#^d 2014-11-03
#^h Music Week
Music: Current count 23966 [23933] rated (+33), 540 [543] unrated (-3).
Week didn't start until Wednesday, when I posted last Music Week,
so the rate count rate was exceptionally high -- 30 is a very solid
7-day week, ridiculous for a 5-day week. Played a lot of new stuff
on Rhapsody, including a couple records I had acquainted myself with
on the road. While the top-rated records all got multiple spins, I
didn't dawdle on the clear misses (other than Dan Weiss favorite
Ex Hex).
I've especially been missing the recommendations of Jason Gubbels,
so was glad to see his
Third Quarter 2014 Wrap-Up -- really just a cribsheet. He tabs
five records as "pretty great": Run the Jewels, Angaleena Presley,
Leonard Cohen, Spider Bags, and Aphex Twin. I had three of those,
but "ran the jewels" way too fast a week back to get any real feel
for the record, not that I didn't like what I heard [**]. I gave
Spider Bags another play: I probably have it too low [*], but not
so much so that I felt compelled to regrade it. I only know about
half of the "pretty goods" (including Elio Villafranca and Changari
below), but only have Orlando Julius' Jaiyede Afro at A-.
No major disagreements below that, although the "pretty meh" Bill
Frisell was well received by my friends on the Cape (I wound up at
[***]), and I dislike Jason Moran's All Rise more than my
grade [*] suggests.
Thought I noticed a blip in B+(**) grades this week, so I went
to the year-in-progress file
to check. I assumed B+ grades would be evenly distributed, but
there is a small bell curve in the middle: 168-185-162. Actually,
that bump was much more pronounced last year: 222-318-262. And
now that I think about it last year's distribution makes more
sense: there should be fewer higher-rated records than lower,
but my actual lower-rated counts are progressively attenuated
as we get ever deeper into records I don't consider prospects.
Consider this sequence, comparing this year's count-per-grade to
last year's: [A-] 68.7%, [***] 75.6%, [**] 58.1%, [*] 61.8%,
[B] 52.9%, [B-] 76.9%. The way I read this, I'm listening to
less crap this year -- probably because I don't have the
metacritic file to make me conscious of lousy records other
people like.
By the way, adding up all these numbers shows I only have
64.2% as many records in the 2014 (738) file as in 2013 (1149
and still growing until I freeze it end of December). It seems
unlikely I'll ever make that deficit up (although 1000 is
probably a 50-50 proposition).
Get out and vote tomorrow. It's the only day of the year when
you get to act like you live in a democracy, even though your choices
aren't likely to amount to much and the powers-that-be have done all
they could to rig the results. Also the day you can blame your fellow
citizens for their foolish choices, as opposed to every other day
when the problem is more likely to be the corruption of the system.
New records rated this week:
- Allo Darlin': We Came From the Same Place (2014, Slumberland): I don't follow lyrics well enough to be sure these are as deep as they might be [r]: A-
- Tony Bennett & Lady Gaga: Cheek to Cheek (2014, Interscope): Italian-Americans bonding over their roots: great songs with shlocky arrangements [r]: B+(*)
- Maggie Björklund: Shaken (2014, Bloodshot): singer-songwriter from Denmark to LA, given to open spaces and melancholy with steel guitar shimmer [r]: B
- Chingari [Ranjit Barot/U Shrinivas/Etienne Mbappé]: Bombay Makossa (2014, Abstract Logix): two Indians (mandolin, drums) and a bassist from Cameroon fusion with fusion jazz then sing about it [r]: B+(*)
- Gary Clark, Jr.: Live (2014, Warner Brothers, 2CD): major Texas blues hopeful returns to his strong suit after that awful debut LP, then stretches too long [r]: B+(*)
- Chris Dundas: Oslo Odyssey (2014, BLM, 2CD): LA pianist goes to Norway, picks up a band with a saxophonist suited to his pace, a bass great too [cd]: B+(***)
- Brian Eno/Karl Hyde: High Life (2014, Warp): rough-edged guitar replaces synth for the riffwork, like Fripp minus the Frippertronics [r]: A-
- Ex Hex: Rips (2014, Merge): Mary Timony leads a tight pop-punk trio, no vocal presence, second hand riffs, but they're close to irresistible [r]: B+(***)
- Flying Lotus: You're Dead (2014, Warp): and you've gone to hell with a soundtrack that taunts you with talent then slams the door, repeatedly [r]: B+(**)
- Fumaça Preta: Fumaça Preta (2014, Soundway): Dutch band led by Portuguese-Venezuelan drummer is rooted in garage rock but sports exotic psychedelia and more [r]: A-
- Benjamin Herman: Trouble (2013 [2014], Dox): polishing up standards, stretched and strained by Daniel von Piekartz's sentimental piano and vocals [r]: B+(*)
- EG Kight: A New Day (2014, Blue South): blueswoman from Georgia via Chicago stays close to classic form, which keeps her consistent [r]: B+(**)
- Jerry Lee Lewis: Rock & Roll Time (2014, Vanguard): at 79 has turned full circle back to Memphis; appreciates the guest help but doesn't need it [r]: B+(**)
- Logic: Under Pressure (2014, Def Jam): young rapper makes debut after four mixtapes, avoids guests, does a fair job justifying his name [r]: B+(**)
- Jemeel Moondoc/Connie Crothers: Two (2012, Relative Pitch): alto sax-piano duets, free but far from rough partly because they don't aim for speed [r]: B+(*)
- The New Pornographers: Brill Bruisers (2014, Matador): much viable talent, many pop hooks, often a bit bruised which isn't the problem; caring is [r]: B+(*)
- Karen O: Crush Songs (2006-10 [2014], Cult, EP): Yeah Yeah Yeahs singer goes lo-fi (more like demo quality and EP-length), crude but not without interest [r]: B+(*)
- Tineke Postma/Greg Osby: Sonic Halo (2013 [2014], Challenge): two alto saxes play like one (only better), spur Matt Mitchell to try to steal the show [r]: B+(***)
- Bobby Previte: Terminals (2014, Cantaloupe): five pieces match SO Percussion with a guest; Greg Osby brings jazz, Nels Cline something beyond [r]: B+(*)
- Sylvain Rifflet & Jon Irabagon: Perpetual Motion: A Celebration of Moondog (2013 [2014], Jazz Village): saxophonists toast Moondog, but they also drag a choir in, so texts matter? [r]: B+(*)
- Pat Senatore Trio: Ascensione (2008-12 [2014], Fresh Sound): Josh Nelson plays piano in bassist-led trio, loves the lush harmonies until they're squishy [cd]: B+(**)
- Elio Villafranca and His Jazz Syncopators: Caribbean Tinge: Live From Dizzy's Club Coca-Cola (2011-12 [2014], Motéme): Cuban pianist does two shows uptown, toning down that tinge [r]: B+(*)
- Ezra Weiss Sextet: Before You Know It: Live in Portland (2013 [2014], Roark): live in home town Portland, the gritty horns warm up the joint, a gorgeous ballad closes [cd]: A-
- Luke Winslow-King: Everlasting Arms (2014, Bloodshot): overeducated eclectic singer-songwriter can't quite figure out what to do in New Orleans [r]: B
- Yelle: Complètement Fou (2014, Kemosabe): French electronica leaning toward dance-pop, not crazy at all let alone crazy enough [r]: B+(**)
Recent reissues, compilations, and vault discoveries rated this week:
- Jerry Lee Lewis: The Knox Phillips Sessions: The Unreleased Recordings (1970s [2014], Time-Life): at 44(?) he drowns his mid-life crisis, threatening to kick your ass but doesn't [r]: B+(**)
Unpacking: Found in the mail last week:
- Paul Dietrich Quintet: We Always Get There (Blujazz)
- Aaron Goldberg: The Now (Sunnyside)
- Tony Monaco: Furry Slippers (Summit)