#^d 2014-09-08
#^h Music Week
Music: Current count 23775 [23744] rated (+31), 524 [523] unrated (+1).
Barely topped 30 records for an uneven week -- a couple days I did
nothing, while others found me zipping through Bandcamp (mostly, but
not only, Catalytic
Sound) and Rhapsody. There is, after all, very little in the 2014
unrated queue -- at one point it dropped under 10 records, but two
came in on Saturday and four more today so I'm up to 13. The good news,
I suppose, is that what's left is relatively good: I reviewed eight
actual CDs and came up with two A-, three B+(***), two B+(**), and
one B+(*) -- well above the usual curve.
Rhapsody/Bandcamp also yielded two A- and eight B+(***), so I reckon
this a pretty good week. At this point the Rhapsody Streamnotes draft
file is overstuffed, so I'll try to get it ready to post tomorrow.
Should be close to 100 records.
Recommended music links:
I started this section after Tatum moved "A Downloader's Diary" from my
website to Odyshape, figuring it was all I could do to maintain a measure
of continuity. Gubbels moved his "Listening Notes, Ultra-Brief" from his
Tumbler blog over to Odyshape at the same time, and partly because he's
more into obscure funk and jazz than Tatum, he became my favorite advance
scout. A very large percentage of the better records I've found this year
have come from Gubbels and Tatum, and I don't know how (or if) I'll be
able to compensate for their loss.
Of course, they're not really gone. Gubbels has a paying job at Rhapsody
and has been freelancing in Spin, and will be able to make more income out
of his time, so he's basically moving up in the world. Tatum wants to focus
more on the novel he's been working on for a while now, although he's also
mentioned the possibility of continuing his "Hall of Records" project when
the spirit moves him, and I could well imagine that reaching book length.
I don't know where that leaves Cam and Nicky at Odyshape, other than
back to square one. A couple years back Tatum was trying to organize a
group of writers to do some sort of webzine. We formed a mailing list
and hashed over the name -- I have the domain name for Terminal Zone,
after my 1977 venture with Don Malcolm, so that was the default -- but
somehow the moment slipped by without issue. I had been posting Tatum's
column, and posted some material from Cam Patterson, but it wasn't a
good time when Cam offered more, so he wound up turning to Nicky and
founding Odyshape. That wasn't my zine, but I took a certain
pride in it even though my main contribution was negligence. It's a
hard thing to do successfully, and evidently it's been hard for them
to balance an aggressive publishing schedule off against all the other
demands of modern life -- not least, maintaining an income that the
zine couldn't possibly provide.
I wonder whether Odyshape might be looking up rather than down had
Christgau gone through with his plan to publish Consumer Guide reviews
there. That plan got shelved when
Medium came through with an
offer he couldn't refuse. (It's Twitter-like, so you'll need to use
that link to "follow him" -- I think the accounts are separate but I
don't recall just how they relate.) His debut there has been pushed
back a couple times -- latest word I have is September 10 for an intro
and reviews every Friday thereafter (so figure September 12). He's got
about ten months to catch up on, so I don't expect many surprises for
a while, but it will be good to hear from him again.
New records rated this week:
- 5 Seconds of Summer: 5 Seconds of Summer (2014, Capitol): Australian group, combines boy group harmonies with beach party pomp, still orchestrated cheer wears thin [r]: B
- The Bad Plus: Inevitable Western (2014, Okeh): having missed their Stravinsky, I wonder whether these mood-pushers are meta-outtakes [r]: B+(***)
- The Cellar and Point: Ambit (2011-13 [2014], Cuneiform): strings-and-percussion group aim for ethereal chamber music with steady propulsion, but why? [cdr]: B
- The Delines: Colfax (2014, El Cortez): novelist Willy Vlautin feeds story lines to Amy Boone, who intones them over a slow country simmer [r]: A-
- Ben Goldberg/Adam Levy/Smith Dobson: Worry Later (2014, BAG Productions): clarinet-guitar-drums trio plays ten Monk tunes [r]: B+(**)
- Joe Henry: Invisible Hour (2014, Work Song): singer-songwriter with a common touch for everyday life, like John Mellencamp with fewer hooks [r]: B+(*)
- Ikebe Shakedown: Stone by Stone (2014, Ubiquity): Afrobeat band from Brooklyn, section horns, no vocals, no big deal one way of the other [bc]: B
- Nils Landgren Funk Unit: Teamwork (2013, ACT): Swedish trombonist, nothing George Clinton needs to worry about but more fun than you'd expect [r]: B+(*)
- Matt Lavelle/John Pietaro: Harmolodic Monk (2014, Unseen Rain): stark duets on Monk tune a l'Ornette as if not kinky enough in the first place [r]: B+(**)
- Dave Liebman Big Band: A Tribute to Wayne Shorter (2014, Summit): arranger Mats Holmquist probably deserves more credit, as Liebman doesn't [cd]: B+(*)
- Dean Magraw & Eric Kamau Gravatt: Fire on the Nile (2014, Red House): guitar-drums duo, they manage a steady groove but keep it honest and real [cd]: B+(**)
- The Margots: Pescado (2013, Okka Disk): singer has a deadpan tilt, a bit arty over impeccable guitar and horns -- Ken Vandermark, of all people [bc]: B+(***)
- The Margots: Soplé (2014, Okka Disk): more uptempo pieces, more ballads, Adrienne Pierluissi stays cool, the jazz band stays in character [bc]: B+(***)
- The Muffs: Whoop Dee Doo (2014, Cherry Red): Kim Shattuck pop-punk outfit returns after a decade on oldies label, choppy, cheeky, cheezy even [r]: B+(***)
- Pattern Is Movement: Pattern Is Movement (2014, Hometapes): hints of vintage new wave turn considerably softer, drippier, drearie r[r]: B-
- Ivo Perelman/Karl Berger: Reverie (2014, Leo): sax-piano duets, the latter savvy enough to know that all he has to do is set the sax up [cd]: A-
- Bruce Robison/Kelly Willis: Our Year (2014, Premium): [semi-]stars in their own right, married but play more as a team than a couple, and that works [r]: B+(***)
- Jason Roebke: Combination (2014, self-released): Chicago avant-bassist sets one up for Greg Ward (alto sax), who comes off a bit thin and warbly [bc]: B+(*)
- Akira Sakata/Johan Berthling/Paal Nilssen-Love: Arashi (2014, Trost): alto saxophonist, survived Hiroshima to create his own fury, fast & raw [r]: B+(***)
- Akira Sakata/Fred Lonberg-Holm/Ketil Gutvik/Paal Nilssen-Love: The Cliff of Time (2013 [2014], PNL): add strings/electronics in the middle to take the edge off [bc]: B+(*)
- Masahiko Satoh/Paal Nilssen-Love: Spring Snow (2013 [2014], PNL): piano-drums duo, another Japanese legend enterng the avant new world [bc]: B+(**)
- Billy Joe Shaver: Long in the Tooth (2014, Lightning Rod): you may have heard some of these, but a good enough singer when he doesn't punt the verse [r]: B+(**)
- Tim Sparks: Chasin' the Boogie (2014, Tonewood): doesn't chase it very hard, but his intricate fingerpicking is very engaging, e.g. "Blue Bayou" [cd]: B+(***)
- Statik Selektah: What Goes Around (2014, Duck Down Music): DJ fattens the beats for guest rappers as the underground goes for the gold, often gets it [r]: A-
- Wussy: Duo (2013, Shake It, EP): 7-track EP, solid songs and spirited performance but still feels slight, a Record Store Day throwaway [r]: B+(**)
Recent reissues, compilations, and vault discoveries rated this week:
- Pete Magadini: Bones Blues (1977 [2014], Sackville/Delmark): drummer-led mainstream sax quartet, Don Menza strong on tenor in one of those basic blowing sessions [cd]: B+(**)
- Hyperdub 10.1 (2006-14 [2014], Hyperdub, 2CD): 2CD label comp, appealing spacious sound at first but can get tedious in spots, unlike label's best albums [r]: B+(**)
- Charles Lloyd: Manhattan Stories (1965 [2014], Resonance, 2CD): two early quartet sets with a striking Gabor Szabo on guitar, sax/flute searching open space [cd]: A-
- The Magic Words: Junk Train (2006 [2014], Shake It, EP): Lisa Walker EP, of interest if you know who she is and can handle the lowest lo-fi in years [bc]: B+(**)
- Don Pullen: Richard's Tune (1975 [2014], Sackville/Delmark): reissue of debut album, then called "Solo Piano Record" -- give credit to Muhal, wher he starts [cd]: B+(***)
- Suburban Base Records: The History of Hardcore, Jungle, and Drum 'n' Bass: 1991-1997 (1991-97 [2014], New State, 3CD): cheapo 3CD hardcore, jungle, drum-n-bass comp, could use more doc, also differentiation but nice deal [cd]: B+(***)
Old records rated this week:
- Artifact iTi: Live in St. Johann (2008 [2010], Okka Disk): Vandermark and Nilssen-Love go to Austria, find great trombone and not-so-cheezy synth [bc]: B+(***)
- Sten Sandell Trio: Face of Tokyo (2008 [2009], PNL): Norwegian avant-pianist gets to show off in a brash and brusque trio setting [bc]: B+(**)
- Alan Skidmore: After the Rain (1998, Miles Music): Brit avant saxophonist goes straight, playing ballads backed by lush strings, really lovely [r]: B+(***)
Unpacking: Found in the mail last week:
- Dee Daniels: Intimate Conversations (Origin): September 16
- Chris Dundas: Oslo Odyssey (BLM, 2CD): September 16
- Hal Galper Trio: O's Time (Origin): September 16
- Gerry Gibbs Thrasher Dream Trio: We're Back (Whaling City Sound)
- Jerry Heldman: Revelation(s) (Origin, 2CD): September 16
- The Mark Lomax Trio: Isis & Osiris (Inarhyme)
- Alexander McCabe/Paul Odeh: This Is Not a Pipe (Wamco)