Streamnotes: March 31, 2026

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 February 28. Past reviews and more information are available here (26500+ records).

New Music

Joshua Abrams: Music for Pulse Meridian Foliation (2026, Drag City): Chicago bassist, debut 2002, in 2010 released a mostly electronics album called Natural Information, and has followed that with seven Natural Information Society albums. He composed to run non-stop for Lisa Alvarado's art exhibition, using two cellos, harmonium, and electronics, and mixed it down to a single 35:42 piece. Functional ambient music, and just interesting enough. B+(**) [sp]

David Adewumi: The Flame Beneath the Silence (2024 [2026], Giant Step Arts): Trumpet player, first album, side-credits since 2020, label touts this "modern masters and new horizons series," offering him a live venue and major league support: Joel Ross (vibes), Linda May Han Oh (bass), and Marcus Gilmore (drums). He's off to a strong start? B+(***) [cd] [03-27]

Melissa Aldana: Filin (2025 [2026], Blue Note): Tenor saxophonist from Chile, debut 2010, third album on Blue Note, a quartet with Gonzalo Rubalcaba (piano), Peter Washington (bass), and Kush Abadey (drums), mostly playing Cuban ballads arranged by Rubalcaba. Cécile McLorin Salvant sings two of them. B+(**) [sp]

Tyrone Allen II: Upward (2024 [2026], Dreams and Fears): Bassist, based in Brooklyn, first album, a dozen side-credits back to 2018, with several notable younger players: Neta Raanan (tenor sax), Lex Korten (keys), Samantha Feliciano (harp), Aidan Lombard (trumpet), Kayvon Gordon (drums), Abe Nouri (live effects). B+(*) [cd]

Aymeric Avice/Luke Stewart/Chad Taylor: Deep in the Earth High in the Sky (2025 [2026], RogueArt): I've seen every permutation of artist credit order for this, with my CD listing the Taylor (drums) first above the title, then last under the title, while Bandcamp lists Stewart (bass) first, with a cover scan that seems to favor Avice (trumpet). Discogs, with the same cover scan (I just got a CD with no packaging) credits Stewart first. I initially listed Taylor, but on second thought, let's give it to the French trumpeter (evidently his first album). Free jazz bash, with mbiras. B+(***) [cdr]

Kal Banx: Rhoda (2026, Top Dawg Entertainment): Rapper Kalon Berry, Discogs credits him with a couple of singles, also seems to have some production experience, first solo album a sprawling 25 tracks, 81 minutes. First half consistently solid; second slipped in and out. B+(**) [sp]

Courtney Barnett: Creature of Habit (2026, Mom + Pop/Fiction): Australian singer-songwriter, pretty good guitarist, fourth album since 2015. A nice little rock record, a consistent pleasure. A- [sp]

Julianna Barwick & Mary Lattimore: Tragic Magic (2026, In Finé): The former is known for wrapping choral vocals in electronic loops, with four solo (and now three collaborative) albums since 2011. The latter, with solo albums back to 2013, adds harp. B+(*) [sp]

Anthony Branker & Other Ways of Knowing: Manifestations of a Diasporic Groove & Spirit (2025 [2026], Origin): Composer and arranger, eleventh album since 2004, previous groups called Ascent and Imagine, this one well stocked with name talent: Steve Wilson (alto/soprano sax, flute), Pete McCann (guitars), Simona Premazzi (piano), John Hébert (bass), Rudy Royston (drums), and Aimée Allen (vocals). [cd]

Bonnie "Prince" Billy: We Are Together Again (2026, No Quarter/Domino): Singer-songwriter Will Oldham, started as Palace Brothers in 1993, then Palace Music, recorded a solo album under his own name in 1997, then started using this moniker in 1999, now up to 27 albums. I've always been rather put off by the name, for reasons I've never examined. B+(*) [sp]

Asher Brinson: Midnight Hurricane (2026, AsherBrin): Bluegrass singer-songwriter from North Carolina, first album, quite young but gets some veteran help and makes the most of it, padding eight original songs out with one cover and two instrumental tracks. Songs are solid-plus, set in some mighty fine picking. A- [cd] [04-03]

By Storm: My Ghosts Go Ghost (2026, Dead Air/By(e) Storm): Two-thirds of Arizona hip-hop trio Injury Reserve (rapper Nathaniel Ritchie and producer Parker Corey), carrying on after rapper Steppa J. Groggs died in 2020. Working through some pain, somewhat short of voice. B+(*) [sp]

Ron Carter & Ricky Dillard: Sweet, Sweet Spirit (2026, Blue Note): Bassist, best known as part of the Miles Davis Quartet (1963-68), nearing 90 he probably holds the record for most recording sessions ever (per Wikipedia: 2,221). Dillard is a gospel choirmaster, starting with his New Generation Chorale in 1990, and out in force here. Standards arranged around bass lines composed by Carter, it's fun to focus on the bass, although the rest is overkill. B+(*) [sp]

Charli XCX: Wuthering Heights (2026, Atlantic): An unlikely follow up to the huge Brat, a slim (34:34) batch of 12 songs tied to a new movie version of Emily Bronte's 1847 novel. Strings for soundtrack ambiance, and the ambiance is thick, but some songs are striking. B+(***) [sp]

Owen Chen: Eternal Wind: The Ghibli Collection (2025 [2026], OA2): Guitarist, based in New York, first album, joined here by a second guitarist, Andrew Cheng, playing pieces written by Joe Hisaishi for Japanese animation company Studio Ghibli. Backed by piano-bass-drums, with harmonica and/or tenor sax on five (of 9) tracks. B+(*) [cd] [04-03]

Carl Clements and the Real Jazz Trio: Retrospective (2024 [2026], Greydisc): Saxophonist (tenor/soprano, also bansuri), based in Massachusetts, half-dozen albums since 2004, all original pieces, backed by a European trio: piano (Jean-Yves Jung), bass (Johannes Schaedlich), and drums (Jes Biehl). B+(**) [cd]

Steve Cohn/Billy Stein: Up From the Soil (2021-24 [2025], Hathor Music): Cohn plays piano, shakuhachi, trombone, drums, and Fender Rhodes in four duets with the guitarist. B+(**) [cd]

The Cucumbers: As You Heard Me: Songs From "Hello George" (2026, Life Force): New Jersey group, formed by Deena Shoskes (vocals) and Jon Fried (guitar), released a good EP in 1983 and a great LP in 1987, with various stops and restarts ever since. This is a collection of 16 very fetching songs, based on the novella Hello George by Fried (who has several more short story collections). [PS: I have the novella, but haven't read it yet. Too much war in the way.] A- [cd]

Cyger & Butterworth: Plaid Pants (2024 [2026], Outrageous8): Saxophonist Ron Cyger (also plays flute) and bassist Brent Butterworth (also guitar, ukulele, and percussion), each writing four (of eight) songs, backed by various percussionists. Nice groove. B+(**) [cd]

Daggerboard: The Skipper and Mike Clark (2022 [2026], Wide Hive): Group led by Erik Jekabson (trumpet) and Gregory Howe (percussion), has a handful of albums since 2021. Skipper (bassist Henry Franklin) was a guest last time, joined here by keyboardist Mike Clark, Dave McNab (guitar), Dave Ellis (tenor/soprano sax), Mads Tolling (violin), and Babatunde (congas). B+(**) [cd]

Daphni: Butterfly (2026, Jiaolong): British house producer Daniel Snaith, fourth album, label named for his 2012 debut. Nice bounce to it. B+(***) [sp]

Dead Pioneers: Po$t American (2025, Hassle): Indigenous punk rock band from Denver, second album, spoken word, so no compromising he messages by searching for rhymes. The music is as pointed as the critique of settler colonialism, with lines like "the audacity (no the caucasity)," "there will always be another settler to take your place," and an Indian name I can't transcribe which means "white person who talks too much, presumes too much, and has no boundaries, which is a mouthful." A- [sp]

DJ Eprom: We Are the Biobots (2026, JuNouMi): Polish electronica producer Michal Baj ("who has ties to Silesia") has synthesized the perfect Kraftwerk album, built from turntable scratch samples and electronically processed vocals. Thankfully, the robot world is one we can still laugh at. A- [sp]

Dave Douglas: Four Freedoms (2025 [2026], Greenleaf Music): Trumpet player, many albums since 1993, live set from the Getxo Kultura Jazz Festival in Spain, quartet with Marta Warelis (piano), Nick Dunston (bass), and Joey Baron (drums). Tricky music. B+(**) [sp]

Matt Dwonszyk: Live at the Sidedoor (2024 [2026], self-released): Bassist, third release as leader, eight originals, two covers, no musician credits on the packaging but per hype sheet: Josh Bruneau (trumpet), Matt Knoegel (tenor sax), Taber Gable (piano), Jonathan Barber (drums). The venue is located in Old Lyme, CT, and the musicians evidently have some kind of relationship to Jackie McLean. It comes through, and maybe a bit of Mingus too. B+(***) [cd]

Art Edmaiston & Chad Fowler: Memphis Mandala (2024 [2026], Mahakala Music): Tenor/soprano saxophonist from Tennessee, based in Memphis since 1990, has quite a few side credits since 1997, mostly with blues groups like JJ Grey & Mofro. Gets a shot at a free jazz album, with label head Fowler playing strich and flute, backed by bass (Damon Smith) and two drummer/percussionists (Ra Kalam Bob Moses and Clifford "Pee Wee" Jackson). Seems a little subdued. B+(*) [sp]

John Ellis & Double Wide: Fireball (2019 [2026], Sunnyside): Saxophonist from North Carolina, albums since 1997, band connected to New Orleans with Jason Marsalis (drums), Alan Ferber (trombone), Matt Perrine (sousaphone), and Gary Versace (keyboards; one track also with Rogerio Boccato on percussion). Recording date inferred from doc. The low brass is delightful. B+(**) [sp]

Fakemink: The Boy Who Cried Terrified (2026, EtnaVeraVela, EP): British rapper, has a previous album (21:17) as 9090gate, this one runs 7 songs, 14:39. B+(*) [sp]

The Femcels: I Have to Get Hotter (2026, Getting Hotter): British group, first album, sketchy punk-pop, often slips off the beat and sometimes out of tune, which is both appeal and some kind of limit. 16 songs, 32:31. B+(**) [sp]

Flying Lotus: Big Mama (Brainfeeder, EP): Electronica producer Steven Ellison, eight albums since 2006, seven tracks (13:19), also comes with a 13:21 continuous mix. B+(*) [sp]

Bill Frisell: In My Dreams (2025 [2026], Blue Note): Jazz guitarist, major figure since 1980, one frequent theme is his use of folk materials (including "Hard Times" and "Home on the Range" here). Group with strings — Jenny Scheinman (violin), Eyvind Kang (viola), Hank Roberts (cello), Thomas Morgan (double bass) — and drums (Rudy Royston). B+(**) [sp]

Peter Furlan: The Peter Furlan Project Live at Maureen's Jazz Cellar (2025 [2026], Beany Bops): Tenor/soprano saxophonist, composer and arranger, Discogs credits him for this and two other albums (1981-83). Fairly large group (nine pieces), allowing for some interesting solo textures. B+(*) [cd]

Kim Gordon: Play Me (2026, Matador): Sonic Youth's better half, third solo studio album, "relies primarily on Gordon's trap vocals, [producer Justin] Raisen's industrial textures, and trip hop beats." Short (29:55) and rather cryptic. B+(***) [sp]

Tigran Hamasyan: Manifeste (2023-25 [2026], Naïve): Armenian pianist, lives in Yerevan after some time in Los Angeles, over a dozen albums since 2006, most on major labels (Verve, ECM, Nonesuch), draws on a wide array of styles, using electronics and voices (including the Yerevan State Chamber Choir). Impressive moves, just not a mix I particularly enjoy. B [sp]

Simon Hanes: Gargantua (2024 [2026], Pyroclastic): California-born, Brooklyn-based composer/arranger, has a couple previous albums, draws inspiration from Rabelais for this "audacious new album," featuring three soprano voices, backed by three each on French horns, trombones, basses, and drum sets. The voices are the sticking point with me. B+(**) [cd] [03-27]

Alexander Hawkins/Taylor Ho Bynum: A Near Permanent State of Wonder (2024 [2025], RogueArt): Piano and trumpet (well, actually cornet and flugelhorn) duo, free jazz players of repute, and considerable rapport. B+(***) [cdr]

Heavenly: Highway to Heavenly (2026, Skep Wax): British twee pop band, released four albums and an EP 1991-96, Amelia Fletcher the singer, first album since reuniting in 2023. B+(*) [sp]

Steven Husted and Friends: Two Nights - "Live!" (2025 [2026], self-released): Bassist, worked in Bay Area before moving to Austin, website has two previous albums but none in Discogs. With sax (Grant Teeple) on the first half, guitar (Matt Berger) picking up the slack on the second, backed by keys (Milo Hehmsoth), and drums (Israel Yanez), playing eight originals plus standards by Irving Berlin, Clifford Brown, and Hank Mobley. Nice mainstream jazz. Runs over 77 minutes. B+(*) [cd]

Joshua Idehen: I Know You're Hurting, Everyone Is Hurting, Everyone Is Trying, You Have Got to Try (2026, Heavenly): British poet, teacher, musician, sings, raps, sometimes just utters philosophical epigrams; third album since 2023. Good advice: "do not bend to fascism." While the words impress, the beats put this over. A- [sp]

Imarhan: Essam (2026, City Slang): Tuareg desert rock band from the Algerian side of the Sahara. Reports are that earlier albums distinguished themselves by rocking harder than their similar-sounding contemporaries, but this one starts out leisurely, and hardly suffers from doing so. B+(***) [sp]

The Interplay Jazz Orchestra: Bite Your Tongue (2025 [2026], Bigtime): Big band, directed by Joey Devassy (trombone) and Gary Henderson (trumpet), formed in 2013 but this is the only album I've found, three Devassy originals plus six standards, some sharp solo work, especially in the saxophone section. B+(***) [cd]

Jon Irabagon: Focus Out (2022 [2026], Irrabagast): Saxophonist, alto here, a star in Moppa Elliott's Mostly Other People Do the Killing, has a substantial discography on his own. Quartet with Matt Mitchell (keyboards), Chris Lightcap (bass), and Dan Weiss (drums), plus guest spots, including two Kokayi raps, and spots for trumpet, guitar, and tenor sax (two at once). B+(***) [cd] [03-13]

Jon Irabagon and Dan Oestreicher: Saturday's Child (2023 [2026], Irrabagast): Instruments not listed, but Oestreicher is a New Orleans-based baritone saxophonist who likely goes even lower here, giving this a delightfully jaunty oom-pah feel. Just the two of them, as far as I can tell. B+(***) [cd]

Grace Ives: Girlfriend (2026, True Panther/Capitol): Synth-pop singer-songwriter, third album since 2019. B+(***) [sp]

Javon Jackson: Jackson Plays Dylan (2025 [2026], Solid Jackson/Palmetto): Tenor saxophonist, has done impressive work since his 1991 debut, but hasn't always made the best choices. Plays ten Bob Dylan tunes here (after an original intro), backed by keyboards (Jeremy Manasia), bass, and drums, with two guest vocalists (Lisa Fischer and Nicole Zuraitis), singing the two canon songs I least want to ever hear the lyrics to ever again. I've heard a lot of Dylan over the years, and almost never want to hear him again these days. I've often been out of sync with other critics, which may have led to some bad feelings. But I was surprised by the three Jewels & Binoculars albums, where his melodies proved fruitful for a purely instrumental jazz trio. But this isn't that. B+(*) [cd] [03-27]

Jamile/Vinicius Gomes: Boundless Species (2024 [2026], La Reserve): Brazilians in New York, vocals and guitar, along with Joe Martin on bass. B+(***) [cd] [04-03]

Robert Jospé Quartet: The Night Sky (2025 [2026], self-released): American drummer, has several previous albums, going back to the 1990s (hype sheet says this is his ninth). Quartet with Daniel Clarke (keyboards), Chris Whiteman (guitar), and Paul Langosch (bass). Mostly originals (including one by Clarke), with two standards. B+(*) [cd]

The Paul Keller Orchestra: Thank You Notes: The Music of Gregg Hill (2025 [2026], Cold Plunge): Hill, based in Lansing, has few if any performance credits to speak of, but tributes to his compositions have become a cottage industry in recent years. As he turns 80, bassist Keller, whose own big band is marking its 40th anniversary, gives him the royal treatment. B+(**) [cd]

Anna Kolchina: Reach for Tomorrow (2021-25 [2026], OA2): Standards singer from "the Soviet Union about 18 hours from Moscow" (an odd measurement that could mean dozens or thousands of miles, but evidently someplace with horses), moved to New York City in 2017, "a place where you can become friends with your heroes." At least one previous album, as well as a connection to Sheila Jordan. Twelve songs recorded over several years, each backed by a sole guitarist: Paul Bollenback, Peter Bernstein, Ilya Lushtak, Romero Lubambo, Russell Malone, Yotam Silberstein. I couldn't sort out the guitarists, but they might make an interesting blindfold test. They are all fine, and the singer shines with such minimal support. A- [cd]

Steve Kovalcheck: Buckshot Blues (2025 [2026], OA2): Guitarist, several records since 2009, trio with Jeff Hamilton (bass) and Jon Hamar (drums) &mdash Kovalchek was on 2025's Jeff Hamilton Organ Trio album. Mostly originals, with Hamar contributing one, the covers including "Skylark" and "I've Been Everywhere." The latter and the title cut, in particular, have a nice bounciness. B+(***) [cd] [04-03]

Ladytron: Paradises (2026, Nettwerk): English electropop band, eighth studio album since 2001, a long one with 16 songs running 71:31, Daniel Hunt the composer, Helen Marnie the lead vocalist. B+(*) [sp]

Julian Lage: Scenes From Above (2025 [2026], Blue Note): Well-regarded guitarist, debut 2009, sixth Blue Note album, featuring credits for John Medeski (organ/piano), Jorge Roeder (bass), and Kenny Wolleson (drums), with a couple credits for Patrick Waren (dulcitone, strings). He often strikes me as a bit languid, but on occasion, Medeski kicks this up a notch. B+(*) [sp]

Brian Landrus: Just When You Think You Know (2025 [2026], BlueLand/Palmetto): Baritone saxophonist, albums since 2007, also plays some tenor, bass clarinet, and flutes (down to bass flute), along with Zaccai Curtis (keyboards), Dave Stryker (guitars), Lonnie Plaxico (basses), and Rudy Royston (drums). Veers a bit toward easy listening. B+(*) [cd]

Lazy Californians: Back to San Francisco (2026, Angel Island): Group led by Cameron Washington, plays trumpet and vocals, based in San Francisco, patterned on New Orleans brass bands but supplements trad jazz with rap and funk organ and more. B+(***) [cd]

Scott Lee: Greetings From Florida: Postcards From Paradise (2024 [2026], Sunnyside): Composer, website shows one previous album (Through the Mangrove Tunnels, 2020 on New Focus), so evidently not Discogs' Scott Lee (5), a bassist with several albums on SteepleChase. This is music written for chamber ensemble and singer Camila Meza, drawing built around lyrics from Cuban American poet Carolina Hospital. The lyrics "balance ambiguity with clarity of message in a way that makes them perfect for setting to music." I didn't warm to the music, but the depth and art is clear. B+(*) [cd] [04-16]

Tom Lippincott: Ode to the Possible (2025 [2026], self-released): Guitarist, plays an 8-string model with electronics, first album under his own name although he has scattered credits back to 1990. Qfuartet with David Fernandez (strong tenor/soprano sax), bass, and drums, plus a Camila Meza vocal on one track. B+(**) [cd]

Shawn Lovato: Biotic (2024 [2026], Endectomorph Music): Bassist, has a couple previous albums, this one a trio with Ingrid Laubrock (tenor sax) and Henry Mermer (drums), a fine example of the form. B+(***) [cd]

Lisanne Lyons: May I Come In (2022-24 [2026], OA2): Standards singer, started in the Air Force, has sung in ghost bands (Harry James, Maynard Ferguson), first album, backed by a big band plus strings, produced by Mike Lewis. B+(**) [cd]

Mandy, Indiana: Urgh (2026, Sacred Bones): French singer-songwriter Valentine Caulfield, mostly in French, organized the band in Manchester, although they also have a toehold in Berlin. Second album, with Scott Fair (guitar, production), Simon Catling (synthesizer), and Alex Macdougall (drums) sharing writing credits. Mostly going off sound here, which is dense but hard to parse. B+(**) [sp]

Roc Marciano: 656 (2026, self-released): Rapper Rakeem Calief Myer, has a dozen solo or collaborative studio albums since 2010. B+(**) [sp]

Kristen Mather de Andrade: Sim Fin (2022-24 [2026], Ansonica): Clarinet player and singer from Youngstown, Ohio; based in New York, has at least one previous album; plays Brazilian music, backed here by string quartet and other notables, including Vinicius Gomes (guitar) and Vitor Gonçalves (piano/accordion). B+(*) [cd]

The Messthetics and James Brandon Lewis: Deface the Currency (2026, Impulse!): Guitar-bass-drums trio had a couple albums (2018-19) before they joined up with the powerhouse tenor saxophonist. I filed the early albums under rock as the bassist (Joe Lally) and drummer (Brendan Canty) came from Fugazi, although guitarist Anthony Pirog had a fringe-jazz resume (two albums with Henry Kaiser, one a conduction of Terry Riley, a couple more I've heard but don't particularly recall). Time to move them into the jazz file, but I'm not all that pleased. The saxophonist makes a strong effort, but it's hard to sort him out. B [sp]

Pat Metheny: Side-Eye III+ (2026, Ubiquity Music): Jazz guitarist, long career, exceptionally popular, second Side-Eye recording (after 2021's Side-Eye NYC (V1.IV)), but a different group — the trio with Chris Fishman (keyboards) and Joe Dyson (drums) gets cover billing, plus guests including a vocal ensemble. B+(*) [sp]

Mitski: Nothing's About to Happen to Me (2026, Dead Oceans): Japanese-American singer-songwriter, mother Japanese, born there, but father was a US State Department official who dragged her all over before ending up in New York. Eighth studio album since 2012, popular breakthrough in 2012. One of the year's top-rated albums (so far), but once again she mostly slips past me. B+(*) [sp]

Model/Actriz: Swan Songs (2026, True Panther/Dirty Hit, EP): Industrial/dance-punk band, originally from Boston, now in Brooklyn, two albums, this just 3 songs, 14:01. B+(**) [sp]

Van Morrison: Somebody Tried to Sell Me a Bridge (2026, Townsend Music/Orangefield): He turned 80 last year, has developed a reputation as a sociopolitical crank, and he's writing fewer songs (4 of 20 here, not sure how many are new), but keeps active, here with his 48th studio album, mostly blues covers that get a fresh dose of swing. He's in good voice, and plays a little saxophone, some harmonica, a bit of guitar, while entertaining guests like Elvin Bishop, Taj Mahal, and Buddy Guy. Sounds good, but wears a bit thin before ending strong. B+(*) [sp]

Quinsin Nachoff: Patterns From Nature (2023 [2026], Whirlwind): Canadian saxophonist, based in New York, albums since 2006, some earlier side credits (especially with Michael Bates). Two long, complex pieces (one dubbed a concerto), played by a large ensemble with extra strings, a bit much for my taste. B+(***) [cd]

Negative Press Project: Friction Quartet (2025 [2026], Envelopmental Music): Bay Area chamber jazz octet led by Ruthie Dineen (piano) and Andrew Lion (bass), debuted in 2017 with an album called Eternal Life: Jeff Buckley Songs and Sounds, this their fifth album (although Discogs only lists their first), supplemented here by the Friction Quartet ("a cutting-edge string ensemble"). B+(*) [cd]

Angelika Niescier: Chicago Tapes (2025 [2026], Intakt): Alto saxophonist, born in Poland, debut album 2000, with a fairly well known pick up band in Chicago, names on the cover: Jason Adasiewicz (vibes), Nicole Mitchell (flute), Mike Reed (drums), Dave Rempis (alto/tenor sax), and Luke Stewart (bass). B+(***) [sp]

Luke Norris: Moment From the Past (2023 [2026], self-released): Saxophonist, also plays clarinet and synths, has a previous album from 2020, here with Dabin Ryu (keyboards), Tyrone Allen (basses), and Kayvon Gordon (drums), with Abe Nouri adding some "wildly inventive post-production." B+(***) [cd]

Adam O'Farrill: Elephant (2024 [2025], Out of Your Head): Trumpet player, son of Afro-Cuban Jazz majordomo Arturo O'Farrill (himself the son of famed Cuban bandleader Chico O'Farrill), has the chops to ply the family trade but on his own plays uninflected but often brilliant postbop. Quartet with Yvonne Rogers (piano), Walter Stinson (bass), and Russell Holzman (drums), with some electronics. A- [cd]

Meg Okura/Pan Asian Chamber Jazz Ensemble: Isaiah (2022 [2026], Adhyâropa): Violinist, born in Japan, makes a point in the notes of being an outsider ("an immigrant, a Jew by choice in an interracial marriage, and as a musician moving from classical to jazz"), but finding "solace" in composing, and in leading this twenty-year group with prominent names that don't strike me as conspicuously Asian. It's a terrific group, augmented by guests like Randy Brecker and Sam Newsome, playing scores that come from and go to pretty much everywhere. A- [cd]

Beto Paciello: The Stoic Suite (2023 [2026], Moons Arts): Brazilian pianist/composer, seems to have been around, with several albums, recorded this in New York with Eric Harland (drums), John Patitucci (bass), John Ellis (tenor/soprano sax, flute, bass clarinet), Rogerio Boccato (percussion), and Anne Boccato (voice). As is often the case, I lose this with the vocals. B [cd] [04-17]

Chenxi Pan: This Very Moment (2025 [2026], Origin): Jazz singer-songwriter, from China, moved to New York 2021, debut album, with tenor sax/clarinet, piano, guitar, bass, drums, violin, and cello. Matt Wilson produced. B [cd]

Poppy: Empty Hands (2026, Sumerian): Singer-songwriter Moriah Rose Pereira, tenth album since 2016, opens in pop mode, but follows up with metal thrash, which I'm surprised to enjoy more. B+(*) [sp]

Benjie Porecki: Faster Than We Know (2026, Funklove Productions): Pianist, also plays organ and other keyboards, from the DC area, eighth album sice 1996, eight original pieces plus a cover of "Superstar" (which I'm told was "famously covered by the Carpenters," but I associate with songwriters Bonnie Bramlett and Leon Russell). I prefer the piano to the organ. B+(*) [cd]

PVA: No More Like This (2026, It's All for Fun): British electropop, or perhaps trip-hop, group; second album, has a striking sound. B+(***) [sp]

Ratboys: Singin' to an Empty Chair (2026, New West): Chicago indie rock band, Julia Steiner the singer, guitarist David Sagan the other principal, sixth studio album since 2015. B+(**) [sp]

Reverso: Between Two Silences (2024 [2026], Alternate Side): Trombonist Ryan Keberle, his name no longer up front in this chamber jazz trio, with Frank Woeste (piano) and Vincent Courtois (cello), in what is at least their fifth album together (back to a Ravel-inspired 2017 album), this one original material from all three (3-5-2), this time inspired by Satie. B+(***) [cd] [03-27]

Ron Rieder: Compositions in Blue and Other Hues (2024 [2026], Meson): Composer, based in Boston, has a couple of recent Latin jazz albums, this a collection of more conventionally postbop pieces, played by a quintet I scarcely recognize — Yaure Muñiz (trumpet) is on some Cuban albums I've heard, and Mark Lockwood (bass) was in the Fringe. B+(**) [cd]

RJD2 & Supastition: According To (2026, RJ's Electrical Connections): Hip-hop producer Jon Krohn, appeared on a Def Jux Presents volume in 2001, and led his first joint in 2002. With rapper Kamaarphial Moye, from North Carolina, who goes back as far but only has one other album since 2007. Vintage beats, underground takes, clever enough even to mitigate my initial discomfort with "Bittersweet." A- [sp]

Robyn: Sexistential (2026, Konichiwa/Young): Swedish dance-pop singer-songwriter, debut 1995, started to break into US market 2005-10, only her second album since, and a fairly short one at that (nine songs, 29:30). A- [sp]

Joel Ross: Gospel Music (2026, Blue Note): Vibraphonist, grew up in Chicago, based in Brooklyn, fifth Blue Note album since 2019 (or 7th if you cound Out Of/Into, the "supergroup" I file under his name). Mostly original pieces (two exceptions), mostly quintet with Josh Johnson (alto sax), Maria Grand (tenor sax), Jeremy Corren (piano), Kanoa Mendenhall (bass), and Jeremy Dutton (drums), with a couple of guest spots for vocals and others (like Brandee Younger on harp). B+(**) [sp]

Harvie S: Bright Dawn (2024 [2026], Origin): Bassist, originally Swartz, shortened his name because so many people (including me) misspelled it, side-credit since 1973, has a couple dozen albums as leader or in duos (notably with Sheila Jordan). Quartet here with Peter Bernstein (guitar), Miki Hayama (piano), and Matt Wilson (drums). B+(**) [cd]

Marta Sanchez: For the Space You Left (2024 [2026], Out of Your Head): Spanish pianist, "(2)" on Discogs, several albums since 2008, some remarkable, including this one, solo, prepared piano but only occasionally does this move into a distorted range. A- [cd] [04-17]

Dave Schumacher & Cubeye: Agua Con Gas (2025 [2026], Cubeye Music): Baritone saxophonist, albums go back to 1993, second Cubeye album, with a mixed bag of Latin jazz musicians (notably pianists Manuel Valera and Silvano Monasterios, who contribute songs/arrangements). Three Schumacher originals, and two covers from Ronnie Cuber, who somehow figures into the motif. B [cd] [04-17]

Brandon Seabrook: Hellbent Daydream (2026, Pyroclastic): Guitarist, also plays banjo, albums since 2014, many credits, has leaned toward metal noise, does some kind of chamber jazz experiment here, with bass (Henry Fraser), violin (Erica Dicker), and keyboards (Elias Stemeseder). Has some interest, but not much appeal. B+(*) [cd]

Shabaka: Of the Earth (2026, Shabaka): Last name Hutchings, British saxophonist, has been a major figure in groups like Sons of Kemet and The Comet Is Coming, his own Ancestors, has a couple solo albums, at one point swore off sax in favor of flute, but seems to have recovered. Solo, with rhythm tracks and some rap. Still a lot of flute. B+(*) [sp]

Aaron Shaw: And So It Is (2025 [2026], Leaving): Saxophonist from Los Angeles, also plays bass clarinte and alto flute, first album, has some side credits with rappers (Tyler the Creator, Billy Woods), but mostly with Carlos Niño, who co-produced here. Shaw has a horrific health story which may contribute to the focus on what's called "spiritual jazz," or he may just dig Coltrane. B+(*) [sp]

Sideshow: Tigray Funk (2026, 10k): Los Angeles rapper (13 on Discogs, no Wikipedia), has a couple previous albums, trap beats, 32 short pieces. B+(**) [sp]

Sleaford Mods: The Demise of Planet X (2026, Rough Trade): British post-punk duo, started in 2007 with raw rap vocals, has evolved into something slightly more sung, like Psychedelic Furs. Lyrics matter, but so far I'm mostly taking theirs on faith. B+(**) [sp]

Walter Smith III: Twio Vol. 2 (2026, Blue Note): Tenor saxophonist, from Houston, studied at Berklee and now chairs the woodwind department there, debut 2006, third album on Blue Note, revisits the concept of his 2018 album Twio, with a trio playing standards supplemented by two "eminent elders" (this time Ron Carter and Branford Marsalis; the bassist and drummer are also new this time, Joe Sanders and Kendrick Scott). B+(***) [sp]

Yuyo Sotashe & Chris Pattishall: Invocation (2022 [2026], self-released, EP): Singer and piano (or synths or sound design), four songs, 20:35, makes an impression. B+(**) [cd]

Squirrel Nut Zippers: Squirrel Nut Zippers Starring in "Fat City" (The Ballad of Lil' Tony) (2026, Music Maker): Swing revival band from North Carolina, first appeared in 1995, five albums up through 2000, after which Jimbo Mathis recorded as a solo, and others scattered. A couple revivals later, he returns with a suite of songs based on his grandfather, Tony Malvezzi, "a bootlegger and juke joint operator" who moved on to promoting big bands in New Orleans. B+(**) [sp]

Karen Stachel, Norbert Stachel & LehCats: Live @ the Breakroom With Giovanni Hidalgo (2024 [2025], Purple Room Productions, 2CD): Wife and husband, she sings and plays flutes, he plays soprano and tenor sax (and more flutes), the band includes Matt Clark on keyboards, Dan Feiszli on bass, and Dan Gonzalez on drums, with guest percussion for more than a little Latin tinge. B+(*) [cd] [03-20]

Kevin Sun: Lofi at Lowlands 三 (2024 [2026], Endectomorph Music): Tenor saxophonist, made a big impression with his 2018 Trio debut, another trio here — with Walter Stinson (bass) and Kayvon Gordon (drums) — third in a series of live albums from Lowlands Bar in Brooklyn. B+(**) [sp]

Teen Jesus & the Jean Teasers: Glory (2025, Mom + Pop Music): Australian riot grrrl-inspired quartet, second album after a couple EPs, 10 snappy songs in 29:16, songcraft up, energy down. B+(**) [sp]

They Might Be Giants: Eyeball (2026, Idlewild, EP): John Flansburgh and John Linnell, their 1986 debut was my favorite album of the year, although I've never again been so taken by their musical and lyrical wit. Four songs, 8:31, one a remix. B- [sp]

Tinariwen: Hoggar (2026, Wedge): Tuareg group, formed in Algeria by exiles from Mali, spent some time in Libya before returning to Mali and getting caught up in political struggles there. Recorded an album in Ibidjan in 1991, but their breakthrough didn't come until 2001, when they started touring Europe and releasing albums there. Tenth album since 2001, all are pretty good but not very distinct. This strikes me as a bit slower and moodier than usual, which diminishes excitement but still sustains interest. B+(**) [sp]

Harriet Tubman & Georgia Muldrow: Electrical Field of Love (2026, Pi): Avant-fusion trio of Brandon Ross (guitar/banjo), Melvin Gibbs (electric bass), and JT Lewis (drums), sixth album since 1998, with Muldrow added for vocals and keyboards (more than a dozen albums on her own since 2006). Heavy. B+(***) [cd] [03-27]

Gregory Uhlmann: Extra Stars (2026, International Anthem): Guitarist, based in Los Angeles, has several albums, notably two by the group SML, which includes most of the guests who appear on spots here — the rest, presumably, is solo, with Uhlmann credited for guitar, bass, synths, recorder, percussion, and piano. Has sort of a "fourth world" vibe. B+(*) [sp]

Underscores: U (2026, self-released): Experimental electropop by April Harper Grey, based in San Francisco, third album. Bounces hard, glitches some. B+(**) [sp]

Johannes Wallmann: Not Tired (2024 [2025], Shifting Paradigm): German pianist, based in New York, dozen or so albums since 2004, this one with Ingrid Jensen (trumpet), Dayna Stephens (tenor sax), Nick Moran (bass), and Adam Nussbaum (drums), originals including two by co-producer Moran. B+(**) [bc]

Ben Wendel: BaRcoDe (2025 [2026], Edition): Tenor saxophonist, from Canada, a dozen or so albums since 2009, accompanied here by four vibraphonists (Joel Ross, Simon Moullier, Patricia Brennan, Juan Diego Villalobos), some also on marimba or balafon, most adding EFX. B+(**) [sp]

Immanuel Wilkins Quartet: Live at the Village Vanguard Vol. 1 (2025 [2026], Blue Note): Alto saxophonist, became an instant star when Blue Note released his Omega in 2020, has made the rounds as well as keynoting the Out Of/Into label all-star group. First live album, with Micah Thomas (piano), Ryoma Takenaga (bass), and Kweku Sumbry (drums); is being rolled out in bits, with this on CD and LP, and later digital-only releases for Vol. 2 (April 17) and Vol. 3 (May 15). I imagine that at some point I'll have to treat the combination as a single album, at least for polling purposes. I'm underwhelmed so far, but I've upgraded him in the past. B+(**) [sp]

Winged Wheel: Desert So Green (2025 [2026], 12XU): Discogs calls then "an indie supergroup," although I recognize just one name (Steve Shelley, from Sonic Youth), and two more bands (Circuit des Yeux, Tyvek), and never ran across their two previous albums. Does have a little Sonic Youth background sound. B+(**) [sp]

Jack Wood: For Every Man There's a Woman (2026, Jazz Hang): Standards crooner, "long a fixture in Southern California," has connections to Las Vegas and Utah (where most of this was recorded, cover cites special guests: The Lenore Raphael Trio with guitarist Doug MacDonald. Also strings. I have something of a soft spot for this sort of thing. B+(***) [cd] [03-24]

Xaviersobased: Xavier (2026, 1C/Surf Gang/Atlantic): Rapper/producer Xavier Lopez. Another one of those glitchy micro-genre joints. B+(**) [sp]

Zel: Still Right Here (2026, self-released): Maryland rapper and/or producer, got a rave Pitchfork review I can't read, doesn't have a Discogs I can find, or a Bandcamp; AOTY says the genre is "plugg," or maybe "ambient plugg" and/or "jerk," which Wikipedia describes as sub- or micro-genres of trap, itself a concept I have only the vaguest sense of. First take: sound is interesting, words escape me (18 tracks, 32:07). B+(***) [yt]

Zu: Ferrum Sidereum (2026, House of Mythology): Italian group, founded 1999, came to my attention in jazz but always had a fondness for noise and lately have gravitated toward metal. Principally Luca T Mai (sax) and Massimo Pupillo (bass), both also on keyboards, plus new drummer Paolo Mongardi. I have this tagged as "avant-metal," but it's instrumental, and as tricky as ever. B+(**) [sp]

Recent Reissues, Compilations, Vault Discoveries

Kelan Phil Cohran & Legacy: African Skies (1993 [2025], Listening Position): Trumpet player (1927-2017), in Sun Ra Arkestra 1959-61, recorded several albums, leading Hypnotic Brass Ensemble. Plays various instruments here (congas, flute, guitar, harp, trumpet, violin uke, and his own invention of an electrified kalimba, the frankiphone). Starts uncertain, with some vocals, but finds its groove, highlighted by a blues. A- [bc]

Docteur Nico: Presents African Fiesta Sukisa 1966-1974 (1966-74 [2025], Planet Ilunga): Congolese guitarist and bandleader Nico Kassanda (1939-85), joined Grand Kalle et l'African Jazz at age 14, left with Tabu Ley Rochereau to form L'Orchestra African Fiesta, discography has always been spotty, but this rounds up a prime period slice from his Sukisa label, available on 3-LP or with bonus songs for digital. A- [bc]

Marty Ehrlich/Julius Hemphill: Circle the Heart (1982 [2026], Relative Pitch): Hemphill (1938-95) founded the Black Artists Group in St. Louis, which Ehrlich joined before moving to New York. Duets, both playing soprano and alto sax, and flute, with Ehrlich also on bass clarinet. B+(**) [sp]

Bennie Green: Back on the Scene (1958 [2026], Blue Note): Trombonist (1923-77), from Chicago, started in the big bands of Earl Hines and Charlie Ventura, work in hard bop circles 1955-64 while keeping a fine sense of swing, later settled in Las Vegas, working in hotel bands. Fine quintet session here with Charlie Rouse (tenor sax), Joe Knight (piano), George Tucker (bass), and Louis Hayes (drums), playing six tunes, including a self-penned blues and two by Melba Liston. B+(***) [sp]

Grupo Um: Nineteen Seventy Seven (1977 [2026], Far Out): Brazilian jazz group, with Roberto Sion (soprano sax/clarinet), Lelo Nazario (keyboards), Zeca Assumpção (electric bass), and Zé Eduardo Nazario (drums), released three albums 1979-82, this find dating from a bit earlier. B+(**) [sp]

The Lawrence Marable Quartet: Tenorman (1956 [2026], Blue Note): Drummer (1929-2012), from Los Angeles, associated with West Coast jazz starting with Hampton Hawes, Wardell Gray, and Herb Geller, extending to Charlie Haden's Quartet West. Discogs counts 246 albums he played on, but this is the only one with his name up top, and even here the title is a nod to the featured saxophonist, James Clay. He's terrific throughout, well supported by Sonny Clark (piano) and Jimmy Bond (bass). A- [sp]

Hank Mobley Sextet: Hank (1957 [2026], Jazz: West/Blue Note): Tenor saxophonist, Leonard Feather called him the "middleweight champion of the tenor saxophone," which suggested that he couldn't compete with Coltrane and Rollins, but was masterful under any other light. This is pretty early, but one of seven albums from 1957 that Wikipedia lists, most with redundant or unimaginative titles, some tied to his membership in the Jazz Messengers. With John Jenkins (alto sax), Donald Byrd (trumpet), Bobby Timmons (piano), Wilbur Ware (bass), and Philly Joe Jones (drums). Reissued in Blue Note's Tone Poet series. B+(***) [yt]

Lee Morgan: City Lights (1957 [2026], Blue Note): Trumpet player, a key player in Art Blakey's Jazz Messengers, off to a very solid solo career. With George Coleman (tenor/alto sax), Ray Bryant (piano), Paul Chambers (bass), and Art Taylor (drums). Superb when he goes in hot, less so with a ballad. B+(**) [sp]

Abdallah Oumbadougou: Amghar: The Godfather of Tuareg Music Vol. 1 ([2024], Petaluma): Tuareg guitarist-singer from Niger (1962-2020), a pioneer in the Saharan rock style practiced by many later bands from Niger and Mali. No info on when this well-selected classic material was recorded, but Sahel Sounds released another good album from 1995, Anou Malane. A- [sp]

Ranil Y Su Conjunto Tropical: Galaxia Tropical ([2026], Analog Africa): Cumbia group, from Iquitos deep in the Pervian Amazon, led by singer Ranil (Raúl Llena Vásquez, 1935-2020). Dates are hard to come by, but he/they released a dozen albums starting in the 1970s (Discogs only has dates on three 1974-77 singles, plus some later compilations). This German label came up with a previous compilation in 2020 (plus a digital-only supplement called Stay Safe and Sound Rail Selection!!). A- [sp]

Twisted Teens: Blame the Clown (2025 [2026], Jazz Life): New Orleans country punk duo. Second or third label this has been picked up on. B+(**) [sp]

Tyrone Washington: Natural Essence (1967 [2026], Blue Note): Tenor saxophonist, b. 1944, recorded three albums 1968-74, leaving music for religious reasons, and eventually becoming a Sunni Muslim minister (as Mohammad Bilal Abdullah). He joined Horace Silver for The Jody Grind in 1966, and Larry Young for Contrasts in 1967. This was his first as leader, with Woody Shaw (trumpet), James Spaulding (alto sax/flute), Kenny Barron (piano), Reggie Workman (bass), and Joe Chambers (drums). This is pretty exciting, especially Shaw. Evidently a second Blue Note session was recorded but never released. A- [sp]

Old Music

Dead Pioneers: Dead Pioneers (2023, self-released): Indigenous punk-rap group from Denver, Gregg Deal the vocalist, with two guitars, bass, and drums, racing through 12 songs in 22:01. Starts with: "America's a pyramid scheme, and you ain't at the top." Continues: "The foundation of this country is rooted in slavery and genocide, born in the bosom of colonialism," then after noting capitalism adds "this structure is a rigged game." He goes on to admit to being a "Bad Indian" and a "Doom Indian" ("doom sustains me; it's no longer a description so much as a solid indigenous character; doom is angry and real and could care less about how it makes you feel." A- [sp]

Madonna: Madame X: Music From the Theater Xperience (2020 [2021], Warner): As the pace of her studio albums has slowed, she's gotten into the habit of punctuating them with live megatour albums — the tours being the main point of the albums. Thus we have The Confessions Tour (2007), Sticky & Sweet Tour (2010), MDNA World Tour (2013), Rebel Heart Tour (2017), and now this, following her excellent Madame X album (2019). This one was recorded in Lisbon, where Madonna moved in 2019, and incorporates a fado segment, among the new songs that mix in with the always welcome hits. In between, her banter is more sharply political than ever. Good. B+(***) [sp]

Madonna: MDNA World Tour (2012 [2013], Interscope): Her fourth live album, following MDNA, her twelfth studio album (2012), one of her better ones. The new album contributes 9 songs ("Turn Up the Radio" is one of the best), in a 114-minute, 24-song program. Sound is a bit thin, but the music is terrific, as ever. B+(***) [sp]

Madonna: Rebel Heart Tour (2016 [2017], Eagle): Another megatour, behind her thirteenth studio album, Rebel Heart (2016), a concert from Sydney, originally released as a 138:16 video, later reduced by a 22-track, 99:01 album. Eight songs from a good but not great album, plus many more. B+(**) [sp]

Masaka Kids Africana: Greatful (2021, Masaka Kids Africana): Group of Ugandan teens (more or less), under the name of a nonprofit that helps "orphaned, vulnerable and abandoned children," in this specific case to become YouTube dancing and musical stars. Second album after a 2019 debut, one more since plus several EPs, including some Xmas music. Several sources misread the album title as "Grateful," which they may well be, but they're also pretty great. A- [sp]

Hank Mobley: With Donald Byrd and Lee Morgan (1956 [1957], Blue Note): Tenor saxophonist, one of seven albums he released in 1957, a four-song hard bop blowing session with the two trumpet players, piano (Horace Silver), bass (Paul Chambers), and drums (Charlie Persip). B+(**) [sp]

Hank Mobley: A Caddy for Daddy (1965 [1966], Blue Note): One of the few 1960s albums I missed by the tenor saxophonist, a sextet with Lee Morgan (trumpet), Curtis Fuller (trombone), McCoy Tyner (piano), Bob Cranshaw (bass), and Billy Higgins (drums), playing four originals and one Wayne Shorter piece. B+(*) [sp]

Range Rats: Range Rats (1986 [2010], Mississippi): Ragged-but-right country-rock band led by Fred and Toody Cole, "some sad lilting ballads & some punk as hell," seems to be their only album under this name but the Coles have other credits, including the Rats (1980-83, before their country turn) and Dead Moon (1988-2004; I have two of their albums at A-). A- [sp]

Michael Hurley/The Range Rats: Dead Moon Night (1986-2017 [2024], Mississippi, EP): "Limited one time edition," consists of the folksinger covering a Dead Moon song from Portland's first Dead Moon Day (in honor of the band, after Freddy Cole's death), followed by a previously unreleased Range Rats song. Curios at best. B [bc]

Barbara Rosene With Vince Giordano & the Nighthawks: Deep Night (2000-01 [2001], Stomp Off): Trad/swing jazz singer, Michael Steinman raved about a recent performance so I thought I'd look her up. Nothing new since 2013's Nice & Naughty, but I had missed this first album, and I felt like a break from the new stuff. Discogs doesn't list musicians, but Giordano plays tuba and bass, and his band recorded from 1984-2006 (also backing Loudon Wainwright III on his 2020 I'd Rather Lead a Band). AI suggests Conal Fowkes (piano), Dan Levinson (sax/clarinet), Jon-Erik Kellso (trumpet), and Andy Stein (violin). B+(**) [sp]

Barbara Rosene & Her New Yorkers: Ev'rything's Made for Love (2003, Stomp Off): Another generous batch of old-timey songs (25, 73:40), backed by a nine-piece band where Jon-Erik Kellso (trumpet) and John Gill (drums) are probably the best known, with notable contributions by Conal Fowkes (piano), Matt Munisteri (guitar/banjo), and Meg Okura (violin). B+(***) [sp]

Grade (or other) Changes

Sometimes further listening leads me to change an initial grade, usually either because I move on to a real copy, or because someone else's review or list makes me want to check it again. Also some old albums extracted from further listening:

Buck 65: Do Not Bend (2026, Vertices): Rapper/beatmaker Richard Terfly, from Nova Scotia, seems to be in Toronto these days, called his 1988-96 juvenilia compilation Weirdo Magnet, has released many albums since, with a 2014-22 break, but he's been superb ever since. Short one (14 tracks, 26:43), snappy, as exceptional as ever. Noted: "I don't like this universe, let's move on to another one." [Label unspecified, but Christgau used Buck 65's Substack title. Lyrics here.] [was: B+(***)] A- [bc]

Gogol Bordello: We Mean It, Man! (2026, Casa Gogol): New York-based punk band, principally Eugene Hütz, the one constant since 1999, draws heavily on his Ukrainian background. Strong album. [was: B+(***)] A- [sp]

Music Weeks

Music: Current count 36534 [36534] rated (+0), 149 [149] unrated (+0).

Excerpts from this month's Music Week posts:

Notes

Sources noted as follows:

• [cd] based on physical cd
• [cdr] based on an advance or promo cd or cdr
• [lp] based on physical lp (vinyl)
• [dvd] based on physical dvd (rated more for music than video)
• [bc] available at bandcamp.com
• [r] available at napster.com (formerly Rhapsody)
• [sc] available at soundcloud.com
• [sp] available at spotify.com
• [yt] available at youtube.com
• [os] some other stream source
• [dl] something I was able to download from the web; may be freely available, may be a bootleg someone made available, or may be a publicist promo

Grades are probably self-explanatory, aside from B+, which is subdivided 1-2-3 stars, because most records that come my way are pretty good, but they're not all that good.