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An occasional blog about populist politics and popular music, not necessarily at the same time. LinksLocal Links My Other Websites Music Politics Others Networking Music DatabaseArtist Search: Website SearchGoogle: Recent Reading
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Tuesday, May 27, 2025 Music Week
Music: Current count 44276 [44235) rated (+41), 22 [22] unrated (+0). I had thought I might try to get this posted late Sunday night. I've noticed that many of my tasks have to wait until a week day, and spending Monday on Music Week makes it hard to get the week started. As it turns out, this not only chewed up Monday but most of Tuesday as well. I know it doesn't look like it. The cutover occurred Monday morning, but seeing as how this was the last Monday of May, I had extra work to do in closing out the May Streamnotes archive and opening up a new one for June. Then I found that I was three months behind in the annual and artist index. That literally took the rest of Monday, plus a big chunk of Tuesday. But now I'm pleased to say that I'm caught up, for the first time in at least six months. I posted a Book Roundup last Friday. I ordered four books thanks to my research:
I've recently read the Carlos Lozada and Pankaj Mishra books, and found them both very useful. After finishing Mishra's study of how the Shoah has been politicized in ways that have ultimately been allowed Israel to commit genocide, I started reading Gideon Levy's The Killing of Gaza (from a previous Book Roundup, which provides a micro-journalist complement to Mishra's macro-historical survey: a lot of gory details, framed by the author's outrage. I get the point, and got it in real time based on skimpier reporting. The one fairly big thing in the book that hasn't been adequately reported is the evidently near-unanimous support the war has received from within Israel. Mishra provides some explanation for that, but here more details might help. I've also bought and poked around some of the music books (generally, the ones with cover pics, including Glenn McDonald's book on Spotify), but haven't found much time to go deeper. Some issues there I would like to write up at some point. I should also note that I answered a question on May 25, mostly about my listening habits. I have very little to add on the records below, and little to say about my near-future plans. Perhaps just that it's 2:30 AM as I'm trying to wrap this up, and these days I'm getting awful tired at that hour. So let's hit post and be done with it. New records reviewed this week: Marshall Allen's Ghost Horizons: Live in Philadelphia (2022-24 [2025], Otherly Love/Ars Nova Workshop): Alto saxophonist, joined Sun Ra in the 1950s and continues leading his ghost band as he's turned 101. Bandcamp page isn't very forthcoming about recording date(s) and credits -- says group founded 2022 and includes "guitarist DMHOTEP alongside an all-star cast of rotating musicians including Immanuel Wilkins, Yo La Tengo's James McNew, James Brandon Lewis, The War on Drugs' Charlie Hall, Wolf Eyes, and more." (Later info: the group first appeared in 2022, and this "collects 16 exploratory tracks from the ongoing series' first two years, captured live on stage at Solar Myth." The still incomplete list of musicians also includes William Parker, Eric Revis, Luke Stewart, Chad Taylor, and vocalist Tara Middleton. One vocal pegs Allen as 99. Another source mentions nine performances "between November 2022 and January 2024.") Some interesting material here, but there's a lot of it (88 minutes), and it's can be scattered and/or marginal. B+(***) [sp] Eric Bibb: In the Real World (2024, Stony Plain/True North): Blues singer-songwriter, couple dozen albums since 1972, has a nice, easygoing manner for his songs. B+(**) [sp] Bloodest Saxophone Featuring Crystal Thomas: Extreme Heat (2024, Dialtone): Japanese jump blues/swing band founded 1998 and led by Koda "Young Corn" Shintaro, seems to have made a breakthrough when Big Jay McNeely toured Japan for a pair of 2016-17 live albums. They reciprocated with In Texas, working with blues singers (Texas Blues Ladies, Texas Queens), finally settling on Thomas, who also plays a mean trombone. B+(*) [sp] Chris Cain: Good Intentions Gone Bad (2024, Alligator): Blues singer-guitarist, "(4)" at Discogs, but he's been around, had three albums on Blind Pig in the early 1990s, second on Alligator (the first inevitably titled Raising Cain). Seems easy, but grew on me. B+(**) [sp] Chuck D: Chuck D Presents Enemy Radio: Radio Armageddon (2025, Def Jam): Public Enemy majordomo retains his signature sound, which sounds as hard-edged as ever, but the impact is blunted by the radio concept, which chops and screws everything. B+(*) [sp] Paul Dunmall Quartet: Here Today, Gone Tomorrow (2022 [2024], RogueArt): British avant-saxophonist (tenor/soprano), many albums, with Liam Noble (piano), John Edwards (bass), and Mark Sanders (drums). Joint improv, making it look easy as well as dazzling. A- [cdr] Early James: Medium Raw (2025, Easy Eye Sound): Singer-songwriter James Mullis, from Alabama, third album, produced by Dan Auerbach, showed up on a blues list for could just as well be taken for a low-fi folkie. B [sp] Bill Frisell/Andrew Cyrille/Kit Downes: Breaking the Shell (2022 [2024], Red Hook): Guitar, drums, organ. Label was founded by a former ECM producer, which may help explain the big names and small ambitions. B+(*) [sp] Don Glori: Paper Can't Wrap Fire (2025, Mr Bongo): Australia-based songwriter Gordon Li, plays muiltiple instruments, uses various singers (sounding like typical "alt-r&b"), also employs a pretty fair saxophonist, likes Brazilian grooves, shows some promise but doesn't deliver much. B [sp] Larry Goldings: I Will (2023-24 [2025], Sam First): Probably better known as an organ player, many albums since 1991, playe piano here, a trio with bass (Karl McComas-Reichl) and drums (Christian Euman), one original and five standards, the title tune from Lennon-McCartney. B+(*) [sp] Homeboy Sandman & Brand the Builder: Manners (2025, self-released, EP): Even shorter than usual: four songs, 10:50. B+(*) [bc] Ute Lemper: Pirate Jenny (2025, The Audiophile Society): German singer and actress, released her first Kurt Weill collection in 1987 (her only previous album was the original German cast recording of Cats), and has returned several times, with a side line of cabaret songs. B+(*) [sp] Magnus Lindgren & John Beasley: The Butterfly Effect (2023 [2024], ACT Music): Saxophone and piano duo, the former playing tenor, clarinet, and flute. Originals by either or both, plus "Come Together." B [sp] Taj Mahal & Keb' Mo': Room on the Porch (2025, Concord Jazz): The former has been warming up blues and roots songs since 1967, has written plenty of his own but has a genius for covers that rivals and has probably caught up with Ray Charles. The latter got a lot of hype in the 1990s when he tried to fill those shoes but failed. They finally got together, hyped as two "blues giants," in 2017 for a nondescript album, but this one is better, perhaps because it's loose enough to just let that genius seep to the surface. B+(***) [sp] Fergus McCreadie: Stream (2024, Edition): Scottish pianist, several albums since 2018, this a trio with bass (David Bowden) and drums (Stephen Henderson). Some serious piano jazz. B+(***) [sp] Nate Mercereau: Excellent Traveler (2024, Third Man): Guitarist, debut was the 2019 album Joy Techniques, appears on a couple albums with Carlos Niño (who gets a guest spot here, as does André 3000), otherwise this is solo, aside from samples. Listed as electronic, but shows up on jazz lists, but could work as some kind of experimentalist soundtrack. B+(***) [sp] Natural Information Society and Bitchin Bajas: Totality (2025, Drag City): Two fringe jazz/rock bands from Chicago, the former led by bassist Joshua Abrams, with Jason Stein (bass clarinet), and Mikel Patrick Avery (drums); the latter with Cooper Crain (organ/keys), Rob Frye (flute/synth), and Dan Quinlivan (electronics). B+(**) [sp] Nikara Presents . . . Black Wall Street: The Queen of Kings County (2022-23 [2024], Switch Hit): Vibraphonist Nikara Warren, from Brooklyn, granddaughter of Kenny Barron, group name recapitulates title of her 2021 debut album. Most tracks with trumpet (Alonzo Demetrius), tenor sax (Craig Hill), keyboards, guitar, electric bass, and drums, plus some extras (including several Barrons), working covers of Marvin Gaye and Curtis Mayfield in with the originals. B+(**) [sp] Bruno Parrinha/Carlos "Zingaro"/Fred Lonberg-Holm/João Madeira: Enleiro (2024 [2025], 4DaRecord): Chamber jazz quartet, with bass clarinet, violin, cello, bass, emphasis on strings, but also free improv that is always in motion. B+(***) [cd] Rev. Peyton's Big Damn Band: Honeysuckle (2025, Family Owned): Actually just a trio, from Brown County, Indiana, with the Reverend on guitar and vocals, Breezy Peyton on washboard, and Jacob Powell on drums. Eleventh album since, with some guest spots. B+(**) [sp] Dan Phillips Trio: Array in Brown (2025, Lizard Breath): Guitarist, leader of Chicago Edge Ensemble, trio here with Krzysztof Pabian (bass) and Avreeayl Ra (drums). B+(***) [bc] Ron Rieder: Día Precioso! (2025, Meson): Composer, from Massachusetts, pictured with piano but not listed as playing here, second album, cover notes arrangements by Ricardo Monzón, 8 songs, 32:48, a mix of Afro-Cuban jazz, sambas, mambos, and tango. B+(*) [cd] Scheen Jazzorkester & Fredrik Ljungkvist: Framåt! (2023 [2025], Grong): Norwegian big band, started as a jazz composers workshop in 2011, nine albums, most feature guest artists like the Swedish tenor saxophonist here, who composed all of the pieces here. B+(***) [cd] Elijah Shiffer: City of Birds: Volume 2 (2024 [2025], self-released): Alto saxophonist, several previous albums including Volume 1 (2023), "dedicated to the birds of New York city," with a field guide on the cover, but the grooves are effectively a cutting contest with Kevin Sun (tenor sax), backed by bass and drums. B+(**) [sp] Luke Stewart/Silt Remembrance Ensemble: The Order (2023 [2025], Cuneiform): Bassist, DC area, has a lot of projects over the last decade, the best known being Irreversible Entanglements, but he's also played on recent albums by David Murray and James Brandon Lewis, has two very good Silt Trio albums, and a Remembrance Quintet album. This combines those two groups, so you get three saxophonists (Jamal Moore, Brian Settles, and Daniel Carter, the latter also on trumpet), with Chad Taylor (drums). While much of this is very impressive, some of the horn thrash just wore me out. B+(***) [dl] Melinda Sullivan/Larry Goldings: Big Foot (2024, Colorfield): Goldings is well known for his organ and piano work. First album for Sullivan, who Wikipedia identifies as a dancer, but she's effectively a percussionist here, with variations on tap dance, while Goldings plays piano figures on one hand, and synth baselines on the other. Some cuts add extra musicians, with Goldings' daughter Anna offering a vocal. B+(*) [sp] Sumac and Moor Mother: The Film (2025, Thrill Jockey): Canadian-American metal band, five albums on their own since 2015, also have three collaborations with Keiji Haino before this one with jazz rapper Camae Ayewa. (This was preceded by a Moor Mother remix of a Sumac track on a 2024 EP.) She adds weight a message that they probably already considered, while they provide the gravity. Just "don't look away." A- [sp] Tune-Yards: Better Dreaming (2025, 4AD): Duo of Merrill Garbus (vocals, etc.) and Nate Brenner (bass, etc.), sixth studio album since 2009. I can't say as I've ever been impressed, amused and/or simply pleased, although I keep trying. (Friends love their albums, notably Robert Christgau, who has graded the series { A, A, A-, A-, A }, vs. my { **, *, **, B, B }.) Some interest here, but hard to hear her even with three plays. File under "distinctions not cost-effective." B+(*) [sp] Kali Uchis: Sincerely, (2025, Capitol): Pop singer-songwriter, born in Virginia, father from Colombia, where she lived during her high school years, has a couple albums in Spanish as well as those in English, this her fifth since 2018. Hit or miss in the past, neither this time, although I could see getting comfortable in her groove. B+(**) [sp] Nasheet Waits: New York Love Letter (Bitter Sweet) (2021-22 [2024], Giant Step Arts): Drummer, many side credits (both free and mainstream, perhaps best known for Tarbaby and Jason Moran), just his third album as leader (although Discogs counts over 20). With Mark Turner (tenor sax), Steve Nelson (vibes), and Rashaan Carter (bass), opening with two originals, with pieces by Moran and Andrew Hill before closing with two Coltranes. Turner, in particular, was having a very strong year. B+(***) [bc] Michael Waldrop: Native Son (2024 [2025], Origin): Drummer, Discogs shows a 2002 album, I have four since 2015. Cover credits for Vasil Hadžimanov (piano) and Martin Gjakonovski (bass), recorded on their turf in Serbia, and small print for percussionists Brad Dutz and Jose Rossy (6 and 3 cuts, respectively). B+(**) [cd] David Weiss Sextet: Auteur (2023 [2024], Origin): Trumpet player, FSNT debut 2001, some interesting albums/projects (including New Jazz Composers Octet), this one five originals plus covers from Freddie Hubbard and Slide Hampton. With Nicole Glover (tenor sax), Myron Walden (alto sax), piano, bass, and drums (EJ Strickland). B+(***) [sp] Ben Wendel: Understory: Live At The Village Vanguard (2022 [2024], Edition): Canadian saxophonist, based in New York, ten or so albums since 2009, with a "world-class rhythm section" of Gerald Clayton (piano), Linda May Han Oh (bass), and Obed Calvaire (drums). Original pieces (one cover), well done. B+(**) [sp] Carolyn Wonderland: Truth Is (2025, Alligator): Blues singer-songwriter from Houston, née Bradford, based in Austin, dozen albums since 2002, has some songs and a powerful voice. B+(**) [sp] Carlos "Zingaro"/Flo Stoffner/Fred Lonberg-Holm/João Madeira: Na Parede (2023 [2025], 4DaRecord): Violin, guitar, cello, bass, pretty much the same avant-chamber jazz lineup as on bassist Madeira's other recent production (Enleiro, listed under Bruno Parrinha, replaced here by the guitarist; both records are, of course, joint improv). Although this seems like a self-limiting concept, but details really replay close listening. A- [cd] Recent reissues, compilations, and vault discoveries: Ella Fitzgerald: The Moment of Truth: Ella at the Coliseum (1967 [2025], Verve): Previously unreleased live tape, from the year she moved from Verve to Capitol, which tried to throttle her jazz instincts and move her into covering contemporary pop songs -- two examples here are "Alfie" and "Music to Watch Girls By" -- but her band here was well stocked with Ellington horns (including Gonsalves, Hodges, and Carney on saxophones, Cat Anderson and Cootie Williams on trumpet) and she couldn't help but swing. B+(**) [sp] Masahiko Togashi: Session in Paris Vol. 1: Song of Soil (1979 [2025], We Want Sounds): Japanese drummer (1940-2007), recorded this album with Don Cherry (cornet/flute/trumpet/percussion) and Charlie Haden (bass). A minor add to the Cherry discography, but he's not likely to be remembered for his flute. The drummer is worth focusing on. B+(**) [bc] Masahiko Togashi: Session in Paris Vol. 2: Colour of Dream (1979 [2025], We Want Sounds): Same time and place, but less star power: Albert Mangelsdorff (trombone), Takashi Kako (a Japanese pianist based in Paris), and Jean-François Jenny Clark (bass). A minor add to the Mangelsdorff discography -- the German is less reknowned in the US than Cherry or Haden, but should be regarded as a comparably major figure -- and this suggests that Kako might be worth further investigation. B+(**) [bc] Old music: Nate Mercereau: Joy Techniques (Deluxe) (2019 [2020], How So): Guitarist, most tracks guitar synth, also credits for programming and percussion, but label says "no keyboards were used in the making of this record," and most tracks have Aaron Steele on drums. Deluxe version adds 4 tracks. B+(**) [sp] Sumac: The Healer (2024, Thrill Jockey): Sources refer to them as "American/Canadian metal band." I'm always put off by the metal label -- not something I disapprove of in principle, but I've rarely found any reason to enjoy in practice -- but this album got enough widespread approval last year I'm surprised that I didn't get to it earlier. Fifth album since 2015. Four long pieces, for 76:08. Guitar/bass/drums, with Aaron Turner growling. B+(*) [sp] Unpacking: Found in the mail last week:
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