No free disk space on my server, so it's impossible to update the
website. Hence: no "faux blog" post, no new images (several late-breaking
A- records, plus notice that I'm currently reading the Jonathan Allen/Amie
Parnes horror story, Shattered: Inside Hillary Clinton's Doomed
Campaign).
The Serendipity blog appears to still be working,
so I should be able to post my text there. I'm tempted to cross-post
elsewhere, but don't have any good ideas at the minute.
After procrastinating some, I finally started to work on moving
the website last night. My first idea was to install a Serendipity
blog locally -- I vaguely recalled that it has some import tools,
so hoped I might be able to import directly from the old blog, but
after I got it working the import tools doesn't seem likely to work.
(One big problem with my ISP is that I haven't been able to do a
full database dump for several years now, and not having any disk
space means I wouldn't have any place to temporarily hold the dump.)
My second idea was to use HTTrack to clone the blog-portion of the
website, but simple operation would pick up too many redundant pages.
I suspect there are options to limit this -- there seem to be about a
hundred option switches -- so it can probably be done, but thus far I
haven't figured out how. Still, I made a little progress last night:
I wrote a shell script to collect all 171 pages of entries (2558 total)
in the blog roll and save them in a directory. Today I realized this
doesn't include the "further reading" parts of long blog posts, so I
will have to identify them and go back a second time. Indeed, it might
be best to use the pages I extracted to get the individual page URLs
and grab them all again, so they'd wind up in separate files. In any
case, it will take another program to extract usable data from the
captured HTML files. The easiest thing then would be to convert it
into my "faux blog" format, although it might be more useful to hack
it into something I can stuff into a database (e.g., another blog,
not necessarily Serendipity).
Good news, I suppose, is that when I get what I want from the site,
I can end my dependency on the ISP (ADDR.COM -- highly unrecommended)
and install at least my static files on a new server. No idea when
that will be possible -- probably a week or two, although I could get
snagged up in something or other.
Normally I'd try to write some notes out on the music below, but
given the circumstances, I'll let it speak for itself. A review of
last month's Music Week posts might help.
Most of these are short notes/reviews based on streaming records
from Napster (formerly Rhapsody; other sources are noted in brackets).
They are snap judgments, usually based on one or two plays, accumulated
since my last post along these lines, back on August 30. Past reviews
and more information are availablehere (10173 records).
Recent Releases
Gabriel Alegria Afro-Peruvian Sextet: Diablo en Brooklyn
(2017, Saponegro): Trumpet player from Peru, sextet includes Laura
Andrea Leguia (tenor/soprano sax), Yuri Juarez (guitar), Freddy
Lobatón (cajon), Hugo Alcazar (drums), and normally a bassist (John
Benitez or Mario Cuba, but I don't see either in the credits, just
a couple guest spots for keyboardist Russell Ferrante and one for
guitarist Jocho Velásquez). Comes out hard on the beat, then sashays
through several parts of "The Brooklyn Suite," with various interludes
including a marvelous snatch of "Summertime."A- [cd]
Alfjors: Demons 1 (2015 [2017], Shhpuma, EP):
Portuguese avant-rock trio -- Mestre André (tenor sax, electronics,
percussion, mbira, voice), Bernardo Alvares (bass, voice), Raphael
Soares (drums) -- claim influences from African forests and Mongolian
steppes, from Can and Lemmy and Hawkwind and "Saint John Coltrane,"
pounded into dense, ecstatic rhythms. Two fairly long cuts plus an
interlude, 3 tracks, 28:39.B+(**)
Chino Amobi: Paradiso (2017, Non): Born in Alabama,
based in Richmond, VA. Discogs lists style as "Experimental, Bas
Music, Grime, Industrial" -- I've seen this described as a "dystopian
soundtrack." It's certainly harrowing enough, but it's not as if
we're not living through dystopia enough in the real world.B
Atomic: Six Easy Pieces (2016 [2017], Odin):
Swedish/Norwegian supergroup, fourteenth album since 2001, the six
pieces split between Fredrik Ljungkvist (sax/clarinet) and Håvard
Wiik (piano), the others: Magnus Broo (trumpet), Ingebrigt Håker
Flaten (bass), and Hans Hulbaekmo (drums; until recently the
drummer was Paal Nilssen-Love). The pianist often takes charge
here, the horns rarely breaking as free as you'd expect. Title
also seems to be available in an expanded 3-CD package, adding
a couple live sets.
B+(**)
Michaël Attias Quartet: Nerve Dance (2016 [2017],
Clean Feed): Alto saxophonist, born in Israel, grew up in Paris and
Minneapolis, based in New York since 1994. Quartet with a fine rhythm
section, most notably pianist Aruán Ortiz but also John Hébert (bass)
and Nasheet Waits (drums).
B+(***)
João Barradas: Directions (2017, Inner Circle Music):
Accordion player, from Portugal, young, appears to be his first album.
Guest spots for Greg Osby (alto sax), Gil Goldstein (accordion), and
Sara Serpa (voice). Backed with guitar, piano, bass, drums. Shows some
range, lots of energy.B+(**)
Django Bates: Saluting Sgt. Pepper (2016 [2017],
Edition): British jazz pianist, mixed a Jimi Hendrix tribute in
with more avant experiments back in the 1990s but hasn't recorded
much since 2009. Goes for a straight 50th anniversary remake of
the Beatles classic here, backed by Frankfurt Radio Big Band, with
a Danish trio called Eggs Laid by Tigers handling the vocals, bass,
and drums. Still a great record, but an unnecessary version.B
Richard X Bennett: Experiments With Truth (2017,
Ropeadope): Pianist, based in New York, has two new records out,
old ones back to 2010. This is a fusion-groove set with two
saxophonists -- Matt Parker (mostly tenor) and Lisa Parrott (mostly
baritone).B+(**) [cd]
Richard X Bennett: What Is Now (2017, Ropeadope):
Piano trio, with Adam Armstrong (bass) and Alex Wyatt (drums). All
originals except for "Over the Rainbow." Stress again on rhythm,
but nothing hinting of fusion.B+(**) [cd]
Black Lips: Satan's Graffiti or God's Art? (2017, Vice):
Garage rock band, formed in Dunwoody, Georgia, based in Atlanta, eighth
studio album since 2003.B+(*)
Lena Bloch & Feathery: Heart Knows (2017, Fresh
Sound New Talent): Tenor saxophonist, born in Moscow, emigrated to
Israel in 1990, studied in Germany, currently teaches in Brooklyn.
She released Feathery in 2014, and has kept the name for her
quartet: Russ Lossing (piano), Cameron Brown (bass), and Billy Mintz
(drums). Bloch and Lossing wrote four cuts each. They flow easily,
nothing really standing out.B+(*) [cd]
Bomba Estéreo: Ayo (2017, Sony Music Latin): Colombian
group, cumbia with electro glitz, the beat hard, the vocals a bit in
your face.B+(**)
Jean-François Bonnel and His Swinging Jazz Cats: With Thanks
to Benny Carter (2017, Arbors): French alto saxophonist, plays
clarinet on two cuts here; seems to have had several albums, although
a list isn't easy to come by. At any rate, mostly plays with trad jazz
musicians like Ken Colyer and Keith Nichols. Carter tunes and other
standards, with Chris Dawson (piano), François Laudet (drums), and
singer Charmin Michelle (6/9 cuts).
B+(**)
Action Bronson: Blue Chips 7000 (2017, Vice/Atlantic):
Rapper Arian Asllani, from Flushing, father Albanian Muslim, mother
American Jewish, worked under various names before settling on this
one -- most notably, Mr. Baklava. Fourth studio album (not counting
four mixtapes), second on a major label. Underground beats, stoned
sneer, lots of chopped salad.B+(**)
Don Bryant: Don't Give Up on Love (2017, Fat Possum):
Memphis soul singer-songwriter, b. 1942, cut an album for Hi in 1969,
wrote several famous song with/for wife Ann Peebles, tried his hand
at gospel in the late 1980s and 2000, recycled some old songs and a
few new ones here.B+(*)
Chamber 4: City of Light (2016 [2017], Clean Feed):
Franco-Portuguese group: Luis Vicente (trumpet), Théo Ceccaldi
(violin), Valentin Ceccaldi (cello), Marcelo dos Reis (acoustic
and prepared guitar), the latter three also credited with voice.
All improv, notes say they never even discussed what they might
do. Ambles some, but guitar can surprise you.
B+(**)
Brian Charette Circuit Bent Organ Trio: Kürrent (2017,
Dim Mak): Organ player, with Ben Monder (guitar) and Jordan Young (drums)."Circuit Bending is a technique where electronic instruments are manipulated
so that they misfire (!!!) creating far out sonic landscapes." Charette
does a good job of steering clear of the genre's clichés, but this isn't
bent enough to be especially interesting.
B+(*)
Zack Clarke: Random Acts of Order (2017, Clean Feed):
Pianist, based in New York, first album, a trio with Henry Fraser on
bass and Dre Hocevar on percussion.B+(*)
Collective Order: Vol. 2 (2017, self-released): Toronto
collective, not really a group album, more like "various artists" -- a
dozen or so leader/composers, sharing a pool of 19 musicians (3 vocalists).
Some pieces catch my ear, like Connor Newton's Latin-flavored "Mahsong";
most kind of elide together.B+(*) [cd]
Stanley Cowell: No Illusions (2015 [2017], SteepleChase):
Pianist, first impressed me with his 1969 Blues for the Viet Cong,
now 75 with a large discography -- mostly trios, but this one brightens
up with Bruce Williams' alto sax and flute. Also with Jay Anderson (bass)
and Billy Drummond (drums).B+(**)
Damaged Bug: Bunker Funk (2017, Castle Face): Electronica
side project by John Dwyer, best known (though not very well by me) for
Thee Oh Sees.B
DEK Trio: Construct 1: Stone (2016 [2017], Audiographic):
Group named for first initials: Didi Kern (drums), Elisabeth Harnik
(piano), Ken Vandermark (reeds). Two cuts, 43:48, recorded live at
the Stone in NYC. Vandermark works his way through his instrument
rack, especially masterful on tenor and baritone, and piercing on
what I assume to be his clarinet. The Austrians support him with a
range of overlapping and suitably discordant rhythms.A- [bc]
DEK Trio: Construct 2: Artfacts (2017, Audiographic):
Third album, back in Austria, with pianist Harnik coming out more
while Vandermark screeches on clarinet. Best stretch comes in "Paper
Tongue": a strong platform rhythm under some of Vandermark's finest
tenor sax honk.B+(***) [bc]
DEK Trio: Construct 3: Ovadlo 29 (2017, Audiographic):
Moving on, nine days later in the Czech Republic. Three more pieces,
two 21-minute bashes and a 4:10 variation. Best clarinet bit yet, a
very strong tenor sax stretch.B+(***) [bc]
Dave Douglas With the Westerlies and Anwar Marshall: Little
Giant Still Life (2016 [2017], Greenleaf Music): The Westerlies,
who have a previous album with Wayne Horvitz, add two trumpets and two
trombones to the leader's trumpet, with Marshall on drums. Similar to
Douglas' other brass band experiments, but less bottom, more postbop.B+(**) [cd]
Mike Downes: Root Structure (2016 [2017], Addo):
Bassist, from Canada, sixth album since 1997, won a Juno Award
for Ripple Effect in 2014. Quartet with guitar (Ted Quinlan),
piano/keys (Robi Botos), and drums. Original material (aside from
odd bits by Botos and Chopin). Pleasantly engaging.B+(*) [cd]
Chet Doxas: Rich in Symbols (2017, Ropeadope):
Artist's name, credited with "woodwinds and synths," not on cover or
spine -- in fact, nothing on cover. Quartet with guitar (Matthew
Stevens), bass and drums, loosely fits as fusion elaborating riffs
into grooves. Guests Dave Douglas and John Escreet appear on one
track each, Dave Nugent on three, producer Liam O'Neil all over
the place.B+(*) [cd]
Kaja Draksler Octet: Gledalec (2016 [2017], Clean
Feed, 2CD): Pianist from Slovenia, also in European Movement Jazz
Orchestra, fourth and most ambitious album, although note that two
singers occupy slots in the Octet, leaving six instrumentalists:
two saxophonists (Ada Rave and Ab Baars), violin (George Dumitriu),
bass, and drums. The vocals are arch and/or arty, the sax much
preferred, although both struggle on the rough footing.B
Bob Dylan: Fallen Angels (2016, Columbia): Spacing
for Dylan albums since 1993's World Gone Wrong: 4 years, 4,
5, 3, 3 (Tempest, in 2012, the most forgettable of the run).
So, you might expect a new one around 2015, but the muse evidently
failing him, Dylan decided to cover Ye Great American Songbook for
his godawful Shadows in the Night. That proved easy enough
he's come up with this sequel just one year later (and even more
in 2017). But where the previous album's renditions were grating,
he's softened these up to the point of insignificance.C+
Bob Dylan: Triplicate (2017, Columbia, 3CD): More
songbook, spread out over three discs but they're short ones: 31:48,
32:07, 31:47, 10 songs each. Notes: Jimmy Van Heusen seems to be
Dylan's favorite songwriter (7 songs, 4 with Johnny Burke, 2 with
Sammy Cahn); only one Irving Berlin (one each Arlen, Rodgers, Kern,
Carmichael), nothing by Cole Porter or the Gershwins; horns on the
opener, but strings are more prevalent later. I probably hear more
than fifty vocal standards records each year, and I can't think of
any aspect Dylan isn't below average in. Not his worst -- the horns
do perk things up -- but still.C+
Harris Eisenstadt Canada Day Quartet: On Parade in Parede
(2016 [2017], Clean Feed): Drummer, group dates back to 2009 Canada
Day album, with Nate Wooley (trumpet), Matt Bauder (tenor sax), and
Pascal Niggenkemper (bass). Strongest when the two horns spin free.B+(**)
John Escreet: The Unknown: Live in Concert (2016,
Sunnyside): Pianist, seventh album since 2008, started on mainstream
labels but this quartet represents an avant move: John Hébert (bass),
Tyshawn Sorey (drums, vibes), and most importantly (and unmistakably)
Evan Parker (tenor sax), with the pianist distinguishing himself with
his oblique cross rhythms. Two parts, from two consecutive days in
the Netherlands, totalling 74:47.
A-
Adam Fairhall: Friendly Ghosts (2017, Efpi):
British pianist, has a couple previous album and sidework with Nat
Birchall. Takes this one solo. I'm not seeing a credits list, but
several songs have words like "rag,""stomp," and "boogie" in the
title, and the music reminds me of Dave Burrell's more antique
explorations.B+(***) [bc]
Erica Falls: Home Grown (2017, self-released):
Soul singer from New Orleans, second album, can't find much bio
and was thrown by description of "her sophomore project titledVintage Soul" -- must be this one. Doesn't strike me as
vintage but if she wants to claim Irma Thomas -- not actually
on her list of claimed influences, but the best model I can come
up with -- she has a strong start.B+(**)
Fat Tony: MacGregor Park (2017, First One Up, EP):
Houston rapper, born in Nigeria as Anthony Lawson Jude Ifeanyichukwu
Obiawunaotu, shortened to Anthony Jude Obi. Fourth studio album, a
bit short at eight cuts, 28:35, but with an infectiously easy flow,
not that life comes so easy.A- [bc]
George Freeman: 90 Going on Amazing (2005 [2017],
Blujazz): Guitarist from Chicago, brother of saxophonist Von Freeman,
cut his first record in 1969, side credits go back to a 1961 record
with Richard "Groove" Holmes and Ben Webster, 90 and still performing
now but a mere 78 when this was recorded. Mostly easy-going funk, a
quartet with Vince Willis prominent on piano.B+(*) [cd]
Tomas Fujiwara: Triple Double (2017, Firehouse 12):
Looks more like a double trio, with Ralph Alessi and Tyler Ho Bynum
on trumpet/cornet, Mary Halvorson and Brandon Seabrook on guitar,
Gerald Cleaver and Fujiwara on drums. I haven't quite figured out
the parts where the leader talks about music direction, but I'm
quite taken by how they all bounce off one another.A- [cd]
Gato Preto: Tempo (2017, Unique): Dance groove duo,
producer Lee Bass (from Ghana) and singer-rapper Gata Misteriosa
(from Mozambique) -- based somewhere in Europe, but that's about
all I've been able to find, although I count 25 releases (including
EPs and Remixes) on their Bandcamp page. Which makes them a subject
for further research, although for now I'd rather not muddy up the
clear uniqueness of their electro rush.A-
Philipp Gerschlauer/David Fiuczynski: Mikrojazz: Neue
Expressionistische Musik (2016 [2017], Rare Noise): German
alto saxophonist, American guitarist, the latter 22 years older,
basically a fusion player (early album title: Jazz Punk).
Gerschlauer, best known for his group Besaxung, developed a
microtonal technique that splits an octave into 128 pitch steps.
Band includes Jack De Johnette (drums), Matt Garrison (bass),
and Giorgi Mikadze (microtonal keyboards). Doesn't sound all
that exotic, but flows nicely.B+(*) [cdr]
Mats Gustafsson & Craig Taborn: Ljubljana (2015
[2017], Clean Feed): Duo, slide and baritone saxes vs. piano, two
improv pieces totalling 38:04 so they decided to release it on vinyl.
The saxophonist backs off his usual squall, deferring to the pianist,
who provides most of the interest.B
João Hasselberg & Pedro Branco: From Order to Chaos
(2017, Clean Feed): Portuguese bass and guitar duo, based in Copenhagen,
backed discreetly by drummer João Lencastre, with an occasional guest
or two on half the tracks -- saxophonist Albert Cirera changes the
chemistry to something much more combustible.
B+(*)
Florian Hoefner: Coldwater Stories (2016 [2017],
Origin): German pianist, based in Canada (off the beaten path in
St. John's, Newfoundland), half-dozen records, this one solo,
improvising against the steady roll of his rhythmic figures.B+(**) [cd]
Eric Hofbauer: Ghost Frets (2016 [2017], Creative
Nation Music): Guitarist, Discogs only lists four albums since 1998
but I've heard many more than that, most quite interesting. This
one is solo, deftly picked: four originals, two from kindred spirit,
the late Garrison Fewell, five more from the tradition (Oliver, Monk,
Dolphy) and beyond.B+(***) [cd]
Eric Hofbauer: Prehistoric Jazz Volume 4: Reminiscing in
Tempo (2017, Creative Nation Music): Previous volumes have
picked on modern classical music (Stravinsky, Messiaen, Ives), so
why not Edward Kennedy "Duke" Ellington, widely cited as the great
composer of "America's classical music"? Quintet: guitar, trumpet,
clarinet, cello, drums. Ellington's piece, a tribute to his mother
from 1935, was originally spread out over four 10-inch sides, but
still only came to 12 minutes. Hofbauer picks it apart, extending
his deconstruction to 24:50, but the theme comes through as elegant
as ever.B+(***) [cd]
Honest John: International Breakthrough (2015-16
[2017], Clean Feed): Norwegian-Swedish quintet, musician order
seems significant here: Ole-Henrik Moe (violin), Kim Johannesen
(guitar/banjo), Ola Høyer (double bass), Erik Nylander (drums/drum
machine), Klaus Ellerhusen Holm (alto sax/clarinet). Actually, Holm
becomes more prominent toward the end, but the early string focus
is most distinctive.
B+(**)
Humcrush: Enter Humcrush (2014-15 [2017], Shhpuma):
Norwegian jazztronica duo, Ståle Storløkken (keyboards) and Thomas
Strønen (drums), fifth album together, mostly a rush complex enough
to keep it interesting, but tails off a bit.
B+(**)
Garland Jeffreys: 14 Steps to Harlem (2017, Luna Park):
Singer-songwriter, has played off his biracial roots for most of his
career, a status he indulges when he can't shake it, which is most of
the time. Biggest surprise: a pair of covers, songs by Lou Reed and
Lennon-McCartney, the latter with Reed in the band.B+(*)
Kesha: Rainbow (2017, Kemosabe/RCA): Kesha Sebert,
returns with her third album five years after number two, starting
with a timely song that goes "don't let the bastards get you down,"
and bending several genres around her pop pinky.B+(*)
Lauren Kinhan: A Sleepin' Bee (2017, Dotted i):
Singer, best known as a member of New York Voices since 1992,
fourth solo project since 1999, "the inspiration of this project
sprung from nancy wilson's iconic collaboration with cannonball
adderley." Still, she took to Wilson more than to Cannonball,
not bothering to hire a saxophonist (although Ingrid Jensen
makes a fair sub for Nat).B [cd]
Kirk Knuffke: Cherryco (2016 [2017], SteepleChase):
Cornet player, from Colorado, Discogs credits him with 19 albums since
2009. This is a trio with Jay Anderson (bass) and Adam Nussbaum (drums)
playing songs by Ornette Coleman and Don Cherry -- the focus is on the
latter, both because he played various trumpets and because he was an
essential part of Coleman's pathbreaking quartet, so in a sense what
we're hearing here is Coleman without the saxophone.A-
Kokotob: Flying Heart (2016 [2017], Clean Feed):
Trio, with Taiko Saito (marimba/vibraphone), Niko Meinhold (piano),
and Tobias Schirmer (clarinets) -- name assembled from first name
fragments (hint: Saito and Meinhold had a 2006 duo album namedKoko). None of the trio have extensive discographies, but
I should note that Discogs lists two different Schirmers -- the
other a drummer. An attractive beatwise, if not very jazzy, piece
of chamber music.B+(**)
LCD Soundsystem: American Dream (2017, DFA/Columbia):
Fourth album, moving ever closer to what we used to call new wave, at
one point reminding me of Talking Heads, but less interesting, of course.B+(**)
David Lopato: Gendhing for a Spirit Rising (2017,
Global Coolant, 2CD): Pianist, from Brooklyn, fifth album since
1981, also plays some other instruments here including "Embertone
Friedlander virtual violin" and percussion (mostly with mallets).
He also makes occasional use of reeds (Marty Ehrlich, Lucas Pino),
strings (Erik Friedlander, Mark Feldman), vibes (Bill Ware), drums
(Tom Rainey, Michael Sarin), and more exotic instruments. Sometimes
seems closer to baroque than jazz, but not always.B+(*) [cd]
Luis Lopes: Love Song (2015 [2016], Shhpuma):
Portuguese guitarist, I've found him to be especially impressive
in his Lisbon Berlin Trio and Humanization 4Tet. This is solo,
electric but so muted it hardly matters.B
L'Orange & Jeremiah Jae: The Night Took Us in Like
Family (2015, Mello Music Group): Don't know anything about
L'Orange, but he seems to be the beat guy, with Jae rapping
(also guest spots for Gift of Gab and Homeboy Sandman). Skits
can break the groove, which is pretty compelling.A- [bc]
L'Orange & Kool Keith: Time? Astonishing! (2015,
Mello Music Group): Beats still interesting -- in fact, starts with
an instrumental and could build on that. The once-and-future Dr.
Octagon goes spacey here, probably for the best.B+(**) [bc]
L'Orange & Mr. Lif: The Life & Death of Scenery
(2016, Mello Music Group): Conceived as an Orwellian dystopia, where
art and music are banned and people are herded into worshipping the sun,
the moon, and, of course, their fearless leader. Released about a month
before we entered our own brave new world, where art and music survive
because the new leaders are too clueless to suspect they're subversive.
That may be why I found this much funnier than was no doubt intended,
but that's how we deal with dystopia these days.A- [bc]
Tony Malaby/Mat Maneri/Daniel Levin: New Artifacts
(2015 [2017], Clean Feed): An avant variation on sax-with-strings,
with the viola and cello alternately seeking to harmonize the sax
and pull it in unexpected directions. An improvised live set, the
lack of drums placing it uneasily in the realm of chamber jazz.B+(**)
Luís José Martins: Tentos -- Invenções E Encantamentos
(2017, Shhpuma): Portuguese guitarist, in a band called Powertrio,
credited with classical and prepared guitars here, also electronics
and percussion, the former setting the sound. All originals, even
with his "remote evocation of that rudimentary and warm Iberian
musical form of the 17th century."B+(*)
Ernest McCarty Jr. & Jimmie Smith: A Reunion Tribute
to Erroll Garner (2017, Blujazz): Bassist and drummer in
pianist Garner's 1970-77 quartet -- the fourth player was congalero
José Mangual, replaced here by Noel Quintana. The songbook includes
Garner's "Misty" and "Gemini" but mostly features standards, opening
with "Caravan." The record is pure delight, but you have to dig deep
into the book to discover the all-important pianist: Geri Allen. Her
recent death makes this even more poignant.A- [cd]
Meridian Trio: Triangulum (2016 [2017], Clean Feed):
Alto sax trio based in Chicago: Nick Mazzarella, Matt Ulery, and
Jeremy Cunningham. Avant or postbop, shades of both, part of their
triangulation. Runs long, could benefit from what we call editing.B+(*)
Emi Meyer: Monochrome (2009-16 [2017], Origin):
Singer, wrote five (of nine) songs here, born in Japan but grew
up in Seattle, studied in Los Angeles, splits her time between
Seattle and Tokyo bases. Plays piano, but mostly defers here to
Dawn Clement. Nice closer: "What a Wonderful World."B+(*) [cd]
Mind Games [Angelika Niescier/Denman Maroney/James Ilgenfritz/Andrew
Drury]: Ephemera Obscura (2013 [2017], Clean Feed): Alto
sax, piano, bass, percussion -- Maroney's machine doesn't sound all
that "hyper" this time out. Nice sax tone, nimble, moves all around.B+(***)
MIR 8: Perihelion (2017, Shhpuma): Quartet: Andrea
Belfi (drums), Werner Dafeldecker (function generators, bass), Hilary
Jeffery (trombone), Tim Wright (computer/electronics). Website dubs
these "four cinematic tracks . . . through panoramic landscapes . . .
with multi-layered hybrid structures" and that's about right, as far
as one cares. Vinyl length: 32:22.B+(*)
Orchestral Manoeuvres in the Dark: The Punishment of Luxury
(2017, White Noise): English electropop duo, a pioneer if not inventor
of wry, danceable pop as far back as 1980. Half the songs sparkle much
like their prime period, especially the first two, not that they don't
stall out here and there.B+(***)
Chris Parker: Moving Forward Now (2017, self-released):
Drummer, also plays tenor sax, "debut" album (evidently not the drummer
who played with the Brecker Bros., nor the pianist who's recorded on
OA2), tries to do a little bit of everything on his first album, with
thirteen other musicians listed on the cover. Starts off with "Battle
Hymn of the Republic," segues into Rachmaninoff. None of it is especially
notable, least of all Rachel Caswell's vocal turn on "Don't Think Twice
It's Alright." It isn't.B- [cd]
Jonah Parzen-Johnson: I Try to Remember Where I Come From
(2017, Clean Feed): Baritone saxophonist, grew up in Chicago, based in
New York. This is solo, "recorded live to two track without loops or
overdubs," yet Parzen-Johnson also manages to play analog synthesizer
almost continuously, adding rhythm and harmony to the horn's fluttering
vibrato.B+(**)
Mario Pavone: Vertical (2016 [2017], Clean Feed):
Bassist, an important composer with a substantial discography since
1979, working with a sextet here: Dave Ballou (trumpet), Tony Malaby
(tenor/soprano sax), Oscar Noriega (clarinet/bass clarinet), Peter
McEachern (trombone), Mike Sarin (drums). Noriega is especially
striking here -- a favored voice the others revolve around.B+(***)
Debbie Poryes Trio: Loving Hank (2017, OA2):
Pianist, third album since 2007, a trio plus Erik Jakobson's
flugelhorn on one cut. Half originals, the first dedicated to
Hank Jones sets the tone.B+(**) [cd]
Franciszek Pospieszalski Sextet: 1st Level (2016
[2017], ForTune): Polish bassist, probably his first album (Discogs
lists two others he has played on). Group includes tenor sax, alto
sax, piano, two drummers (one also credited with electronics and
vibraphone), plus a guest trumpet on one cut -- only two names I've
run across before, neither I particularly remembered. Sound has a
bit of circus air, slinking by through sleight-of-hand.B [bc]
Public Enemy: Nothing Is Quick in the Desert (2017,
Enemy): Old school, dense with a lot of guitar as well as ever-so-hard
beats. Could be that more plays would put this over -- can't say as I
picked up on any lyrics, but they certainly have points to make. Was
available for free download for a few days up to July 4, but I missed
that window.B+(***) [yt]
Dave Rempis: Lattice (2017, Aerophonic): Saxophonist
from Chicago tries a solo album, playing alto, tenor, and baritone.
Cherry-picked together from four spots, with two covers among the six
cuts (Billy Strayhorn, Eric Dolphy), keeps it tight and thoughtful,
minimizing the usual solo sax pitfalls.B+(***) [cd]
The Rempis Percussion Quartet: Cochonnerie (2015
[2017], Aerophonic): So-named for two drummers, Tim Daisy and Frank
Rosaly, joined by Ingebrigt Håker Flaten on bass and leader Dave
Rempis on alto/tenor/baritone sax, who started stealing scenes in
the Vandermark 5. Sixth group album, all impressive, this one all
the more together.
A- [cd]
Rolling Blackouts C.F.: Talk Tight (2015 [2017],
Sub Pop, EP): Australian group, first of two EPs -- this one
7 songs, 28:59, released in Australia in 2015 with "C.F." spelled
out as Coastal Fever. Picked up along with the follow-up by an
American alt-indie label. They sustain their 4-minute average with
ringing altish guitars, then for a change of pace do a nifty
Go-Betweens impression.A-
Rolling Blackouts C.F.: The French Press (2017,
Sub Pop, EP): Cover abbreviates last half of group name, although
I've seen this credited both ways. A bit shorter at 6 cuts, 25:09.
Maintains their trademark guitar sound, but not sure what else.B+(**)
ROVA Saxophone Quartet/Kyle Bruckmann/Henry Kaiser: Steve
Lacy's Saxophone Special Revisited (2015 [2017], Clean Feed):
Lacy's 1975 album is much more obscure than Ascension, John
Coltrane's original sax orgy, which ROVA has twice re-recorded --
I've never heard it, although it was noted in my database -- but it
is an immediate forebear of the saxophone quartet (WSQ and ROVA
first recorded in 1977). Lacy's album also featured four saxophonists
(Lacy on soprano, Steve Potts and Trevor Watts on alto, Evan Parker
on tenor), guitar (Derek Bailey), and synthesizer (Michel Waisvisz),
so this offers essentially the same lineup (occasionally switching
to baritone and/or sopranino). In some ways quite remarkable, but
too harsh for me to enjoy.B+(*)
Vitor Rua and the Metaphysical Angels: Do Androids Dream
of Electrid Guitars? (2017, Clean Feed, 2CD): Portuguese
guitarist, discography back to 1990, first disc is solo, second
with his group (bass, drums, piano, trumpet, clarinets). The solo
relies heavily on synth effects for its distinctness. The group
develops slowly, before turning into more of the same.B+(*)
Rune Your Day: Rune Your Day (2016 [2017], Clean
Feed): Scandinavian avant-jazz group (recorded in Oslo, anyway):
Jørgen Mathisen (tenor/soprano sax, clarinet), André Roligheten
(tenor/baritone sax), Rune Nergaard (bass), Axel Skalstad (drums).
Plods along, heavy and awkward, but there's something to be said
for brute power.
B+(**)
Saint Etienne: Home Counties (2017, Heavenly):
British pop group featuring singer Sarah Cracknell, first album in
1991. I've never gotten into their pleasant melodiousness, but this
is as pleasing, beguiling even, as anything I've heard from them.B+(***)
San Francisco String Trio: May I Introduce to You
(2016 [2017], Ridgeway): Fairly well-known musicians: Mads Tolling
(violin), Mimi Fox (guitars), Jeff Denson (bass and vocals on three
tracks). Conceived as a 50th anniversary salute to Sgt. Pepper's
Lonely Hearts Club Band, the arrangements often sly, the vocals
unnecessary (although I found "A Day in the Life" rather charming).B+(*) [cd]
The Angelica Sanchez Trio: Float the Edge (2016
[2017], Clean Feed): Pianist, born in Phoenix, half-dozen albums as
leader since 2003, this a trio with Michael Formanek (bass) and
Tyshawn Sorey (drums) underpinning the rhythmic abstractions.B+(**)
The Selva: The Selva (2016 [2017], Clean Feed):
Portuguese trio: Ricardo Jacinto (cello), Gonçalo Almeida (bass),
Nuno Morão (drums). First album, all improv, the bass resonates
most deeply.
B+(*)
Shabazz Palaces: Quazarz: Born on a Gangster Star
(2017, Sub Pop): Experimental hip-hop duo from Seattle, with Ishmael
Butler (aka Palaceer Lazaro, formerly Butterfly of Digable Planets)
and Tendai "Baba" Maraire ("son of mbira master Dumisani Maraire").
Two previous albums, plus some EPs, plus another album released the
same day as this one, the common concept Quazarz, whatever that may
mean. I've always found them to be inscrutable and indecipherable,
but I hear they get better if you play them loud and/or dig in for
the long haul. Fair chance that's true here as well.B+(***) [bc]
Shabazz Palaces: Quazarz vs the Jealous Machines
(2017, Sub Pop): "Quazarz came to the Earth from somewhere else, a
musical ambassador from his place to ours." If that sounds a little
vague, try figuring out the album. "Coming from a simpler, more
essential, innocent place, the hero could not make heads nor tails
of most advancements."B+(**) [bc]
Matthew Shipp Quartet: Not Bound (2016 [2017],
ForTune): Avant pianist, third album this year, making it hard
to take seriously his periodic retirements. Quartet adds Daniel
Carter (flute, trumpet, tenor/soprano sax) to his usual Trio
with Michael Bisio and Whit Dickey. Reminds me how effective
Shipp can be working behind and around a saxophonist -- e.g.,
his decade-plus with David S. Ware -- but also a good outing
for Carter.A- [bc]
Tommy Smith: Embodying the Light: A Dedication to John
Coltrane (2017, Spartacus): Scots tenor saxophonist, born
on the same day Coltrane died -- which might explain some things
if you believe in reincarnation like the Dalai Lama -- assembled
a batch of Coltrane songs for their 50th. Done in classic Quartet
style with Peter Johnstone (piano), Calum Gourlary (bass), and
Sebastian de Krom (drums) holding their own. Still, it's the
saxophonist's extraordinary chops that make the album undeniable.A-
Wadada Leo Smith/Natsuki Tamura/Satoko Fujii/Ikue Mori:Aspiration (2016 [2017], Libra): Two trumpet players,
piano, and electronics, with Fujii writing four (of six) pieces,
one each for the trumpet players. Surprisingly sedate given the
company, the trumpets often retiring, the electronics hard to
locate, but the piano offering a thoughtful framework.B+(**) [cd]
David Stackenäs: Bricks (2013 [2017], Clean Feed):
Swedish guitarist, Discogs lists a dozen albums since 2000, but
most (including the two I've heard) would be filed under other
names. This is solo acoustic, somewhat given to plucky noodling
circling around deeper thrusts.B+(*)
Lyn Stanley: The Moonlight Sessions: Volume Two
(2017, A.T. Music): Standards singer. Pianists Mike Garson, Tamir
Handelman, and Christian Jacob get cover credit, but the ever so
tasteful backup musicians deserve more credit, and when you dig
into the fine print you find folks like Chuck Berghofer (bass),
Luis Conte (percussion), Hendrik Meurkens (harmonica), Carol
Robbins (harp), and most notably Ricky Woodard (tenor sax). They
aim for a midnight smolder, and the singer meets them there.B+(***) [cd]
Stik Figa: Central Standard Time (2017, Mello Music
Group): Rapper John Westbrook Jr., from Topeka, Kansas. Nice bounce
to it. Nine cuts, 31:38, so a bit more than an EP.B+(***)
Rain Sultanov: Inspired by Nature (2017, Ozella):
Saxophonist (soprano/tenor) from Azerbaijan, second album. Backed
by piano, cello, oud, bass, drums, and percussion, the take on
nature is vibrant and often quite lovely.B+(**)
Summit Quartet: Live in Sant' Arresi (2016 [2017],
Audiographic): Two avant saxophonists, Ken Vandermark (tenor and
baritone) and Mats Gustafsson (just baritone), backed by Luc Ex
(bass) and Hamid Drake (drums). The saxophonists have always had
a knack for bringing out the ugly in each other, but usually avoid
such excess here.B+(**)
Swet Shop Boys: Sufi La (2017, Customs, EP):
Anglo-American hip-hop duo -- or Indian-Pakistani if you trace them
back a generation -- Heems (Himanshu Suri, ex-Das Racist) and Riz MC
(Riz Ahmed, had a breakout acting role in The Night Of).
Dropped a terrific album last year, Cashmere, following it
up with this six track, 15:22 EP.A-
Fred Thomas: Changer (2017, Polyvinyl):
Singer-songwriter, formerly of His Name Is Alive and Saturday
Looks Good to Me, Discogs lists ten albums since 2002, starting
with Everything Is Pretty Much Entirely Fucked. Not so
bummed out here, the music scattered but most with some edge.B+(***)
Nestor Torres: Jazz Flute Traditions (2017, Alfi):
Puerto Rican flautist, fifteen or so albums since 1981, covers
pretty much all of the bases here with pieces by Mann, Lateef,
and Kirk, standards, and Latin jazz favorites, opening with Moe
Kaufmann ("Swinging Shepherd's Blues") and closing with Irving
Fields ("Miami Beach Rhumba").B+(*) [cd]
Trespass Trio: The Spirit of Pitesti (2015 [2017],
Clean Feed): One of Swedish saxophonist Martin Küchen's groups,
with Per Zanussi (bass) and Raymond Strid (drums), fourth group
album (odd fact: Küchen, with 23 albums listed by Discogs, is
the only one without a Wikipedia page). Pitesti is a town in
Romania that was the site of a notorious prison brainwashing
experiment. Seems to have bummed everyone out here.
B+(*)
Umphrey's McGee: Zonkey (2016, Nothing Too Fancy):
Group dates back to 1997 in South Bend, Indiana, alternately described
as a jam band and as a prog rock group. Discography is large, with 9
studio albums, 10 live albums, 4 videos, 2 EPs, and probably scads of
live bootlegs. These are mashups, evidently covered as they keep a
consistent guitar-heavy sound -- typical is a piece that bounces back
and forth between "Electric Avenue" (Eddy Grant) and "Highway to Hell"
(AC/DC). Sort of fun, but has its limits.B+(**)
Unhinged Sextet: Don't Blink (2016 [2017], OA2):
Recorded in Arizona, but band members teach all over the country.
Eight pieces by five members: Vern Sielert (trumpet), Will Campbell
(alto sax), Matt Olson (tenor sax), Michael Kocour (piano), Jon
Hamar (bass), Dom Moio (drums -- the only non-writer). Postbop,
no reason I can think of for the group name.B [cd]
Vector Families: For Those About to Jazz/Rock We Salute You
(2017, Sunnyside): Minneapolis group, drummer Dave King the best known
(Bad Plus, Happy People), with Anthony Cox (bass), Dean Granros (guitar),
and Brandon Wozniak (sax). The rock allusions are far from obvious, even
when King explains their sound as "Ornette Coleman's Prime Time meets
Bad Brains with a bit of Pere Ubu" -- for one thing, time is completely
free, even when covering Ellington's "Satin Doll" (the piano sounds are
something Granros whipped up using "a Guitar Band video game controller").
They also cover Ornette.A-
Martti Vesala Soundpost Quintet: Helsinki Soundpost
(2016, Ozella): Finnish trumpet player, debut album (maybe just by
group), a quintet with tenor sax/flutes, piano, bass, and drums --
a classic hard bop lineup, but softer and more ornate, not a mix I
especially care for. But some fine trumpet leads.B
Ken Wiley: Jazz Horn Redux (2014 [2017], Krug
Park Music): French horn player, fourth album, groups shifts around
a lot from cut to cut, Bob Sheppard (tenor sax on three cuts) makes
me think Los Angeles. Lightweight, but still swings hard.B+(*) [cd]
Carl Winther & Jerry Bergonzi: Inner Journey (2016
[2017], SteepleChase LookOut): Danish pianist, son of the late trumpet
player Jens Winther (not to be confused with label head Nils Winther),
has a couple albums, wrote 6 (of 9) pieces pieces here, for a vigorous,
robust quartet. The star, of course, is the tenor saxophonist.B+(***)
Nate Wooley: Knknighgh (Minimal Poetry for Aram Saroyan)
(2016 [2017], Clean Feed): Avant trumpet player, records a lot, here
with a pianoless quartet: Chris Pitsiokos (alto sax), Brandon Lopez
(bass), Dre Hocevar (drums). I've forgotten whatever I once knew of
Saroyan's poetry, and none is actually used here -- at least in verbal
form, but I gather it was fragmented and abstract, something like the
jazz here.A-
Recent Reissues, Compilations, Vault Discoveries
Vincent Ahehehinnou: Best Woman (1978 [2017], Analog
Africa): Name reversed on cover, as it is on most (but not all) of his
records, most co-credited with his band, L'Orchestre Poly-Rythmo de
Cotonou. Four-track vinyl reissue, runs 36:38, a satisfying length
for such amiable groove pieces.B+(**)
James Luther Dickinson: I'm Just Dead, I'm Not Gone (Lazarus
Edition) (2006 [2012], Memphis International): Born in Arkansas,
spent most of his life (1941-2009) in Memphis, best known as a record
producer but cut a dozen albums, including his groups Mudboy and the
Neutrons and Raisins in the Sun. His only album before 1986, Dixie
Fried, wasn't as good as the title promised, but as he aged he
turned into an amusing old weirdo. This was culled from a late live
date, introducing two sons in the band (aka, as the cover but not the
band intro notes, North Mississippi All-Stars). Reissued this year
bundled with a hardcover book -- Phil Overeem insists "READ THE BOOK."B+(***)
Dick Hyman: Solo at the Sacramento Jazz Festivals 1983-1988
(1983-88 [2017], Arbors): Pianist, a master of every piano style from
ragtime to swing, the most recognizable tunes here from Fats Waller.B+(***)
Joe King Kologbo & the High Grace: Sugar Daddy
(1980 [2017], Strut): Touted as "a lost Nigerian disco funk classic,"
the first of a promised series of "Original Masters" curated by
Duncan Brooker. I know essentially nothing about Kologbo or anyone
else on the album. Title cut runs 15:38, two more add up to 14:35.
A bit chintzy, but the grooves keep powering on.B+(***)
Mono No Aware (2017, Pan): Sixteen previously unreleased
pieces of ambient electronica by as many artists, none I'm familiar with.
Mostly synth curtains with occasional muted chatter, not exactly fading
into the background, but probably better for that.B+(*)
Sun Ra and His Astro Infinity Arkestra: My Brother the Wind
Vol. 1 (1969 [2017], Cosmic Myth): Remastered and expanded
from a single 1970 album, this marks the point where the pianist-leader
discovered the Moog, and gets a little blip-crazy.B+(**)
Sun Ra and His Astro Infinity Arkestra: My Brother the Wind
Vol. 2 (1969-70 [2017], Cosmic Myth): Based on a 1971 album,
again remastered and expanded, with Sun Ra playing farfisa on half,
minimoog on the rest -- the former more playful, with an amusing
stretch of vocal.B+(**)
Shina Williams & His African Percussionists: Agboju
Logun (1984, Strut, EP): Nigerian disco, just a 11:43 single
extended with an 11:39 "LP version" of the same.B+(*)
Neil Young: Hitchhiker (1976 [2017], Reprise): Part of
his archives series, effectively a demo session with Young trying out
various songs with just his guitar (or sometimes piano). Eight (of ten)
songs eventually appeared elsewhere: one edited for 1977's Decade
compilation, three on 1979's classic Rust Never Sleeps, the title
cut finally appearing on 2010's Le Noise. "Give Me Strength" is
the better of the unknowns (the rhymes are strained on "Hawaii"). I'm
most taken with his laconic take on "The Old Country Waltz."B+(***)
Zaïre 74: The African Artists (1974 [2017], Wrasse,
2CD): Live recordings from a big concert in Kinshasa, part of the
entertainment program but the "Rumble in the Jungle" fight between
Mohammad Ali and George Foreman. The roster is worthy -- Rochereau,
Franco, Orchestre Stukas, Abeti, and Miriam Makeba (opens with"Mobuto Praise Song" -- thankfully not in English) -- and the
characteristic soar of soukous guitar paradise prevails.B+(**)
Old Music
Bee Gees: Bee Gees' 1st (1967, Atco): The three
Gibb brothers, born in Isle of Man, grew up in Manchester then
moved to Australia in 1958, cut their first singles in 1963 and
had two obscure albums before being re-introduced as a pop group
here (the first to receive a US release). One great single ("To
Love Somebody"), two more pretty decent ones, the filler straining
against the icky strings, often succumbing.B
Bee Gees: Horizontal (1968, Atco): Second US
album, same basic string-driven formula but they left out the
hits -- only "Massachusetts" was released as a single in the
US, and while it has a minor hook, nothing else -- especially
the UK single "World" -- comes close.C
Bee Gees: Idea (1968, Atco): The brightest idea here
was that someone learned to play guitar, evidently by listening to
Hollies records. Still, the strings return, as does the pomposity of
the vocals.C+
Bee Gees: Odessa (1969, Atco): Originally a double LP,
a rite of passage for ambitious '60s (and '70s) groups, although few
lived up to the hype. This one certainly doesn't. Tentative but finally
rejected titles include An American Opera and Masterpeace.
Songs include "Seven Seas Symphony" and "The British Opera," and their
longing for glory days of the British Empire is palpable.C
Anthony Braxton: Quartet (Warsaw) 2012 (2012 [2013],
ForTune): One piece, "Composition 363b+," runs 70:05, with James
Fei on alto sax, the leader on alto and tenor, Tyler Ho Bynum on
cornet, and Erica Dicker on violin. Despite its abstraction, this
is a remarkable piece of music.A- [bc]
James Brown: Cold Sweat (1967, King): One new
single, a great one, in two parts, plus ten covers -- upbeat ones
on the front side power by His Famous Flames, ballads on the back
side that he redeems through extraordinary vocal athleticism.A-
Tim Buckley: Goodbye and Hello (1967, Asylum):
Singer-songwriter, started folkie on his debut but edging toward
baroque (or psychedelic) on his second album -- there are moments
I can imagine swapping in Grace Slick's voice. Elsewhere he mixes
in some intense exotic percussion and other surprises, although
it grows heavy and weary in the end.B+(*)
Bulbul: Hirn Fein Hacken (2014, Exile on Mainstream):
Rock group from Austria, guitar-bass-drums, discography goes back
to 1997, caught my attention because drummer is Didi Kern, who also
plays in DEK Trio with pianist Elisabeth Harnik and avant-saxophonist
Ken Vandermark. Dense postpunk with a minor hint of jazz, lyrics
mostly in English, terse too.B+(**)
DEK Trio: Burning Below Zero (2014 [2016], Trost):
Ken Vandermark trio, recorded in Austria with two locals: Elisabeth
Harnik (piano) and Didi Kern (drums, listed as ddkern). Vandermark
has only rarely played with piano backup -- mostly Håvard Wiik in
their Giuffre-inspired Free Fall group -- but Harnik suits him,
probably because her fills add to the rhythm rather than harmonics.
B+(***)
Donovan: Sunshine Superman (1966, Epic): Scottish
folk-pop singer-songwriter Donovan Leitch, third album, the first
to get much attention in the US with its chart-topping title single.
First side filler is a bit weak, but second side picks up, leading
with "Season of the Witch."B+(**)
Donovan: Mellow Yellow (1967, Epic): Title song
a second huge hit single, the "electric banana" a vibrator although
I recall investigating a rumor about smoking banana skins at the
time. Reverts to more folkie fair after that, although "Sunny South
Kensington" is pretty cheerful.B+(**)
Kaleidoscope: Side Trips (1967, Epic): Byrds-flavored
psychedelic folk band, cut four albums 1967-70, best known member was
David Lindley (who in the 1980s cut a couple of retro-rock records I
liked, especially El Rayo-X) although Chris Darrow (who soon
moved on to Nitty Gritty Dirt Band) had a slight edge as a songwriter.
No real hits, but plenty of old-timey filler, like "Hesitation Blues,""Oh Death,""Come On In," and "Minnie the Moocher."B+(***)
B.B. King: Blues Is King (1967, Bluesway): Live
from the International Club in Chicago, where he's introduced as"the world's greatest bluesman." Raw, no shortage of intensity,
but that doesn't help the flow, or let songs stand out, like, say,
the slightly earlier Live at the Regal.B+(**)
L'Orange & Stik Figa: The City Under the City
(2013, Mello Music Group): The former does beats, the latter raps.
Played it twice while thinking about something else, enjoyed it,
and have nothing more to say.B+(*)
Mario Pavone: Sharpeville (1985 [2000], Playscape):
The bassist's third album, originally released in 1988: with Marty
Ehrlich (alto/soprano sax, clarinet, flute/alto flute), Thomas Chapin
(alto sax, flute/bass flute), and Pheeroan Ak Laff (drums) named on
the cover, but also, on the title track, Mark Whitecage (alto sax),
Peter McEachern (trombone), and John Betsch (drums). Has its moments,
not least the bass solos, but they come and go.B+(*)
Mario Pavone Nu Trio: Remembering Thomas (1999,
Knitting Factory Works): Thomas is presumably Chapin, the alto
saxophonist who died tragically at 41 the year before: Chapin
and Pavone were very closely linked, playing on virtually all
of each other's records for a decade. Still, these pieces were
all composed by Pavone and arranged for piano trio, with Peter
Madsen and Matt Wilson, marking Chapin's absence as much as his
inspiration.B+(***)
Mario Pavone/Michael Musillami: Op.Ed (2001, Playscape):
Leaders play bass and guitar, and split the writing, but these aren't
duets: they're joined by Peter Madsen (piano) and Michael Sarin (drums).
Still, an especially good showcase for the guitarist.B+(**)
Mario Pavone Nu Trio/Quintet: Orange (2003, Playscape):
The Nu Trio, of course, features Pavone and Peter Madsen, with Gerald
Cleaver taking over the drums. The trio cuts are first rate, but the
horns are more noticeable: Steven Bernstein (trumpet) and Tony Malaby
(tenor sax), with Bernstein arranging three pieces.B+(***)
Saint Etienne: Good Humor (1998, Sub Pop): Fourth
album, a little sharper and shriller than their usual soft alt-dance
pop shtick.B+(**)
Saint Etienne: Sound of Water (2000, Sub Pop):
Fifth album, surprised to find it on Chris Monsen's 2017 list as it
is quite old. Still, soft and smart, mostly interchangeable with the
others I've heard.B+(**)
Saint Etienne: Finisterre (2002, Mantra): Starts
stronger, ends wimpier, otherwise about par.B+(**)
Saint Etienne: Travel Edition 1990-2005 (1991-2004
[2004], Sub Pop): Best-of, rounded up to fifteen years in a shorter
package than the 2-CD London Conversations that appeared about
the same time. [16/18 cuts.]B+(***)
The Serpent Power: The Serpent Power (1967, Vanguard):
San Francisco group, David Meltzer and Clark Coolidge originally poets,
Tina Meltzer singer, several others. Basically folkie, leaning toward
psychedelia, has trouble getting there.B
Fred Thomas: Everything Is Pretty Much Entirely Fucked
(2002, Little Hands): First solo album, a side project while Thomas
was in the band Saturday Looks Good to Me. Mostly solo, a bit of
harmonica to go with the guitar, strained and bummed out, though he
picks up a trashy noise band toward the end ("When You Fuck Things
Up With Your Baby"). Two covers: one from Warn DeFever (His Name Is
Alive, another band Thomas played in), the other a remarkably pained
Brian Wilson's "Don't Worry."B+(*)
Fred Thomas: All Are Saved (2015, Polyvinyl):
Skipping past titles like Turn It Down, Sink Like a
Symphony, and No Other Wonder (Seemingly Random Unreleased
Songs 1997-2012), this seems to have been the singer-songwriter's
breakthrough album (to the extent he's ever had one). One advance
is that he's using a lot more band power, adding to the sonic edge
while still keeping it personal.B+(**)
Trio-X [Joe McPhee/Dominic Duval/Ray Rosen]: On Tour . . .
Toronto/Rochester (2001, Cadence): McPhee's long-running
avant trio with bass and drums, first recorded in 1999, continuing
at least through 2012 (Duval died in 2016). Four long cuts, including"Try a Little Tenderness" and "My Funny Valentine," from Toronto, but
only 8:59 from the night before in Rochester. Opens on pocket trumpet,
switches to tenor sax, burning and smoldering, the bass and drums
only to serve, yet they have some of the best moments.B+(***) [bc]
Trio-X [Joe McPhee/Dominic Duval/Jay Rosen]: Journey
(2003, CIMP): McPhee plays alto and tenor here, backed by bass and drums.
After all the storm and clang, ends with a lovely "Amazing Grace."B+(**)
David S. Ware: Live in the Netherlands (1997 [2001],
Splasc(H)): Tenor saxophonist, playing solo back during the heyday
of his quartet. Four pieces, runs 39:07, inevitably limited in color
and rhythm, but a powerful, protean force.B+(**)
Trevor Watts & Veryan Weston: At Ad Libitum
(2013 [2015], ForTune): Improv duets, recorded live in Poland,
soprano/tenor sax and piano. Watts I recognize as one of the
founding figures in the English avant-garde. Weston came along
later, in the late 1980s, and has several duo albums with Watts,
Eddie Prévost, and Lol Coxhill -- mostly on Emanem, which kept
them off my radar. The soprano can be a little screechy, but
remarkable overall, especially impressed by the pianist.
B+(***) [bc]
The Youngbloods: The Youngbloods (1967, RCA
Victor): Another band on a folk-to-psychedelic rock tangent,
not to mention New York-to-San Francisco, originally Jesse
Colin Young and the Youngbloods, they sounded like a synthesis
of everyone else -- indeed, their biggest hit ("Get Together")
had previously been done by Jefferson Airplane, and only hit
on a reissue after being picked up as an advertising jingle.B+(*)
The Youngbloods: Earth Music (1967, RCA Victor):
Second album, draws a little more on blues riffs for their own
songs, picks up three covers that stake out their outer limits:
Tim Hardin, Chuck Berry, Robin Remailly (you know, Unholy Modal
Rounders).B+(**)
Notes
Everything streamed from Napster (ex Rhapsody), except as noted in
brackets following the grade:
- [cd] based on physical cd
- [cdr] based on an advance or promo cd or cdr
- [bc] available at bandcamp.com
- [yt] available at youtube.com
