Music Week (10:3)

A few select reviews from week 3 of month 10 (October 2026).

This has been a very rough week for me. Sacroilliac problems flared up, a couple of times. I've been reassured that they go away, and so far they have, but they sap all of one's energy and patience until they do. I've also been working on my "what to do about Israel" essay, and have blown my self-imposed deadline of getting it done this week. I'm a good week away from having anything presentable, although at the rate I've managed over the last couple weeks, it may be two or three.

One consequence is that many days I've only felt like playing Coleman Hawkins and Ben Webster, who still manage to lift me out of the deepest funks. The rated count for this week is 21. That doesn't count the Go-Betweens, which I added late, hoping to fill my image gallery out (3 looks better than 2), but on an extra listen got cold feet on.

There's an element of 1970s nostalgia in my top picks. Julius Eastman composed "Gay Guerrilla" in 1979. Most of Brian Jackson's songs not only appeared in the 1970s, but were topical in ways that still seem meaningful, but the closet hope and surface pessimism has turned deeply cynical: the revolution may be televised, but it won't change anything.

I have a lot coming up next week, starting with a showing of Matty Wishnow's Robert Christgau documentary, The Last Critic in Wichita at the Tallgrass Film Festival, and a talk by Phyllis Bennis at Wichita's Global Learning Center. Both are likely to stimulate thoughts, but we'll see about writing. Also much more afoot, which I'll get around to explaining later.

I suppose I should note that I've been banned from X, for what they've called "inauthentic behaviors." All I've done there recently has been to post short links to my blog and substack posts. But I've gotten so few views there that it's hardly been worth the trouble. I've asked for a copy of my data, but no response so far. While I am still on Bluesky, it's more important than ever (well, at least for me) to subscribe to Notes on Everyday Life here.

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300SkullsAndCounting/Jenny Sparks: This Is Spa Town! (2026, XL, EP): British artist, maybe Hal Hewetson, has a self-released 2025 album, some more stuff on Bandcamp. Discogs lists the album style as "screamo, chiptune." Sparks seems to be a bassline producer, not evident in their video. 9 songs, 22:23. Normally I hate glitch pop, but this at least has a pretty good beat. B+(***)

Yosef Gutman: Perfect Traveler (2026, Soul Song): Bassist, born in South Africa, studied at Berklee, based in Jerusalem, has several albums. Started as duets with pianist Yonathan Avishai, adding in woodwinds (Gilad Ronen) and drums (Daniel Dor), with some spoken word narration I didn't catch. Nice melodies, with airs from Morocco to Yemen. B+(**)
[Bandcamp]

Brian Jackson: Now More Than Ever (2026, BBE): Composer, keyboardist, sings some (but delegates most vocals), best known for his co-credits with Gil Scott-Heron (1974-80), has a few solo albums since 2000. Recycles several well known Scott-Heron pieces, including an updated "The Revolution Will Not Be Televised," while adding more of his most agreeable funk. I don't remember the 1970s as being as glum as "Winter in America," but 45 years after Reagan's false springtime, this serves as a wake-up. A−
[Bandcamp]

Matt Lavelle & the 12 Houses: Hymn to the Universe (2022 [2026], Mahakala Music): Leader, who had developed distinctive styles on trumpet and bass clarinet, opts for pocket trumpet and E-flat piccolo clarinet here. Group is a big band built around Zodiac Sax Quartet (including the late Clare Daly), with the brass giving way for flutes and a bassoon, and viola instead of bass. "No More Hate" breaks out into a chant. B+(***) [Bandcamp]

William Parker: Waltz for Gregory (2023 [2026], AUM Fidelity): The bassist, but just composer/producer here (Ken Filiano fills in on bass) needs no introduction, but Gregory is Hines (actor, singer, but most notably here tap dancer). Title cut (14:27) has Melissa Almaguer tapping. Andrea Wolper sings Parker's lyrics, which mean well but don't always sit easy on the music, no matter how skilled her contortions. With Bruce Barth (piano), Jim Ferraiuolo (oboe), Steve Swell (trombone, terrific), and Kevin Murray (drums). B+(***)

Wild Up: Julius Eastman, Vol. 5: Gay Guerilla (2026, New Amsterdam): Self-described "band," a 20-piece orchestra by my count, led and conducted by Christopher Rountree, which I figure as 8 strings, 8 horns (trumpet and french horn for brass), 2 pianos, 2 percussion. They did various projects starting in 2014, but latched onto Eastman (1940-90) in 2021 with Femenine, and return again with one of the composer's more famous works (8 parts, 28:49). An exceptional piece of music. A−
[Bandcamp]

The Go-Betweens: Fountains of Youth: Live at the Town and Country Club, London, 10th May 1987 (1987 [2026], Beggars Banquet): Australian band, two major singer-songwriters, Grant McLennan (1958-2006) and Robert Forster (b. 1957), both with notable solo careers after 1990, although there were more group albums 2000-05. The group's early work is definitively compiled in 1978-1990, but this live set, which previews a bit of their penultimate Tallulah, works nearly as well. B+(***)