Streamnotes: September 30, 2017

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 available here (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 titled Vintage 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 named Koko). 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+(**)


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
  • [yt] available at