Monday, May 4, 2026

Music Week

May archive (in progress).

Music: Current count 45881 [45850] rated (+31), 14 [10] unrated (-4).

Finally back to Monday for Music Week. I had other stuff in mind when I woke up today, but after realizing how worn down I felt, I figured the minimum I could still do was to bag this and get it off the checklist. Still, it will probably take all day before I finish the post and update the website. I'm so far behind I need to pace myself.

Or so I thought. I ran the cutover on Monday, but then I went to work on a Substack post, and didn't get that up until Tuesday evening. I wanted to note all my recent writing here, so keeping this in sync made sense. Let me explain, from most recent first, working my way back:

  1. The Real Road to Serfdom: "Extraction, Resentment, Trump." A brief comment on a section of Tim Wu's book, The Age of Extraction: How Tech Platforms Conquered the Economy and Threaten Our Future Prosperity (pp. 122-124). He lays out five steps or stages, moving from economic concentration (monopoly) to strongman dictatorship (Trump). My first thought was that it's not that linear, and the sequence doesn't necessarily follow, but it makes more sense if you allow overlap and feedback (e.g., democratic failure allows more monopoly and extraction, which adds to the democratic failure). Also, Trump is a close enough strongman to make this sequence historical, and not just theory. This piece is also archived here.

  2. Lookback: Iraq 2003: "From day of infamy to one fleeting 'feel good' moment." While thinking about Trump's 2026 war with Iran, I recalled what I had written about Bush's 2003 war with Iraq, and thought it might be worth a revisit. I pulled that post out of my notebook, plus a couple more quotes — earlier, when I first noted the war plans, and later, when Baghdad fell and the Saddam Hussein statue was toppled (an event I designated the "feel good" day of the war; I contrasted that with the longer but still brief period of triumphalism when the major cities of Afghanistan fell in 2001). This piece is also archived here.

  3. On May 1, I wrote answers to two reader questions. The first had to do with "what motivates you to write to the extent that you do, for free no less?" I attribute this to two things: one has to do with my upbringing, where I find similar behavior in my siblings, and for that matter in my parents; the other had to do with my economic fortune, which isn't great, but suffices to allow me to do what I do. (I didn't go into the matter of how much potential income I'm sacrificing by not pressing the point. I suppose I can't know for sure, but I seriously doubt I'm giving up on much.)

    The second question is about blues and jazz books. I don't have much to offer, in that my own reading has been pretty stunted since 2001 (although I mention some new books on the shelf). I have, of course, read quite a bit online, but my proper book reading has tended toward my political and philosophical interests, whereas what I read about music is mostly just prospecting.

  4. I answered another question on April 29, about "what is it like to live in tornado alley?" More family history there.

  5. I can refer you to a Facebook post from April 30, which gives you a glimpse of my current office space. I was inspired to take this after I couldn't find a promo album. Let's see if I can link to the photo:

    This post got 43 likes and 12 comments (probably records for me, as the last time I checked, my previous Facebook post had something like 19 views). I'll note that I mostly work on the computer on the right (unseen, under the desk), rather than the newer/more powerful computer on the left (both are home-built Linux boxes). Much more stuff on the floor, unseen this side of the chair. While the shelves have long been like this (and there are many more similar ones in every other room in the house, I do occasionally clear the desks off, and most of what's lying loose on the floor isn't meant to be permanent. Although it is convenient to keep the travel cases out on the left desk, as that's the easiest place to look for a favorite oldie.

  6. I published another Substack post back on April 27, called Explaining Inflation. For it, I took a definition from "Explain It Daily" and tried to show how price increases aren't always the result of inflation: sometimes they're plain old-fashioned price gouging, especially when companies have monopoly power. I want to show that calling price gouging "inflation" is not only wrong, it implies that someone/something other than the culprits are responsible for price rises, and it further suggests that the solution for higher prices is to reduce the money supply, which is to say to promote recession. This makes no more sense than bleeding did in 19th century medicine. Come to think of it, the similarities should be unsettling.

I'm trying to write more, and quicker, on Substack. Some of this is just pushing ideas out that I've been developing all along in my journals and places like Loose Tabs. Would be nice to get more subscribers there, although I really treasure the ones I already have. Laura suggested today that instead of holding back all of my Loose Tabs drafts, I should dump them out as I go. (I've recently discovered that Jeffrey St. Clair's Roaming Charges columns are basically compilations of his Facebook posts, as I've started to follow him.) I've set up my Facebook account to allow Followers as well as Friends. Evidently, everyone who's sent me an unrequited Friend request has been dumped into the Followers list, which helps explain why the office mess photo got more circulation. (Maybe that it had a photo helped. Perhaps I need an art director?) My original interest in Facebook was because I wanted to stay in touch with certain friends and relatives, and knew they were more likely to post there than to, like, write or phone. So I've generally ignored requests from casual or virtual acquaintances, and I've done very little promotion of my writing there (for that, follow me on Bluesky (or, less reliably, on X), or just use the RSS. Whether knowing I have more followers makes me more likely to post on Facebook remains to be seen.

Of course, there is also a batch of record reviews below. I will note that before I did this week's unpacking, I had hit the bottom of my demo queue. Or at least the tray was empty: I have two more titles in the pending list that I don't seem to have CDs for. Could be elsewhere on the desk, or in another bin.

While I doubt I'll ever be classified as neat, I do intend to get a bit better organized in coming weeks. I've set up a couple of files in the "pile" for books and CDs I want to get rid of. That's the first step to moving them out. The first book to get the axe was called PostgreSQL Developer's Manual. The book dates from 2002, at which point PostgreSQL had several "advanced" features that MySQL lacked, and was favored for certain website development packages, but I never wound up using it. The first wave will mostly be tech books, as lots of them are clearly expendable. So they'll go into the file, then to the kiosk, then eventually out the door. As space opens on the shelves, I should at least be able to get stuff off the floor. I don't have the "out the door" part figured out yet, but one option is the recycle bin.

I should report that we got the carport railing up last week. We took it down before the roof work, so it's been 4-5 months. I still need to get the mini-split hooked up. Supposedly that will happen this week. I may call the attic work done for the season. While it was pretty cool today, I spent the day on other errands, and writing. Crawling around the attic is getting pretty painful for me, and it's not like I ever do anything up there other than work, so it will be out of sight, out of mind, with only the extra lumber in the garage to remind me of unfinished work.

Good chance I'll hold up next Music Week for a Loose Tabs. I have about 12,000 words in the draft file, which is more than enough to post, even if it's nowhere near complete. I'm not at all clear where the Iran war stands right now, which doesn't necessarily make me less informed than Trump. My idea of writing a piece on what should be a reasonable solution has fallen by the wayside, for lack of reasonable people, in Washington for sure, maybe also in Tehran and elsewhere.

New records reviewed this week:

Atmosphere: Jestures (2025, Rhymesayers Entertainment): Hip-hop duo from Minneapolis, rapper Slug (Sean Daley) and producer ANT (Anthony Davis), debut 1997, many albums, most very good. More consistently interesting than most, runs long (26 songs, 71 minutes) and gets stronger along the way. A- [sp]

MC Paul Barman & Kenny Segal: Antinomian Pandemonium (2026, Fused Arrow): Rapper from New Jersey, debut an EP in 2000 (It's Very Stimulating), only his fifth album, producer has long worked in similar circles. Seems to have slowed down a bit. B+(**) [bc]

Black Nile: Indigo Garden (2026, Hen House Studios): Los Angeles jazz fusion group, principally Aaron Shaw (sax) and Lawrence Shaw (bass), with keys (Luca Mendoza) and drums (Myles Martin), seems to be their fourth album since 2019 (but none on Discogs). B+(**) [bc]

Ryan Blotnick: The Woods (2024 [2026], Fishkill): Guitarist, fourth album since 2007, quartet with Tyler G. Wood (piano/organ), Adam Chilenski (bass), and Otto Hauser (drums). Some nice stuff scattered about here, but more often when it breaks with the sweet guitar than when running with it. B+(**) [dl]

Bobby Broom: Notes of Thanks (2025 [2026], Steele): Guitarist, originally from New York, based in Chicago, has at least 15 albums since 1981, 4 Deep Blue Organ Trio albums, many side credits, including with Dr. John and Sonny Rollins. Trio here, with Dennis Carroll (bass) and Kobie Watkins (drums), playing nine Rollins songs (plus one by Carroll). [Received CD, but unplayable.] B+(*) [sp]

Garret T. Capps: I Still Love San Antone (2026, Nudie): Country singer-songwriter, has several previous albums, including 2021's I Love San Antone, turns up the Tex-Mex when Joe King Carrasco and Augie Meyers drop in, before swinging into Bob Wills. B+(***) [bc]

Jessye DeSilva: Glitter Up the Dark (2024 [2026], Nine Athens): Singer-songwriter from Boston, plays keyboards, several previous albums (one on Discogs), writes songs "about religious alienation, mental health struggles, and societal injustice to create a uniquely queer and unholy ruckus." Some politics, some solid rock guitar. B+(**) [sp]

Richard Gilman-Opalsky: A Fierce and Gentle Force (2025 [2026], Edgetone): Drummer, has a couple albums, following early groups like Jody Crutch, The Judas Iscariot, Countdown to Putsch, and End Times Trio. This one is solo. Caught me in an agreeable mood. B+(***) [cd]

Ize Trio: Global Prayer (2023-25 [2026], self-released): Names, also on the cover: Chase Morrin (piano), Naseem Alatrash (cello), and George Lernis (percussion), plus a "featuring John Patitucci" (bass). Second group album. B+(**) [cd] [06-12]

Paul Kahn: Willingness (2026, Carl Cat, EP): Singer-songwriter, unless I'm confused, has a previous album from 1999, various production credits as far back as 1977. Six rather breezy songs (24:05), produced with backing vocals by Catherine Russell (also pictured on cover), with some reputable jazz musicians helping out. B- [cd] [06-19]

Kehlani: Kehlani (2026, Atlantic): R&B singer-songwriter, fifth studio album since 2017, first couple certified gold. B+(**) [sp]

Ella Langley: Dandelion (2026, Sawgod/Columbia): Country singer-songwriter from Alabama, second album (after an EP), this one keynoted by a hit single, with a Miranda Lambert duet. B+(***) [sp]

Los Thuthanaka: Wak'a (2026, self-released, EP): Bolivian-American electronica/collage duo, originally Elysia and Joshua Crampton, the former aka Chjuquimamani-Condori, had an eponymous album that placed high on some 2025 EOY lists, return here with a 3-track, 18:27 EP. Considerable noise quotient here, one I'm finding hard to take. B [bc]

Myra Melford/Satoko Fujii: Katarahi (2024 [2026], RogueArt): Duets by two of the avant-garde's world class pianists, b. 1957-58, Melford got a start with a 1990 album that Francis Davis rated a pick hit for his brief Village Voice Consumer Guide, Fujii was a student at New England Conservatory in 1994 when she was introduced to Melford by Paul Bley. They have a previous duo album from 2007. I'm not a big fan of solo, let alone duo, piano, but they are astonishing, which by now is just what you expect. A- [cd] [05-15]

Hedvig Mollestad Weejuns: Bitches Blues (2026, Rune Grammofon): Norwegian guitarist, trio with Stĺle Storlřkken (keyboards) and Ole Mofjell (drums), group name from a 2023 live album (evidently some slang term for Norwegians). Opens with tough fusion, then relaxes a bit. B+(***) [sp]

The Monochrome Set: Lotus Bridge (2026, Tapete): British group, appeared in the post-punk new wave of 1980, took breaks 1985-90 and 1995-2012, singer Bid Seshadri the only constant member, although Andy Warren (bass) has been around nearly as long, with Athen Aryen (keyboards) and Steve Gilchrist (drums) recent additions. I recall the name but not the sound (I had an LP in my ungraded list). This lacks the edge I associate with the early 1980s, moving it more into Cure-Suede territory. B [sp]

Maisy Owen: Dark on a Sunny Day (2026, Tompkins Square): Folkie singer-songwriter, a Nashville native, plays guitar, viola, bass, and piano, first album, 8 songs, 26:31. B+(*) [sp]

Andreas Rřysum Ensemble: With Marvin Tate (2025, Motvind): Norwegian clarinetist, large group (tentet here) has three previous albums, digital was rushed out a week after recording, but LP could qualify as a 2026 new release. Tate is a poet/artist from Chicago, has several albums since 1997, mostly with his D-Settlement group, as well as appearing on albums by Mike Reed and Jaimie Branch. Strong spoken word over delightful music, lost a bit at the end. B+(***) [bc]

Maria Schneider Orchestra: American Crow (2025 [2026], ArtistShare, EP): Big band composer/arranger, a Gil Evans protégé, albums start with Evanescence in 1994, has swept the Jazz Critics Poll three times[*], every album since 2007's Sky Blue. Undoubtedly talented, but I've never warmed to her work — the only occasion where Francis Davis doubted not just my judgment but my sanity. Title piece here was commissioned in 2022 and recorded along with a second piece, totalling 18:37, but here is padded out with an alternate take and some crow vocal samples. [*Her 2015 album was tied for 1st on points, but had fewer votes, which at the time was the tie-breaker; but Davis declared a tie.] B [os]

Serokolo 7: Maramfa Musick Pro (2026, Nyege Nyege Tapes): DJ/producer/sound system operator from Limpopo, in far northeastern South Africa. B+(*) [bc]

Bria Skonberg: Brass (2025 [2026], Cellar Music Group): Trumpet player from Canada, also sings (just the last song), eighth album since 2009, backed by piano (Luther Allison), bass, and drums. B+(**) [sp]

Harry Styles: Kiss All the Time. Disco, Occasionally. (2026, Erskine/Columbia): English singer-songwriter, started in boy band One Direction, has by far the biggest solo career of the quintet, fourth chart-topping album. I've never been a fan, but this is fairly agreeable. B+(*) [sp]

Tokischa: Amor & Droga (2026, Warner Latina): Dominican rapper-singer, as a bunch of singles since 2018, seems to be her first album, with ties to rap and reggaeton and who knows what else. B+(***) [sp]

Álvaro Torres Trio: Mairena (2025 [2026], Fresh Sound New Talent): Spanish pianist, based in New York, website has several previous albums, trio with Masa Kamaguchi (bass) and Kresten Osgood (drums), but recorded live in his old home town of Madrid. Five originals, plus a Cole Porter cover. B+(**) [cd]

The Twilight Sad: It's the Long Goodbye (2026, Rock Action): Post-punk band from Scotland, some industrial slag combined with shoegaze guitar fuzz, sixth album since 2007, a 7 year break this time. B+(**) [sp]

Steve Wilson: Enduring Sonance (2025 [2026], Smoke Sessions): Saxophonist (alto/soprano, also flute), has a couple dozen albums since 1992, many more side credits, including big bands (notably Maria Schneider). With Joe Locke (vibes), Renee Rosnes (piano/electric), Jay Anderson (bass), and Kendrick Scott (drums), plus french horn on two tracks. B+(*) [sp]

Recent reissues, compilations, and vault discoveries:

Terry Callier: At the Earl of Old Town (1967 [2025], Time Traveler, 2CD): Singer-songwriter from Chicago (1945-2012), ranges into soul and jazz but mostly figures as folk. Has something of a cult rep, but Christgau dismissed him as "the black Jim Webb, only warmer — and less talented." Live set here at a Chicago folk club, just singer and guitar, predates his 1968 debut album, and is all cover songs, with "Work Song," "The Seventh Son," "Gallows Pole," "and "My Girl Sloopy" the ones I most readily recognize. Seems like a nice night out with a fairly distinctive interpreter. B+(**) [cd]

Antoine Dougbé: Antoine Dougbé Et L'Orchestre Poly-Rythmo De Cotonou (1977-82 [2026], Analog Africa): I was initially tempted to file this under the Benin band, which already has a substantial database entry (starting in 1973). Dougbé (1947-96), dubbed the Devil's Prime Minister, released three albums in this brief period. A- [bc]

Roy Hargrove: Bern (2000 [2026], Time Traveler): Big-time trumpet player (1969-2002), has had a couple of stellar archival releases recently. Live set from Switzerland, a quintet with Sherman Irby (alto sax), Larry Willis (piano), Gerald Cannon (bass), and Willie Jones III (drums). B+(**) [cd]

Old music:

Ryan Blotnick: Kush (2016, Songlines): Guitarist, third album, mostly quartet with Michael Blake (tenor/soprano sax), Scott Colberg (bass), and RJ Miller (drums), plus guest pedal steel on one track. Blake is often impressive here, and the guitar fills in expertly. A- [sp]

Terry Callier: The New Folk Sound of Terry Callier (1964 [1968], Prestige): Black singer from Chicago ("childhood friend of Curtis Mayfield, Major Lance and Jerry Butler"), learned piano before guitar, started in doo-wop groups, recorded a single for Chess in 1962, moved into folk clubs, had a brief duo with David Crosby. First album, folk/blues covers (mostly trad.), with guitar and bass. Good singer, but not especially interesting music. [The 2018 reissue added a bunch of bonus tracks, but the 2025 remaster dropped them.] B [sp]

The Monochrome Set: Strange Boutique (1980, Dindisc): British group, made some noise in the early post-punk period, caught my attention but didn't sink in enough to make my early ratings database. Singer-songwriter went as Bid, with Lester Square (lead guitar), Andy Warren (bass guitar), and JD Haney (drums). Upbeat stuff has some snap and crunch, but not all that memorable. B+(*) [sp]

Unpacking: Found in the mail last week:

  • Dawn Clement: Dear Ms. Dearie (Origin) [05-22]
  • George Cotsirilos: In the Wee Hours (OA2) [05-22]
  • Gabriel Espinosa: The Brazilian Project (Origin) [05-22]
  • David Janeway Trio: Live at Blue LLama (SteepleChase) [05-04]
  • Doug MacDonald: Tribute to South Central (Dmac Music) [06-01]
  • Jennifer Madsen: Girl Talk (SingBaby Productions) [06-26]
  • Andrew Moorhead: Mirage (OA2) [05-22]
  • Sergio Pereira: Colors of Time (Sergio Pereira Music) [05-15]
  • Leigh Pilzer: Keep Holding On (Strange Woman) [06-19]
  • Bobby Sanabria Multiverse Big Band: Arsenio and Beyond: Live at the Bronx Music Hall (Jazzheads) [04-10]
  • Christopher Sánchez: Latin Jazz Meets Opera (Zoho) [05-08]
  • Joe Syrian Motor City Jazz Octet: A Blue Time (Circle 9) [04-24]

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