Music: Current count 20976 [20938] rated (+38), 593 [591] unrated (+2). Mostly from Rhapsody, hence the high rated count.
I think this rolls up two weeks of Jazz Prospecting and unpacking. I'm still in 2012 wrap up mode, but did manage to work a few 2013 releases into the following -- in part because they looked much more promising than what I had left over from last year. Indeed, the new year is off to a blazing start.
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Thomas Borgmann/Wilber Morris/Reggie Nicholson: Nasty & Sweet (1998-99 [2013], NoBusiness, 2CD): Tenor saxophonist (credited with "reeds" here), b. 1955 in Germany; not much discography but he does have a 1999 CIMP album with this same trio (credited there as BMN Trio) and a 2003 bash with Brötzmann. This was released as limited (400 copy) vinyl only, and I'm working off CDRs. First disc lives up to the title, and the second starts with a piece from the same date. The 1998 session only slows down toward the end, for a long bass solo and a little sax dirge. A- [advance]
Louis Durra: Rocket Science (2012, Lot 50): Pianist, b. 1961, based in Los Angeles, at least five albums since 2003. Trio, with Ryan McGillicuddy or Larry Steen on bass, Jerry Kalaf on drums. One original, one trad, "One Love" (Bob Marley), one Wonder, three Beatles tunes, all done sensibly.B+(*)
Lua Hadar with Twist: Like a Bridge (2012, Bellalua): Singer, has two previous albums, this one recorded live in Berkeley, CA. She's credited with "multilingual vocals" and proves that with maudlin operatic vocals in English, French, Spanish, Portuguese, Italian, Japanese, and Malagasy. The band gets a break with an instrumental"Isfahan."C-
Jon Hamar: Hymn (2011 [2012], Origin): Bassist, in Seattle, third album since 2003, a trio with Todd DelGiudice on alto sax and Geoffrey Keezer on piano. Mostly Hamar originals, plus one from DelGiudice; covers include "Isfahan," a "Giant Steps/It Could Happen to You" medley, and "Comes Love." No drummer, no rush.B+(*)
William Hooker Quintet: Channels of Consciousness (2010 [2012], NoBusiness): Drummer, b. 1946 in Connecticut, has at least 25 albums since 1982, avant-garde, at least way out on the margins. Chris DiMeglio does a nice job of adding trumpet scratch, Dave Ross (guitar) and Adam Lane (bass) churn things up, and the drummer claims most of the focus, supplemented by Sanga's percussion.B+(***)
Christian Howes: Southern Exposure (2012, Resonance): Violinist, from Columbus, OH; fifth album since 1997. Special guest here -- important enough that he gets big play on the cover and could just as well have been co-credited -- is French accordion player Richard Galliano, and they also mention Josh Nelson, Scott Colley, and Lewis Nash on the cover. Musical focus is tango, give or take a choro or a "Cubano Chant."B+(**)
Steve Lipman: Ridin' the Beat (2012, Locomotion): Sinatra-wannabe, based in Connecticut, bills himself as "the singing dentist," has at least one previous album. Seems to have lost some of his voice, and picked up some extra percussion. There must be a hundred better versions of "That Old Black Magic" -- the one I best remember is by Jerry Lewis -- but even this one works for me.B-
Rudresh Mahanthappa: Gamak (2012 [2013], ACT): Alto sax quartet, with electric guitar (David Fiuczynski), acoustic bass (François Moutin), and drums (Dan Weiss). This fits a trend of groups (often bass-less trios) where the guitar, rather than expanding the harmony, like piano has traditionally done -- both pushes the sax into a frenzy and can take a solo spot beside it, like a second horn. So not pathbreaking, but, of course, he does it better than almost anyone else. A-
Mostly Other People Do the Killing: Slippery Rock! (2012 [2013], Hot Cup): Peter Evans (trumpets), Jon Irabagon (saxes, including sopranino and a bit of flute), Moppa Elliott (bass), Kevin Shea (drums). Fourth album on Elliott's Hot Cup label -- also a live double on Clean Feed -- breaking a string of two classic album cover spoofs with what looks like a teen boy group splash, and less history in the songlist (unless "President Polk" counts -- "Dexter, Wayne and Mobley" sure does, then blows them up and scampers away). Too bad my eyes can't hack Leonard Featherweight's liner notes, always a source of high-minded obfuscation. That leaves me to draw my own far-fetched analogies: this is slippery in the sense that it follows no discernible time signature, rock in the sense that it is loud and frantic, and that attitude prevails. All these years of waiting for jazz-rock fusion, and what do we get? Fission!A
Nicholl and Farquharson: Della by Moonlight (2012, Big Empty Loo): Bassist Michael Farquharson and keyb player Matthew Nicholl. First track sounds like they're aiming at easy groove elevator music. Then they get pretentious, start writing suites, and bring on the flute, the oboe, the bassoon, and the French horn.C-
Cristina Pato: Migrations (2011 [2023], Sunnyside): B. 1980 in Ourense, Galicia, Spain; plays piano, flute, sings a bit -- attractive, seductive voice -- but her main instrument is the gaita, or Gallician bagpipes -- smaller, more manageable, less irritating than the familiar Scottish variety. Band includes accordion, bass, and drums, and there is a parade of guests on harp (Edmar Castaneda), violin, tabla, bouzouki, cello, etc.B+(***)
Harvie S/Kenny Barron: Witchcraft (2012 [2013], Savant): Bass-piano duets, the bass claiming enough space to even out the piano's natural volume edge. Plus Barron, as you no doubt recall from his early work with Stan Getz, is an attentive as well as remarkable accompanist.B+(***)
Claudio Scolari: Synthesis (2012, Principal): Drummer, b. 1962, studied in Parma, is a "conservatory teacher and member of the most prestigious symphonic orchestra of Italy" -- a name I'm not expert enough to fill in. He has a handful of albums, two with this trio -- Daniele Cavalca (melodica, drums, percussion, piano, synths, vibraphone, bass; Scolari doubles on most of these, so the vibes are distinctive) and Simone Scolari (trumpet). Has a nice beat, a steady roll that the melodica/synths fatten up and the drums/vibes accent.B+(**)
Szilárd Mezei Tubass Quintet: Canons: 2nd Hosting (2011 [2012], NoBusiness): Four double basses, including the leader, backed by a tuba (Kornél Pápista), a limited sonic palette but don't discount the bass as a big, resonant drum. Recorded in Novi Sad, Serbia, presumably where the unfamiliar names come from. Limited edition LP (300 copies). B+(**) [advance]
Pamela York: Lay Down This World: Hymns and Spirituals (2012, Jazzful Heart): Pianist, from Nanaimo on Vancouver Island, BC; studied at Berklee, moved to San Diego, then to Houston. Two previous albums, which I believe she sings on; this is piano trio, plus trombone on two cuts. Hymns, some familiar, some with titles I find spooky if not downright terrifying, arranged for piano jazz, that much I can take comfort in.B+(*)
Unpacking: Found in the mail last two weeks:
- Arnaoudov/Szymanski/Stefens/Park/Xenakis/Minchev: Sonograms (1974-97, Labor)
- Hashem Assadullahi: Pieces (OA2)
- Lary Barilleau & the Latin Jazz Collective: Carmen's Mambo (OA2)
- Kenny Blake featuring Maria Shaheen: Go Where the Road Leads (Summit)
- Boyd Lee Dunlop: The Lake Reflections (Mr. B Sharp)
- Lisa Forkish: Bridges (self-released)
- Mimi Fox: Standards, Old & New (Origin)
- Inbar Fridman: Time Quartet Project (Origin)
- Maximilian Geller: Alpenglühen (Ozella)
- Reinmar Henschke: On Air (Ozella)
- Pamela Hines: 3.2.1 (Spicerack)
- Keith Jarrett: Hymns/Spheres (1976, ECM)
- Mark Kleinhaut/Neil Lamb: Jones Street (Invisible Music)
- Billy Martin's Wicked Knee: Heels Over Head (Ambulet)
- El Niño Machuca: Searching Your South/Buscando tu Sur (Ozella)
- Ruth Wilhelmine Meyer/Helge Lien: Memnon (Ozella)
- Michigan State University Professors of Jazz: Better Than Alright (self-released, 2CD)
- Beata Pater: Red (B&B)
- Bill Peterson Trio: Ruby Diamond (Summit)
- Chris Potter: The Sirens (ECM)
- Jussi Reijonen: Un (self-released)
- Ilia Skibinsky: The Passage (Mythology): February 12
- Tomasz Stanko NY Quartet: Wislawa (ECM, 2CD): advance, March
- Al Thompson Jr.: City Mainstream (Alcalgar)