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Music: Current count 40918 [40883] rated (+35), 30 [28] unrated (-2).
Seems like I had very little to show for the first half of the week. I finally resolved to deal with a couple major technical problems: why email from my server often fails to reach its intended destination, and why my printer/scanner rarely functions properly: jobs sent to print get held up in a blocked queue, which reblocks itself when you try to enable it; and Xsane shows you test scans, but craps out when you try to get the actual scan data (but for some reason Simplescan works -- you just lose all of the fancier Xsane controls).
I blame the latter on Hewlett-Packard, which has now eclipsed Apple as my most hated company in greater Silicon Valley (i.e., I'm not excluding Microsoft, which thanks to many years of total avoidance is now no worse than 3rd). The former problem is harder to assign blame for, but most of the problems have come with Gmail accounts, and Google has made getting help virtually impossible, so 4th (with a star)?
I can't report unequivocal success in either case, but I'm a bit more hopeful. Email delivery is tied up with the rather fluid notion of reputation. When the problem first appeared, I was forwarding a lot of server admin email to my Cox account, then throwing almost all of it away. Cox's email forwarders seem to have gotten tired of this, so they started blackballing me, and eventually I got nothing. That's when I noticed I was having trouble with Gmail, as well. I devised a workaround for the server admin email, so now I store it locally, and fetch it using POP (after which I filter the excess baggage out, as before). I set up a couple more email accounts like this for special purposes (such as the Q&A form).
When I retested things last week, I found that server mail is being delivered on Cox. Some further tests showed that most of the mail going to Gmail is also being delivered, but that some of it is going to users' spam folders. Of course, hardly any of us have the presence of mind to check whether anything worthwhile turns up flagged as spam. I still get a few spam-related bounce messages on the server, and don't really know what to do about them, other than to alert the people who were supposed to receive the mail, and hope they can persuade Google to fuck up less, but that's tough.
As for the printer, my next move is to crawl under the desk and hook up a USB cable, which HP doesn't like but seems to allow. I also spent most of a day working on a website I host. I converted the hand-coded version to WordPress a couple years ago, but never got the client's sign off, so both versions have been online but dormant. The intervening time left a bunch of digital cobwebs I needed to clean up, and I had to write up a guide to how it all works.
Then, midweek, I decided I wanted to push to get a Book Report post out ahead of the usual Sunday Speaking of Which. I managed to pull both off, but it was a huge amount of work -- during which I finally managed to give a cursory listen to a few recent records. Note that there are a couple music-related links in Speaking of Which: one on Sam Rivers, one on Nick Shoulders, plus something on Jann Wenner. I've been doing that for a bit: it's easier than trying to add a links section to Music Weekl, and I'm not that big on compartmentalization.
I do have a couple things to add on Wenner. Conservatives scream "cancel culture" any time anyone has the temerity to challenge them, but what really gets their goat is the exposure that they're not always the ones in charge -- you know, the ones doing the canceling. They have a lot of trouble understanding why anyone in a position of property and power could turn on them. After all, the whole point of conservatism is to protect the rich and powerful from the masses.
Wenner, as far as I can tell, has never been one of them politically, but he is a very rich guy, who achieved a power base by being the owner of a prominent publication, and he has a lot of practice (practically a whole lifetime) acting on his privileges. During his entire tenure, he has made thousands of decisions, big and small, often arbitrary according to his whims and prejudices. My very distant impression is that the magazine's success is largely due to more talented people managing to work around his idiosyncrasies, but I've heard various stories of him stepping in, and invariably they're turns for the worse. Since he's retired, he no longer has an organization dedicated to keeping him from exposing his ignorance and incompetence, and that's what you're seeing in this "scandal": the real Jann Wenner, a rich, tone-deaf boob.
As for his book, no one would care about him peddling a set of interviews with famous old (and in a couple cases now dead) white guys. He could even keep the title (The Masters). Even if you had a second thought on seeing the seven bold names on the cover, by the time you read "By Jann S. Wenner" you'd know: of course, those were just the kind of guys he'd love to hang with, and being the fount of free publicity, who would hang with him. His problem was in trying to pass this conceit off as some sort of meritocracy. And, needless to say, the really weak link was Wenner himself. His further dissembling about blacks and women -- things absolutely no reasonable person would think of much less utter -- just dug him deeper into the pit of his vanity project.
This week closes out the September Streamnotes archive. I'm not going to hold this up to do the usual indexing. (Oops, I still haven't done August Streamnotes. That probably doesn't matter to you, but it's fairly important for me when I can't remember whether or when I reviewed something already.)
Not much to say about this week's records. Three high HM pop records (Doja Cat, Underscores, Yeule) got at least two plays each. Doja Cat might benefit from more, but my irritation with glitch pop both means that I'm done with those and that some of you will probably love them much more than I can imagine. At some point I'll have to admit that I'm just too comfortable in my ears to keep up with all this cutting edge shit.
The Fujiwara album has some upside, too, but I took its thinness as a limit, even though it's a big part of the concept. The match up with Brennan and Reid is inspired, perhaps even by our Jazz Poll, where both won Debut Album recently. Billy Bang fans should know about the Jazz Doctors reissue, especially the previously unreleased second half. (Frank Lowe fans can pass.)
The Estes album was one of Clifford Ocheltree's daily picks. Nice to wake up to his posts, which very often make me want to search out something (or, if I'm lucky, pull it off my shelves). Brad Luen, by the way, has a good review of Olivia Rodrigo, and features three jazz albums after that.
I only found out about Ernst-Ludwig Petrowsky's July 10, 2023 death this week. Much of his work remains hard to find, but the Zentralquartett albums on Intakt are all superb, as is The Salmon, with Michael Griener (drums). I'm playing another I just found, for next week.
The Zoh Amba record got me looking through my cache of download links from 577 Records. (I ignore most downloads links, but have been saving those, then forgetting them.) Two more records (so far) for next week. I've been meaning to trawl through this trove, so perhaps this will get me moving.
I'm starting to think about the Francis Davis Jazz Poll this year -- that's one thing I need working email lists for -- so I'm starting to get serious about whittling down my queue. Still, got a lot of mail last week, so the net effect was negative.
New records reviewed this week:
Zoh Amba/Chris Corsano/Bill Orcutt: The Flower School (2023, Palilalia): Tenor sax/acoustic guitar, drums, electric guitar, coming in from different directions and smashing each other up. Five tracks, 30:49. B+(*) [bc]
Be Your Own Pet: Mommy (2023, Third Man): Nashville punk band, formed in high school, recorded two albums and a couple EPs 2006-08, broke up, regrouped 15 years later to open for a Jack White tour. Maybe it's the new company they're keeping, but sounds like they're trying harder to pump their sound up to fill the larger auditoriums. B+(**) [sp]
Johnathan Blake: Passage (2023, Blue Note): Drummer, from Philadelphia, fifth album as leader since 2012, second on Blue Note. Opens with a short drum solo, slips in a short Dezron Douglas bass solo later, otherwise Blake wrote five (of 8) songs, draws one each from Douglas and pianist David Virelles, and one from the late Ralph Peterson Jr. Also showcases label mates Immanuel Wilkins (alto sax on five cuts, most spectacularly the first) and Joel Ross (vibes). B+(**) [sp]
Benjamin Boone: Caught in the Rhythm (2019-21 [2023], Origin): Saxophonist, did two excellent albums with poet Philip Levine (2018-19), continues in that vein here, rotating six less famous poets (Faylita Hicks gets four tracks, T.R. Hummer three), various musicians, including some high profile guests. Most words are sharp and angry, with intense music to match, especially the sax. A- [cd]
Doja Cat: Scarlet (2023, Kemosabe/RCA): Rapper-singer Amala Dlamin, from Los Angeles, fourth album, claims the lyrics but very little of the music. The harder stuff is mixed up front, but the softer, less obvious back end is make-or-break. B+(***) [sp]
Michael Echaniz: Seven Shades of Violet (Rebiralost) (2023, Ridgeway): Pianist, from "West Coast" (studied at Santa Clara, California Jazz Conservatory, and CalAfts), first album, wrote nine (of 11) pieces, plays some organ and other keyboards, produced by bassist Jeff Denson, vocals on several tracks, guests I rarely notice. B+(*) [cd]
Tomas Fujiwara: Pith (2023, Out of Your Head): Drummer, from Boston, where he studied under Alan Dawson, moved to New York, has been in various ensembles with Anthony Braxton and/or his students. Trio here with Tomeka Reid (cello) and Patricia Brennan (vibes), for a dazzling exhibition of rhythm. B+(***) [cd]
Vince Gill & Paul Franklin: Sweet Memories: The Music of Ray Price & the Cherokee Cowboys (2023, MCA Nashville): Country singer, vaulted to stardom in 1989, and close to 20 albums later still bankable, teams up with the steel guitarist for their second standards album, after Bakersfield in 2013. Only two songs (of 11) actually written by Price. Sounded pretty good most of the way through, but tails off, and "Danny Boy" doesn't seem like such a good idea. B+(*) [sp]
Carlos Henriquez: A Nuyorican Tale (2023, self-released): Bassist, from the Bronx, plays in Jazz at Lincoln Center, fourth album. Some lyrics. Lots of rhythm. B+(**) [cd]
Per Texas Johansson: Den Sämsta Lönningen Av Alla (2023, Moserobie): Tenor saxophonist, numerous side credits since 1993, leads a septet here, also playing clarinet, oboe, English horn, and bass clarinet here, with an odd mix of other instruments: pedal steel guitar, piano, violin, vibes/marimba, bass, drums -- mostly name I recognize (e.g., Matthias Ståhl, Petter Eldh, Konrad Agnas). B+(***) [cd]
Per Texas Johansson: Orkester Omnitonal (2023, Moserobie): Big band, directed by Johan Siberg. Johansson leans more toward clarinet in this context, long pieces which swoop and sway, meander and sometimes surprise. B+(***) [cd]
Low Cut Connie: Art Dealers (2023, Contender): Philadelphia band, principally Adam Weiner, surprise find with their 2011 debut, next two albums I liked almost as much, since then I lost the thread (not that I didn't enjoy lockdown covers, collected as Tough Cookies). Here, however, he starts off like he's trying to be a harder rocking Billy Joel, before he loses speed to density. B [sp]
Buddy & Julie Miller: In the Throes (2023, New West): Husband and wife singer-songwriters, both have solo careers as well as six duo albums since 2001. They sound terrific together, but I'm unsure about the songs. B+(**) [sp]
Kylie Minogue: Tension (2023, BMG): Australian dance-pop diva, first album 1988, this is number sixteen, after Disco in 2020. B+(**) [sp]
Willie Nelson: Bluegrass (2023, Legacy): Twelve old songs (from Nelson's songbook) + bluegrass musicians (acoustic guitar, banjo, dobro, mandolin, fiddle, upright bass, no drummer) = new album. Docked a notch for cover art that shows even less imagination than the concept. B+(*) [sp]
Octo Octa: Dreams of a Dancefloor (2023, T4T LUV NRG, EP): Electronica producer Maya Bouldry-Morrison, from New Hampshire, several albums, more singles/EPs since 2011. Three tracks, 24:59. B+(**) [sp]
Joel Paterson: Wheelhouse Rag (2021 [2023], Jalopy): Roots guitarist, from Chicago, learned by ear from old blues and country records, taste in album cover art is also retro, this his ninth since 2001, 14 pieces, subtitle: "The original fingerstyle guitar instrumentals of Joel Paterson. B+(**) [sp]
Ivo Perelman/Matt Moran: Tuning Forks (2023, Ibeji Music): Duo, tenor sax and vibraphone, the former's eighth album so far this year (four duos, three trios, one quartet). B+(***) [bc]
Pink Monads: Multiple Visions of the Now (2022 [2023], 4DaRecord): Quartet, first album: Edith Steyer (clarinet), Céline Voccia (piano), Marialuisa Capurso (voice), Sofia Borges (drums), with a field recording from Morocco. The voice gives a focal point the others scatter around, but their action is much more interesting. B+(**) [cd]
Brandon Sanders: Compton's Finest (2023, Savant): Drummer, born in Kansas City but grew up in Los Angeles, debut album at 52, with Chris Lewis (tenor sax), Warren Wolf (vibes), Keith Brown (piano), and Eric Wheeler (bass), with Jazzmeia Horn singing two songs: one of his two originals, and "In a Sentimental Mood." B+(**) [cd]
Matthew Shipp: The Intrinsic Nature of Shipp (2023, Mahakala Music): Solo piano, one of the greats, but much more like this to choose from. B+(**) [sp]
Nick Shoulders: All Bad (2023, Gar Hole): Country singer-songwriter, based in Fayetteville, fourth album, does his own cover art. The straightforward country songs don't do much for me, but he's more fun when he commandeers a standard and steers it hard left ("Arkansas Troubler," "Won't Fence Me In"). Notable lyric: "workers of the world, I appreciate'cha/ for your poorly compensated toil, I appreciate'cha." B+(**) [sp]
Michael Jefry Stevens Quartet: Precipice (2022 [2023], ARC): Avant-pianist, from New York, based in Black Mountain, North Carolina; quite some number of records since 1991, but not so many with his name first (e.g., Fonda/Stevens Group has 13). Quartet with Christian Howes (violin) filling the role of a horn lead, backed by bass (Bryan McConnell) and drums (Rick Dilling). Even swings some. A- [cd]
Underscores: Wallsocket (2023, Mom + Pop): Glitch pop artist April Harper Grey, lots of self-released singles and EPs since 2015, second album, first picked up by a known label, cites Skrillex for inspiration, opened for 100 gecs in 2021. I don't like either of those models, and this isn't something I can imagine ever really enjoying, but I'm seriously impressed by a couple songs -- "Old Money Bitch," of course, and the ballad "Good Luck Final Girl" -- and a bit more amused than annoyed by the rest. B+(***) [sp]
Vin Venezia: The Venetian (2023, Innervision): Guitarist, plays electric, baritone, acoustic, nylon, and synth guitars; second album, ends with an original but mostly arranges jazz standards (Davis, Corea, Strayhorn, Jobim). Backed by bass (Harvie S), drums (Richie Morales), with tenor sax (Davie Walsh, one track of Bob Magnuson), and occasional piano (David Budway on 4 of 13 tracks). Runs the gamut, but always in good taste. B+(**) [cd] [10-20]
Yeule: Softscars (2023, Ninja Tune): Glitch pop artist Natasha Yelin Chang, aka Nat Cmiel, from Singapore, studied in London, based in Los Angeles, third album (after several EPs). I don't quite know what to make of this. B+(***) [sp]
Recent reissues, compilations, and vault discoveries:
François Carrier Ensemble: Openness (2006 [2023], Fundacja Sluchaj, 3CD): Montreal-based alto saxophonist, goes back to the 1990s, always with drummer Michel Lambert, here at the La Chapelle festival, hosting Tomasz Stanko (trumpet), Mat Maneri (viola), and Gary Peacock (bass), over two nights. All improv, not so far out you can't just relax to it, but never slouches off or misses a step. A- [dl]
Alan Goldsher: The Complete Pocket Sessions (2019 [2023], Gold Note): Email billed this as "the original jazztronica" -- a phrase that had appeared at least 20 years before the two albums remastered here (The Pocket and The Other Pocket). Goldsher plays bass and keyboards, has a bunch of releases since these albums kicked him off, and has a longer career (since 2002) as a writer of fiction and non (including books on Modest Mouse, Dave Brubeck, and Art Blakey's sidemen). B- [sp]
The Jazz Doctors: Intensive Care/Prescriptions Filled [The Billy Bang Quartet Sessions 1983/1984] (1983-84 [2023], Cadillac): Two sessions in London, the first -- a quartet with Billy Bang (violin), Frank Lowe (tenor sax), Rafael Garrett (bass), and Dennis Charles (drums) -- released as Intensive Care; the second -- Bang, Lowe, Wilber Morris (bass), and Thurman Barker (drums) -- previously unreleased, but titled Prescriptions Filled. B+(***) [sp]
Roberto Magris & the JM Horns: High Quote (2012 [2023], JM): Italian pianist, from Trieste, has a label in Kansas City, and recorded this in Lenexa, KS a decade ago, with a substantial horn section, bass, drums, and congas, with vocals by Monique Danielle on two tracks. B+(*) [cd]
Ernst-Ludwig Petrowsky: Luten at Jazzwerkstatt Peitz (2011 [2023], Jazzwerkstatt): German alto saxophonist (1933-2023), also plays clarinet, nickname Luten, one of the first important free jazz musicians to emerge from the GDR, probably best known for Zentralquartett (with Conrad Bauer, 1974-2016). Live set here came out a couple months before his death. With Alexander von Schlippenbach (piano) and Christian Lillinger (drums), a long piece (32:21) and a "Freie Improvisation" (10:28). B+(***) [sp]
Mark Reboul/Roberta Piket/Billy Mintz: Seven Pieces/About an Hour/Saxophone, Piano, Drums (2004 [2023], ESP-Disk): Saxophonist, Discogs only offers two side-credits, one from 1985, the other 2007, so this is his belated debut, backed by relatively well known (even then, but more so now) pianist and drummer. Rather understated, but draws you in. B+(***) [cd]
Old music:
Sleepy John Estes: The Legend of Sleepy John Estes (1962 [1963], Delmark): Memphis bluesman John Adam Estes (1899-1977), first recorded for Victor in 1929, his 1929-40 compilations -- I have one on Yazoo, another on Wolf -- are highly recommended (but mostly interchangeable). Recorded a couple tracks for Sun in 1952, but hadn't been heard from since, until Bob Koester tracked him down and cut him loose for his first proper LP. Half of these 12 songs repeat from the earlier comps, his quavery voice and spare guitar timeless. A- [sp]
Ernst-Ludwig Petrowsky: Ein Nachmittag in Peitz (1981 [2008], Jazzwerkstatt): Plays alto sax, baritone sax, and flute on three tracks, just talks on one more (beware: 9:39, in German, with laughter). The music begins and ends with duets with Harry Miller (bass, cello, 13:53 and 12:12), separated by the talk and a 41:01 piece called "Relaxing With Heinz, Klaus, Joe and Tony" -- that's Becker (trumpet), Koch (bass), Sachse (guitar), and Oxley (drums). B+(***) [sp]
Ernst-Ludwig Petrowsky/Conny Bauer: Wanderung Durch Den Thüringer Wald (2011 [2019], Jazzwerkstatt): Duo, alto sax and bass trombone, they've been playing together at least since 1973, most notably in Zentralquartett. B+(**) [sp]
Unpacking: Found in the mail last week: