Slowed down this month, but looking at the list I don't think I
have much to apologize for: 120 records is the fewest this year, and
the elapsed time is the longest between columns in quite some while,
but neither by much. Of the 91 new records, 73 are 2016 releases, so
80.2%. I don't think I ever consciously decided to move on, but I ran
out of 2015 CDs some time back (OK, I still have a cassette tape I
can't play, and that Kansas reunion album), and I've been keeping my
dwindling new jazz queue close to empty.
I'm still not doing any serious 2016 prospecting. I do have am2016 file but it's mostly tracking
what I've heard (or unpacked), with only a handful of unheard items
added to remind myself to look them up. This is a big cutback from them2015 file, which I updated every
week from AMG and other release sources, then added stragglers from
EOY lists (the lines difference is 7250 to 320). In the near future
I expect to add
Jason Gubbels's first quarter list, and maybe some other more/less
trusted sources (I have been listening to almost everything Robert
Christgau and Michael Tatum have recommended, aside from the Kanye
West mixtape that snuck past me).
The Old Music section continues to be haphazard, with most records
picked up as background when I was considering new (or in the case of
Larry Young new-old, which featured Nathan Davis) work. I suppose Horace
Parlan is an exception: my favorite Parlan album is the 1977 duo he did
with Archie Shepp, Goin' Home, and when I noticed it on Rhapsody
I had brief hopes that I might find more albums on the Steeplechase label.
That didn't really work out, but I did find a couple old Blue Notes I
wanted to check out.
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 February 25. Past reviews and more
information are availablehere (7920 records).
Recent Releases
Raul Agraz: Between Brothers (2013-15 [2016], OA2):
Trumpet player, from Venezuela, first album, long list of musicians
but recorded over several sessions -- the song-by-song credits average
about nine per cut (not counting the extra strings). Latin big band,
doesn't strike me as special.B [cd]
Melissa Aldana: Back Home (2015 [2016], Wommusic):
Tenor saxophonist, won a Monk prize which got her a record out on
Concord, well regarded in 2014 and not without merit. But I prefer
this fairly mainstream sax trio, with Pablo Menares on bass and
Jochen Rueckert on drums. Nothing especially fancy, four originals,
two pieces each from the band, Kurt Weill's "My Ship."B+(***) [cdr]
Anderson .Paak: Malibu (2016, OBE/Steel Wool/ArtClub/Empire):
Brandon Paak Anderson, who previously did business as Breezy Lovejoy,
from Oxnard, CA. Second album, sings and raps, the beats skewed out
a bit stoned. Seems to have worked as a "marijuana farmer" some while
back, then did a stint as homeless, so he can do down and out and get
through it somehow.A-
Ehud Asherie: Shuffle Along (2015 [2016], Blue Heron):
Pianist, born in Israel but moved to Italy when he was three, then to
New York at nine, where he hung around Smalls and took lessons from
Frank Hewitt. Career has moved from bop to swing, and takes a further
step back here with his "solo piano interpretations from [Eubie] Blake
and [Noble] Sissle's 1921 Broadway musical" -- best known for "I'm Just
Wild About Harry," given two treatments here.B+(***) [cd]
Audio One: What Thomas Bernhard Saw (2014 [2015],
Audiographic): Ten-piece Ken Vandermark group, third album for this
project. With all the alumni, I'm tempted to describe this more of
a souped-up Vandermark 5 (Dave Rempis and Mars Williams join in on
reeds, Jeb Bishop returns on trombone, and Tim Daisy is the drummer)
than a big band project per se, The four Vandermark dedications are
tightly conceived even though they each expand to 15-20 minutes.
Band includes cornet (Josh Berman), another sax (Nick Mazzarella),
vibes (Jason Adasiewicz), viola (Jen Paulson), and bass (Nick Maori,
both acoustic and electric).A- [bc]
Kenny Barron Trio: Book of Intuition (2015 [2016],
Impulse): Pianist, now in his 70s, has many dozens of albums since
1973, also a very distinguished career as an educator. Trio with
Kiyoshi Kitagawa (bass) and Johnathan Blake (drums).B+(**)
Steve Barta: Symphonic Arrangement: Suite for Flute and Jazz
Piano Trio (2015 [2016], Steve Barta Music): Cover recalls
composer-pianist Claude Bolling's original 1975 album (headlined by
flautist Jean-Pierre Rampal). Barta rearranged, giving the leads to
Hubert Laws (flute) and Jeffrey Biegel (piano). Not something I care
enough to compare versions of, but it passed by pleasantly enough.B [cd]
B.J. the Chicago Kid: In My Mind (2016, Motown):
AMG says "Contemporary R&B" -- means Bryan James Sledge sings in
a context more or less defined by hip-hop, although the son of church
choir directors and the former backup for Stevie Wonder also has much
fondness for the sweet ballad. Sprawling album, runs over an hour and
could use some editing, but if I listened to it enough to figure out
where I might forget why.A-
Michael Blake: Fulfillment (2016, Songlines): Tenor
saxophonist (sometimes soprano), from Canada but based in New York,
recorded this "conceptual" project -- a suite based on "a tragic
immigration incident in Vancouver in 1914, when a Japanese freighter
carrying several hundred East Indian immigrants (almost all Sikh)
was turned away using exclusionist, racist laws." Recorded with a
Vancouver-based group -- JP Carter, Peggy Lee, Chris Gestrin, Ron
Samworth, André Lachance, Dylan van der Schyff -- the lyrics may
help detail the story but disrupt the flow, which can be quite
dramatic without them.
B+(*)
Cristina Braga & Brandenburger Symphoniker: Whisper
(2015 [2016], Enja): Brazilian harpist with the Orquesta Sinfónica do
Teatro Municipal do Rio de Janeiro, also sings, backed by Modern Samba
Quartet and a German symphony orchestra, with guitarist-vocalist Dado
Villa-Lobos as a "special guest." Brazilian pop with serious classical
airs, not a direction I'm inclined to favor.B- [cd]
Renato Braz: Saudade (2005-15 [2016], Living Music):
Brazilian crooner, plays guitar but isn't credited with writing these
songs -- cue in the usual suspects -- but aside from the live "bonus
track" at the end they all sound like mopey ballads to me. Recorded
over a decade, guest spots for Dori Caymmi and Ivan Lins, various
bands including the Paul Winter Consort and the Dmitri Pokrovsky
Ensemble.C [cd]
Andy Brown Quartet: Direct Call (2015 [2016], Delmark):
Guitarist from Chicago, had a solo album last year, follows it up with
piano trio-plus-guitar (no horns), Jeremy Kahn the pianist. Swing lines --
starts with "The Jeep Is Jumpin'" -- keep it nice and unthreatening.B+(*) [cd]
Rich Brown: Abeng (2015 [2016], self-released):
Electric bassist, based in Toronto, album has a logo for Canada Council
for the Arts but no label ID. Luis Deniz shows impressive range on alto
sax, backed by Chris Donnelly or Robi Boros on piano, drums, extra
percussion, with phat bass tones everywhere.B+(**) [cd]
Oguz Buyukberber/Tobias Klein: Reverse Camouflage (2015
[2016], TryTone): Clarinet duets, both musicians also switching off to
bass or contrabass clarinets. Both are based in the Netherlands, the
former born in Turkey, the latter in Germany and better known for ICP
Orchestra. Avant, tone can get on your nerves at points.B+(**) [cd]
Rex Cadwallader/Mike Aseta/Arti Dixson/Tiffany Jackson: A Balm
in Gilead (2015 [2016], Stanza USA): Piano-bass-drums trio plus
soprano diva, intentional culture clash as the trio busts up mostly trad
ballads while the singer puts them into a shrill straitjacket. Title
song, "Deep River,""This Little Light of Mine,""Motherless Child,""Elijah Rock,""Every Time I Feel the Spirit," couple more, feathered
out a bit by five "Trialogue" pieces, where the singer shuts up while
the trio does something interesting. I can't stand opera, but get her
sense of flow. Not something I enjoy.B- [cd]
Taylor Cook: The Cook Book (2015 [2016], self-released):
Saxophone player from British Columbia, based in Toronto, employs some
twenty musicians to spice up his schmaltz, not always to good effect.
Still, I always enjoy "On the Sunny Side of the Street."B [cd]
Patrick Cornelius: While We're Still Young (2014
[2016], Whirlwind): Alto saxophonist (also soprano and flute), has
a handful of records since 2006, this one a rather fancy postbop
octet, mostly name players who do a lot of bobbing and weaving.B+(*) [cd]
Cowboys & Frenchmen: Rodeo (2015, Outside In Music):
Postbop quintet, led by two saxophonists (Owen Broder and Ethan Helm),
with piano, bass, drums, the group named after a short film by David
Lynch.B+(*) [cdr]
Tim Daisy: Relucent: Music for Marimba, Radios and Turntables
(2016, Relay): Chicago drummer, the last in the Vandermark 5 and a regular
in post-V5 groups with Vandermark and/or Dave Rempis. This is solo, a
tape collage of soft percussion and ambient sound. Not much, really.B [bc]
Dawes: All Your Favorite Bands (2015, Hub): Well, don't
know about you, but all my favorite bands are much better than this Poco
wannabe. (What? You don't remember Poco?)B-
Daveed Diggs: Small Things to a Giant (2012 [2015],
Deathbomb Arc): Rapper from Oakland, came up in the underground group
Clipping; first album on his own, a real tour de force, smart and
snappy with rapidfire raps, the speed and dexterity which won him a
Grammy for the roles of Thomas Jefferson and Marquis de Lafayette inHamilton, but even more impressive as himself.A- [bc]
The Dominican Jazz Project (2015 [2016], Summit):
Pianist Stephen Anderson seems to have been the catalyst if not the
leader here, connecting with various musicians on visits to the
Dominican Republic, like Guillo Carias (clavietta), Sandy Gabriel
(tenor/soprano sax), Guy Frömeta (drums), and Carlos Luis (vocals,
guitar). A mixed bag with multiple appeals.
B+(*) [cd]
Drive-By Truckers: It's Great to Be Alive! (2014
[2015], ATO, 3CD): I put this off on the theory that 3:16:13 of anything
is too much to pay attention to streaming -- which didn't keep my ears
from perking up for the line that goes, "and all them politicians, they
all lyin' sacks of shit" (I was writing about Donald Trump at the moment,
although it could just as easily have been Marco Rubio, or Hillary Clinton).
A couple decades worth of songs, redundant if you've followed them, but
terrific as background noise, nicely unified by the live sound and
occasional patter. On separate discs I imagine the length will only
become more tolerable.A-
Florian Egli Weird Beard: Everything Moves (2014
[2016], Intakt): Swiss quartet, has a previous album without the
leader-saxophonist's name on the cover. Egli is backed by guitar
(Dave Gisler), electric bass, and drums. Most compelling when they
put a litle rock muscle into the rhythm, but the first word in the
booklet is "Gelassenheit" -- serenity.B+(***) [cdr]
Marty Elkins: Walkin' by the River (2014 [2016],
Nagel Heyer): Standards singer, from New Jersey, third album, with
guitarist Howard Alden swinging, both piano (Steve Ash) and organ
(Joel Diamond), and a stellar turn by Jon-Erik Kelso on trumpet.B+(***) [cd]
Moppa Elliott: Still Up in the Air (2015 [2016],
Hot Cup): Solo bass album by the leader-composer behind Mostly
Other People Do the Killing, easily the most consistently awesome
jazz group of the past decade. The pieces are all called "Sequence"
and some number up to fourteen, but not the complete set.B+(**) [cd]
Darren English: Imagine Nation (2014 [2016], Hot Shoe):
Trumpet player, first album, leads a hot boppish quartet with Kenny
Banks Jr. on piano, sometimes adding Greg Tardy on sax, switching up
on two tracks where Carmen Bradford sings standards ("What a Little
Moonlight Can Do" and "Skylark"). Brings two extra trumpets in for
the finale, a mad race through "Cherokee."B+(*) [cd]
Piere Favre: DrumSights NOW (2015 [2016], Intakt):
Drummer, from Switzerland, will turn 80 next year, old enough to
have played with Albert Nicholas in the 1950s but best known (in
my household at least) for three superb duo albums with pianist
Irène Schweizer. His own discography has several albums with drum
quartets, so I imagine he sees DrumSights as a successor group to
his Singing Drums. Joined here by Chris Jaeger, Markus Lauterberg,
and Valeria Zangger, the group plays as one -- which makes this
seductive album slightly less than the sum of its parts.
B+(***) [cdr]
David Fiuczynski: Flam! Blam! Pan-Asian MicroJam
(2015 [2016], Rare Noise): Guitarist, nicknamed "The Fuze" as if
his music was fusion enough. Has close to ten albums since 2000,
including group efforts as Screaming Headless Torsos. Goes for
exotica here, including microtonal keyboards, a Chinese oboe and
percussion, and three cuts with alto saxophonist Rudresh Mahanthappa.
Should be interesting, but nothing quite works out right.B [cdr]
Socrates Garcia Latin Jazz Orchestra: Back Home
(2015 [2016], Summit): Composer-arranger-guitarist, from Dominican
Republic, teaches at University of Northern Colorado, leads a big
band with the usual horns and extra guitar and percussion through
a set of originals, concluding with his three-part "Dominican Suite
for Jazz Orchestra."B [cd]
Danny Green Trio: Altered Narratives (2015 [2016], OA2):
Pianist, from Southern California, fourth album since 2009, plays postbop
with classical touches and a little Latin tinge. Augments his trio here
with a string quartet for the middle cuts, expanding the sound so much
I initially suspected an orchestra. Not the sort of thing I'm disposed
to like much, but his sweep and flow is remarkable and the sensation
just overwhelms you.B+(***) [cd]
Jeff Guthery: Black Paintings (2015 [2016], self-released):
Drummer, inspired by Goya paintings, backed by several jazz notables --
Kenny Werner, George Garzone, Bruno Råberg, David Fiuczynski -- and the
East Coast Scoring Orchestra giving it a distinctly euroclassical air,
maybe something Nutcracker-ish (at least when Garzone isn't soloing).
B- [cd]
Hanami: The Only Way to Float Free (2015 [2016],
Ears & Eyes): Chicago quartet, guitarist Andrew Trim wrote all
the pieces and effectively leads, flanked by two horns -- Jason
Stein on bass clarinet and Mai Sugimoto on alto sax and clarinet.
Charles Rumback is the drummer.B+(***) [cdr]
Lafayette Harris Jr.: Hangin' With the Big Boys
(2013 [2016], Airmen): Pianist, mainstream guy with a soul and funk
background, nearly ten albums since 1993. Opens with two covers,
then six originals, one by his alto saxophonist Caleb Curtis, and
two more covers. The "big boys" include Houston Person -- tenor
sax on five cuts -- Antoine Drye on trumpet, and three vocals by
Jazzmeia Horn and/or Noël Simoné Whippler. Nice, relaxed, soulful
set -- Person's marvelous solo on "The Very Thought of You" bumped
this up a notch.B+(**) [cd]
Julian Hartwell: The Julian Hartwell Project (2015,
self-released): Pianist, first album, hype sheet clearly attributes
the album to the titular group but I usually go with the name leader.
High octane octet: sax, trumpet, trombone, two basses, guitar, drums,
a lot of firepower for a high energy postbop set.B+(**) [cd]
Joseph Howell: Time Made to Swing (2015 [2016], Summit):
Clarinetist, from California, second album, quartet with accordion (Cory
Pesaturo), bass, and drums. Standards, starts with "On the Sunny Side of
the Street" then veers into Parker ("Confirmation") and Monk ("Let's Cool
One"). High energy, the accordion beefs up the sound, the clarinet races.B+(***) [cd]
The James Hughes/Jimmy Smith Quintet: Ever Up & Onward
(2015 [2016], self-released): Hughes (alto/tenor/soprano sax) and Smith
(trumpet, cornet, flugelhorn) lead a hard bop quintet with Phil Kelly on
piano, fifty-some years after the genre's heyday. Still can't call it
retro, since it's pretty much the baseline postbop is built on, just
without the cleverness that sometimes passes for innovation.B+(*) [cd]
Vijay Iyer/Wadada Leo Smith: A Cosmic Rhythm With Each
Stroke (2015 [2016], ECM): Piano-trumpet duo, both major
figures, so you'd expect something big. What you get, though, is
pretty tepid, with the piano fading into the background as Smith
does his slow-solo thing -- similar to his solo albums, perhaps
toned down a bit with Manfred Eicher watching.B+(**) [cdr]
Jazz at Lincoln Center Orchestra With Wynton Marsalis: The
Abyssinian Mass (2013 [2016], Blue Engine, 2CD): Featuring
Damien Sneed, organist and conductor of Chorale Le Chateau, a red-robed
vocal group which judging from the pictures outnumbers the big band by
about five-to-one. Marsalis composed the music, drawing liberally on
the gospel tradition and smattering the libretto with plagiarism fromThe Bible, and the Reverend Dr. Calvin O. Butts III adds some
down home preaching. Where I grew up, mass meant something huge and
heavy, and I can't say as I've encountered music so massive before.
I try not to begrudge Christians their faith, but it can't be a good
thing when it's reduced to two-plus hours of gloria in excelsis
Deo, or in their down home vernacular, "glory to God in the
highest." Comes in oversized packaging with a thick booklet and a
DVD, all the better to remind you that in America generous donors
are always willing to pay for trivialized amenities -- especially
the kind that worship power.C- [cd]
Krakauer's Ancestral Groove: Checkpoint (2015 [2016],
Table Pounding): Clarinetist David Krakauer, plays jazz with klezmer
roots and branches: the rhythm generating a lot of energy and the
clarinet threatening to screech. Band is built around electric guitar
(Sheryl Bailey) and bass (Jerome Harris), and employs a sampler,
plus a guest spot for Marc Ribot.B+(***) [cd]
Kyle: Smyle (2015, Indie Pop): Yet another singer-rapper
from southern California, this one from Ventura. AMG lists this as his
only album, then refers to another one (Beautiful Loser) -- maybe
has something to do with also/previously calling himself Super Duper.
Funny enough some pieces almost qualify as standup.B+(***)
Julian Lage: Arclight (2015 [2016], Mack Avenue):
Guitarist, regarded as a Wunderkind, subject of a documentary at
age 8, performed on the Grammy Awards at 13, joined the faculty at
Stanford at 15. Still in his twenties, has continued to receive
critical praise and plaudits although I'm not sure why. This is a
trio with Scott Colley and Kenny Wollesen, originals with four
covers, all nice stuff.B+(*) [cd]
Kendrick Lamar: Untitled Unmastered (2013-16 [2016],
Top Dawg Entertainment): Eight tracks, no titles but recording dates,
34:06, presumably outtakes, sketches, throwaway experiments, released
online because, well, what the hell? As someone who's never really
got either of his widely accalimed studio masterpieces, I'm even more
lost here. But nothing here is going to disabuse you of the notion
he's a genius, even if it doesn't quite convince me.B+(***)
Tom Lellis: The Flow (2015 [2016], Beamtime): Jazz
singer, AMG lists seven albums since 1979, plays keyboards but Dave
Kikoski is the primary pianist here, leading a trio plus Jeremy Steig
on flute and a long list of guests. Four originals, plus Lellis lyrics
to several others -- mostly jazz pianists and his Brazilian heroes.
Neither his voice nor his chops impress much as he slips and slides
around too tricky melodies.C-
Charles Lloyd & the Marvels: I Long to See You
(20B-15 [2016], Blue Note): Tenor saxophonist (also plays some flute),
became very popular in the mid-1960s and continues to be one of the
most highly regarded jazz musicians. Group here features guitarist
Bill Frisell and steel guitarist Greg Leisz, along with Reuben Rogers
on bass and Eric Harland on drums -- "Shenandoah" is a near-textbook
example of Frisell's feel for Americana. Second half includes guest
vocals by Willie Nelson and Norah Jones. Feels to me like he's coasting,
but he does have entertaining friends.B+(**)
Los Bonsáis: Nordeste (2015, Elefant, EP): Noise-pop duo
from Asturias in northwest Spain, soft shoegazey fuzz, attractive but not
very substantial, especially as they squeeze ten songs into 14:28.B+(*)
Jon Lundbom & Big Five Chord: Make the Magic Happen
(2015 [2016], Hot Cup, EP): Guitarist, band includes two saxes -- Jon
Irabagon (alto) you know, Balto Exclamationpoint (tenor and his homemade"balto! saxophone") I don't recognize (although previous member Bryan
Murray had also been credited with the less emphatic "balto saxophone") --
plus Moppa Elliott (bass) and Dan Monaghan (drums). Basically the same
avant brew Lundbom has been mixing up since 2009 -- my pick is still the
2CD Liverevil (2014) -- so what's new this year (aside from the
exclamation mark) is a marketing gimmick: the music is to be split up
into four 30-minute digital EPs, the first out now, the others in April,
June, and September. You can buy them "a la carte" or as part of a
subscription, or you can pre-order a "beautifully packaged" 4CD box
available September 30, which includes the downloads as they become
available.B+(***) [cdr]
Jon Lundbom & Big Five Chord: Bring Their 'A' Game
(2015 [2016], Hot Cup, EP): The second of this year's four EPs, available
April 1 -- for promo purposes I got them both at the same time, popped
both into the changer, and can't tell them apart. Would make a fine
single album were they so inclined.B+(***) [cdr]
Loretta Lynn: Full Circle (2016, Legacy): Now 83,
she hasn't produced albums with any regularity since the 1980s, with
her latest comeback the Jack White-produced Van Lear Rose
(2004). This one was organized by John Carter Cash and Patsy Lynn
Reynolds. As with Cash's father, they set Loretta down several years
ago to record the old songs, of which this is the first batch. She
doesn't have as iconic a voice as Cash, but she's sounding pretty
good here.B+(**)
Kirk MacDonald: Symmetry (2013 [2016], Addo): Tenor
saxophonist, from Canada, not sure where but he has a dozen albums
since 1990, most recorded in Toronto. Hard bop quintet with trumpet
(Tom Harrell), piano (Brian Dickinson), bass (Neil Swainson), and
drums (Dennis Mackrel). Unexceptional except for the trumpet player,
who rewards whatever attention you can muster.B+(*) [cd]
Gabriela Martina: No White Shoes (2015 [2016],
self-released): Singer-songwriter, born in Lucerne, Switzerland,
studied at Berklee, based in Boston, first album (after an EP).
All originals (except "A Night in Tunisia"), backed by
guitar-piano-bass-drums with a splash of soprano sax and a dash
of extra percussion.B [cd]
Meridian Brothers: Los Suicidas (2015, Soundway, EP):
Colombian pseudo-group, principally Eldris Álvarez, here joined by
organ player Jaime Llano Gonzalez, who works "foreign rhythms such
as foxtrots or waltzes" into more traditional Colombian fare like
cumbias, bambucos, and pasillos -- although not without raising the
notion that it's all a bit odd. Eight cuts, 29:01.B+(**)
Hendrik Meurkens: Harmonicus Rex (2010 [2016], Height
Advantage): Harmonica player, from Germany but mostly plays Latin jazz,
originally made his mark playing vibraphone. This is fairly mainstream --
Jimmy Cobb is the drummer, with Dado Moroni on piano, Marcus Panascia
on bass, and four spots each for Joe Magnarelli (trumpet/flugelhorn)
and Anders Bostrum (alto flute). Nice showcase for his instrument.B+(*) [cd]
Dave Miller: Old Door Phantoms (2015 [2016], Ears &
Eyes): Guitarist, first album, fusion thing with Fender bass (Matt Ulery),
keyboards (Ben Boye), and drums (Quin Kirchner). The guitar is sometimes
snazzy, but more often than not they rely on volume to try to get their
point across (whatever it is).B- [cd]
Naked Truth: Avian Thug (2013 [2016], Rare Noise):
Fusion quartet, not a "supergroup" but not unknowns either -- Graham
Haynes (electrified cornet), Lorenzo Feliciati (electric bass, guitars),
Roy Powell (organ, analog synths, prepared piano), and Pat Mastelotto
(acoustic & electric drums). Some interesting wrinkles, but doesn't
leave me thinking they've broken any ground.B+(*) [cdr]
Willie Nelson: Summertime: Willie Nelson Sings Gershwin
(2016, Legacy): Generally a fine standards singer, mostly by sticking
to basics and shying away from melodrama. Still, he has trouble getting
the feel of these songs, his sly stutter far less pleasurable than,
say, the broad showboating of Louis Armstrong and Ella Fitzgerald --
their takes readily come to mind whenever I hear these songs, but I
can think of hundreds of versions I prefer, if only because unlike
Nelson's they swing. Duets with Cyndi Lauper and Sheryl Crow are low
points.B
Angelika Niescier/Florian Weber: NYC Five (2015 [2016],
Intakt): Polish alto saxophonist, half-dozen albums since 2002, teamed
with the German pianist and a pick up band in New York: Ralph Alessi
(trumpet), Christopher Tordini (bass), and Tyshawn Sorey (drums).
Three tunes by each of the leaders, bursting with energy -- especially
strong showing by Alessi.B+(***) [cdr]
Kat Parra: Songbook of the Americas (2016, JazzMa):
Vocalist, based in San Francisco, fifth album, mostly does Latin
standards, this albums mambos and cha-chas, boleros and tangos no
exception. Some guests, including Tuck & Patti, help out (if
you call their efforts help).B [cd]
Christian Perez: Anima Mundi (2015 [2016], CPM):
Guitarist, from Argentina, mixes classical with Latin percussion
and bandoneon, decorated by flute or piccolo.B [cd]
Roberta Piket: One for Marian: Celebrating Marian McPartland
(2015 [2016], Thirteenth Note): Jazz pianist, early albums (from 1997)
on mainstream labels, has more than a dozen. Makes sense she would take
McPartland as a hero. She gets ample support here for a lush tribute:
Steve Wilson (alto sax, flute), Virginia Mayhew (tenor sax, clarinet),
Bill Mobley (trumpet, flugelhorn), Harvie S (bass), Billy Mintz (drums),
with Karrin Allyson singing one tune.B+(*) [cdr]
Leslie Pintchik: True North (2015 [2016], Pintch Hard):
Pianist, from Brooklyn, has a handful of albums since 2003, mainstream,
with the usual touchstones (notably Bill Evans). Trio work is quite nice
here, although most of it adds extra percussion from Satoshi Takeishi,
so it's trio only in spirit. Also, about half of the tracks add horns --
Steve Wilson (alto/soprano sax), Ron Horton (trumpet/flugelhorn -- and
they expand on the spirit.B+(***) [cd]
Alberto Pinton Noi Siamo: Resiliency (2015 [2016],
Moserobie): Pinton's a multi-reed player from Venice, credited here
with baritone sax, clarinet, and bass clarinet. "Noi siamo" is just
Italian for "we are." Leads a quartet here with Niklas Barno (trumpet)
Torbjorn Zetterberg (bass), and Konrad Agnas (drums), recorded live
in Stockholm. A real barnburner.A- [cd]
Richard Poole/Marilyn Crispell/Gary Peacock: In Motion
(2014 [2016], Intakt): Piano trio, drummer listed first for no reason
I've figured out other than that he usually gets listed last -- in my
database I find him so listed behind Patrick Battstone and Coat Cooke,
and his discography has a few more examples. Aside from a Peacock
standard, everything here is joint-credited, presumably improvised.
No complaints about the drummer, but the others are more famous for
good reasons, evident here even when they're not especially flashy.B+(***) [cdr]
Iggy Pop: Post Pop Depression (2016, Loma Vista):
Band pictured and named on the cover, with Joshua Homme (Queens of
the Stone Age) listed first. Singer comes through loud and clear,
but everything else seems unsettled.B+(*)
Pram Trio: Saga Thirteen (2015 [2016], self-released):
Piano trio: Jack Bodkin (piano), Mark Godfrey (bass), Eric West (drums).
Godfrey and Bodkin split six compositions, total 30:51. the sort of
thing that often gets marked EP these days.B+(*) [cd]
Quantic: The Western Transient: A New Constellation
(2015, Tru Thoughts): British techno producer Will Holland, has a
substantial stack of records. This one is kept at arms length as"Quantic Presents the Western Transient." Discogs lists this as"smooth jazz," which is too prejudicial, but the record doesn't put
up much of a fight.B
Quttinirpaaq: Dead September (2015, Rural Isolation
Project): Austin, TX noise group, name presumably derives from the
Canadian national park, located on the northern tip of Ellesmere Island,
as far north as you can go in Canada. Third album, sheets of guitar
playing "bleeding-noise industrial electronic rock . . . sounds like
punk rock thrown violently into a paper shredder with no fucks given."
I bailed out four cuts in, so cut it some grade slack.C+
Bonnie Raitt: Dig In Deep (2016, Redwing): Her best
in quite some while -- my database nominates 1973's Takin' My Time
but I've missed things and reacted badly to Michael Tatum's nominee,
1991's Luck of the Draw. She hasn't aged in the manner of blues
singers, but there's nothing urgent here -- she's clear and articulate
and has learned to pace herself, making this seem so natural you'd think
she's been doing it so well all along.A-
Ratatet: Arctic (2015 [2016], Ridgeway): Bay Area
group: Paul Hanson (bassoon), John Gove (trombone), Dillon Vado (vibes),
Greg Sankovich (keyboards), Jeff Denson (basses, vocals), Alan Hall
(drums), with Hall the leader/composer/arranger. Another postbop
variant, the instrumentation setting them apart.B [cd]
Scott Reeves Jazz Orchestra: Portraits and Places (2015
[2016], Origin): Big band, leader plays alto flugelhorn but that's rather
beside the point. Steve Wilson gets a "featuring" credit on the cover,
and there are a handful of names I recognize in the band, like pianist
Jim Ridl and vocalist (2 cuts) Sara Serpa.B- [cd]
Logan Richardson: Shift (2013 [2016], Blue Note):
Alto saxophonist, born in Kansas City but based in Paris, 2006 debut
(aptly named Cerebral Flow) impressed me, but this is only his
second album since -- a big label affair with big names in the band,
especially Jason Moran (piano) and Pat Metheny (guitar). So much talent
cannot be denied, but doesn't fit together all that well either. Cover
song from Bruno Mars.B+(*)
Rihanna: Anti (2016, Roc Nation): Mostly crawl along,
not a good sign for dance-pop or even bump-and-grind, though often the
oblique rhythms suggest something interesting is lurking about, and
occasionally I get hooked -- "Love on the Brain" never fails.A-
Alfredo Rodriguez: Tocororo (2015 [2016], Mack
Avenue/Qwest): Cuban pianist, based in US since 2009, third album,
co-produced by Quincy Jones. Many vocals, some pieces quite beguiling
in an almost childish way.B+(**) [cd]
Sidestepper: Supernatural Love (2016, Real World):
British producer Richard Blair, learned to love Latin music living
in Colombia, and brought back that fondness for a more conventional
electronica treatment.B+(*)
Sirius Quartet: Paths Become Lines (2015 [2016],
Autentico): String quartet, "blending the precision of classical
music and the energy of 'compromvisation,'" appeared on an album
with Ivo Perelman I liked, well, more than this. Mostly grates on
my ears, though some passages are interesting, and I don't doubt
their chops.B+(*) [cd]
Gwen Stefani: This Is What the Truth Feels Like (2016,
Interscope): Blonde bombshell singer, a cover favorite of Blender
magazine back in the day, which included two 2000-02 albums fronting
No Doubt, and two 2004-06 solo albums. A decade later this is her third
album, done with four production teams and an average of four writers
per song, which for a pop album with hip-hop touches is about par for
the course. I can't say much for her old work, but pretty much every
song here clicks for me.A-
Zhenya Strigalev: Never Group (2015 [2016], Whirlwind):
Alto saxophonist, based in London, don't know if he's native. Has a
couple previous albums, but this is the first I've heard of him, and
I botched the credit/title during unpacking. Core group is a trio with
Tim Lefebvre on bass and Eric Harland on drums, and several additional
musicians have guest spots.B+(**) [cd]
Henry Threadgill Ensemble Double Up: Old Locks and Irregular
Verbs (2015 [2016], Pi): Not a Zooid album (an error I made
in unpacking). In fact, Threadgill doesn't play; he's only credited
with composition (four pieces, called "Part One" through "Part Four").
The ensemble does double up on piano (Jason Moran and David Virelles),
alto sax (Roman Filiu and Curtis MacDonald), and bass substitutes
(Christopher Hoffman on cello and Jose Davila on tuba), but only one
drummer (Craig Weinrib). Impressive group, way beyond the star pianists.
The composer gives them plenty to chew on, and they come up with one
surprise after another.A- [cd]
The U.S. Army Blues: Live at Blues Alley (2015 [2016],
self-released): Aka The United States Army Band "Pershing's Own,"
commanded by Col. Thomas Rotondi, Jr. I suppose I should be more
generous to America's premier exemplar of state socialism, especially
when they do something that doesn't involve killing and mayhem, but
the lavish production grates at me as much as the mediocre music. A
full blown big band (actually overblown with a fifth trumpet). To
turn the late Robert Sherrill's book title around, military music is
to music as military justice is to justice.C [cd]
Marcos Varela: San Ygnacio (2012 [2016], Origin):
Bassist, from Houston, first album, wrote two (of eleven) pieces,
picking up a few more from the veteran band: George Cables (piano)
and Billy Hart (drums) are the core, with other rotating in for a
few cuts -- Logan Richardson (alto sax), Dayna Stephens (tenor sax),
Clifton Anderson (trombone). Rowdy, upbeat postbop, caught me at a
bad time.B [cd]
Vox Arcana: Caro's Song (2014 [2015], Relay): Chicago
trio, sort of an avant chamber group with clarinet (James Falzone) and
cello/electronics (Fred Lonberg-Holm) along with Tim Daisy forgoing his
drums his recent fascination with marimba and radio sampling.B+(*) [bc]
Wildhoney: Sleep Through It (2015, Deranged):
Baltimore shoegaze group, Lauren Shusterich the singer, with two
guitarists (Joe Trainor, Marybeth Mareski), bass, and drums. LP
length, 10 cuts -- not easily differentiated but they do have a
coherent, shimmering sound -- 32:13.B+(*)
Wildhoney: Your Face Sideways (2015, Topshelf, EP):
EP came out in October after their debut album in January, stretches
six cuts to 25:57, but that's mostly due to the 12:29 "noise drone"
at the end. Actually, my first thought was ethereal, but it's really
too glossy for that, strangely attractive. First five songs could be
one for all I could tell.B+(*)
Jeff Williams: Outlier (2015 [2016], Whirlwind):
Drummer, British, has a half dozen albums since 1994. Quintet, with
tenor sax (Josh Arcoleo), guitar (Phil Robson), piano/keyboards (Kit
Downes), and bass (Sam Lasserson, both double and electric). I hear
a lot of mainstream postbop that is expert but uninteresting, but
this has some bite and resonance to it without breaking avant ground.B+(***) [cd]
Wussy: Forever Sounds (2016, Shake It): Cincinnati
alt/indie band, active since 2005, leader Chuck Cleaver had a notable
earlier band called the Ass Ponys but picked up a dimension adding
Lisa Walker to the band. This comes off both denser and spacier than
their average album, which is reliably meaty -- though I can't say
as I'm picking up many lyrics this time. But then I've always been
slow getting them.A-
Michiyo Yagi/Joe McPhee/Paal Nilssen-Love/Lasse Marhaug: Soul
Stream (2013 [2015], PNL): On the drummer's label, but the key
player is Yagi on Japanese instruments (an electric 21-string koto and
a 17-string bass koto). McPhee adds ballad tones on pocket trumpet, alto
and tenor sax, and Marhaug is responsible for electronics and "other
objects," while the drummer has a fairly easy day.B+(*) [bc]
Michiyo Yagi/Lasse Marhaug/Paal Nilssen-Love: Angular Mass
(2011 [2015], PNL): As above, minus Joe McPhee, which is to say this is
like stripping off the human mask and revealing the wires and contraptions
underneath, not just raw but murky and inconclusive as well.B [bc]
La Yegros: Magnetismo (2016, Soundway): Mariana Yegros,
from Argentina, based in Buenos Aires and France, a foudner of something
called "electro cumbia" -- evidently no longer a Colombian exclusive.B+(***)
Youth Worship: LP1 (2015, Self Harm): Alt/indie group
from New York, first album, released between two EPs. Songs have a
certain snappiness to them, and they bring more than the usual noise
to the fore.B+(***)
Tom Zé: Vira Lata Na Via Láctea (2014, self-released):
Brazilian singer-songwriter, well into his 70s, came to notice in the
US when David Byrne compiled his early work into two volumes in hisBrazil Classics series. I never warmed to those volumes, with
their disjointed rhythms and strange shape shifting, but I've enjoyed
his later (more moderate, I think) work starting with 1998's Com
Defeito de Fabricaçao, and this one continues in their vein,
catchy despite its improbability.A-
Omri Ziegele Noisy Minority: Wrong Is Right (2015 [2016],
Intakt): Alto saxophonist, from Switzerland, sixth album since 2002,
his Zürich group Noisy Minority normally a trio with Jan Schlegel
(electric bass) and Dieter Ulrich (drums, bugle), joined here by
trombonist Ray Anderson -- adds another sonic layer, solo contrast,
and (I suspect) some funk to the uneven grooves. A bit of spoken
word early on suggests a direction they didn't take.
A- [cdr]
Recent Reissues, Compilations, Vault Discoveries
Cheryl Bentyne: Lost Love Songs (2003-11 [2016],
Summit): Standards singer, best known as part of Manhattan Transfer
but has fifteen albums on her own. This one collects songs from
three albums that only appeared in Japan: The Lights Still
Burn (2003), Moonlight Serenade (2003), Songs of
Our Time (2011). Torchy, gorgeous, "Will You Still Love Me
Tomorrow" sticks in your head long after the record ends.B+(***) [cd]
Borah Bergman/Peter Brötzmann/Frode Gjerstad: Left
(1996 [2016], Not Two): A remarkable avant pianist whose recording
career spanned from 1975 nearly to his death in 2012, paired with
two avant saxophonists in one of those live matches -- this one from
the Molde International Jazz Festival -- that represent a typical
day's creation until years later, once he's gone, it gains an air
of poignancy.B+(**) [bc]
DJ Katapila: Trotro (2009 [2016], Awesome Tapes From
Africa): DJ mixtape from Ghana, beats mostly from modern electronica
but hot enough to pass muster in a land reknowned for rhythm, the
vocals a bit on the squeaky side, which I suppose could mean they've
been jacked up like everything else.B+(***)
William Hooker: Light: The Early Years 1975-1989 (1975-89
[2016], NoBusiness, 4CD): A trawl through the avant drummer's early oeuvre.
First disc starts with him solo, a failed soul singer backed only by his
own percussion. Then comes two monster pieces with saxophonists: a 26:48
trio with David Murray (1975), and a 19:27 duo with a young and even more
visceral David S. Ware. Second disc is more obscure, ending with a 16:07
trio with two saxophonists (Jameel Moondoc and Hasaan Dawkins). Third
jumps ahead to 1988, a previously unreleased trio with Roy Campbell on
trumpet and Booker T. Williams on tenor sax. Fourth gives you a set with
Lewis Barnes (trumpet) and Richard Keene (reeds) and a 16:18 drum solo.
All avant, very underground, and while the horns make a lot of noise,
there's very little filler -- I think just one cut with bass, no piano
or guitar -- so the drums always ring clear.A- [cd]
Thad Jones/Mel Lewis Orchestra: All My Yesterdays
(1966 [2016], Resonance, 2CD): Jones was a veteran bebop trumpet
player, elder brother of Hank and Elvin, better known as a composer
than for his chops although his early records are remarkable. Lewis
was a big band drummer who came to prominence with Stan Kenton and
Woody Herman. In 1966 they put together a big band to play regular
gigs at New York's Village Vanguard, a band which survived leader
deaths in 1986 and 1990. This goes back to the band's first gigs,
and it's hard to exaggerate how vibrant they sound.A- [cd]
Meridian Brothers: Devoción (Works 2005-2011)
(2005-11 [2013], Staubgold): Nominally a Colombian band, although
this collection of early sides seems to be the solo work of Eblis
Álvarez. It certainly doesn't sound like a group effort: the music
barely supports the idiosyncratic vocals in something more credible
as psychedelic than the stuff the Rough Guide folks uncover.
Reminds Christgau of Tom Zé, and I can hear that.
A-
The Rough Guide to Cumbia [Second Edition] (1975-2012
[2013], World Music Network, 2CD): Successor to the label's 2000
edition, a new batch of (mostly) old songs, the last two dating
from 2008-10, most of the others hard to pin down (two also show
up in compilations from 1960-76 and 1948-79, so they could be
older than I'm sure of). The cumbias have a marvelous bounce,
passed effortlessly from band to band. Also includes a "bonus CD":The Rough Guide to Los Corraleros De Majagual, an important
cumbia group dating back to 1962.B+(***)
The Rough Guide to Latin Disco (1975-2014 [2015],
World Music Network): At least these New York tracks are relatively
easy to locate: two-thirds date from the 1975-80 disco heyday, with
Joe Bataan and Salsoul Orchestra scoring two tracks each. The others
date from 2002 forward. The disco feint has a whiff of sellout to
it and never really scaled the heights of disco ecstasy, but not for
lack of energy, or chops.B+(*)
The Rough Guide to Merengue Dance ([2009], World
Music Network, 2CD): The national style of Dominican music, closer
in feel to cumbia than to salsa -- the ubiquitous accordion has
something to do with that. The difference getween "merengue" and"merengue dance" seems to be speed, though I can't imagine dancing
to any of these barnburners, even before I got old and decrepit.
No idea on dates: I decided to just kick back and enjoy this one.
Bonus disc is Mambeao by Carlitos Almonte, one of the accordion
wizards. Seems to be unavailable separately.A-
The Rough Guide to Psychedelic Cumbia (1969-2014 [2015],
World Music Network): First few cuts seem to date from the 1970s or a
bit earlier but then there's a big jump to recent (although I only tracked
about half of the songs down, and even old ones are likely to have recent
youtube videos. Never clear what "psychedelic" means, but these are mostly
instrumental vamps with extra but not super fancy percussion.B+(***)
The Rough Guide to the Best Arabic Music You've Never Heard
(2008-14 [2015], World Music Network): No artist names I recognize
(admittedly, not a very high hurdle), but all appear to be relatively
recent, and they range fairly widely over the Arabic-speaking world.
Still, easier to pick out "you've never heard" than "the best" -- not
least because it's hard to find a unifying theme here.B
Larry Young: In Paris: The ORTF Recordings (1964-65
[2016], Resonance, 2CD): Organ player, broke out of the soul jazz
groove when he moved to Blue Note in 1965 -- his album Unity
(with Woody Shaw, Joe Henderson, and Elvin Jones) is a masterpiece,
one of those Penguin Guide crown recordings. These lavishly
documented, previously unreleased recordings are transitional, most
from a quartet led by tenor saxophonist Nathan Davis -- a Kansas
City native who moved to Paris in 1963 -- with Shaw, in blistering
form, and drummer Billy Brooks. Young keeps those cuts simmering,
but you don't wind up with a very good sense of how. Also includes
a couple earlier cuts with various French musicians, including one
with Young playing piano.B+(***) [cd]
Old Music
Anderson .Paak: Venice (2014, OBE/Steel Wool): First
album for the Afro-Korean-Californian singer/rapper, sorts out his
sound on moderately interesting songs, mostly about sex.B+(**)
Nathan Davis: Happy Girl (1965 [2006], MPS): First
album, basically the same group -- Woody Shaw (trumpet), Billy Brooks
(drums) -- as on Larry Young's In Paris but with Young playing
piano (less distinctively) and Jimmy Woode added at bass. Opens with
a flute piece ("The Flute in the Blues").B+(*)
Drive-By Truckers: Gangstabilly (1998, Soul Dump):
First album, with Patterson Hood doing most of the writing, Mike
Cooley chipping in "Panties in Your Purse," both on guitar and vocals,
plus pedal steel, upright bass, and drums, "the most country of any
of our albums," although their attitude already cutting against the
grain -- on the one hand, the hip-hop allusion of the title, on the
other a song called "Demonic Possession" based on a Pat Buchanan
speech (perhaps the one Molly Ivins thought "might have sounded
better in the original German").B+(***)
Drive-By Truckers: Alabama Ass Whuppin' (1999 [2000],
Second Heaven): Live album, recorded over several dates in Athens and
Atlanta, Georgia; repeats five songs from their debut, three fromPizza Deliverance, adds three songs including a wicked tale
about "The Avon Lady" and a breakneck cover of Jim Carroll's "People
Who Died," also working a little Lynyrd Skynyrd into "Steve McQueen."
I had my doubts on the song with too much Jesus (too little sex),
but toward the end they aimed for "live and loud" and got there.B+(***)
Drive-By Truckers: Ugly Buildings, Whores, and Politicians:
Greatest Hits 1998-2009 (1998-2009 [2011], New West): Not sure
that any of these songs qualify as hits, but the seven source albums
showed slow, steady progress up the charts, hitting 50 in 2006 and 37
in 2008 (figures topped by three later albums, the highest at 16).
Nor is the band so hit-and-miss you need a compilation (I have six of
those albums at A-, with Gangstabilly a very near miss). Nor
am I sure this improves on any of the six (or for that matter the odds
and sods collected as The Fine Print). But the songcraft is
very much there.A-
Kendrick Lamar: Overly Dedicated (2010, Top Dawg
Entertainment): First mixtape, a year before Section.80 turned
enough ears to get him on my radar, but following four mixtapes as
K-Dot, an alias he still self-refers to here. Maybe half of this
seems generic to the craft, but the other half is so spry and bubbly
it bursts the seams.A-
Horace Parlan: Movin' & Groovin' (1960, Blue Note):
Pianist, worked with Sonny Stitt and later Charles Mingus in the 1950s,
had a terrific run with Blue Note in the early 1960s, starting with this
trio -- Sam Jones on bass, Al Harewood on drums.B+(**)
Horace Parlan: Up & Down (1961 [2009], Blue Note):
The pianist leads a hard bop quintet here with Booker Ervin (tenor sax),
Grant Green (guitar), George Tucker (bass), and Al Harewood (drums).
Opens with the guitarist in fine form, but Ervin tends to go with the
flow rather than blast out of it, as he would a couple years hence.B+(***)
Bonnie Raitt: Bonnie Raitt (1971, Warner Brothers):
Had a show biz father and a pianist mother, raised a Quaker, went to
Radcliffe and majored in social relations and African studies, took
a semester off, was befriended by a blues promoter, learned to play
bottle-neck, and was discovered opening for Fred McDowell. First album,
two originals buried in the middle of a mess of blues although she led
off with a Stephen Stills song the label might have figured for a
single but didn't bother releasing.B+(***)
Bonnie Raitt: Streetlights (1974, Warner Brothers):
Fourth album, Jerry Ragavoy producing, no original songs, no blues,
wonder whether she/they would have touched John Prine's "Angel From
Montgomery" had he not also been on WEA at the time (as were her
opening songwriters, Joni Mitchell and James Taylor).B
Bonnie Raitt: The Glow (1979, Warner Brothers): Still
kicked around from producer to producer, this time landing with Peter
Asher -- not much of a roots/blues afficionado. Starts with two Isaac
Hayes songs, not a bad move.B
Bonnie Raitt: Green Light (1982, Warner Brothers): I
buy that she's having more fun here, mostly due to upbeat rockers --
some suggesting she's been listening to Dave Edmunds.B+(**)
Bonnie Raitt: Nine Lives (1986, Warner Brothers):
Her last album for Warners, one that sat on the shelf a couple years
before she recut half of it to make it more hit-worthy. Christgau,
who cares much more about her than I do, regards it as her worst
(runner up: 2002's Silver Lining). I find it perfectly
ordinary -- something she's done several times.B-
Bonnie Raitt: Road Tested (1995, Capitol, 2CD):
Only two (of nine) of her Warners albums went gold, but her first
three albums for Capitol went platinum (2-7x) -- less familiar to
me with Longing in Their Hearts not even on Rhapsody --
leading to the profit-taking of this live double, reclaiming large
swathes of her early songbook. Strikes me as perfunctory, but does
make a whole out of the parts.B+(**)
Bonnie Raitt: The Best of Bonnie Raitt on Capitol 1989-2003
(1989-2003 [2003], Capitol): First three albums went platinum, cashing
in on all the hard work the past decade while Warners paired her with
one ill-suited producer after another. I'm not a fan of those albums (at
least of the two better-regarded ones I've heard), but looking back I
have to admit that her Grammy-grabbing MOR move produced some exquisite
schmaltz. This collection goes down so easy you scarcely notice it --
beyond the warm feeling it leaves you with. What you do notice are theRoad Tested remakes of old blues.A-
The Larry Young Trio: Testifying (1960 [1992], New
Jazz/OJC): Organ player, born in Newark, first album, cut when he was
still 19. Mostly trio with Thornel Schwartz (guitar) and Jimmie Smith
(drums), plus two cuts with Joe Holiday on tenor sax. Two original
pieces (plus Holiday's "Exercise for Chihuahuas"), standards and
blues, not his breakthrough sound but impressive for the genre.B+(***)
Larry Young: Groove Street (1962 [1995], Prestige/OJC):
Third album, 21 now, expands his trio -- Thornel Schwartz on guitar and
Jimmie Smith on drums -- with Bill Leslie on tenor sax. Prestige was
notorious for quickly cutting slapdash albums and I figure this was one,
where the order of the day was "groove."B+(**)
Additional Consumer News:
Previous grades on artists in the old music section.
- Nathan Davis: London by Night (1987, DIW): B
- Drive-By Truckers: Pizza Deliverance (1999, Ghost Meat): A-
- Drive-By Truckers: Southern Rock Opera (2001, SDR): A-
- Drive-By Truckers: Decoration Day (2003, New West): A-
- Drive-By Truckers: The Dirty South (2004, New West): A-
- Drive-By Truckers: A Blessing and a Curse (2006, New West): A-
- Drive-By Truckers: Brighter Than Creation's Dark (2007 [2008], New West): A-
- Drive-By Truckers: The Fine Print: A Collection of Oddities and Rarities 2003-2008 (2003-08 [2009], New West): A-
- Drive-By Truckers: The Big To-Do (2010, ATO): B+(***)
- Drive-By Truckers: Go-Go Boots (2009-10 [2011], ATO/Red): A-
- Drive-By Truckers: English Oceans (2014, ATO): B+(**)
- Kendrick Lamar: Section.80 (2011, Top Dawg Entertainment): B+(**)
- Kendrick Lamar: Good Kid, MAAD City (2012, Aftermath): A-
- Kendrick Lamar: To Pimp a Butterfly (2015, Top Dawg/Aftermath/Intgerscope): A-
- Horace Parlan: On the Spur of the Moment (1961 [1998], Blue Note): A-
- Horace Parlan: Happy Frame of Mind (1963 [1988], Blue Note): A-
- Horace Parlan: Blue Parlan (1978 [1979], Steeplechase): B+
- Horace Parlan: Glad I Found You (1984, Steeplechase): B+
- Bonnie Raitt: Give It Up (1972, Warner Brothers): A
- Bonnie Raitt: Takin' My Time (1973, Warner Brothers): A-
- Bonnie Raitt: Home Plate (1975, Warner Brothers): B+
- Bonnie Raitt: Sweet Forgiveness (1977, Warner Brothers): B
- Bonnie Raitt: The Bonnie Raitt Collection (1971-86 [1990], Warner Brothers): B+
- Bonnie Raitt: Nick of Time (1989, Capitol): B
- Bonnie Raitt: Luck of the Draw (1991, Capitol): B-
- Bonnie Raitt: Fundamental (1998, Capitol): B+
- Bonnie Raitt: Silver Lining (2002, Capitol): B
- Bonnie Raitt: Souls Allike (2004 [2005], Capitol): B
- Bonnie Raitt: Slipstream (2012, Redwing): B+(**)
- Archie Shepp/Horace Parlan: Goin' Home (1977 [1985], Steeplechase): A
- Archie Shepp/Horace Parlan: Trouble in Mind (1980, Steeplechase): A-
- Larry Young: Young Blues (1960 [1994], New Jazz/OJC): B+
- Larry Young: Into Something (1964 [1998], Blue Note): B+
- Larry Young: Unity (1965 [1999], Blue Note): A
- Larry Young: Of Love and Peace (1966 [2004], Blue Note): A-
- Larry Young: Mother Ship (1969 [2003], Blue Note): B+
- Larry Young: The Art of Larry Young (1964-69 [1992], Blue Note): B
Notes
Everything streamed from Rhapsody, except as noted in brackets
following the grade:
- [cd] based on physical cd
- [cdr] based on an advance or promo cd or cdr
- [bc] available at bandcamp.com
- [sc] available at soundcloud.com
- [os] some other stream source
- [dl] something I was able to download from the web; may be freely
available, may be a bootleg someone made available, or may be a publicist
promo