of the Revolution of 1776 to put an end to aristocratic rule? To give you an idea of how bad a candidate Hillary Clinton is, see Barry Blitt's Polls: If the Election Were Held Today . . . cartoon. I'm not denying that we're stuck with her. The alternative is Donald Trump, and he is clearly the greater evil in every respect I can reckon, including measures of personal character and integrity that I think are overrated. I wouldn't even say that she's the "lesser evil" -- I'd say she's objectively 'not bad" in a good many respects (admittedly a big one, war, is not one of those). I'll be pleased if she wins, and saddened if she doesn't. But one thing I don't need is another 90 days of wealth-squandering least-common-denominator campaigning to sway my mind. Like, I think, most sentient Americans, I'm settled. Now, please, shut up. Ask a question, or send a comment. Monday, September 5, 2016 Music Week
Music: Current count 27090 [27056] rated (+34), 369 [370] unrated (-1). I've been having a lot of trouble thinking of things to listen to, although the list below is still pretty substantial. I finished looking up all the new jazz albums in Downbeat's Readers Poll ballot. Final tally is that I've listened to and rated 165 of 186 (88.71%) nominated albums, adding 53 albums since filling out the ballot. The remaining 21 by label: High Note/Savant: 7, CAM Jazz: 2, 1 each for 12 other labels (notably Anzic, ArtistShare, Cuneiform, Dark Key, Destiny, Fuzzy Music, Nessa -- at least those are the ones I've heard of). I should probably see whether Joe Fields is willing to turn service back on. The final grade tally: [A-] 18, [***] 31, [**] 47, [*] 41, [B] 16, [B-] 8, [C+] 1, [C] 1, [C-] 1. The grade curve bent slightly lower as I added more records, but last week's batch did reveal one more A- record, by Omar Sosa. Done with that, I scrounged around a few other lists. I checked out several Scandinavian jazz releases that Chris Monsen likes: Anna Högberg, Moskus, Hanna Paulsberg, Rønnings Jazzmaskin; also, less impressively, Monsen's non-jazz favorites: Bent Shapes, Cobalt, White Denim. I checked out a couple of well-regarded recent rap albums -- De La Soul, Young Thug -- the former is a favorite of my nephew, but I had trouble focusing on it. Also liked Britney Spears, recommended by Robert Christgau -- his other pick, Tegan and Sara's Love You to Death, was an A- here back in July. Still boycotting All Music Guide. For all its problems, that's taking a toll on my ability to find information necessary for reviewing records off streaming services. One thing I did use last week, for the first time in several years, was Spotify. Hard to search, and I rather hate the user interface, but I found two records there that had eluded me on Napster (Rhapsody): Anna Högberg: Attack and Waco Brothers: Going Down in History. Both came highly recommended, got two plays, and wound up high-B+. But by and large I'm not finding much there that's not already available on Napster, so I'm not convinced I need to pay up yet. That project I mentioned above: I've started assembling all of my old Jazz Consumer Guide columns into reference book form, using a wysiwyg word processor (Libre Office) instead of my usual hand-coded HTML. I've finished sorting the 27 columns (26 from the Village Voice), a little more than 1000 records from 2004-11, which with default formats runs 120 pages -- looks a lot like this index. A few decisions to date: I've decided to separate the individual artist and group records, and to pull the pre-2000 archival material out into an appendix at the end. I've changed the grade scale to 1-10, with A- at 8 (but I've generally nudged pick hits up to 9), so B is at 4 and the lower grades are mushed together. This is part of a broader project to collect my writings and recast them as a series of books -- this is the third I've opened, but the only one so far I've put much writing into. Working title is Recorded Jazz in the Early 21st Century: A Consumer Guide. Like the Jazz Consumer Guide, it mostly consists of nugget-sized reviews and one-liners. I expect to add a brief biographical intro to each artist/group, which will allow me to cut some redundancies out of the reviews. Then the much larger task will be to go through my thousands of other reviews -- the oldest prospect and surplus notes, Jazz Prospecting, Recycled Goods, and Rhapsody Streamnotes -- and pick out records worth mentioning and recast them into form. Then there's the question of what's missing and should be added. I'm thinking it would be nice for the project to span two decades, 2000-2019, although obviously I'm missing a few year fore and aft. Also not sure how much more work I want to put into this, so I may consider the option of recruiting a collaborator to finish it off. But it's pretty clear from looking at what I got so far that I've already put in most of the work, and that I can offer a wider-ranging survey of contemporary jazz than pretty much anyone. When I clean things up a bit, I figure the next step will be to post a PDF and solicit comments. More on that later. By the way, Michael Tatum's latest brilliant A Downloader's Diary is archived here. I'm pleased to provide an archive and indexing for all of his columns. New records rated this week: Recent reissues, compilations, and vault discoveries rated this week: Unpacking: Found in the mail last week: Ask a question, or send a comment. Monday, August 29, 2016 Music Week
Music: Current count 27056 [27020] rated (+36), 370 [359] unrated (+11). Published Streamnotes last week, so most of the finds (4 of 5 pictured albums) are already known to you. I wrote there about catching up with the Downbeat Readers Poll albums ballot, and I've continued doing that -- only eleven more that I haven't looked up, so I'll probably finish this week, even if that means listening to Yellowjackets. Of course, that leaves 20 records I tried finding on Rhapsody (and often on Bandcamp) but failed. Of those, the ones I most miss are the HighNotes/Savants (JD Allen, Kenny Burrell, George Cables, Joey DeFrancesco, Tom Harrell, Jeremy Pelt, The Power Quintet) and Roscoe Mitchell's Celebrating Fred Anderson (Nessa). I'll publish a revised grade breakdown when I hit the bottom of the list. Needless to say, the curve has been edging down, with only the George Coleman and David Murray records (ones I picked off on the first day) joining the A-list. I got a letter from Oliver Weinding, who runs Babel Label and the Vortex Jazz Club in London, a while back, noting he's putting on a series of showcases for Intakt artists and mentioning my review of "the Lucas Niggli album" -- that would be Kalo-Yele, which I filed under the first name, Aly Keita, a balafon player from Côte D'Ivoire. That, by the way, is still my top-rated record this year. Don't know whether this will result in me getting any physical mail, but I'll point out that Babel's catalog is pretty much all on Bandcamp, and I think their material is well represented on Napster. I've long associated the label with guitarist Billy Jenkins, who I credit with five A- records and one full A: 1998's True Love Collection. I wanted to give you the Bandcamp link, but there doesn't seem to be one, and to top that it's out of print. Basically '60s cheese ("Mellow Yellow," "Everybody's Talking," "Feelin' Groovy," "Sunny," "Dancing in the Streets," with avant twists connecting it all together, including terrific work by Django Bates and Iain Ballamy. It's on my all-time list. Meanwhile, the Paul Dunmall record is here. I stopped using All Music Guide this week. Recently they added some JavaScript that broke on my browser, so whenever I went to a page they printed a message about something horrible happening then looped forever. I could still see their pages on a Chromebook I keep open on the desk nearby, but they decided to escalate their anti-Ad Blocker campaign and make their site unavailable unless users either allow ads, pay them money, or something else I don't understand (seems to be some kind of scam to sell your name to other advertisers). I'm not unsympathetic to people who'd like to make some money off their hard work, and I could probably afford to pay them something as much as I use their site, but I'm also retired, have no income to speak of, make all of my web work available gratis, and have contributed numerous corrections to their site, but mostly I don't like the way this has gone down. It does, however, mean that I have less access to information -- mostly using Discogs a lot, and should find a way to better use MusicBrainz, which is more dependably free, and which I contributed to for a while -- and that's bound to hurt my reviews (main frustrations to date: verifying dates and credits). More bad web news: I gather that Spin is shutting down its review section, starting by firing staff reviewers including Dan Weiss (check him out here). Back when I followed webzines better, Spin had one of the more reliable and adventurous review sections anywhere, including more hip-hop than any other non-specialist source. Supposedly Spin will limp on doing news and features, but even when I bought whole copies of their print magazine I rarely read anything but reviews -- I really don't know what else they have to offer. Weiss is so knowledgeable and so prolific I expect he'll land somewhere else, but those opportunities are vanishing -- and not just because people like me are too cheap to pay for professional work ("content-providers" get squeezed from both directions). Unpacking picked up this week with nearly everything I received actually scheduled for September or October release. But part of the reason for the uptick is that I went ahead and added six releases I received today -- I usually hold Monday's mail for the following week. PS: Just noticed Michael Tatum has a new Downloader's Diary. New records rated this week: Recent reissues, compilations, and vault discoveries rated this week: Unpacking: Found in the mail last week: Ask a question, or send a comment. Sunday, August 28, 2016 Weekend RoundupNot very happy with all that follows, let alone all that I haven't gotten to, but it looks like there's enough to chew on for now. Latest odds at 538 show Clinton as having slipped to a 80.9% chance of winning as Georgia and Arizona have tilted back in Trump's favor. Clinton's big problem is that she's still unable to crack 50% of the popular vote -- seems like an awfully flawed, weak candidate given that all she has to beat is Trump, and he's pretty handily beating himself. I suspect the media deserves much of the blame for normalizing and legitimizing Trump, and also for tarring Clinton with an endless series of silly scandals -- the biggest eye-opener for me was to discover that GW Bush's Foundation, even with no prospects of future dynasty, has been raking in even more money than the Clinton Foundation. While I don't doubt the corruption inherent in the latter, I find it curious that no one ever mentions the former. Matt Taibbi attacked the media this year in a piece called The Summer of the Shill, lamenting especially the partisanship of news channels like Fox and MSNBC, where one airs nothing but Hillary "scandals" and the other little but Trump "gaffes." Still, it's not clear to me that the quality has dropped much since Taibbi wrote up his brilliant Wimblehack series in 2004 (cf. his book Spanking the Monkey), and at least there's more parity now. Still, I guess you have to make do with the candidates you got. Some scattered links this week: Ask a question, or send a comment. Thursday, August 25, 2016 Streamnotes (August 2016)Mostly jazz records this month, plus a few Christgau picks (Konono No. 1, The Kropotkins, Leland Sundries, Lori McKenna, Dawn Oberg, Walter Salas-Humara, Mestre Cupijó, Joi, Pylon, Senegambia Rebel). I only count two new records that are exceptions: Atmosphere and Hieroglyphic Being -- artists I somehow noticed and checked out based on previous reputation. (Had I done more scouting Dan Weiss might have scared me off Atmosphere, but having played the record twice before finding his review, all he accomplished was to get me to do an extra sanity check spin -- as far as I'm concerned the record passed.) The new jazz is probably more mainstream than usual. My own mail queue continues to dwindle (or perhaps the seasonal lull in August is just exceptionally severe this year) so probably for the first time since I folded Jazz Prospecting into Streamnotes most of the new jazz records below were downloaded or streamed. But what makes them more mainstream than usual is that I spent most of my time looking for records on Downbeat's Readers Poll ballot that I hadn't heard (74/186 at the time, or 39.79%). I've knocked more than a third of that list off (27 by my running count), and I'll probably get close to 50% before I run out of records available on my streaming service (Napster, formerly Rhapsody). That list did get me to two of the best jazz releases of the year -- tenor saxophonists George Coleman and David Murray -- records I wasn't previously aware of but gravitated to the first day I started scouring that list. Still, in the month since nothing else has proven even remotely as good -- my other streamed A- new jazz records (by Paul Dunmall and Paal Nilssen-Love) weren't on the Downbeat ballot. The recent compilations section has a couple sets I hadn't heard about but looked interesting: some Africana (Penny Penny, Sunburst), proto-electronica (Close to the Noise Floor). The new Lovano record got slotted there because the tape is 10+ years old. Senegambia Rebel is probably all new, but I decided to file all various artist compilations there -- not sure that's been a consistent standard, but it's one for now. Old music is mostly tangential to new music. The Peter Kuhn was a belated discovery after I reviewed his old and new music last month. Ellery Eskelin is on the new Stephan Crump album, and he has a new album on Hatology I couldn't find -- instead I came up with an old one I had missed. Barbara Dane and Lori McKenna have good new albums. I didn't get very far with Chucho Valdés, but at least knocked off one of my ungraded CDs -- probably just a bookkeeping error since it wasn't on an ungraded shelf. Most of these are short notes/reviews based on streaming records from Rhapsody (other sources are noted in brackets). They are snap judgments based on one or two plays, accumulated since my last post along these lines, back on July 30. Past reviews and more information are available here (8483 records). Recent Releases
Greg Abate & Phil Woods with the Tim Ray Trio: Kindred Spirits: Live At Chan's (2014 [2016], Whaling City Sound, 2CD): Two alto saxophonists, backed by pianist Ray's trio with John Lockwood (bass) and Mark Walker (drums). Woods, who died at 83 thirteen months after these sets, got his start running errands for Charlie Parker, but the 16-years-younger Abate may be the even more resolute bebopper. B+(**) Joey Alexander: My Favorite Things (2014 [2015], Motéma): Pianist, born Josiah Alexander Sila in Bali, Indonesia in 2003, so that makes him like eleven years old when he recorded this debut, starting with 10:15 of "Giant Steps," 8:13 of "Lush Life," and 4:15-6:50 takes of six other standards plus an original named "Ma Blues" ("inspired" by "Moanin'"). He's joined by adults on bass and drums, and a bit of trumpet on one piece. I'm little inclined to credit prodigies, but this is a pretty enjoyable set of mainstream jazz. B+(**) Karrin Allyson: Many a New Day: Karrin Allyson Sings Rodgers & Hammerstein (2015, Motéma): Jazz singer from Kansas, has been working the songbook hard since 1992. Blandly sung, backed rather sparely by Kenny Barron on piano and John Patitucci on bass. B Livio Almeida: Action and Reaction (2014 [2016], self-released): Tenor saxophonist from Brazil, studied (and presumably lives) in New York, part of Arturo O'Farrill's sextet. This taut, professional postbop was produced by O'Farrill, with sons Adam (trumpet) and Zack (drums), plus Vitor Gonçalves (piano), and Eduardo Belo (bass). B+(*) [cd] Atmosphere: Fishing Blues (2016, Rhymesayers Entertainment): Underground rap duo from Minneapolis, nothing fancy in the beats, just enough to move it along; nothing fancy anywhere else either, just slice-of-life shit that may be him or may be some other fictional dude, but one no more exciting than he be. Typical lines: "I'm not perfect but I try"; "I might be unprepared but I still be here." And yeah, a song about fishing. A- Audio One: The Midwest School (2014, Audiographic): Another large Ken Vandermark ensemble -- 10 pieces, Chicago locals, sax heavy (Vandermark, Mars Williams, Dave Rempis, Nick Mazzarella), with cornet (Josh Berman), trombone (Jeb Bishop), viola (Jen Paulson), vibes (Jason Adasiewicz), bass (Mick Macri), and drums (Tim Daisy). Pieces by Julius Hemphill, Anthony Braxton, Henry Threadgill, and (best of all) AEC's "Theme De Yoyo." B+(**) [bc] Karlis Auzins/Lucas Leidinger/Tomo Jacobson/Thomas Sauerborn: Mount Meander (2015 [2016], Clean Feed): Of course, the group name is Mount Meander -- nothing else on the spine, and the individual names are barely legible on the cover. Respectively: tenor/soprano sax, piano, double bass, drums. Recorded in Denmark. Ambitious compositions, pushing limits, they don't always pay off but produce more than a few fine moments. B+(***) [cd] Lucian Ban Elevation: Songs From Afar (2014 [2016], Sunnyside): Pianist from Transylvania (modern day Romania), home of three trad songs here (one "sorrow" and two "wedding"), sung with much drama by Gavril Tarmure. The band members merit their front cover billing: Abraham Burton (tenor sax), John Hébert (bass), and Eric McPherson (drums), with Mat Maneri (viola) added on 5 (of 9) tracks. The 7:02 solo piano piece in the middle is only one of several things that slow this down. B+(*) Peter Bernstein: Let Loose (2016, Smoke Sessions): Guitarist, been recording since the early 1990s, his sweet tone and long-lined grooves always a nice touch on other people's albums, but maybe not quite enough to carry his own. With Gerald Clayton on piano, Doug Weiss on bass, and Bill Stewart on drums, a good example of what he's good at. B+(*) Jim Black Trio: The Constant (2015 [2016], Intakt): Terrific drummer, has played in numerous important groups -- just to pick a couple, Dave Douglas's Tiny Bell Trio, Ellery Eskelin's Trio, Tim Berne's Bloodcount -- has a dozen or so albums on his own. This is a piano trio, his songs, Elias Stemeseder on piano, Thomas Morgan on bass. Snappy material, especially around the edges. B+(***) [cd] Black Top: #Two (2014 [2015], Babel): Avant-jazz duo with Pat Thomas on piano and Orphy Robinson on drums, either likely to switch to a wide range of electronic gadgets. On their first album they were joined by saxophonist Steve Williamson, so here they go with another guest, saxophinst Evan Parker. Recorded live. The electronics are sketchy, but the piano breaks up time in interesting ways, and it doesn't take Parker long to jump ahead of the learing curve. B+(***) [bc] Carate Urio Orchestra: Ljubljana (2015 [2016], Clean Feed): Seven-piece group based in Antwerp, Belgium, probably led by Sean Carpio (drums, guitar, voice), with several musicians I've run across before -- Joachim Badenhorst (clarinets, sax), Pascal Niggenkemper (bass), Frantz Loriot (viola). Complex, some voice (which doesn't help), passages that fade into ambience and others that rise up grandly. B+(*) [cd] Teri Lyne Carrington: The Mosaic Project: Love and Soul (2015, Concord): Drummer, has a wide range of jazz credits going back to 1984 but she veered into R&B for her 2011 Mosaic Project album, and returned here. Very long credits list, but nearly all of the voices and musicians are female (I see one cut with Billy Dee Williams listed as narrator). The ever-changing guest vocalists give this an air of anonymity. B+(**) George Coleman: A Master Speaks (2015 [2016], Smoke Sessions): Tenor saxophonist, still remembered primarily as the guy who preceded Wayne Shorter in the Miles Davis Quintet, but he was a master -- his 1991 album My Horns of Plenty is an all-time favorite -- and at 80, recording his first album since 2002, he still is. Classic sax quartet, with Mike LeDonne pacing him splendidly on piano, Bob Cranshaw on bass, and George Coleman Jr. on drums. A- Cortex: Live in New York (2015 [2016], Clean Feed): Norwegian avant-jazz quartet -- Thomas Johansson (trumpet), Kristoffer Alberts (saxophones), Ola Høyer (bass), Gard Nilssen (drums) -- second album on Clean Feed, may have more but share no relationship I can find with the 1975-79 French avant band Cortex. They can really kick up a storm, making this relatively short live album (35:38) pretty huge. A- [cd] Larry Coryell: Heavy Feel (2014 [2015], Wide Hive): Guitarist, a fusion pioneer with more than one hundred albums since Chico Hamilton introduced him in 1966. Quartet, produced by Gregory Howe (who has a hand in 4/9 songs), with soprano sax (George Brooks), electric bass (Matt Montgomery -- also credits for 4/9 songs), and drums (Mike Hughes). Fusion, wouldn't call it heavy but not light either. B+(*) Stephan Crump: Stephan Crump's Rhombal (2016, Papillon): Bassist, ten or so albums since 1997, I especially like his knack for mixing the bass up so it balances evenly with the other instruments -- harder to do here in a two-horn quartet, but he manages it nonetheless. With Adam O'Farrill (trumpet), Ellery Eskelin (tenor sax), and Tyshawn Sorey (drums). A- [cd] Barbara Dane with Tammy Hall: Throw It Away . . . (2016, Dreadnaught Music): Folksinger, born in Detroit in 1927 of parents who migrated north from Arkansas, moved to San Francisco in the 1950s. I've long regarded her 1959 Anthology of American Folk Songs as a classic, and vaguely recall her longstanding political activism -- her recording career petered out in the early 1970s with FTA! Songs of the GI Resistance and I Hate the Capitalist System -- but wasn't aware she wrote songs with Lu Watters, cut albums with Lightnin' Hopkins and the Chambers Brothers, or one called Livin' With the Blues (with Earl Hines, Benny Carter, and Shelly Manne). She's 88 now, thanks Mose Allison's "My Brain" for getting hers back to work, and her voice has aged fine. Hall's piano trio turns her into a jazz singer, guest harmonica and sax flesh out the blues. Starts with Memphis Minnie, then Leonard Cohen, Abbey Lincoln, Paul Simon, then gets more personal, and political, and/or corny. When she sketches out her dream society and asks "What Kind of Country" that would be, "socialism" is so obviously the answer she doesn't need to mention it (or Bernie). A- [cd] Kris Davis: Duopoly (2015 [2016], Pyroclastic): Avant-pianist, from Canada, has a dozen or more albums since 2003 establishing herself as a major figure. Duets here with eight partners -- guitarists Bill Frisell and Julian Lage, pianists Craig Taborn and Angelica Sanchez, drummers Billy Drummond and Marcus Gilmore, also Don Byron (clarinet) and Tim Berne (alto sax) -- one tune and one shorter free improv each. All interesting, but Byron and especially Berne are most compelling. Comes with a DVD encrypted so I can't play it on my computer (may be my problem, but not one I feel up to dealing with). B+(***) [cd] Whit Dickey/Kirk Knuffke: Fierce Silence (2015 [2016], Clean Feed): Drums and trumpet duo, Dickey mostly associated with Matthew Shipp since the late 1980s. Usual caveats about avant duos apply, but hard to fault the interplay. B+(***) [cd] Paquito D'Rivera: Jazz Meets the Classics (2012 [2014], Paquito/Sunnyside): Cuban-born clarinetist, played in the famous group Irakere there but fled in 1981 to US, recording 55+ albums since then. I passed on this one for obvious reasons -- not least the cover image of six guys dressed up like 19th century plantation owners and martinets. Those are presumably the band, with Diego Urcola (trumpet), Alex Brown (piano), electric bass, drums, and percussion (Arturo Stable). The repertoire is mostly Beethoven, Mozart, and Chopin with one piece from Ernesto Lecouna, all served con clavé, which helps. B Paquito D'Rivera & Quinteto Cimarron: Aires Tropicales (2012 [2015], Paquito/Sunnyside): Another trawl through classical music Cuban style. The Quinteto Cimarron is a group of Cuban expats based in Spain, a classical string quintet (adds contrabass to the usual two violins, viola, and cello), with only the leader's clarinet to spice things up. Starts with five of D'Rivera's pieces then wanders off through more or less obscure Cuban composers (I assume -- I only see one piece by a member of the Quintet). B- Paquito D'Rivera/Armando Manzanero: Paquito & Manzanero (2016, Paquito/Sunnyside): Manzanero is a Mexican pianist and singer, composer of some 400 songs, now 80. These are his songs, played by the clarinetist's sextet, and he adds his fragile but romantic croon to a few. B+(*) Paul Dunmall/Matthew Bourne/Steve Davis/Dave Kane: Mandalas in the Sky (2013 [2015], Babel): Avant-sax quartet, with the leader on tenor and flute, plus piano, drums, and bass respectively. Dunmall remains focused throughout, and the stretch where he sits back and lets the piano take over demands our attention too. A- [bc] Oran Etkin: What's New? Reimagining Benny Goodman (2015, Motéma): Clarinetist (regular and bass), so of course he's been thinking about Goodman. But he starts with a "Prelude" that doesn't allow any measure of swing, and only sporadically rectifies that -- even his cheery, bouncy "King Porter Stomp" only swings in passing. With Sullivan Fortner (piano), Steve Nelson (vibes), Matt Wilson (drums), and Charenee Wade singing two tunes. B+(***) Sullivan Fortner: Aria (2014 [2015], Impulse!): New Orleans pianist, won a prize and jumped straight to the big leagues for his debut -- not that Universal's Verve group (mostly dba Impulse! these days) actually releases enough, in the US anyhow, to still qualify. The operatic title spooked me away, but turns out this is a very solid sax quartet, with Tivon Penticott on tenor (and soprano), Aidan Carroll on bass, and Joe Dyson on drums. B+(***) Kenny Garrett: Do Your Dance! (2016, Mack Avenue): Alto saxophonist, one of the major mainstream figures of the 1990s, with Coltrane the obvious influence. Tries for funky here, but no matter how upbeat he keeps it, he can't shake postbop convention, even when he brings in those hippity-hop rappers. B+(*) Wycliffe Gordon: Somebody New (2015, Blues Back): Mainstream trombonist, more than two dozen albums since 1996, leads the Lexington, Kentucky-based DiMartino/Osland Big Band here -- founded by Miles Osland (alto sax) and Vince DiMartino (trumpet, but I don't see a credit for him here). The band swings, and Gordon turns out to be a pretty fair singer (e.g., "Basin Street Blues"). B+(**) Mark Guiliana Jazz Quartet: Family First (2015, Beat Music Productions): Drummer-led sax quartet, all members fairly well known: Jason Rigby (sax), Shai Maestro (piano), Chris Morrissey (bass). Postbop, fast ones hold up pretty well, slow ones less commanding. B+(**) Joel Harrison 5: Spirit House (2013 [2015], Whirlwind): Filed on Napster by "Joel Harrison Octet," but I only count the expected five musicians: Harrison (guitar), Cuong Vu (trumpet), Paul Hanson (bassoon), Kermit Driscoll (bass), and Brian Blade (drums) -- Harrison and Blade also credited for voice, so presumably they're responsible for "Some Thoughts on Kenny Kirkland." MVP is the trumpeter. B+(*) Cory Henry: The Revival (2016, Ground Up): Organ player, first album, live, sings a bit and has a drummer backing but that's it. Reminds me how ugly solo organ can be, but every now and then comes up with something to make me forget. B- Hieroglyphic Being: The Disco's of Imhotep (2016, Technicolour): Chicago house producer Jamal Ross, has a real flair for beats, strong again here until he fizzles a bit near the short end. Nine tracks, 33:56. B+(***) Charlie Hunter: Everybody Has a Plan Until They Get Punched in the Mouth (2016, Ground Up/Decca): Seven-string guitarist, has close to twenty albums since 1995, some with even longer titles, offers a fair approximation of Scofield groove but is more likely to deviate into avant and/or rockish territory. Here he leads a quartet more dominated by horns -- cornet (Kirk Knuffke) and trombone (Curtis Fowlkes) -- with frequent collaborator Bobby Previte on drums. Fave piece is a bit of smeared trombone funk. B+(***) Grace Kelly: Trying To Figure It Out (2016, Pazz Productions): Alto saxophonist, born Grace Chung in 1992, I first noticed her as a 15-year-old co-leading a pretty good album with Lee Konitz, and recently in Jon Batiste's Late Show band. This one is all over the map with guests who help and some who don't, but she mostly seems to be aiming for something in Terri Lyne Carrington's Mosaic Project's bailiwick. B+(*) Stacey Kent: Tenderly (2015 [2016], OKeh): Singer, originally from New Jersey but based in England, has close to twenty albums since 1997, sings standards here (including one from Brazil), backed primarily by Roberto Menescal's guitar, with Jeremy Brown on bass and husband Jim Tomlinson on flute and tenor sax. Her voice is well suited to this low key approach. B+(***) Masabumi Kikuchi: Black Orpheus (2012 [2016], ECM): Japanese pianist, Discogs lists 19 albums since 1970, died in 2015 leaving this solo set as his final testament. B+(*) [dl] Kirk Knuffke: Lamplighter (2014 [2015], Fresh Sound New Talent): Cornet player, has been prolific since 2008, including six records on Steeplechase I haven't heard. Avant, but rather thin, sketchy, slippery, with Stomu Takeishi on bass and two percussionists. B+(**) Konono No. 1/Batida: Konono No. 1 Meets Batida (2016, Crammed Discs): Batida is Pedro Coquenão, a DJ born in Angola and based in Lisbon, Portugal, with two albums on Soundway (I recommend the eponymous 2012 Batida). He probably adds something here, but the band's home-brewed Congotronics rule. A- The Kropotkins: Portents of Love (2015, Mulatta): Named for the Russian anarchist, fourth album since 1996 if we count the eponymous debut, credited at the time to avant-violinist (and sometime banjoist) Dave Soldier. Current lineup includes co-founder Jonathan Kane (snare drum), Lorette Velvette (vocals), Charles Burnham (violin), and Moe Tucker (drums), doing a hillbilly/blues thing several times removed. B+(**) Steffen Kuehn: Leap of Faith (2015-16 [2016], Stefrecords): Trumpet player, fourth album, funky little thing although the band, with four horns, guitar/keyboards, extra percussion, and various guest stars (best known Bob Mintzer) is more than ample. B+(*) Zach Larmer Elektrik Band: Inner Circle (2016, self-released): Guitarist, based in Miami, first album, electric keyboards and bass leaning toward funk, but his guest spots for horns up his game -- John Daversa on trumpet and EWI, even more so Brian Lynch on trumpet and Aldo Salvent on tenor sax. B+(*) [cd] Le Boeuf Brothers + JACK Quartet: Imaginist (2014 [2016], Panoramic/New Focus): The brothers are Pascal (alto sax) and Remy (keyboards), their group including Ben Wendel (tenor sax) and bass and drums. JACK is a string quartet. The first three cuts show some slippery promise, but then comes the long "A Dream" where the strings go classical and Paul Whitworth narrates something about "Josef K." Closes with another extended instrumental set in much the same vein. B- [cd] Steve Lehman: Sélébéyone (2016, Pi): Alto saxophonist, Anthony Braxton student, has had a couple records of the year (and not just in my book: Mise en Abime topped the Jazz Critics Poll). Goes for something else here, with HPrizm rapping and Gaston Bandimic singing in Wolof, rhythms borrowed from hip-hop and mbalax then freed up some more by drummer Damion Reid. I really don't know what to make of it, but I do love the shifty in-between music, with Maciek Lasserre's soprano bouncing off the alto, Carlos Homs' keyboards, and Drew Gress holding it all together on bass. A- [cd] Leland Sundries: Music for Outcasts (2016, L'Echiquier): Brooklyn band led by singer-songwriter Nick Loss-Eaton -- thought the name sounded familiar but couldn't find any further discography until AMG credited him with publicity on a Bruce Springsteen album, and I found some saved mail from him hawking albums by artists I don't recall at all. First album after a couple EPs, will appeal to Americana fans but strikes me as much bigger and bolder, though I'm not sure that adds up to better. B+(***) [bc] Joey Locascio: Meets the Legend (2016, Blujazz): No hype sheet, promo doesn't identify any credits. When I got it, I assumed this must be pianist Joe LoCascio, but I have my doubts now: websites don't indicate any previous records and no one but me seems to have filed this under the pianist. He sings here, and I've seen a picture of him playing guitar. "The Legend" seems to be organ player Joey DeFrancesco. He starts with a parody called "Joey's a Tramp" and rarely strays far from caricature. B+(*) [cd] Mack Avenue Superband: Live From the 2015 Detroit Jazz Festival (2015 [2016], Mack Avenue): The Detroit-based jazz label has been showcasing their roster at their hometown festival since 2012. The lineups vary from year to year, this one featuring Freddie Hendrix (trumpet), Tia Fuller (alto/soprano sax), Kirk Whallum (tenor sax), Christian Sands (piano), Christian McBride (bass), Gary Burton (vibes), and Carl Allen (drums). Hotter than average mainstream, main takeaway is to be reminded of how much talent Whallum wastes on his own albums. B Christian McBride Trio: Live at the Village Vanguard (2014 [2015], Mack Avenue): Bassist, earned his headline credentials in the hard bop revival of the early 1990s, leads a trio with Christian Sands on piano and Ulysses Owens Jr. on drums. Sands is fast, flashy, boppish -- put his name on this group and he'd be more famous, but if he had to hire another bassist his group wouldn't be as good. B+(**) Lori McKenna: The Bird & the Rifle (2016, CN/Thirty Tigers): Singer-songwriter from the country side of Massachusetts, writes good songs and sings them right. Title cut sounds like a case for gun control and an explanation why it isn't happening. A- Merzbow/Keiji Haino/Balasz Pandi: An Untroublesome Defencelessness (2016, RareNoise): Electronics, guitar and more electronics, drums, resulting in better than average fusion thrash. B+(**) [cdr] Camila Meza: Traces (2016, Sunnyside): Singer and guitarist from Chile, based in New York, band has jazz credentials -- Shai Maestro (piano, keyboards), Matt Penma (bass), Kendrick Scott (drums), Jody Redhage (cello), Bashin Johnson (percussion) -- but the songs, most in Spanish but some in English, don't swing much. B Allison Miller's Boom Tic Boom: Otis Was a Polar Bear (2016, Royal Potato Family): Drummer-led sextet, built around the brilliant quartet from her first album -- Myra Melford (piano), Jenny Scheinman (violin), Todd Sickafoose (bass) -- with the addition of two horns: Kirk Knuffke (cornet) and Ben Goldberg (clarinet). Terrific group, with spots of dazzle but also patches that don't. B+(**) Modular String Trio: Ants, Bees and Butterflies (2014 [2016], Clean Feed): Sergiy Okhrimchuk (violin), Robert Jedrzejewski (cello), Jacek Mazurkiewicz (contrabass, electronics), but there's also a less obvious, unexplained credit: Lukasz Kacperczyk (modular synth). I'm not all that fond of chamber jazz, for for that matter string ensembles, but these plucky abstractions hold my interest. B+(***) [cd] Murray, Allen & Carrington Power Trio: Perfection (2015 [2016], Motéma): That's David Murray (tenor sax, bass clarinet), Geri Allen (piano), and Terri Lyne Carrington (drums) -- "Power Trio" would have been redundant had they just spelled out those names. I missed this, and passed up Murray on my latest ballot because I hadn't heard anything by him since 2013. My bad. A- Quinsin Nachoff: Flux (2012 [2016], Mythology): Tenor saxophonist, has a couple albums, this one adds a second sax (David Binney on alto), plus piano (Matt Mitchell) and drums (Kenny Wolleson) but no bass. Jittery postbop, impressive as far as it goes. B+(**) [cd] Aaron Neville: Apache (2016, Tell It): Unmistakable voice, a New Orleans legend and then some, still mostly generic songs -- exception is the closer, "Fragile World," which I'm tempted to call cosmic but it's actually so down to earth. B+(**) Paal Nilssen-Love Large Unit: Ana (2015 [2016], PNL): Fourteen-piece ensemble, short on horns (two reeds, one trumpet, one trombone, two tubas), long on percussion including Latin and African specialists, electronics, guitar, two basses, no piano. Three longish pieces, many remarkable passages with blaring horns over electronic squiggles and all sorts of complex rhythm. A- [bc] Nine Live: Sonus Inenarribilis: Nine Live Plays the Music of John Clark (2016, Mulatta): Clark is a French horn player with a handful of albums from 1980-2003, his side credits including four Gil Evans albums. He wrote the music here, conducted by Thomas Carlo Bo, and is credited with "horn." Group leans toward classical instrumentation, with strings (violin-viola-cello), clarinet, bassoon, keyboards, and 7-string electric bass. B [cd] Northern Winds and Voices: Inside/Outside (Sisällä/Ulkona) (2016, Edgetone): Sub: "Finnish music imagines in new ways." The other name on the cover is Heikki Koskinen, who plays piano, flutes, kantele, and electric trumpet ("e-tpt"). Steve Heckman and Rent Romus play various reed instruments, Noah Schenker bass, and Kati Pienimaki Schenker sings (mostly in Finnish). Despite the jazzbos, still pivots on folk/classical foundation, often lovely, sometimes arch. B+(*) [cd] Dawn Oberg: Bring (2015, Blossom Theory): Christgau split an EW post between her catalog and rapper DejLoaf's, no doubt relishing the contrast. I gave a respectful nod to her 2012 album Rye but not a second spin, so missed whatever literary quirks sold him on the album. I note here big words and twisty melodies -- Wikipedia lists her genres as "cabaret, jazz" -- but the only songs I get are the one hooked with "suck" and the super-obvious "Republican Jesus" -- sharpest political song I've heard in years. Nine songs, 27:38. B+(***) Adam O'Farrill: Stranger Days (2016, Sunnyside): Trumpet player, son of pianist Arturo O'Farrill, grandson of arranger Chico O'Farrill, has a couple albums as The O'Farrill Brothers with brother Zack O'Farrill (drummer here), but this is the first under his own name. Quartet with Chad Lefkowitz-Brown (tenor sax) and Walter Stinson (bass), moving formidably away from the family's Afro-Cuban roots, leaning slightly to the avant side of postbop. B+(**) Arturo O'Farrill Sextet: Boss Level (2013 [2016], Zoho): Cuban-American pianist, actually born in 1960 in Mexico in between countries, but grew up in the family trade -- his father was a famed big band arranger -- and has two sonns in his group: Adam on trumpet and Zack on drums. Also Livio Almeida (tenor sax), Travis Reuter (guitar), and Shawn Conley (bass). Seems intent on pushing boundaries here, no matter how often they trip him up. B+(*) Nils Økland Band: Kjølvatn (2012 [2016], ECM): Norwegian violinist, also plays viola d'amore and hardanger fiddle, has a dozen or so albums since 1986. Backed by saxophone, harmonium, double bass (Mats Eilertsen), and percussion/vibraphone, none adding more than tinges to the brooding strings. B+(**) Francisco Pais Lotus Project: Verde (2016, Product of Imagination): Guitarist from Portugal, has a couple previous albums. This one has Myron Walden (tenor sax), Godwin Louis (alto sax), Julian Shore (piano), Connor Schultz (bass), and Ferenc Nemeth (drums). Mixed bag, including some shifting rhythmic interest but also a couple of rather ordinary Pais vocals. B+(*) [cd] Aaron Parks/Thomas Fonnesbaek/Karsten Bagge: Groovements (2014 [2016], Stunt): Pianist from Seattle, was kind of a big deal in 2008 when his debut album, after work with Terrence Blanchard, landed on Blue Note. Picked up this bassist and drummer in Copenhagen, and they fit like a glove. B+(**) Sergio Pereira: Swingando (2016, self-released): Brazilian guitarist, based in US after a decade in the Netherlands, sings some, band includes some top names: Helio Alves (piano), Nilson Matta (bass), Duduka de Fonseca (drums). B+(*) [cd] Gregory Porter: Take Me to the Alley (2016, Blue Note): Jazz singer, songwriter too I presume, fourth album since 2011, highly regarded if you believe the polls. Has a nice rich baritone and doesn't indulge in the tics and idiosyncrasies that I find so annoying in male singers, yet he always strikes me as an empty shell, puffed up and vacuous. So again and again, just when I think this isn't so bad I notice that it's still pretty dumb. B- Herlin Riley: New Direction (2016, Mack Avenue): Drummer from New Orleans, only his third album although he has dozens of side credits since 1985, especially with Ahmad Jamal and Wynton Marsalis. With Bruce Harris (trumpet), Godwin Louis (alto/soprano sax), Emmet Cohen (piano), Mark Whitfield (guitar), Russell Hall (bass), Pedro Martinez (congas). Often flashy, but the thing I most related to was the leader's home town vocal at the end. B+(*) Jason Roebke Octet: Cinema Spiral (2014 [2016], NoBusiness): Chicago avant-bassist, has a few albums of his own and more with other Chicago players, many of whom he rounded up for his octet: Josh Berman (trumpet), Jeb Bishop (trombone), Keefe Jackson (tenor/soprano sax, contrabass clarinet), Greg Ward (alto sax), Jason Stein (bass clarinet), Jason Adasiewicz (vibes), Mike Reed (drums). The rhythmic foundation is always shifting, and the horns sway to and fro or just shoot out in odd directions, a universe in perpetual turmoil. B+(***) [cd] Roji: The Hundred Headed Woman (2016, Shhpuma/Clean Feed): Basically a duo, with Gonçalo Almeida (bass and loops) and Jörg A. Schneider (drums) laying down an avant-noise foundation, and guests Susana Santos Silva (trumpet) and Colin Webster (baritone sax) joining for three tracks each (out of seven). B+(***) [cd] Jim Rotondi: Dark Blue (2015 [2016], Smoke Sessions): Mainstream trumpet player, sixteen albums since 1997, all on labels that specialize in that sort of thing. With Joe Locke (vibes), David Hazeltine (piano), David Wong (bass), and Carl Allen (drums). B+(*) Jerome Sabbagh/Simon Jermyn/Allison Miller: Lean (2014 [2016], Music Wizards): Tenor sax trio, Sabbagh also plays soprano, with Jermyn on electric bass and effects, Miller on drums and more effects. Sabbagh, originally from France, has a half-dozen albums, started postbop but never got too comfortable there. B+(**) [cd] Walter Salas-Humara: Work: Part One (2015, Sonic Pyramid): Singer-songwriter, has mostly worked in the long-running alt-indie band the Silos, also associated with a band I remember more fondly, the Vulgar Boatmen, but he's kicked out a couple solo albums -- one in 1988, another in 1995, more recently. This seems to be new "acoustic" versions of old 1980s-vintage songs, with Richard Brotherton's guitar/dobro/banjo/mandolin, Mary Rowell's violin/viola, and Amy Allison's "supporting voice." B+(**) Walter Salas-Humara: Explodes and Disappears (2016, Sonic Pyramid): New songs, clear and straightforward, easy-going and catchy. B+(***) Susana Santos Silva/Lotte Anker/Sten Sandell/Torbjörn Zetterberg/Jon Fält: Life and Other Transient Storms (2015 [2016], Clean Feed): Trumpet player from Portugal, saxophonist from Denmark, piano-bass-drums from somewhere in Scandinavia. Two long pieces, joint improvs at Tampere Jazz Happening in Finland, pretty much an ordinary day in the life of the European jazz avant-garde, including no short amount of complex and exhilarating. B+(***) [cd] Ches Smith: The Bell (2015 [2016], ECM): Drummer, with Craig Taborn (piano) and Mat Maneri (viola) also listed on the cover but after the title, hence my parsing. Smith wrote all the pieces. ECM's Manfred Eicher has a knack for making free jazz sound like easy listening: no sharp edges here, the viola sounding typically weepy, but occasional patches sound compelling. B+(*) [dl] Luciana Souza: Speaking in Tongues (2015, Sunnyside): Brazilian jazz singer, dozen albums since 1998, this one backed by Lionel Loueke (guitar), Gregoire Maret (harmonica), Massimo Biolcati (bass), and Kendrick Scott (drums), her tongues Portuguese, English, and scat -- I suspect mostly the latter. B Bill Stewart: Space Squid (2014 [2016], Pirouet): Drummer, close to a dozen albums since 1995. With Seamus Blake (tenor/soprano sax), Bill Carrothers (piano), Ben Street (bass). Surprisingly soft for Blake, but the piano has some bite. B+(*) Stirrup: Cut (2016, Clean Feed): String-driven avant trio: Fred Lonberg-Holm (cello, guitar), Nick Maori (double bass), Charles Rumback (drums). Seems pretty straightforward: propulsive beat, string drone, easier on guitar but the cello has more bite. A- [cd] Markus Stockhausen/Florian Weber: Alba (2015 [2016], ECM): Trumpet player, son of famed avant-garde composer Karlheinz Stockhausen, leads with flugelhorn here, in duets with the pianist. Eloquent, serene, very lovely. B+(***) [dl] John Stowell/Michael Zilber Quartet: Basement Blues (2012-15 [2016], Origin): Guitar and alto sax (plus some piano), backed by bass (John Shifflett) and drums (Jason Lewis). Pair have had several albums together, and Stowell has a long career in jazz guitar. Flows easy, lyrical and tasteful. B+(**) [cd] Marcus Strickland's Twi-Life: Nihil Novi (2016, Blue Note): Saxophonist, initially a tenor who also played a pretty mean soprano but he spreads out here to alto and bass clarinet, and sings some too. His group has spread out too, starting as a power trio and now up to five or six plus guests including singers and narrators and producer (and sometime bassist) Meshel Ndegeocello. Jean Baylor's songs rarely rise above nu soul, the band favoring soft funk, with the saxophone rarely rising above the groove. B- Sundae + Mr. Goessl: Makes My Heart Sway (2016, self-released): Goessl is guitarist Jason, who provides minimal but adequate backing for standards singer Kate Voss, who treats songs like "Young at Heart" and "After You've Gone" with respect, as if they're fragile. (Exception: "Pretty Little Thing.") B+(**) [cd] Chucho Valdés: Tribute to Irakere (Live in Marciac) (2015, Jazz Village): Phenomenal Cuban pianist, founder in 1973 of the popular group Irakere, which continues to be led by his son, Chuchito, while he's moved on, but here takes a reflective look back. Hard to judge on limited tracks and info, but it's hard to top his piano solos. [NB: based on 3/6 cuts, 23:17/69:38] B+(**) Marlene VerPlanck: The Mood I'm In (2015, Audiophile): Standards singer from Newark (née Pampinella, married trombonist Billy VerPlanck for fifty-some years until his death in 2009), has recorded since 1955 with one of her best 2014's I Give Up, I'm in Love. She's past 80 now, though the only indication I hear of that is that she's picking more obscure songs, bringing them vibrantly to life. With Andy Panayi (sax/flute), Mark Nightingale (trombone), John Pearce (piano), Paul Morgan (bass), and Bobby Worth (drums). B+(***) Miroslav Vitous: Music of Weather Report (2010-11 [2016], ECM): Czech bassist, a beneficiary of that good old Communist focus on classical music, finagled a scholarship to Berklee in 1966, dropped out and headed for New York where he was toasted as a jazz prodigy, falling in with the crowd that turned into fusion supergroup Weather Report -- a group I must admit I've never developed any real fondness for, but which, given his age, he could easily recall as the high point of his life. He looked back in 2009's Remembering Weather Report, and again here, although he also wants to nudge the music in directions both more avant and classical, in effect to rewrite history in his own image. He doubles up at soprano/tenor sax (Gary Campbell and Roberto Bonisolo) and drums (Gerald Cleaver and Nasheet Waits), and he occasionally sets aside his bass to help Aydin Esen out on keyboards. B+(**) [dl] Charenée Wade: Offering: The Music of Gil Scott-Heron and Brian Jackson (2015, Motéma): Jazz vocalist, first album, bites off a group of songs with lyrical, political power and more than a little quirk. Perhaps a bit too respectful, but worth rehearing this way. B+(***) Recent Reissues, Compilations, Vault Discoveries
Joe Castro: Lush Life: A Musical Journey (1954-66 [2015], Sunnyside, 6CD): Bebop pianist (1927-2009), born in Arizona, grew up in Bay Area and worked there and in Hawaii before moving to New York in 1956, recorded three albums there before moving back west. Doesn't seem like an especially significant figure -- my only prior reference to him was Zoot Sims with the Joe Castro Trio Live at the Falcon Lair, recorded in 1956 but released on Pablo much later. Lacking the booklet, I have to wonder why Castro doesn't play on one full disc ("Joe Castro's Friends: The Teddy Wilson Jam Sessions") and 4 (of 12) cuts on another (an previously unreleased album by the Teddy Edwards Tentet). High points include fine small group sessions with Stan Getz, Lucky Thompson, Sims, and/or Edwards. B+(**) Don Cherry/John Tchicai/Irène Schweizer/Léon Francioli/Pierre Favre: Musical Monsters (1980 [2016], Intakt): Recorded at Willisau in north-central Switzerland, hence the all-Swiss rhythm section, the headliners playing trumpet and alto sax. Danish-born Tchicai joined the New York avant-garde in the mid-'60s, picking up a pronounced Ayler influence (and shout), while Cherry started out with Ornette Coleman and went global. Impressive piano too, and terrific work from Favre. A- [cd] Close to the Noise Floor: Formative UK Electronica 1975-1984 (1975-84 [2016], Cherry Red, 4CD): Mostly obscure -- I recognize maybe 10 names out of 61, and only a couple of those count as famous -- this runs closer to what we used to call new wave, with side glances into industrial and proto-noise, than to what later emerged as electronica, and not just due to minimal danceability. Booklet probably adds some historical value, and this may provide a starting point for exploring various paths. B+(*) Mestre Cupijó E Seu Ritmo: Siriá (1973-78 [2014], Analog Africa): Brazilian band led by an alto saxophonist, hails from somewhere in Brazil's Amazonian backwaters (Cametá), far enough from the coastal cities that the music here bears more likeness to Colombian cumbia (or even salsa) than to bossa nova or even forró, and better than average cumbia at that. I don't see where anyone says so, but this looks to have been compiled from four 1973-78 albums, including one called Siriá and another Siriá Siriá. A- Joi: Joi Sound System (1999-2007 [2016], RealWorld, 2CD): Originally two British brothers, Farook and Haroon Shamsher (mother from India, father from Bangladesh), mixed strong electronic dance beats with occasional Bengali spices on their 1999 debut album, released the year Haroon died. A second album in 2001 started with field recordings Haroon had made before his death, and a third album appeared in 2007. This compilation is a "best-of," although at this length they couldn't have left much out. A- Daunik Lazro/Joëlle Léandre/George Lewis: Enfances 8 Janv. 1984 (1984 [2016], Fou): Alto sax, bass, trombone (and toys), all very rough, with Léandre singing some, if that's what you want to call it -- operatic screech is more like it, but at least it blends into the general chaos rather than towering above it. B+(*) [cd] Joe Lovano Quartet: Classic! Live at Newport (2005 [2016], Blue Note): Major tenor saxophonist, the reigning guy in Downbeat's polls, his annual albums have slowed down a bit lately with nothing from the studio since 2012, and now this vault item. With Hank Jones (piano), George Mraz (bass), and Lewis Nash (drums), doing three originals, two songs by the pianist's brother Thad, and one from Oliver Nelson. Solid outing, of course, especially strong finish, and it's nice to hear the late pianist again. B+(***) Joe McPhee/Paal Nilssen-Love: Candy (2007-14 [2015], PNL, 7CD): Sax-drum duets, McPhee often switching off to pocket trumpet. The first was previously released in 2008 as Tomorrow Came Today: I gave it an A- at the time, and still find it remarkable, but I don't really have the patience to sort out the rest -- three from Norway 2007-08, two Milwaukee 2012-14, one Chicago 2012, and one Japan 2013. Suffice it to say that the closer you pay attention, the more you'll be dazzled. [Available individually as downloads.] B+(***) [bc] Penny Penny: Shaka Bundu (1994 [2013], Awesome Tapes From Africa): First album from the Shangaan star, a Tsonga from northeast South Africa, near the Mozambique border, recorded just after the Apartheid regime fell. Bouncy enough, the chorus packed behind the singer, but not exactly awesome. B+(**) [bc] Pylon: Live (1983 [2016], Chunklet): Athens GA band, not as much fun as the B-52s nor as tuneful as R.E.M. but a proximate missing link, issued their best album (Chomp) the same year as this live set. Don't recall it clearly enough to compare, but this strikes me as leaner, common in live recordings of the period. B+(***) Senegambia Rebel (2016, Voodoo Rebel): Filed this under African VA compilations, which it is at first glance, but the various artists are mostly European remixers, the African input limited to field samples that are given beats so primitive and so very complex they belong to Africa, and could only really be at home there. A- [dl] Sunburst: Ave Africa: The Complete Recordings 1973-1976 (1973-76 [2016], Strut): Tanzanian group, lead singer from Zambia, issued their only LP in 1973 (Ave Africa), collected here with various singles and radio tapes -- there also seems to be a "limited cassette" with early demos. Key instrument is organ, which gives it something of garage rock feel. B+(*) Old Music
The Chambers Brothers: Time Has Come: The Best of the Chamber Brothers (1966-71 [1996], Columbia/Legacy): Soul group, started out in a Baptist choir in Mississippi, relocated to Los Angeles in the 1950s, finally put an album out in 1965 and scored their only top-20 hit in 1968 ("Time Has Come Today"). Nothing essential here: two singles edits of their hit, a better one called "Funky," a 10:25 live "Wade in the Water." More rock than soul, more limited but similar to the Isley Brothers. B+(**) Barbara Dane: Trouble in Mind (1957 [2011], Stardust): First album, all blues -- six (of ten) so titled -- backed by San Francisco Dixielanders, with trumpet (Pete Stanton), trombone (Bob Mielke), clarinet (Darnell Howard), piano (Don Ewell), and bass (Pops Foster) but no drums. Seems slightly off, although Maria Muldaur later built a career along these lines -- more jug band, no clarinet, but it's the latter I like best. B+(*) Barbara Dane/Earl 'Fatha' Hines and His Orchestra: Livin' With the Blues (1959 [2013], Fresh Sound): Not the famous big band Hines had given up but a septet of all stars (except for the two trombonists): Benny Carter (trumpet), Plas Johnson (tenor sax), Leroy Vinnegar (bass), Shelly Manne (drums). The pianist is hard to mistake, but the band plays tight behind a singer who only adds something beyond a fine voice to the songs -- "Why Don't You Do Right" is the standout. B+(**) Barbara Dane: On My Way (1962 [2013, Fresh Sound): The original Capitol cover adds: "soul, shoutin' and the blues . . . the exciting voice of Barbara Dane." Another jazz group, this one led by cornetist Kenny Whitson, with piano, bass, guitar, bass, drums, and congas -- no one I've heard of -- with background vocals by the Andrews Sisters ("of Berkeley"). Kind of splits the difference between the Dixielanders and the All-Stars. Helps that the songs are more varied, although "The Hammer Song" and "Mama Don't Allow No Twistin'" go a bit too far. B+(***) Barbara Dane & Lightning Hopkins: Sometimes I Believe She Loves Me (1961-65 [1996], Arhoolie): Five cuts previously released on the back side of a 1966 Hopkins album, fifteen more that had to wait three decades for the CD era. Includes some solo Dane in her folkie mode, but the best cuts are balanced with Hopkins' sly drawl. B+(**) Barbara Dane/The Chambers Brothers: Barbara Dane and the Chambers Brothers (1966, Folkways): Soul group, started out in a Baptist church choir in Mississippi before moving to Los Angeles, and would have a minor hit in 1968 and fade by 1972. A church singer herself, she finds common ground in gospels and civil rights anthems. B+(*) Barbara Dane: FTA! Songs of the GI Resistance (1970, Paredon): Dane and husband Irwin Silber started their own label in 1970, putting aside all political inhibitions. She recorded this in coffee houses near army bases in Texas, Georgia, and North Carolina, eliciting a fair amount of sing-along, even for the line about "Viva Che Guevara." B+(***) Barbara Dane: I Hate the Capitalist System (1973, Paredon): Politically abrasive folk music, singer and guitar, augmented by guests on a few cuts which hardly change the tone. The title song, written by Sara Ogan Gunning, is awkward as you'd expect. Moves on to more conventional folk themes, including two songs with "Massacre" in the title. B+(*) Ellery Eskelin/Andrea Parkins/Jim Black: Arcanum Moderne (2002 [2003], Hatology): Tenor sax trio, one of several albums they put together from 1996-2009 establishing Eskelin as one of the finest avant saxophonists of the time. Parkins plays accordion as well as piano, and is credited with sampler, many options for filling out the sound. A- Don Ewell Quartet: Man Here Plays Fine Piano (1957, Good Time Jazz): A stride pianist, played with many trad jazz bands including a stint with Jack Teagarden from 1956 to 1962. Quartet adds Darnell Howard (clarinet), Pops Foster (bass), and Minor Hall (drums). Songs are good ole good uns, from "Everybody Loves My Baby" to "Keepin' Out of Mischief Now." B+(**) Don Ewell: Denver Concert (1966 [2004], Storyville): Singer Barbara Dane featured on the cover, but the original album was built around three medleys with just piano and bass: one each from Jelly Roll Morton, Earl Hines, and Fats Waller. Barbara Dane joins in for songs like "Nobody Knows You When You're Down and Out" and "Wild Women Don't Have the Blues" -- the extra cuts added to the CD all feature her. B+(**) Irakere: The Best of Irakere (1978-79 [1994], Columbia/Legacy): Cuban band, a pioneer in Afro-Cuban folkloric/jazz fusion, founded in 1973 by pianist Chucho Valdés, they managed to get two US albums released on Columbia before Paquito D'Rivera and Arturo Sandoval defected. They are combined here, minus one song from Irakere and two songs from 2 -- at least the first one a live concert tape. They showcase a wide range of looks, some quite remarkable. B+(***) Peter Kuhn Quartet: The Kill (1981 [1982], Soul Note): Clarinetist (B flat, bass), the last of several albums Kuhn recorded before his long hiatus (ended in 2015), with Wayne Horvitz (piano, synthesizer), William Parker (bass), and Denis Charles (drums). Four pieces, the 22:59 title cut filling the second side, a tour de force. A- Leland Sundries: The Foundry EP (2012, L'Echiquier, EP): Six songs, 24:38, lacks the big sound of the new album, but that lets the singer-songwriter come through clearer. B+(**) Lori McKenna: Paper Wings and Halo (2000, Orchard): Folkie debut, girl with guitar and fifteen songs, an austere sound that burrows into your brain because her words and voice have a rough-hewn eloquence. B+(**) Lori McKenna: The Kitchen Tapes (2001 [2004], Gyrox): Demos recorded in her kitchen on a minidisc recorder with "a cheap little microphone and my notebook, filled with a writing binge." B+(*) Lori McKenna: Pieces of Me (2001, Signature Sounds): Second album, bigger label, evidently more budget as I hear some piano, but the key thing is the songwriting, real and vivid. Not sure more listening wouldn't bump this a notch. B+(***) [bc] Lori McKenna: Bittertown (2004, Signature Sounds): Seems like a step back to a harsher sound, but maybe that's just playing up the whole bitter thing. B+(**) Lori McKenna: Massachusetts (2013, Liz Rose Music): Christgau counts six "fairly astonishing" and six "more country-generic" songs, and offhand I'd say that's about right. B+(***) Chucho Valdés: Live at the Village Vanguard (1999 [2000], Blue Note): Quartet, which for the Cuban pianist means you get an extra percussionist, Roberto Vizcaino Guillot, on conga and bata drums, as if the piano wasn't percussion enough. Also credits Marya Caridad Valdés with "vocalization" -- she sings one number, impressively. A- [cd] Revised GradesSometimes further listening leads me to change an initial grade, usually either because I move on to a real copy, or because someone else's review or list makes me want to check it again: Dawn Oberg: Rye (2012, Blossom Theory): Still cannot credit her singer-songwriter fare as jazz, but the writing is sharp (if bookish), her piano strong, her voice kind of odd, which fans may come to celebrate. [was: B+(*)] B+(***) Additional Consumer News:Previous grades on artists in the old music section. Notes:NotesEverything streamed from Napster (ex Rhapsody), except as noted in brackets following the grade: |
