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Music Week [0 - 9]

Monday, October 20, 2025

October archive (in progress).

Music: Current count 45041 [45001] rated (+40), 16 [29] unrated (-13).

My 75th birthday is coming up this week. It's been a long, strange trip, one I'm increasingly reflecting on. I'm not big on milestones, but close to 30 years ago I decided to celebrate by cooking up a big dinner for a few close friends, and that's become an annual tradition almost ever since. Back in the 1980s I started seriously exploring the great world cuisines, so each annual dinner has turned into some kind of challenge to discover something new. At some point, I should gather my notes and document these (and similar) events, so I can have something to link to here. The best I can offer right now is a sketch of a recent but relatively modest Chinese (with a few extra notes here).

I've been thinking about this year's event for a while now, and it's just about the only thinking that gives me any pleasure. While I've never gotten to the obvious choice of Italian — which I have cooked on many occasions — or such less obvious ones as Persian, German, Scandinavian, or most of Africa and Latin America, I've long contemplated trying my hand at Indonesian/Malaysian, so that is this year's theme (possibly with a switch to French for dessert, as birthday in my family always means cake).

In good years, I would have thought this through well by now. In bad years, I found myself throwing something quick together at the last minute. (We've even done American food, twice: soul food featuring fried chicken, once just a lot of hamburgers.) I hoped this would be one of the good years, but I guess I'm slowing down, because time sure seems to be accelerating. I've complained all year about how little I've gotten done, and even this most happy of tasks seems to be slipping away from my grasp.

So all I've managed so far has been to flip through some cookbooks — one I've long had but never used, Cradle of Flavor, and a couple more I picked up from the library after the No Kings demo — and order some daun pandan and kecap manis, which seem to be mandatory. I've built up a list of possible ingredients, and figure I'll make two shopping trips: one today to look for the more esoteric staples, and one on Wednesday to pick up the meats and vegetables and whatever else I've missed. Whereas most years, I'd start from a well defined list of recipes, what I'm thinking of doing this time is just buying a lot of possible ingredients then looking through the cookbooks to find things to do with them. It's an overkill strategy, but my small experience with Rijsttafel suggests many small dishes brimming with flavor to mix into big piles of festive rice. And scanning through the cookbooks offers a lot of sambals that can be used as building blocks or just served on the side. That way I can start soon, and escape from the world.

Today, however, I need to post a lot of stuff. This Music Week, of course, but also I have the follow up to my Gaza War Peace Plan post, tentatively titled Making Peace. It's something of a joke to say that all I've done in the last week has been to figure out the solution to peace in the Middle East, because there is zero chance that anyone who can do anything about matters will read me and put such obvious solutions into practice. But pretty much everything you need to know is in those two posts. Of course, you could make it even simpler and say: try to do the right thing for everyone involved, be honest and open about it, and adjust when necessary. The first one got 104 views, which is not a lot but up from my previous posts. I'm not begging for money, but more free subscribers would be nice. The second post should go out tonight, possibly by the time I post this.

I should also go ahead and publish whatever I've managed to save up for Loose Tabs. I haven't come close to making my rounds, let alone making even a cursory edit, but the draft file wc word count is 14235 (so about 12k actual words), and some of the sections are beginning to smell funny. What I'm hoping to do now is to post it when this goes up, but dating it ahead to Tuesday (or, given that I rarely post before midnight, dating this back to Monday). I can always add change bars as I find other things that fit in (many, no doubt, already in open tabs I want to close). I can also write another More Thoughts on Loose Tabs, like I did last time. Indeed, I'm already having more thoughts on the Gaza posts, with new ones sure to come as I read Ilan Pappé new book, Israel on the Brink and the Eight Revolutions That Could Lead to Decolonization and Coexistence. Say what you will about the Nazis, the British, and even the Mongol Hordes, but there are no historical precedents for what Israel has done in and around Gaza, and we have even less historical guidance for anticipating the aftermath. (And yes, I've read Pankaj Mishra's ambitious The World After Gaza, where he, like Pappé, tries to look ahead after looking back. Another book along these lines that looks promising is Omar El Akkad's One Day, Everyone Will Have Always Been Against This, although it is also billed as a memoir, as it's hard to find solid ground here.) I'm sure I'll have more to say after Pappé book. Indeed, I should do another books post, as more relevant books are appearing all the time — and many more are in the works: Amazon already has pages for 2026 books by Omer Bartov (Israel: What Went Wrong) and Norman G Finkelstein (Gaza's Gravediggers: An Inquiry Into Corruption in High Places).

Meanwhile, I'm overwhelmed with domestic tasks. I talked to more roofers last week, and hope to get some concrete bids this week, and be able to make some decisions next week. I don't know how I'll find the time. Each discussion generates new questions, ideas, and worklists, requiring more thought. Meanwhile, stuff breaks, and has to be repaired (or lived with), and repairs drag on. I feel like I should be able to fix most things, but my own skills are clearly diminishing, and it's hard to find other folks to pick up the slack. After all, we live in a world where fraud is so prevalent it's hard to ever trust anyone.

One thing I should work on but will postpone at least another week is the Francis Davis Jazz Critics Poll. I still expect to send out ballots in mid-November, but at this point my ambitions don't extend much beyond trying to keep it barely afloat. I do have the website set up, but the ballot invites and other documentation needs a close edit. If anyone who reads this wants to help, please take a look at what's available, suggest edits and/or ask questions. I may be short on initiative, but I still try to respond to requests. I've mostly suppressed the FAQ because there haven't been any, but how could there possibly be no questions? Maybe there's some AI that can scan the website, rephrase it as questions, and make me wonder what it missed and/or what needs to be answered better?

One thing I won't be doing this week is listening to new music, or for that matter working much on the computer. Fortunate that we have a pretty large (and varied) list of finds this week to tide you over. And that I have a lot of treasured old music to enjoy.

PS: I held this post back until I published my second Gaza piece: Making Peace in Gaza and Beyond. This is also archived here. Also now available is Loose Tabs. Given that the latter collects 36 days of notes, it can't properly be called a rush job, but everything there (250 links, 13861 words) feels incredibly rushed and slapdash. Some day I expect to look back at it and pick out a dozen or so bits that I still think make good points, but right now I just have this desperate urge to clean house. I may well add a few changes later, but this opens up a new scratch file.

New records reviewed this week:

Affinity Trio [Eric Jacobson/Pamela York/Clay Schaub]: New Outlook (2024-25 [2025], Origin): Trumpet-piano-bass trio, second group album, each contributes an original, along with six covers, starting with "On the Sunny Side of the Street." B+(***) [cd]

Ammar 808: Club Tounsi (2025, Glitterbeat): Denmark-based Tunisian DJ/product Sofyann Ben Youssef, third album under this alias, also works with the Tuareg rock group Kel Assouf (based in Belgium). B+(**) [sp]

Bar Italia: Some Like It Hot (2025, Matador): British new wave band, fifth album since 2020, lead vocalist is Nina Christante, but guitarists Sam Fenton and Jezmi Tarik Fehmi also sing, and separately released a pretty good album earlier this year as Double Virgo. Still, she's a plus, and the more they sound like New Order, the more I like them. A- [sp]

Bobby Conn: Bobby's Place (2025, Tapete, EP): Singer-songwriter from Chicago, a "long time musical mischief maker and cultural provocateur," albums back to 1997, this one appears on Spotify as two EPs -- the 6-track (19:10) "Side One" and the 3-track (21:20) "Side A" -- distinct enough they should be kept separate, but interesting that he's into both approaches. B+(*) [sp]

Hollie Cook: Shy Girl (2025, Mr Bongo): English reggae singer-songwriter, daughter of Sex Pistols' drummer Paul Cook, tenor so albums since 2011. B+(**) [sp]

Madi Diaz: Fatal Optimist (2025, Anti-): Singer-songwriter, half-dozen albums since 2007, plays guitar, piano (her original instrument) on one track. Minimally folkie, something I'm rarely attracted to, but this one feels right. Title song is especially strong. A- [sp]

El Michaels Affair: 24 Hr Sports (2025, Big Crown): Hip-hop group led by producer Leon Michels, who produced albums in 2002 by Sharon Jones and Lee Fields, has group albums since 2005, including one with Black Thought in 2023. B- [sp]

Esthesis Quartet: Sound & Fury (2025, Sunnyside): Quartet of Elsa Nilsson (flute), Dawn Clement (piano, vocals), Emma Dayhuff (bass), and Tina Raymond (drums), all pictured on cover, third album, plus Bill Frisell (guitar). B+(**) [bc]

Carter Faith: Cherry Valley (2025, MCA Nashville): Country singer-songwriter, from North Carolina, dropped her surname Jones, but Wikipedia just refers to her as Faith. First album after a couple EPs. First song that caught my attention, midway through, was "Grudge." B+(**) [sp]

Robert Finley: Hallelujah! Don't Let the Devil Fool You (2025, Easy Eye): Blues/soul singer-songwriter, b. 1954 in Louisiana, has played music since he was 11 but didn't record until 2016. Fifth album, with daughter Christy Johnson on backing vocals, on eight songs that at least allude to gospel ("Praise Him," "His Love," "Helping Hand," "On the Battlefield," "I Am a Witness," etc.). The religion doesn't bother me, especially when the guitar transcends it. A- [sp]

Tomas Fujiwara: Dream Up (2023 [2025], Out of Your Head): Drummer, a Braxton student, fair number of albums since 2007, lots of side credits. Quartet with Patricia Brennan (vibes), plus Tim Keiper and Kaoru Watanabe on a long list of African- and Asian-sounding instruments, mostly percussion but some flute-like. A- [sp]

Todd Herbert: Captain Hubs (2024 [2025], TH Productions): Strong tenor saxophonist, several albums since 2007, mainstream group here with David Hazeltine (piano), John Webber (bass), and Louis Hayes (drums), playing five Herbert originals, two pieces by band members, and covers of Coltrane, Shorter, and "You Go to My Head." B+(***) [cd]

Maja Jaku: Blessed & Bewitched (2025, Origin): Jazz singer-songwriter, last name shortened from Jakupović, from Serbia, based in Austria, some songs co-written by Adrian Varady (drums, co-producer) or Saša Mutić, with two standards. Recorded in Brooklyn with Michael Rodriguez (trumpet), Alan Bartus (piano), Dezron Douglas (bass), and Johnathan Blake (drums). This is nice, especially on standards like "Never Let Me Go." B+(***) [cd]

Zara Larsson: Midnight Sun (2025, Summer House/Epic): Swedish electropop singer-songwriter, fifth album since 2014. B+(*) [sp]

Jens Lekman: Songs for Other People's Weddings (2025, Secretly Canadian): Singer-songwriter from Sweden, works in English, seventh album since 2004, fancy flights, but long (17 songs, 79:37). B+(***) [sp]

Lizzy & the Triggermen: Live at Joe's Pub (2024 [2025], self-released): Los Angeles-based swing band, Lizzy Shaps (Elizabeth Shapiro) the singer, nine musicians, some I've actually heard of -- Ricky Alexander (tenor/baritone sax, clarinet), Gordon Au (trumpet), John Allred (trombone), Luca Pino (guitar) -- playing standards with a few originals and some patter. B+(**) [cd]

Russ Lossing Trio: Moon Inhabitants (2020 [2025], Sunnyside): Pianist, has a couple dozen albums since 2000, this a trio with Masa Kamaguchi (bass) and Billy Mintz (drums), opens with five covers: Tchaikovsky between two Ornette Coleman tunes, Harold Arlen, Sonny Rollins, closing with three originals. B+(*) [bc]

Kelsey Mines: Everything Sacred, Nothing Serious (2024 [2025], OA2): Bassist, from Seattle, has a couple of albums on Relative Pitch, composed all of this, with flute (Elsa Nilsson), trombone, piano, guitar, drums, and percussion, and some additional recording in São Paulo, co-produced by Steve Rodby, with liner notes by Jovino Santos Neto. B+(*) [cd]

Andy Nevala: El Rumbón (The Party) (2023-24 [2025], Zoho): Pianist, based in Atlanta, self-released a 2000 album, has a few more credits, teaching experience, some big band work. Lively Latin jazz album, ten pieces from all over turned into a seamless party experience. B+(***) [cd]

Nicholas Payton: Triune (2025, Smoke Sessions): Trumpet player from New Orleans, albums since 1994, also plays keyboards, with Esperanza Spalding (bass and vocals) and Karriem Riggins (drums), with some guests (mostly vocals). I'm not much impressed here until the last two cuts: the first is the funk anthem "#bamisforthechildren" — "BAM" (Black American Music) is his preferred term for jazz; the second is an extended keyboard vamp called "Feed the Fire," which ends with some fairly impressive trumpet. B+(*) [sp]

Princess Nokia: Girls (2025, Artist House): New York rapper Destiny Nicole Frasqueri, fifth album. "I know what I'm doing. I trust my process." B+(***) [sp]

Reneé Rapp: Bite Me (2025, Interscope): Pop singer-songwriter, kicks off. B+(**) [sp]

Jussi Reijonen: Sayr: Salt/Thirst (2025, Unmusic): Finnish guitarist, has at least one previous album, has another Sayr: Live in Helsinki schedule to release on same date but this is the only one I was sent. "Sayr" is a concept from Arabic music, used here to denote a series of (thus far) solo albums. B+(*) [cd] [10-24]

Jussi Reijonen: Sayr: Kaiho - Live in Helsinki (2025, Unmusic): Finnish guitarist, also plays oud, which adds to the Arabic tones of his thoughtful solo work. B+(*) [os] [10-24]

Rubén Reinaldo: Fusión Olívica (2024 [2025], Free Code Jazz): Spanish guitarist, Bandcamp page has "Reinaldo" in quotes and shows last name as Baña, I'm not finding anything on Discogs but he has a previous duo album on Bandcamp. Backed by organ (Antonio López "Monano"), bass (Gustavo Hermán), and drums (David Failde). He bravely defied Trump and sent me vinyl, was buried under some pile until it came to the top of my unplayed list. Fits in the soul jazz idiom, but a bit fancier, with the bass adding a resonance organ never quite delivered. A- [lp]

Gonzalo Rubalcaba/Yainer Horta/Joey Calveiro: A Tribute to Benny Moré and Nat King Cole (2025, Calveiro Entertainment): Cuban pianist, flanked by two saxophonists (tenor and alto), and backed by others, playing four songs that Cole covered in his Havana albums, plus four from Cuban star Moré. B+(***) [sp]

Rich Siegel: It's Always Been You (2025, self-released): Singer, also plays piano, wrote several songs here but mostly far-ranging covers, ranging from Berlin to Tom Waits, with a mix of French, Spanish, and Brazilian, backed by bass (Cameron Brown) and drums (Tony Jefferson). B [cd]

Tom Skinner: Kaleidoscopic Visions (2025, International Anthem): British drummer, mostly has jazz credits like Sons of Kemet but has some other ventures, like Owiny Sigoma Band and, more commercially, the Smile (a trio with two blokes from Radiohead). Second studio album under his own name, has him also playing vibes, guitar, piano, and all sorts of electronics, with two saxophonists (Robert Stillman and Chelsea Carmichael), guitar, bass, cello, and vocals (Meshell Ndegeocello, Contour, Yaffra). B+(**) [sp]

Sudan Archives: The BPM (2025, Stones Throw): Brittney Parks, from Cincinnati, learned violin early, studied ethnomusicology later, works both into her varied dance-pop, third album after a couple of EPs. I'm having trouble coming up with specifics here, which suggests something is lacking, but that too eludes me. A- [sp]

Suede: Antidepressants (2025, BMG): English group, first album in 1993 was part of the Britpop wave, had a break between 2002-13, known in the US as London Suede, but they dropped the qualifier for their last couple albums. Lots of guitar, an impressive din of sound. B+(*) [sp]

Taylor Swift: The Life of a Showgirl (2025, Republic): Big star, you know that, 12th album (not counting remakes) since 2007, a Google search offers more info on psychological disorders and political polarization than info on the music itself, which has received such mixed reviews you sometimes wonder who is listening to what. I'm not enough of a fan to be able to recall any of her songs by name, but I've heard them all, and mostly enjoyed them. This one has a 59/23 score at AOTY, which means that Pitchfork's 5.9 rating is precisely average. On the other hand, from the very first play I found nearly all of this delightful. A- [sp]

Patrisha Thomson: Your Love (2025, PT Designs Productions): Standards singer, third album, songs cover a wide range, including one original (dated 2005). B [cd]

Henry Threadgill: Listen Ship (2025, Pi): Saxophonist, founded Air in 1971, especially notable for its free jazz developments on early jazz models, has had a very notable solo career since 1979. Just composer and conductor here, leading a group of six guitarists and two pianists through a maze of sixteen fractured "roadmaps." B+(***) [cd]

Mark Turner: Reflections On: The Autobiography of an Ex-Colored Man (2025, Giant Step Arts): Tenor saxophonist, one of many to emerge in the 1990s, has been especially busy of late. Extended piece, with ten movements built around spoken word excerpts from James Weldon Johnson's 1912 novel about race in America. Quintet with Jason Palmer (trumpet), David Virelles (piano/profit/organ), Matt Brewer (basses), and Nasheet Waits (drums). Strong group, and the narration is interesting. B+(***) [cd]

Recent reissues, compilations, and vault discoveries:

Kenny Barron: Sunset to Dawn (1973 [2025], Muse/Time Traveler): Muse Records was a label founded by Prestige Records producer Joe Fields in 1972, which ran up to 1996 when it was sold to 32 Jazz (run by Joel Dorn; Fields moved on to found the HighNote and Savant labels). The latter reissued much of the catalog on CD, before being sold to Savoy Jazz (a venerable label name by then part of Nippon Columbia), which reissued some samplers, but let the label's many releases go out of print. Muse was a very important (mostly mainstream) label during its time: I count 112 titles in my database, most unrated because the music hasn't been readily available on streaming. So the announcement that this new label (or new label name, as it seems to be associated with Craft, which itself is tied to Concord) will be reissuing from its catalog is terrific news. This is the first of the reissues, the pianist's first recording, mostly electric piano with bass (Bob Cranshaw), drums (Freddie Waits), and percussion (Richard Landrum and Warren Smith). The product push is focused on luxury vinyl, but my promo copy is a CD (better for me, although Gary Giddins' original back cover notes require a microfiche reader). Nice record, but wouldn't have been my leadoff hitter. (I have 32 Jazz's reissue of Barron's second album, Peruvian Blue, rated A-.) B+(**) [cd]

Roy Brooks: The Free Slave (1970 [2025], Muse/Time Traveler): Hard bop drummer (1938-2005), from Detroit, started with Blue Mitchell in 1960, rarely appeared as leader (first in 1964, then this in 1972). Crackling live quintet with Woody Shaw (trumpet), George Coleman (tenor sax), Hugh Lawson (piano), and Cecil McBee (bass). A- [cd]

Ivan Farmakovskiy: Epic Power (2010 [2025], SteepleChase): Russian pianist, one article says "renowned" and mentions prizes he won in 1994 and 1997, I didn't find him in Discogs until I backed into an entry with his name in Cyrillic, which yielded two 2009-10 titles. I wonder if the "iy" in his name here is meant to pawn him off as Ukrainian? This was from the same period, a trio with bass (Christian McBride) and drums (Jack DeJohnette), mosty playing his originals. Very impressive work. Hard to see why anyone would sit on this. B+(***) [sp]

Carlos Garnett: Cosmos Nucleus (1976 [2025], Muse/Time Traveler): Alto saxophonist (1938-2023), from Panama, moved to New York in 1962, released his first five albums on Muse (1974-78), with this the fourth, a large group playing his original pieces, in a Coltrane-ish spiritual jazz vein, with some vocals by Cheryl P. Alexander. B+(*) [cd]

John Lennon/Yoko Ono/Plastic Ono Band: Power to the People: Live at the One to One Concert (1972 [2025], Universal, 2CD): Two full concerts at Madison Square Garden, spun off from a "Deluxe Edition" that includes much more (9-CD, 3-DVD, book, stickers, who knows what else?). This runs 31 songs, 141 minutes. Lennon's own songs from his two now-classic albums, plus a few songs originating in his previous group, are well known, sharply performed. More songs, especially those sung by Ono, are new to me or long forgotten, but not without merit (although often, as remembered, "shrill"). Most tracks previously unreleased. The exceptions are probably from Some Time in New York City, although I suspect that the sound is much improved here. I haven't seen the "Deluxe Edition" box, but hear that it has some tie-in to the film Betrayal at Attica B+(**) [sp]

Pharoah Sanders: Love Is Here: The Complete Paris 1975 ORTF Recordings (1975 [2025], Transcendence Sounds, 2CD): Tenor saxophonist (1940-2022), a Coltrane protégé in the 1960s, coming off a series of expansive albums on Impulse! that helped define what we've since come to call "spiritual jazz" (in the trinity, he was "son" to Coltrane's "father" and Ayler's "holy ghost"). Quartet with Danny Mixon (piano/organ), Calvin Hill (bass), and Greg Bandy (drums). Some of this has been out before, but not at this length (11 tracks, 113 minutes). Starts with an "Improvisation with Pipe Organ" that I find very murky, but ends with a resounding "Love Is Everywhere." New label seems to be a spinoff of Barcelona's Elemental Music. B+(**) [sp]

Old music:

Roy Brooks: Beat (1964, Workshop Jazz): Hard bop drummer from Detroit, first album as leader, with Blue Mitchell (trumpet), Junior Cook (tenor sax), George Bohanon (trombone), Hugh Lawson (piano), and Eugene Taylor (bass). B+(**) [sp]

Unpacking: Found in the mail last week:

• Martin Bejerano: The Purple Project (Figgland) [11-21]
• Theo Bleckmann: Love and Anger (Sunnyside) [10-31]
• Tomas Fujiwara: Dream Up (Out of Your Head) [09-12] [damaged]
• Thomas Morgan: Around You Is a Forest (Loveland Music) [11-07]
• Tom Ollenberg: Where in the World (Fresh Sound New Talent) [11-21]

Ask a question, or send a comment.

Monday, October 13, 2025

October archive (in progress).

Music: Current count 45001 [44977] rated (+24), 29 [29] unrated (+0).

Week is a day short, but the rated drop is mostly because I haven't been paying much attention. Indeed, I'm surprise the drop isn't worse, but I've lost track of time. Last Monday we had insurance out to look at the roof, and they decided that he had enough hail damage to replace the whole roof, but that the most visible wounds were our own fault, so didn't merit them putting a tarp up to stop the leaking. Since then, I've been talking to roofing contractors, who curry favor by admitting that insurance companies are really criminal enterprises, then lose with sales pitches that make me as wary of them. The only things are are clear right now is that this is going to cost us a lot of money, and I'm not really going to trust whoever I wind up picking. The whole experience has me reeling so severely that I took time out today to work up my solution to a much simpler problem: peace in the Middle East.

This will be the subject of two Notes on Everyday Life pieces: one on the actual plan, and another on what I think would be a better, albeit far from ideal, plan (links to local drafts, the former nearly done, the latter just barely outlined). Events are moving fast, with the hostage exchanges today, the ceasefire and very partial withdrawal presumably started, and Trump off to Egypt to wax eloquent on the art of the deal. I'm hoping to post those on Tuesday and Friday, with the latter shortly followed by an updated Loose Tabs. The draft file is close to ready now, with nearly 10,000 words so far (193 links), but I figure I should keep it open until the second post is ready, as the Israel section (27 links so far, plus whatever I find during the week) will help document.

Aside from this writing, I need to concentrate on house matters next week. It's going to be rough.

New records reviewed this week:

Agnas Bros.: Sista Försöket (2025, Moserobie): Swedish group: Kasper Agnas (guitar), Max Agnas (piano), Mauritz Agnas (bass), and Konrad Agnas (drums). They have several albums going back to 2012, as well as solo credits, especially Konrad (the eldest, b. 1990; there was also a previous generation of Agnas Bros., with their father, Urban, and his brothers, Tomas and Joakim; Urban's wife Sabrina, niece Maja, and nephew Nils also have Discogs credits). Live, moves along nicely (32:54). B+(***) [cd]

Eric Alexander: Like Sugar (2024 [2025], Cellar Live): Mainstream tenor saxophonist, has a lot of records since 1995, especially quartets like this one, with David Hazeltine (piano), Dennis Carroll (bass), and George Fludas (drums). Title is a nod to Stanley Turrentine, but not quite a tribute. This suits him very nicely. B+(***) [sp]

Bright Eyes: Kids Table (2025, Dead Oceans, EP): Conor Oberst, has been releasing albums under this group/alias since 1998, has some songcraft but that's never sufficed for me. Not sure this should be called an EP (8 songs, 29:06). B+(*) [sp]

Lucrecia Dalt: A Danger to Ourselves (2025, RVNG Intl): Sound artist from Colombia, María Lucrecia Pérez López, based in Berlin, has a dozen albums since 2011. B+(***) [sp]

Maya Delilah: The Long Way Round (2025, Blue Note): English singer-songwriter, plays guitar, first album after two EPs and some singles. Nice batch of songs, with an easy flow. On a jazz label, but not really. B+(**) [sp]

Earscratcher: Otoliths (2024 [2025], Aerophonic): Free jazz quartet with Dave Rempis (soprano/alto/tenor sax), Elisabeth Harnik (piano), Fred Lonberg-Holm (cello), and Tim Daisy (drums), second album, first I've heard all week that's just pure delight to listen to. A- [cd]

Margaret Glaspy: The Golden Heart Protector (2025, ATO, EP): A singer-songwriter of considerable interest, although these 7 songs (25:23) seem to be covers, all but one duet features. The most familiar song is also the most distinctive ("Have You Ever Seen the Rain"). B+(***) [sp]

Phil Haynes & Free Country: Liberty Now! (1996-2025 [2025], Corner Store Jazz, 2CD): Drummer, wide range of releases since working with Paul Smoker in the 1980s. This appears to be two albums in one package, a nightmare configuration for anyone trying to run a poll that distinguishes between new and old archival music. First disc is a recent set with Hank Roberts (cello), Jim Yanda (guitar/vocals), and Drew Gress (bass), each contributing new songs. The second is probably the same group, but playing old Americana, including "Revolution," "What's Going On," and "Respect" -- a 71:16 sampler from their previous albums, or possibly stray tracks from those sessions. The scattered vocals aren't much good, but the melodies take you back. The new material (61:15) is a bit harder to connect with, but the vibe is the same. B+(**) [cd] [10-17]

Hunx and His Punx: Walk Out on This World (2025, Get Better): Punk band from California, principally Seth Bogart, three albums 2011-14, regrouped here for a fourth. B- [sp]

Charles Lloyd: Figure in Blue (2025, Blue Note): Tenor saxophonist, also plays some flute, he's been a big name since the 1960s, recorded this on his 87th birthday, in a trio with Jason Moran (piano) and Marvin Sewell (guitar), with 14 tracks stretching out to 98 minutes. He takes it easy for the most part, with most of the muscle (and sinew) from the guitar. B+(*) [sp]

Jim McNeely: Primal Colors (2025, Challenge): Pianist, composer and big band director, working here with Frankfurt Radio Symphony and Frankfurt Radio Bigband, for a major production. B+(*) [sp]

John Michel/Anthony James: Egotrip (2025, Loudmouth): Underground rapper and producer, first album I can find by either. Pretty splashy. B+(**) [sp]

Rhett Miller: A Lifetime of Riding by Night (2025, ATO): Singer-songwriter from Texas, leader of the alt-country-rock band Old 97's (20+ albums 1994-2024), has also released 8 studio solo albums since 2002 (one previous one from 1989). Easy to listen to, and not without merit. B+(**) [sp]

Neal Miner: Invisibility (2025, Cellar Music): Bassist, a name I thought I recognized from Lou Kaven's Smalls labeld, but I find I hadn't made any note of his 2006 album there -- I do have several side-credits from then and since. This is a trio with Chris Byars (tenor sax, also on his Smalls album) and Jason Tiemann (drums), playing his compositions ("mostly contrafacts over classic American standard songs"). Bryars is the leading talent who came out of that scene, a retro player jumping off from bebop, much like Scott Hamilton did with swing. B+(***) [sp]

The Prize: In the Red (2025, Anti Fade): Australian power pop band, "equal parts brains and bravado." B+(**) [sp]

Jason Rigby: Mayhem (2024 [2025], Endectomorph Music): Tenor saxophonist, first noticed as one of Fresh Sound's new talents (2006, or for side credits 2002), several albums since, 40 credits total. Also plays bass clarinet, flute, piano and other keyboards, percussion, electronics, along with Mark Guiliana (drums, electronics). Fast stuff up front is most appealing. B+(***) [sp]

Bill Scorzari: Sidereal Days (Day 1) (2025, self-released): Singer-songwriter, originally from Kansas, moved to New York City, seems to have gotten a late start after years of practicing law, his 2014 debut was interesting, and three (now four) subsequent albums have only gotten better. Not much of a voice, but orks for him, probably because the songs justify the lyric sheet but wind up sounding even better. A (Day 2) sequel is promised, but not until Sept. 2026. He has more confidence than I that we'll still be here. A- [cd] [10-17]

Grant Stewart: Next Spring (2024 [2025], Cellar Music): Tenor saxophonist, from Toronto, mainstream ("steady swinging, muscular hard bop"), couple dozen albums since 1992, a couple co-led with Eric Alexander, this a quartet with Tardo Hammer (piano), Paul Sikivie (bass), and Phil Stewart (drums), playing standards including Monk, Shorter, Barry Harris, and Bob Mover. B+(**) [sp]

Recent reissues, compilations, and vault discoveries:

Ray Charles: Best of Country & Western (1962-85 [2024], Tangerine): Thirteen songs, including three each from the two 1962 volumes of Modern Sounds in Country & Western Music, where his customary application of strings and chorus to country standards just added to his genius reputation. This picks up some later hits like "Crying Time" (1964), but only includes two songs after 1967: a Johnny Cash cover from 1970, and a Willie Nelson duet from the latter's 1985 Half Nelson. Some classics here, but this can slip into formula. B+(**) [bc]

Old music:

Agnas Bros.: Lycka Till Med Musiken (2017 [2018], Agnas Musikproduktioner): Third group album (first was 2012) for Urban Agnas' sons Konrad (drums, b. 1990), Kasper (guitar, b. 1992), Mauritz (bass, b. 1995), and Max (piano, b. 1997). B+(**) [bc]

Agnas Bros.: Frya (2022, Haphazard Music): Fourth album. B+(**) [bc]

Ray Charles: The Complete Swing Time and Down Beat Recordings (1949-1952) (1949-52 [2004], Night Train, 2CD): First recordings for the blind pianist-singer, before he moved on to Atlantic and stardom. He had a few minor r&b hits during this period ("Confession Blues," "Baby Let Me Hold Your Hand," "Kissa Me Baby"). I've always heard that he was a Charles Brown wannabe early on, and there's a fair amount of that here, but other undeveloped styles as well. B+(*) [sp]

Ronald Shannon Jackson and the Decoding Society: Eye on You (1980 [1981], About Time): Drummer (1940-2013), from Fort Worth, part of Ornette Coleman's mid-1970s Prime Time group. This is a similar-sounding group, with two saxophonists (Byard Lancaster and Charles Brackeen), two guitarists (Vernon Reid and Bern Nix), electric bass (Melvin Gibbs), violin (Billy Bang), and percussion (Erasto Vasconcelos). Still, none of them (even Bang) can quite pull off the sort of miracles Coleman so often delivered. B+(***) [bc]

Jim McNeely Quintet: Rain's Dance (1976 [1978], SteepleChase): Pianist (1949-2025), owns one of the few solo piano albums I've rated A- (his Vol. 20 entry in Maybeck Recital Hall Series), but is best known for extensive work in big bands, starting with Thad Jones/Mel Lewis in 1978, including its later Vanguard Jazz Orchestra edition, and work with several European big bands. Quintet with Larry Schneider (tenor/soprano sax), Mike Richmond (bass), Bob Merigliano (drums), and Sam Jacobs (percussion). B+(***) [sp]

Grade (or other) changes:

Margo Price: Hard Headed Woman (2025, Loma Vista): Country singer-songwriter, fifth studio album since 2016 (plus a live Perfectly Imperfect at the Ryman). Strong upbeat pieces, doesn't lose much on the ballads. [was: B+(***)] A- [sp]

Unpacking: Found in the mail last week:

• Agnas Bros.: Sista Försöket (Moserobie) [09-26]
• David Greenberger & the Hi-Ho Barbers: Ginger Ale (Pel Pel) [11-17]
• John O'Gallagher/Ben Monder/Andrew Cyrille/Billy Hart: Ancestral (Whirlwind) [10-24]

Ask a question, or send a comment.

Tuesday, October 7, 2025

October archive (in progress).

Music: Current count 44977 [44927] rated (+50), 29 [20] unrated (+9).

Bernie Sanders is wrong, It's not okto be angry about capitalism. It's a curse, a chore, a dead weight that saps your energy and spirit and leaves you empty and bitter. That's probably why most people are resigned to its inevitability. And those who can afford it, which probably includes us, will wind up just paying them off to make the problems go away. Most capitalists, after all, are satisfied just taking your money. Political ideologues aren't so easily paid off. No point going into details about what's driving these statements. They're my problems, not yours. But they're coming for you, just as surely as they came for me.

I posted a piece on Cooking Chinese last week. It was on my Substack newsletter, which for various historical and philosophical reasons I call Notes on Everyday Life. After several political posts (and one on Sheila Jordan), I wanted to do something closer to my own everyday life. Your mileage may vary, but cooking, eating, and socializing are pretty universal. Of course, when I was done, I still had further thoughts, so I spent a couple days writing them up, in Friday's (updated yesterday) blog post, Cooking Chinese (Again). That, plus capitalism, pushed this Music Week post out a day.

I was surprised to find the rated count so high (50; 30 is my idea of a good week), as it seems like I spent much of the week desperately searching for things to listen to next. I did the cutoff late Monday, so got most of an extra day in, but I wasn't able to listen to much that day. (My initial cutoff count was 49. I added the Carrier album late Monday, before I finished opening the day's mail, so that made 50, and bumped the A-list from 2 to 3. Tuesday morning I added Wednesday, figuring it would be nice to have at least one new A- album, and that I was overdue in getting to it anyway. But it will be in next week's count.)

Three things helped with the rated count: Phil Overeem's October 1 list suggested some titles (including Wednesday, and a Patricia Brennan album that I expected would show up in the mail later); the About Time Records Bandcamp page, where I listened to everything (checks; missed one, so next week for Ronald Shannon Jackson); and a look into Mark O'Leary's early work: three newly issued tapes that date from 1998-2001, on Bandcamp, plus many of his 2000-08 Leo releases, on Spotify. He wrote me via my Q&A form, adding "even a modest mention of . . . would be very appreciated." Modest mentions is about all I seem to be good for these days, but I wrote up two of those last week, spending most of my listening time trying to figure out how old they were. I got the recording dates from him later (1998-2001), so that's why they're in the "changes" section below. I gather he went off in a different direction after 2008, but I didn't venture there: too many albums, no idea where to start. Maybe later.

It seems like most of what I get through the Q&A form are plugs for reviewing albums. I follow up on them more often than not, but still find it disappointing when my opinion is only sought for commerce. More anger about capitalism, I'm afraid.

If you haven't already, a subscription to Notes on Everyday Life would be appreciated. They do one thing well that I've never been able to do on my own, which is to track readership. It's good to get some evidence back that I'm not just shouting into the void. I'm thinking that my next piece there is going to be a "modest mention" of a sensible peace plan for Israel/Gaza. I've thought about that for 25 years, basically ever since Ehud Barak, Ariel Sharon, and Shaul Moffaz blew up the Oslo Accords (with non-trivial assists from Shimon Peres, Benjamin Netanyahu, and Bill Clinton), although most of the ideas I've come up with over the years no longer work, mostly because I've always assumed that sanity can prevail. The question now is more along the lines of can insanity be constrained? I'm pretty skeptical, especially where Trump is concerned, but if it could be constrained, some ways are more realistic and/or more viable than others.

Don't expect such a piece real soon. While I have a pretty good idea where to go, I need first to collect some Loose Tabs, especially to pick up details on the "Trump Peace Plan" (which is probably one of those compound oxymorons like "Holy Roman Empire"). Not much in the draft file so far, so I have a fair amount of work to do there.

New records reviewed this week:

$ilkMoney: Who Waters the Wilting Giving Tree Once the Leaves Dry Up and Fruits No Longer Bear? (2025, Lex/DB$B): Rapper from Virginia, Murphy Graves, fourth album since 2018, all long, run-on titles. B+(***) [sp]

Marja Ahti: Touch This Fragrant Surface of Earth (2025, Fönstret): Born in Sweden, based in Finland, combines field recordings with electronics and sundry instruments for speculative ambient arts, including a couple others on clarinet and cello. B+(*) [bc]

Pheeroan akLaff/Scott Robinson/Julian Thayer: aRT: Live at Kampo Bahal Gallery (2025, ScienSonic, EP): Drums, reeds, bass trio, the drummer originally named Paul Maddox, from Detroit, has a long and distinguished career starting with Oliver Lake in 1975, including work with Henry Threadgill and Wadada Leo Smith. I think of Robinson as being more retro, but not here. The bassist has few side-credits, mostly with Robinson or Klaus Suonsaari. The three recorded a trio album in 2024 which has proven elusive, but this shorter (23:34) improv piece is probably indicative, but also seems tentative. B+(*) [bc]

Gary Bartz & NTU: The Eternal Tenure of Sound: Damage Control (2022-23 [2025], OYO): Alto saxophonist, in his 80s now, best known for his Afro-centric NTU Troop albums (1970-74), but has a long catalog up through 2011, less recently (although he was featured on one of the Jazz Is Dead albums). I like the sax here, but can't get into the vocals, although they work well enough for slow soul jams. B+(*) [sp]

Chrome Hill: En Route (2024 [2025], Clean Feed): Norwegian jazz group, fifth album since 2008, main name I recognize is Atle Nymo (tenor sax, bass clarinet), but composer is Asbjørn Lerheim (Fender Bass VI, electric guitar, electronics), backed by Roger Arntzen (bass, electronics) and Torstein Lofthus (drums). B+(**) [sp]

Mike Clark: Itai Doshin (2024 [2025], Wide Hive): Drummer, generic name is easy to forget but he's been active since the the early 1970s (with Herbie Hancock) and Discogs credits him with 21 albums since 1992. Quintet of veterans here -- Eddie Henderson (trumpet), Craig Handy (sax), Patrice Rushen (piano/rhodes), Henry Franklin (bass) -- so mainstream you know what to expect, but can't help but be pleased. B+(***) [cd]

Tom Cohen: Embraceable Brazil (2025, Versa): Drummer, from Philadelphia, has several previous albums back to 1997, plays a wide range of Brazilian standards here, some with Chico Pinheiro on guitar and/or Barbara Mendes for vocals. B+(**) [cd]

Jorge Espinal: Bombos Y Cencerros (2023 [2025], Buh): Guitarist from Peru, has a previous trio album from 2015, not sure how much else. This is solo, improv, but the credit reads: "all at once, prepared electric guitar, bass drum, cowbell, pedals, and laptop." Nine pieces, 29:07. For a while I could imagine Captain Beefheart singing to it, but it wound up too fragmented even for Tom Zé. B+(**) [sp]

Debby Friday: The Starrr of the Queen of Life (2025, Sub Pop): Electropop singer-songwriter, born in Nigeria, raised in Montreal, second album. First, which won the Polaris Prize, I liked a lot, this is a bit more inscrutable. B+(***) [sp]

Miho Hazama: Live Life This Day: Celebrating Thad Jones (2025, Edition): Japanese pianist, based in New York, debut 2012, her 2023 m_unit album caught me by surprise, but she's also been involved with European big bands: a 2018 album with Metropole Orkest, and since 2019 she's been "chief conductor" of the Danish Radio Big Band, a post that had previously been given to several notable Americans: Jim McNeely, Bob Brookmeyer, and Thad Jones. They're bolstered here with strings from the Danish National Symphony Orchestra, for this live program of Jones compositions plus a couple Hazama additions. B+(*) [sp]

Conrad Herwig: Reflections - Facing South (2020 [2025], Savant): Trombonist, started with Clark Terry in the 1980s, played with Joe Henderson, Joe Lovano, and Mingus Big Band, but has shifted into Latin jazz, especially with his series of The Latin Side Of recordings. Trio here with Eddie Palmieri (piano) and Luques Curtis (bass). The Latin quotient seems subdued without percussion, but they enjoy space to breathe, without just being hurried along. B+(***) [sp]

Hot 8 Brass Band: Big Tuba (2025, Tru Thoughts): New Orleans brass band, founded 1995, long led by Bennie Pate, who died in 2021, carries on. B+(**) [bc]

JID: God Does Like Ugly (2025, Dreamville/Interscope): Atlanta rapper Destin Route, started with mixtapes in 2009, fourth studio album since 2017, sprawling with 15 tracks, 57:06, many guests, a fairly generous view of God. B+(***) [sp]

Rick Keller: Heroes (2024-25 [2025], Vegas): Saxophonist (tenor, soprano, alto, some flute), started career in 1983 in Europe, based in Los Angeles since 2001 (and now Las Vegas?), has a couple records as far back as 1988, many more side credits, styles this as tributes to "musicians who shaped my development" -- mostly with fusion connections (Davis, Shorter, Zawinul, Hancock, Marcus Miller) or groups (Weather Report, Brecker Brothers). Some vocals don't help. B- [cd]

Zack Lober: So We Could Live (2025, Zennez): Canadian bassist, previuos album from 2021, couple dozen side credits going back to 2003. Nice quartet with trumpet (Suzan Veneman), tenor sax (Jasper Blom), and drums (Sun-Mi Hong). B+(***) [cd]

Donny McCaslin: Lullaby for the Lost (2024 [2025], Edition): Tenor saxophonist, started early 1990s, has released regular albums, especially since 2000, has always impressed me with his chops if not necessarily judgment. Opts for a fusion-heavy mix here, employing various combinations of guitars (notably Ben Monder), keyboards (Jason Lindner), bass, and drums. B [sp]

Mexstep & Principe Q: Tráfico (2025, Puro Unity, EP): San Antonio rapper Marco Cervantes, has a couple previous albums, with "genre-defying" DJ/producer Svani Quintanilla, the grooves a mix of Tex-Mex and turntablism. Six songs, 16:51. B+(***) [bc]

Joe Morris/Brad Barrett/Beth Ann Jones: Abstract Forest (2025, Relative Pitch): Avant-guitarist, many albums since 1990, here with cello and bass. B+(***) [sp]

Elizabeth Nichols: Tough Love (2025, Pulse, EP): Country singer-songwriter, from Kentucky, seems to be her first record, not much info available but has some appeal, could stick around; 7 songs, 20:08. B+(**) [sp]

Bill Orcutt/Steve Shelley/Ethan Miller: Orcutt Shelley Miller (2024 [2025], Silver Current): Guitar, bass, drums trio, considered "experimental rock," because all three have rock band backgrounds (Shelley on Sonic Youth; Orcutt's first group was called Harry Pussy -- I still file his records under rock, but list them with jazz). B+(***) [sp]

Juan Pastor's Chinchano: Memorias (2024 [2025], Calligram): Drummer-led Latin jazz group, seems to be "(2)" in Discogs (which doesn't have this or other albums on the artist's website, but gives him a side credit for James Davis' Beveled). Cover adds names for Stu Mindeman (piano), Matt Ulery (bass), Dustin Laurenzi (tenor sax), and "featuring" Gian Luiggi Cortez Mejia (congas/cajón/bell/cajita). B+(***) [cd]

Patrick Shiroishi: Forgetting Is Violent (2025, American Dream): Alto saxophonist, based in Los Angeles, very prolific since 2014. "Supporting cast," including some notable rock figures, is mentioned in the write-up but not properly credited. Mostly voices, not very distinct. Some fine sax runs over a noise backdrop. B+(*) [bc]

Kalie Shorr: My Type (2025, Pound It Out Loud, EP): Singer-songwriter from Maine, based in Nashville, which gets her no-twang pop anthems a bit of a country audience. Has a good album from 2019, plus several EPs. This one has 6 songs, 18:19. B+(***) [sp]

Wadada Leo Smith/Sylvie Courvoisier: Angel Falls (2024 [2025], Intakt): Trumpet and piano duo, the former in his 80s, an early AACM member, his discography going back to 1971, but it seems like he only rose to a much higher level after 2010, as he started getting grant money for expansive compositions. Swiss pianist, very productive since 1997. Her name is first on the front cover, but his comes first on the back, and on the spine. Similar to last year's duet with Amina Claudine Myers (or this year's with Vijay Iyer). A bit slow for my taste, but rewards a close listen. B+(***) [cd]

Sprints: All That Is Over (2025, City Slang/Sub Pop): Irish garage punk band, Karla Chubb the singer, second studio album after some EPs. Another strong album. B+(***) [sp]

Laura Taylor: Think I'm in Love (2025, Vegas): Las Vegas-based standards singer, recorded a pretty fair disco album in 1979, Discogs goes straight from it to this one, but I have four intermediate albums in my database, including a tribute to Julie London and Chet Baker and a Johnny Mercer songbook. B+(*) [cd]

The Third Mind: Right Now! (2025, Yep Roc): Americana "supergroup" -- best known are Dave Alvin, Victor Krummenacher (Camper van Beethoven), and Jesse Sykes (who takes most of the vocals) -- take some improv ideas from jazz, which include some heavy guitar, and a closing 7:51 "The Creator Has a Master Plan." B+(***) [sp]

Pat Thomas: ود ود (Wadud/Most Loving) (2023 [2025], Nyahh): British avant-pianist, often drops Arabic into his titles -- best known is his group, Ahmed -- solo here, one 30:35 piece, piano sounds prepared. B+(***) [bc]

UNLV Jazz Ensemble 1: Double or Nothing (2025, Vegas): College-level 21-piece big band, directed by Dave Loeb and Nathan Tanouye, mixed a couple of original pieces along with standards, notably Ellington/Strayhorn and Gillespie. B [cd]

Kamasi Washington: Lazarus [Adult Swim Original Series Soundtrack] (2025, Milan): Tenor saxophonist, major chops but also has crossover appeal, one of three soundtracks for Shinichiro Watanabe's anime series (the others are by Bonobo and Floating Points). Soundtracky, with some boss sax. B [sp]

Recent reissues, compilations, and vault discoveries:

Armen Donelian: Stargazer (1980 [2025], Sunnyside): Pianist, had played with Mongo Santamaria and Billy Harper before recording this first album, a trio with Eddie Gomez and Billy Hart, originally released in Japan in 1981. B+(**) [cd]

Hot Chip: Joy in Repetition (2005-22 [2025], Domino): British electropop group, 8 albums 2004-22, this compilation appears to be selected from singles (including a bait track included here, but of uncertain age). Looking back at my individual album grades, I'd say that selection helps, but doesn't clear them as a singles band. B+(**) [sp]

Mark O'Leary Group: I See Further Than You (2001 [2025], TIBProd.): Irish guitarist, released a series of albums on Leo in the early 2000s that were well regarded in Penguin Guide, but moved away from jazz (or toward something else?) after 2008. This is one of several old tapes recently released, this one with Michael Formanek (bass) and Joey Baron (drums). (Two others I reviewed last month but spent most of my time puzzling over the missing dates.) B+(**) [bc]

Eli "Paperboy" Reed: Sings "Walkin' and Talkin'" and Other Smash Hits [20th Anniversary Edition] (2005 [2025], Yep Roc): Blues-smitten singer-guitarist from the Boston suburbs, made a pilgrimage to Clarksdale, Mississippi after graduating high school, but went to Chicago for college, then returned to Boston to record his first album: 12 tracks here, with the reissue adding 15 more (4 bonus tracks + 11 radio sessions). B+(**) [sp]

Atef Swaitat: Palestinian Bedouin Psychedelic Dabka Archive (1970s [2025], Majazz Project/Palestinian Sound Archive): Two sides (46:31) compiled from "immersive field recordings from weddings across the Galilee in the 1970s." B+(***) [sp]

John Taylor: Tramanto(2002 [2025], ECM): English pianist (1942-2015), many side credits starting in 1970 with John Surman, Graham Collier, Harry Beckett, Alan Skidmore, and Kenny Wheeler. This is a trio with Marc Johnson (bass) and Joey Baron (drums). This was a live recording in January, befor the April studio session the trio released as Rosslyn. B+(**)

Wednesday: Bleeds (2025, Dead Oceans): Country-ish rock band from North Carolina, although they also venture into Sonic Youth territory, principally Karly Hartzman (vocals, guitar), although guitarist MJ Lenderman has the bigger profile, and most of the songs (aside from a Lefty Frizzell cover) are jointly credited. Lots of people love this album, and they're not wrong. A- [sp]

Old music:

Abdullah: Life's Force (1979, About Time): Trumpet player Leroy Bland, better known as Ahmed Abdullah, Discogs (which notes that he kept the Arabic name even after converting to Buddhism) treats this as a group name. Played with Sun Ra, Arthur Blythe, a few others -- his 1974 group, Melodic Art-Tet, is especially notable. Group here with Vincent Chancey (French horn), Muneer Abdul Fatah (cello), Jerome Hunter (bass), Jay Hoggard (vibes), and Rashied Sinan (drums). B+(***) [bc]

Pheeroan ak Laff: House of Spirit: "Mirth" (1979 [1980], Passin' Thru): Drummer, first album on his own, solo, produced by Oliver Lake. B+(***) [yt]

Willem Breuker Kollektief: William Breuker Collective (1983 [1984], About Time): Dutch saxophonist (1944-2010), a co-founder of ICP, ran his group from 1974 on, a not-quite big band which played free jazz while liberally quoting from Kurt Weill, classical, and circus music. Most of their records are on the BV Haast label. I've sampled them occasionally where I could, but my grades are all over the place, as is their music. This was snagged from a rare New York performance, much like European labels latch onto concerts by visiting Americans. This one is more wonderful than not, but still trips up more than I would like. B+(***) [bc]

François Carrier Trio With Uri Caine: All' Aba (2001 [2002], Justin Time): Canadian alto saxophonist, debut 1994, impressed me early and has long been a favorite. The pianist was in peak form during this period. A- [bc]

Mike Clark: Plays Herbie Hancock (2022 [2023], Sunnyside): Veteran drummer, joined Hancock's band in 1974, and remained in the Headhunters long after Hancock left. Acoustic trio here with Jon Davis (piano) and Leon Lee Dorsey (bass), playing eight Hancock standards. B+(**) [sp]

Jerome Cooper: The Unpredictability of Predictability (1979, About Time): Drummer (1946-2015), best known for Revolutionary Ensemble, also injects flute, whistle, balafon, percussion, and voice into this early solo album. It's a remarkable tour de force, especially as the balafon adds a melodic overtone to the basic thud of the drums. A- [bc]

Jerome Cooper Quintet: Outer and Interactions (1987 [1988], About Time): Drummer-led quintet, his compositions, he also plays chiramia, balaphone, and flutes, joined by Joseph Jarman (tenor sax/flute), William Parker (bass), Thurman Barker (drums), and Jason Hwang (violin). Best parts here focus on the percussion. B+(***) [bc]

Fred Hopkins/Diedre Murray Quartet: Prophecy (1990 [1998], About Time): Bassist (1947-99), not much as a leader (two more albums with the cellist around this time list her first, but he started out with Air in 1975, was a regular with David Murray, and appeared with others like Don Pullen, Oliver Lake, and Henry Threadgill. Quartet with cello (Murray), guitar (Brandon Ross), and drums (Newman Baker). B+(***) [bc]

Sam Jones Plus 10: The Chant (1961, Riverside): Bassist (1924-81), a dozen-plus albums starting in 1960, huge number of side credits (especially with Cannonball Adderley and Cedar Walton). Second album, three brass, three saxes, drums, piano/guitar (Victor Feldman/Les Spann) or piano/vibes (Wynton Kelly/Feldman), three tracks where Jones plays cello and Keter Betts picks up the bass. B+(***) [sp]

Joe Morris: Racket Club (1993 [1998], About Time): Avant-guitarist, long list of records starts in 1990, this one with two saxophonists (Jim Hobbs on alto and Steve Norton on baritone), electric bass (Nate McBride), and two drummers (Jerome Deupree and Curt Newton). B+(***) [bc]

Mark O'Leary/Cuong Vu/Tom Rainey: Waiting (2004 [2006], Leo): Freewheeling guitar-trumpet-drums trio. B+(***) [sp]

Mark O'Leary/Ståle Storløkken/Stein Inge Braekhus: St. Fin Barre's (2002 [2008], Leo): Guitar-organ-drums trio, recorded on the guitarist's home turf in Cork City. B+(*) [sp]

Mark O'Leary/Eyvind Kang/Dylan Van Der Schyff: Zemlya (2004 [2008], Leo): Another trio, recorded in Seattle, with viola and drums (and electronics credits for all). I'm rarely getting a good sense of how the guitar fits into these records, but the viola is exceptional here, and the timbre is close enough that the two instruments co-extend. A- [sp]

Mark O'Leary/Kenny Wollesen/Jamie Saft: The Synth Show (2005 [2008], Leo): The guitarist adds E-Bow and Soundscapes to his repertoire, with Saft on synthesizer and Wollensen on drums. At the time, there was a boomlet for "jazztronica," extending from Matthew Shipp's Blue Series to postmodernists like Dave Douglas and even to retro-oriented Nicholas Payton. My favorites, like Nils Petter Molvær and Nik Bärtsch, focused on rhythm. This one is more into texture. B+(*) [sp]

The Henry Threadgill Sextet: When Was That? (1981 [1982], About Time): Saxophonist (alto/tenor, clarinet, flutes), started with Air in 1975, effectively kicked off his solo career here (after a best-forgotten 1979 album on Arista/Novus), a group with Olu Dara (cornet), Craig Harris ( trombone), Fred Hopkins (bass), Brian Smith (piccolo bass), and drums (Pheeroan Aklaff or John Betsch). B+(*) [bc]

The Henry Threadgill Sexett: Just the Facts and Pass the Bucket (1983, About Time): Seven figures (back facing) on the cover, so the group appears to be misnumbered, with both drummers returning, the only change being replacing the piccolo bass with a proper cello (Diedre Murray). B+(**) [bc]

Grade (or other) changes:

Mark O'Leary Quartet: White Album (1998 [2025], TIBProd.): Early New York set with Paul Motian (drums), Kenny Werner (piano), and John Patitucci (bass). B+(*) [bc]

Mark O'Leary Group: A Simple Question (1999 [2025], TIBProd.): Early trio with Marc Johnson (bass) and Bill Stewart (drums). B+(**) [bc]

Unpacking: Found in the mail last week:

• Affinity Trio [Eric Jacobson/Pamela York/Clay Schaub]: New Outlook (Origin) [10-17]
• Kenny Barron: Sunset to Dawn (1973, Time Traveler) [10-17]
• Patricia Brennan: Of the Near and Far (Pyroclastic) [10-24]
• Roy Brooks: The Free Slave (1970, Time Traveler) [10-17]
• Adam Forkelid: Dreams (Prophone) [10-24]
• Carlos Garnett: Cosmos Nucleus (1976, Time Traveler) [10-17]
• Maja Jaku: Blessed & Bewitched (Origin) [10-17]
• Lizzy & the Triggermen: Live at Joe's Pub (self-released) [08-14]
• Kelsey Mines: Everything Sacred, Nothing Serious (OA2) [10-17]
• Roberto Montero: Todos Os Tempos (Vaicomtudo Music) [10-17]
• Ted Piltzecker: Peace Vibes (OA2) [10-17]
• Rich Siegel: It's Always Been You (self-released) [09-12]
• Enoch Smith Jr.: The Book of Enoch Vol. 1 (Misfitme Music) [11-07]
• Pat Thomas: Hikmah (TAO Forms) [11-07]
• Patricia Thomson: Your Love (PT Designs Productions) [10-01]
• Henry Threadgill: Listen Ship (Pi) [09-26]
• Wayne Wilkinson: Holly Tunes (self-released) [11-07]

Ask a question, or send a comment.

Monday, September 29, 2025

September archive (finished).

Music: Current count 44927 [44894] rated (+33), 20 [17] unrated (+3).

Making slow progress through a depressing series of everyday life challenges, where even accomplishments sometimes feel like losing ground. Certainly losing time, as this is the last Music Week of September. I've been writing daily notebook entries to get myself going each day, so many of the gory details are in there. No need to rehash them here. I do have fairly modest hopes of getting two things done this week:

1. The website set up for the 20th Annual Francis Davis Jazz Critics Poll (link will be here, probably tomorrow, as what I have works, but I keep wanting to restructure the documentation, and still need to edit the invites). This falls far short of any imagined redesign, but it should suffice for the coming poll. I'll follow this up with messages to my email lists, to get people thinking about the eventuality. Actual voting is unlikely to be open before mid-November, but I don't want to be cut up short, as has always happened in the past.

2. I hope to write up and send out a Notes on Everyday Life post. I'm thinking it will be on cooking Chinese, featuring a recent meal with some technique and lore. After several posts on politics, this should point back toward everyday life (mine at least). Not that cooking is much of a refuge, given that the fascists aren't going to stop with the usual victims.

Future posts will include one on building computers, and one on recycling. I'm also thinking about doing one on three books on jazz in the 21st century, which might just turn into a list of things I think they've missed. I also have a couple books handy on fascism in America, and some thoughts about what does and does not work in the analogy. I'm thinking we should distinguish between first- and second-wave fascism. What they have in common is a desire to seize power and to use it violently against their enemies, allowing for no dissent. Both are authoritarian, but that word seems to intend some kind of static equilibrium, whereas the actual movements are not just dynamic but insatiable. On the other hand, the cultural framework is different: first-wave fascism was distinctly modernist, whereas second-wave is postmodernist (atavistic in its desires, but can't really pull that off.

I actually have very little in the Loose Tabs draft file at the moment, and even less desire to flesh it out. Still, I should, of only to keep an eye out. We're at once powerless to resist but complicit if we do not. In between it often seems that all one can do is tsk-tsk, which I suppose is the point of the column: to show that we witnessed this and knew better but couldn't do anything about it.

I got a few things out of the Slobodian book on Hayek's Bastards, where the "new fusion" is characterized by "hard currency, hard borders, and hard-wired culture." All three of those are very much at odds with a real world they hope to subdue with arbitrary force. It's easy to predict that they will fail, not least because flex is key to survival of the capitalism they adore in theory but can't stand in practice. The unknowns are how many people, especially among the rich, they can con along the way, and how much damage they can do before their failures wipe them out. As we learned from the first wave of fascism, those variables are large and deadly.

I noted this quote (p. 168), which is not quite the point I wanted to make, but still worth sharing:

Common across the platforms and decades is a will to startle and an atmosphere of competitive speculation about the events of the near future. These are attention plays in an economy where attention is a scarce resource. Their strategy is to hit the same notes with a sledgehammer, the ones their consumers expected to hear: the crisis is around the corner. The crash is coming. The status quo is doomed. All assumptions must be undone. Taboos must shatter, the unspoken said aloud. Your liberty is at risk. Act now and act quickly. The centralizers are coming. The socialists are coming, The refugees are coming. The gold requisitioners are coming. The authorities are coming. The state is coming (even if we are the state).

It's easy to dismiss this as "paranoid style," but it feeds on real problems, just blaming the wrong people and offering the wrong remedies. The sad thing is that it works, mostly because the people they hate -- the "progressives" who have deluded themselves into thinking growth and profit are all that elites need to keep ahead of their problems -- don't have answers to these problems (at least ones that respect, much less address, their complaints).

I'm moving on to David A Graham's The Project: How Project 2025 Is Reshaping America: a thin but important book, as it appears now that the plan was not just a bunch of bad ideas, but a very methodical approach to seizing power and installing loyal (and self-starting) cadres deep enough in government to have significant impact. Before the election, someone said that the key was that Harris voters believed that she would do things like ending wars that she said she wouldn't do, while Trump voters didn't believe he would do what he plainly said he would do. We've only been able to test one of those hypotheticals: Trump has not only delivered on his promises, he's done so in spectacularly brutal fashion, far exceeding the fears of most of his opponents (even me). Graham's book helps explain this, although I suspect that a fuller explanation requires that we look not just at Trump but to the ideological convictions of his followers, and the power bases they had wormed their way into, in preparation for their leader's permission to go crazy.

With September over, the September archive is complete, and added to the 2025 index. While I don't feel like I got much else done during the month, I do count 187 albums rated (+1 one grade change). Although this week is relatively thin, a lot of terrific albums appeared came to my attention during the month.

New records reviewed this week:

JD Allen: Love Letters (The Ballad Sessions) (2025, Savant): Tenor saxophonist, many albums since 1999, mostly trios which show how imposing he can be, this one lightens up, adding a piano (Brandon McCune) to his usual bass (Ian Kenselaar) and drums (Nic Cacioppo). B+(**) [sp]

Mulatu Astatke: Mulatu Plays Mulatu (2025, Strut): Ethiopian musician, plays vibes, keyboards, percussion, emerged as "the father of Ethio-Jazz" in the 1970s, a compilation of his early material was released as Vol. 4 of Éthiopiques in 1998, which led to his reemergence on the world stage. Now 81, this is billed as his "first major studio album in over 10 years," although I've heard a couple of live collaborations in that period. Old pieces, mostly new big band arrangements, credits unclear, horns a plus. B+(***) [sp]

Decius: Decius Vol. II (Splendour & Obedience) (2025, The Leaf Label): British electronica group, brothers Liam and Luke May, with Quinn Whalley (Paranoid London/Warmduscher) and Lias Saoudi (Fat White Family). Presumably named for the short-lived Roman emperor (249-251) -- at least their album art is Roman. B+(***) [sp]

Doja Cat: Vie (2025, Kemosabe/RCA): Singer-rapper Amala Diamini, from Los Angeles, fifth album since 2018, rather hit and miss. B+(**) [sp]

Dave Douglas: Alloy (2025, Greenleaf Music): Trumpet player, major figure since 1993, joined by two younger trumpet players here (Alexandra Ridout and Dave Adewumi, the idea being to forge a stronger trumpet bond), plus vibes (Patricia Brennan), bass (Kate Pass), and drums (Rudy Royston). B+(**) [sp]

Baxter Dury: Allbarone (2025, Heavenly): Sometimes comes off as a chip off the old blockhead -- spoken vocals, choppy beats -- but that's rarely sufficed with regular albums since 2002. This is touted as his "best yet," and sometimes is. B+(*) [sp]

Robbie Fulks: Now Then (2025, Compass): Folkie singer-songwriter, steady stream of albums since 1996, ranging from bluegrass to Michael Jackson covers to a session with some of the Mekons. Another mixed bag of songs. B [sp]

Geese: Getting Killed (2025, Partisan): Brooklyn band, fourth album since 2018, Cameron Winter the singer, plays keyboards and guitar, backed by guitar-bass-drums. Irritating singer aside, there is something interesting in the mix here, mostly rhythmic. But "irritating" is an understatement. B [sp]

Gao Hong/Baluji Shrivastav: Neelam (2025, ARC Music): Chinese pipa and Indian sitar duo, both with substantial discographies on their own since their moves, the former from China to US in 1994, the latter from India to UK in 1982. The latter's ragas, aided by Yousef Ali Khan on tabla, seem to be the base for improvisations. B+(*) [os]

Jade: That's Showbiz Baby! (2025, RCA): British dance-pop singer-songwriter, surname Thirwall, formerly in the group Little Mix (6 albums, 2012-20, all BPI platinum), first solo album, grew on me a bit, then made me regret it. B+(**) [sp]

Sofia Kourtesis: Volver (2025, Ninja Tune, EP): DJ/producer from Peru, based in Berlin, has one album and five EPs since 2014, presumably does her own lead vocals (not credited). Six songs (28:01). B+(**) [sp]

Harold López-Nussa: Nueva Timba (2025, Blue Note): Cuban pianist, many notable musicians in his family, half-dozen albums since 2007, second on Blue Note (a deal that seems to have required him to relocate from Havana, so he wound up in Toulouse, France). B+(**) [sp]

Maruja: Pain to Power (2025, Music for Nations): English avant-rock band, half-dozen EPs since 2016, first studio album, has some jazz rep probably due to the prominence of Joe Carroll's saxophone, vocalist Harry Wilkinson is more rapper than singer. B [sp]

Mark O'Leary Group: A Simple Question (2025, TIBProd.): Guitarist, from Ireland, Discogs lists several dozen albums from 2005-18, early records on Leo were well-regarded in Penguin Guide, seems to have moved to "rock/ambient/post-rock" around 2008, but has a bunch of recent releases, this a nice trio ("a new paradigm") with Marc Johnson (bass) and Bill Stewart (drums). B+(**) [bc]

Linda May Han Oh: Strange Heavens (2025, Biophilia): Bassist, born in Malaysia, grew up in Australia, lives in New York, has a dozen or so albums since 2012, as well as such notable side credits as Dave Douglas, Joe Lovano, and Vijay Iyer. This trio with Ambrose Akinmusire (trumpet) and Tyshawn Sorey (drums) got mid-year poll votes two months before its release date. I was pleased when my copy arrived, until I opened up the "origami-inspired" packaging and didn't find any music inside. This is supposedly a feature: "This innovative design caters to the environmentally-conscious listener, who is aware of the harmful effects of plastic in the environment, yet feels that a digital download is just not enough." I'll grant that digital downloads aren't enough, as I'm often left scrambling to collect bits of information that accompany physical CDs, but the music itself is essential to the value proposition. So I ignored this until I could conveniently stream it. (Downloading is a pain I avoid if possible. I did wind up consulting the packaging to determine that the recording dates were Jan. 10-11, 2025, at Bunker Studios -- information not (yet) available at Discogs or Bandcamp. As for the music, simple pleasures: focusing on the bass leads, neat fit for the trumpet (who I like more here than on any of his own albums), outstanding drummer. A- [sp]

Kassa Overall: Cream (2025, Warp): Drummer from Seattle, bounces between jazz (played with Geri Allen in 2009) and hip-hop (Das Racist in 2010), in 2013 did albums with Peter Evans, Vijay Iyer, and Kool A.D., and released a mixtape Christgau and I liked but not on his discographies at Discogs or Wikipedia (Stargate Mixtape). Joined Jon Batiste's Tonight Show band, and started crossing over in every which direction, from Marisa Monte to Carmen Lundy, Arto Lindsay to Cass McCombs, Yoko Ono to Danny Brown. This one, where the title is an acronym for "cash rules everything around me" (caps some places, but u&lc on the cover), offers "eight interpretations of hip-hop classics," but no vocals, so they sound like extended samples. No credits given either, but the saxophonist deserves a shout out. B+(***) [sp]

Sam Prekop: Open Close (2025, Thrill Jockey): Started in rock bands Shrimp Boat and the Sea and Cake, seems to have moved fully into electronic music these days (although I do hear some probable guitar). B+(*) [sp]

Rent Romus/Tatsuya Nakatani: Uplift (2023 [2025], Edgetone): Saxophonist, plays everything and then some, Discogs has a picture of playing two simultaneously, many albums since 1995. Live duo with drums here. B+(**) [sp]

Cécile McLorin Salvant: Oh Snap (2025, Nonesuch): Jazz singer-songwriter, widely acclaimed, has three Grammys, even a MacArthur, eighth album since 2010, most easily winning the vocal jazz category in the Francis Davis Jazz Critics Poll. While I don't doubt her technical skill, I've never gotten much out of her albums, and this one delivers less than usual. B [sp]

Shame: Cutthroat (2025, Dead Oceans): British post-punk band, fourth studio album since 2014. Agreeably trashy, until it isn't. B [sp]

Martina Verhoeven/Luis Lopes/Dirk Serries: Invincible Time (2023 [2025], Raw Tonk): Pianist (electric), with two guitarists, one long take (50:16). B+(**) [bc]

Vlure: Escalate (2025, Music for Nations): Scottish rave-punk band, first album, although NME thinks they've "spent years honing their sound." They do have one. B+(**) [sp]

Webber/Morris Big Band: Unseparate (2024 [2025], Out of Your Head): Tenor saxophonists Anna Webber and Angela Morris, also flute, lead a conventional big band (plus vibes and guitar), which leans free but doesn't poke its head out too far. B+(***) [cd]

Recent reissues, compilations, and vault discoveries:

Mark O'Leary Quartet: White Album ([2025], TIBProd.): No date given, but featured drummer Paul Motian died in 2011, so that's an outer bound. The guitarist started up c. 2000, so that narrows the window down a bit. The others -- Kenny Werner (piano) and John Patitucci (bass) -- started in the early 1990s. B+(*) [bc]

Old music:

Decius: Decius Vol. I (2022, The Leaf Label): British electronica group, Roman statuary on the cover. B+(**) [sp]

High on Fire: Cometh the Storm (2024, MNRK Heavy): Metal group, 9th studio album since 2000, first I've tried -- only because Dan Weiss included it in his 2020-2024 top 50, and it was the last unheard album there (of 2), but note that I did (for no discernible reason) have their first album in my database. First album after a 6-year break, with a new drummer and some "Turkish folk music and Middle Eastern music" mixed into "the band's previous sludge metal and stoner metal genres." The mix isn't very integrated, more like an interlude. The metal strikes me as generic, though not especially offensive. B [sp]

Mark O'Leary/Mat Maneri/Matthew Shipp: Chamber Trio (2002 [2005], Leo): Guitar-viola-piano trio, recorded in New York, where the latter two already had several records together. Takes a while to kick in. B+(**) [sp]

Mark O'Leary/Tomasz Stanko/Billy Hart: Levitation (2000 [2005], Leo): Guitar-trumpet-drums trio. Guitar gets more traction, and the trumpet is superb, as expected. B+(***) [sp]

Mark O'Leary/Mat Maneri/Randy Peterson: Self-Luminous (2002 [2005], Leo): Guitar-viola-drums trio. The viola dominates once more, but less decisively. B+(**) [sp]

Mark O'Leary/Uri Caine/Ben Perowsky: Closure (2003 [2005], Leo): Guitar-piano-drums trio. The piano adds a jolt of energy. B+(**) [sp]

Mark O'Leary/Steve Swallow/Pierre Favre: Awakening (2000 [2006], Leo): Guitar-bass guitar-drums trio. B+(*) [sp]

Sam Prekop/John McEntire: Sons Of (2022, Thrill Jockey): Two-thirds (or sometimes half) of Chicago indie rock band the Sea and Cake (11 studio albums 1994-2018), guitar/vocals and drums. Prekop was previously in Shrimp Boat (1987-93), which I recall from a 3-CD retrospective box issued by avant-jazz label AUM Fidelity in 2004 (Something Grand). McEntire has little else under his own name (Discogs lists a 1998 soundtrack and three singles/EPs, two with Prekop, and a compilation of Cluster), but played in Tortoise and Bastro/Gastr Del Sol, with Stereolab and Red Krayola, and has an even larger production discography. This slots as electronica, four pieces ranging 7:51 to 23:41, each flowing into the next, simple and beguiling. A- [sp]

Unpacking: Found in the mail last week:

• Rick Keller: Heroes (Vegas) [08-11]
• Jussi Reijonen: Sayr: Salt/Thirst (Unmusic) [10-24]
• Laura Taylor: Think I'm in Love (Vegas) [08-18]
• UNLV Jazz Ensemble 1: Double or Nothing (Vegas) [08-25]

Ask a question, or send a comment.

Monday, September 22, 2025

September archive (in progress).

Music: Current count 44894 [44857] rated (+37), 17 [21] unrated (-4).

I got a late start on this, well into Monday evening, so this will have to be perfunctory. One week's worth of records. I'm more or less current in a diminishing promo queue, although there are a couple of promising items I still haven't gotten to. Beyond that, I've been struggling to figure out what to play next, and that's led to a pretty scattered set of albums. Complicating things is that I was responsible for a disturbing number of mistakes in my bookkeeping. Only one (of six) A- records had its cover scanned, and a couple hadn't been accounted for at all. I doubt that I've caught them all, so there may well be records in the monthly archive that never made it into Music Week.

I don't know why I've been so scatterbrained this week, but a lot of things are happening very fast now, and I'm not coping well. I did manage to get my recycling kiosk built today. It will stand next to the front door, and collect items to give away, go into recycling, or the trash. Lots of room for CDs and books, since that's most of what we have. Next step will be to set up an accounting system to track what we're getting rid of. I can see the argument that there's no need, but I want to keep some sort of audit trail, at least of things no longer needed but still useful as memories.

I've started work on my next Substack post. It's going to be further thoughts on the latest Loose Tabs, but will be space-limited, so will focus on only a few key points. That piece is nearly done, so shouldn't take more than another day or two. Beyond that, I have a few more ideas. Some will be closer to the "everyday life" theme. I'm thinking about writing one on the advantages of building your own computers, and how one goes about doing that.

New records reviewed this week:

Adult Mom: Natural Causes (2025, Epitaph): Singer-songwriter Stevie Knapp, fourth album since 2015, may be considered a band now. Songs include one about cancer. B+(**) [sp]

Apathy: Mom & Dad (2025, Dirty Version/Coalmine): Underground rapper Chad Bromley, from Connecticut, 20 albums since 2004, Nancy & Ronald Reagan on the cover, looking sunny and care free, which is not how he remembers their era. "Grew up in the '80s with a welfare budget." Old style turntablism, dazzling wordplay, political smarts, bearing the full weight of history. A- [sp]

Lucian Ban/John Surman/Mat Maneri: Cantica Profana (2022-23 [2025], Sunnyside): Pianist from Romania, moved to New York 1999, has frequently looked back to his native music, as in his 2011 Transylvanian Concert with Maneri (viola) and his 2020 recording of Transylvanian Folk Songs with Maneri and Surman (baritone/soprano sax, bass clarinet). The latter was dubbed The Bela Bartók Field Recordings, although the recordings were new, based on his research. Subsequent tours generated two more live albums, this and The Athenaeum Concert (below). This one was taken from three earlier concerts. Surman is an inspired addition here. A- [sp]

Lucian Ban/John Surman/Mat Maneri: The Athenaeum Concert (2024 [2025], Sunnyside): Notes quote Bartók: "A future generation might conceivably discover and embody in their art music properties of the peasant music which have altogether escaped us." B+(***) [sp]

Jon Batiste: Big Money (2025, Verve/Interscope): Pianist, singer-songwriter, bandleader, has done some acting, is basically a big deal, born into "a New Orleans musical dynasty," cut his first album at 17, organized his band Stay Human before it became Stephen Colbert's Tonight Show house band (2015-22). I'm surprised at how little detail info is available on this -- big name, major label, but nearly a month after release, AOTY has 0 critic reviews, a 65/57 user score. Two featured guests: Andra Day and Randy Newman, but several other songs (e.g., "Maybe") channel Newman. Title song is big bunk, and cover shows Batiste playing guitar. Half of this is really good, in as many different ways. The other half tails off, but again through divergence. Few albums are so scattered, but few artists have so many options, and the authority to pursue them. A- [sp]

Big Thief: Double Infinity (2025, 4AD): Not my idea of a folk-rock band, just a very talented singer-songwriter (Adrianne Lenker) with enough of a band to deserve group billing (minus their bassist this time, but additional musicians make up for that. First play strikes me as near-perfect. I don't know how much more time I'll put in, but quite possibly one of the year's best. A- [sp]

Johnathan Blake: My Life Matters (2025, Blue Note): Drummer, from Philadelphia, several albums as leader since 2012, many side credits. With Dayna Stephens (sax), Jalen Baker (vibes), Fabian Almazan (piano), Dezron Douglas (bass), "plus special guests including Bilal and DJ Jahi Sundance," playing "a suite of songs that serves as a dual treatise on the importance of family values and the social imperative to stand up in the face of injustice." Does that. B+(**) [sp]

David Byrne & Ghost Train Orchestra: Who Is the Sky? (2025, Matador): Talking Heads majordomo, their 2-4-6 albums topped my annual lists, but his solo career has been very erratic, with interesting side projects early, a fine 1994 eponymous album, and more misses than not. He's slowed down considerably over the years, this coming 7 years after American Utopia, which itself was 6 years after Love This Giant. He seems at least to have recovered much of his chunky rhythm here, and Brian Carpenter's band helps (although they don't much sound like themselves), as he seems to aim at some bigger stage. B+(**) [sp]

Ethel Cain: Willoughby Tucker, I'll Always Love You (2025, Daughters of Cain): Singer-songwriter, aka Hayden Anhedönia, shades of darkwave or gothic or whatever, identities and aesthetics unfathomable (by me at least), but somewhere way back was an evident overdose of Baptist religion. Second studio album, ignoring whatever this year's Perverts was (a drone exercise, but it still got 77/27 at AOTY, with this one currently at 83/28). Seems thoughtfully composed at first, slips into some not-bad ambient drone, then tries to square the circle. B+(*) [sp]

Cardi B: Am I the Drama? (2025, Atlantic): New York rapper Belcalis Almánzar, got a lot of interest with her mixtapes and singles in 2016-17, followed that with a triumphant studio album in 2018, second album here, makes up for lost time by running 23 songs, 70:49, including old singles back to 2020's "WAP." B+(**) [sp]

Loyle Carner: Hopefully! (2025, EMI/Universal): British rapper-singer, fourth album, pretty successful over there, not so much here. B+(**) [sp]

Double Virgo: Shakedown (2025, Year0001): British duo/group, principally Jezmi Tarik Fehmi and Sam Fenton, first album after singles going back to 2020, so seems to be a parallel project to Bar Italia, where they defer to singer Nina Cristante. Hints of Pavement and Wire, not that I feel like pursuing them. B+(***) [sp]

Kathleen Edwards: Billionaire (2025, Dualtone): Canadian singer-songwriter, sixth album since 2002. Jason Isbell co-produced, and provided the backing band. B+(**) [sp]

Anat Fort: The Dreamworld of Paul Motian (2024 [2025], Sunnyside): Pianist from Israel, moved to New York in 1996, gained some attention with her ECM debut in 2007. Motian's started out as Bill Evans' drummer, went on to play with dozens of other famous pianists, rather oddly as he always seemed to be following his own drift, nudging the pianist to sharpen the contrast. His own groups almost never included piano, often guitar (especially Bill Frisell). Fort picked out 11 of his songs, with Steve Cardenas (guitar), Gary Wang (bass), and Matt Wilson (drums). B+(***) [sp]

Luigi Grasso: La Dimora Dell'atrove (2024 [2025], LP345): Italian saxophonist (soprano, alto, baritone, bass clarinet), albums since 1999, supported here by NDR Bigband, which he is a regular in. Bills this as "two themes and variations." B+(*) [cd] [09-26]

Michael Hurley: Broken Homes and Gardens (2025, No Quartet): Folk singer-songwriter (1941-2025), recorded an album for Folkways in 1964, a couple more 1971-72, then appeared as the lead artist on the 1976 album Have Moicy! Recorded steadily after that, but less notably, finishing this a month before he died on the road. B+(***) [sp]

Josiah the Gift & Machacha: The Happening (2025, BarsOverBs): New Jersey rapper, member of Umbrella Collective, several albums since 2020, here with producer Mattæus Overgaard Jensen. B+(**) [sp]

Kirk Knuffke/Stomu Takeishi/Bill Goodwin: Window (2025, Royal Potato Family): Cornet player, many albums since 2009, superb both in free and mainstream contexts, trio here with bass and drums. Also sings a couple songs here (not a plus, but not a minus either). B+(***) [sp]

Lizzo: My Face Hurts From Smiling (2025, Nice Life/Atlantic): Rapper Melissa Jefferson, four albums since 2013, Cuz I Love You (2019) a big hit, has a fifth one planned for later this year, calls this poorly-received interim effort a mixtape (AOTY: 50/3). Distinction seems to be hard, fast, rude, and repetitive. B+(*) [sp]

The Oxys: Casting Pearls Before Swine (2025, Cleopatra): Punkish band from Austin, third album since 2020, some past credits for various members, including two from Sylvain Sylvain and the Sylvains. Ten songs (28:14). B+(**) [sp]

Vinnie Paz: God Sent Vengeance (2025, Iron Tusk Music): Underground rapper from Philadelphia, Vincenzo Luvineri, started in 2006 with Jedi Mind Tricks, with 17 albums, most with metal-sounding titles, like Fires of the Judas Blood, The Priest of Bloodshed, The Pain Collector, Savor the Kill, Burn Everything That Bears Your Name, Lower the Blade, Tortured in the Name of God's Unconditional Love. I'm not into the pain, let alone the violence, that fills these tales, but I noted lines like "my life is darker than Charlie Parker" and "beware the wrath of a patient man," and the gloomy music lays bare the harsh reality. No reason we need to live in dystopia, but there's something to be said for not flinching when you do. A- [sp]

Carmen Staaf: Sounding Line (2024 [2025], Sunnyside): Pianist, from Seattle, based in New York, debut 2004 but mostly side credits (most often with Allison Miller or Jenny Scheinman). Explores Monk and Mary Lou Williams here, with various accompanists: Ambrose Akinmusire (trumpet duo) to open and close, Darren Johnston (trumpet plus others) for two tracks in the middle, Ben Goldberg (clarinets, three tracks, two with Johnston), one Monk tune just adds bongos (John Santos). B+(***) [sp]

Peter Stampfel, Friends & Daughters: Song Shards: Soul Jingles, Stoic Jingles, Vintage Jingles, Prayers and Rounds (2025, Jalopy): 46 songs of sorts, as noted in the subtitle, in less than 43 minutes, done up in his own inimitable style by one of our leading semi-pop folklorists, although for once I find the style grating, possibly because the humor is all but unfathomable. I briefly glanced at the notes when I first heard of this, and they seem likely to be interesting, but since I've played it I've lost all interest. B- [sp]

Craig Taborn/Nels Cline/Marcus Gilmore: Trio of Bloom (2024 [2025], Pyroclastic): Keyboards (mostly electric), guitars (too, including lap steel), drums. Billed as a self-titled debut, but the names are big enough they couldn't keep them off the cover. Long (70:18). A- [cd] [09-26]

Natsuki Tamura/Satoko Fujii: Ki (2025, Libra): Japanese trumpet and piano duo, their 10th, a relatively quiet affair that breaks up a bit toward the end. B+(**) [cd]

Tyler, the Creator: Don't Tap the Glass (2025, Columbia): Los Angeles rapper Tyler Okonma, started in Odd Future, solid gold since 2011, cashes in with a short one (10 tracks, 28:50), after 2024's 52:54 Chromakopia. B+(*) [sp]

Us3: Soundtrack (2025, Us3): British group, bill themselves as jazz-rap, debut 1993, I filed them under rap at the time, and haven't heard anything since until this, which I found a DownBeat review for. No rap here, as the title implies. B [sp]

Milan Verbist Trio: Time Change (2025, Origin): Belgian pianist, first album, trio with Toon Rumen (bass) and Jens Meijer (drums), mostly originals (covers from Ornette, Stanko, Bach, and Peacock). Has some impressive moments, but who doesn't? B+(*) [cd]

Wild Iris Brass Band: Way Up (2025, Ear Up): New Orleans band founded by Jeff Coffin (tenor sax) and Ray Mason (trombone), with trumpet (Emmanuel Echem), alto sax (Jovan Quallo), sousaphone (Neil Konouchi), drums (Justin Amaral), and tambourine (Ryoko Suziki). Coffin, who does a lot of side work in Nashville, has albums back to 1999 and close to 200 side credits back to 1989. B+(*) [sp]

Saul Williams: Saul Williams Meets Carlos Niño & Friends at TreePeople (2024 [2025], International Anthem): Spoken word artist, started doing open mic, won a poetry slam title in 1996, which led to roles in a documentary (SlamNation) and a feature film (Slam), and from 2000 on to albums, including one with saxophonist David Murray. Niño is a percussionist, who has regularly recorded with "& Friends" (since 2009). Music didn't quite grab me, but the insights/good messages of the farewell message did, like "we are all bearing witness to the horrendous acts of our government" and "we have a special responsibility because we're in the belly of the beast." B+(**) [sp]

Simón Willson: Feel Love (2024 [2025], Endectomorph Music): Bassist-composer, from Chile, based in New York, third album, quartet with Neta Raanan (tenor sax), Evan Main (piano), and Kayvon Gordon (drums). Interesting postbop, saxophonist continues to impress. B+(**) [cd]

Gaia Wilmer & Ra Kalam Bob Moses: Dancing With Elephants (2023 [2025], Sunnyside): Brazilian alto/baritone saxophonist, studied in Boston (where she met the percussionist), has worked in New York and Sao Paulo, producing several albums since 2017, mostly large groups (sextet and up). Her she takes Moses' solo tracks and builds on them, with various combinations of five more saxophonists, piano, guitar, and/or voice (Song Yi Jeon). Mixed results here, and Moses gets overwhelmed, but George Garzone remains unmistakable. B+(*) [sp]

Yoko Yates: Eternal Moments (2024 [2025], Banka): Pianist, originally from Japan, studied at Berklee and in Cambridge (UK), second album, original pieces, quintet with Jamie Baum (flute), Sam Sadigursky (clarinet/bass clarinet/alto sax), bass, and drums. B [cd]

Recent reissues, compilations, and vault discoveries:

Charlie Rouse: Cinnamon Flower: The Expanded Edition (1977 [2025], Resonance): Tenor saxophonist (1924-88), played in big bands early, ranging from Bull Moose Jackson to Dizzy Gillespie (and including brief stops with Basie and Ellington), but best known for his work with Thelonious Monk (1959-70, the band continuing after Monk died as Sphere). His own work is rather mixed, including Brazilian themes: Bossa Nova Bachanal (1962) and this in 1977, expanded here past 80 minutes. B+(*) [cd]

Old music:

Chris Cacavas: Chris Cacavas and Junk Yard Love (1989, Heyday): Singer-songwriter from Tucson, played keyboards and lap steel for a 1980s band of some note, Green on Red (Dan Stuart was the leader; Steve Wynn and Chuck Prophet also played at various points), started his solo career here, which appears to be up to 18 albums now, but still lacks a Wikipedia page. I looked into him after noticing a single (***) Christgau review for a 1992 album, identified as this but more likely Good Times. Solidly within their genre. B+(*) [yt]

Chris Cacavas & Junkyard Love: Good Times (1992, Heyday): Second album, the group name firmed up, easy to see from the cover how Christgau might have confused the title. One extraordinary song. I couldn't find the lyrics online, so tried to transcribe them: "I'm a saint/ I can do no wrong/ if you see me walking down the street/ just throw flowers at my feet/ and if you got something to say /well you best get on your knees and pray/ because I'm a saint/ I can't believe this crazy life I'm living/ where I can do what I want and all is forgiven/ can you see the trouble I'm in/ I'm evil but just can't sin/ if you don't believe a word I say well alright/ I'll ride on your dash one day/ because I'm a saint." Another verse, then ends with a chorus answering "he can do no wrong" to each assertion of "I'm a saint." Several more good ones. Could be a SFFR (subject for future research). B+(***) [yt]

Mary Halvorson/Kirk Knuffke/Matt Wilson: Sifter (2011 [2012], Relative Pitch): Guitar/cornet/drums trio, presented this as a group eponymous album but the names, all fairly well known by then, were prominent on the front cover, and this turned out to be a one-shot grouping. B+(***) [sp]

Unpacking: Found in the mail last week:

• Todd Herbert: Captain Hubs (TH Productions) [10-01]
• Andy Nevada: El Rumbón (The Party) (Zoho) [08-08]
• Premik Russell Tubbs & Margee Minier-Tubbs: The Bells (Margetoile) [10-15]

Ask a question, or send a comment.

Monday, September 15, 2025

September archive (in progress).

Music: Current count 44857 [44818] rated (+39), 21 [21] unrated (-0).

A few weeks back, before starting my long, slow read of John Cassidy's Capitalism and Its Critics: A History: From the Industrial Revolution to AI, I quickly thumbed through Bernie Sanders' post-2020 campaign memoir, It's OK to Be Angry About Capitalism, and got enough out of it to write up a review, which I sent out to subscribers of my Notes on Everyday Life newsletter, and posted as Bernie Sanders Finds It's OK to Talk Like an Old Lefty (also archived). I quickly realized I had more to say, but dragged my feet until I finally posted More Thoughts on Bernie Sanders and Capitalism last week (also archived). I put a lot of thought into those pieces, not that they shouldn't be crafted to make sharper points. But they do raise an important question that hardly anyone has raised: if Americans really want a revolution, and there is some evidence for this, why were they only offered a chance to vote for Trump but not for Sanders? There's a lot to unpack there, and I can imagine it taking book-length, but the key ideas can be found in these two pieces.

In the meantime, I collected notes for Loose Tabs. As soon as I mailed the Sanders piece out, I decided to finish Loose Tabs off before posting this Music Week. I started with a PS to last week's Music Week, with an update on my everyday life, a plug for the Sanders piece, a note on Robert Christgau's latest Consumer Guide (my reviews below, with Young a late upgrade), and a bit on my not-yet-ready Loose Tabs. I worked on it well into Sunday evening, then decided to post what I had, so I can get on with my life. All I've done on it so far today was to fix the ellapsed days counter (28), and add a couple tweets. Even so, I didn't get around to doing the cutoff until 6PM, and it's close to 9PM as I'm writing this.

What I am considering is going back over the Loose Tabs and writing up some sort of executive summary/further reflections I can send out as the next newsletter. But I also have a couple more ideas in the works, ones that come closer to everyday life. And really I could use some detox from politics.

Big push this week will be house stuff. It's time to finally build that recycling kiosk. The scrap wood is pretty much organized. Main problem is likely to be rain, but it should be cooler in a day or two, and only Wednesday seems likely to rain much. Also need to work on the Jazz Critics Poll website, but I'm running out of things in the way, and the actual setup is pretty simple. (Designing a new website would be harder, and may not happen any time soon.) Setting up my own writing framework is also on the todo list.

Lot of records this week from the HHGA list. There's probably another dozen I haven't heard yet. I also picked up tips from Phil Overeem's September list. Not a lot of jazz this week. Fair number of things in the new jazz queue, but very few have been released yet. I also have a folder of download offers that I haven't touched.

On first play, Big Thief's Double Infinity is already an A-, and not a low one.

I'm thoroughly enjoying Cassidy's Capitalism and Its Critics, and should wrap it up this week. I'm up to Joseph Stiglitz, which I think only leaves Thomas Piketty. (Stiglitz is not listed on the book cover, but is in the chapter on Samir Amin, along with Dani Rodrik. I have another half-dozen recently purchased books in the wings (and more older ones), but suddenly I'm tempted to look for Quinn Slobodian's Hayek's Bastards: Race, Gold, IQ, and the Capitalism of the Far Right, which complements the critics of capitalism with critics of the capitalist world whose preferred cure is even more extreme capitalism. The individuals listed, like Murray Rothbard and Charles Murray, don't especially interest me, but the pseudo-revolutionary ardor of the far right is very much among us. I've also just learned that the title is a play on Joan Robinson's characterization of Keynes' Bastards (Samuelson, Solow, and the other neo-Keynesians who dominated American economics until they lost ground to Friedman and his "school").

New records reviewed this week:

Africa Express: Africa Express Presents . . . Bahidorá (2025, World Circuit): British nonprofit founded in 2006 by Damon Albarn and Ian Birrell to promote African musicians, although their roster through five albums includes many others. Rather scattered, with some nice stuff, especially near the end. B+(*) [sp]

Amaarae: Black Star (2025, Interscope): Ama Serwah Genfi, born in the Bronx, parents from Ghana, third album. Nice beats, dense, generously sprinkled with sex. A- [sp]

Fly Anakin: (The) Forever Dream (2025, Lex): Rapper Frank Walton, close to a dozen albums since 2016. B+(*) [sp]

Blood Orange: Essex Honey (2025, RCA/Domino): British singer-songwriter Devonté Hynes, previously recorded as Lightspeed Champion (2008-10), fifth album since 2011. B+(*) [sp]

Blueprint: Vessel (2025, Weightless): Underground rapper Albert Shepard, from Columbus, Ohio, a dozen-plus albums since 2003, some very good, most real steady. This is both. A- [sp]

Chance the Rapper: Star Line (2025, self-released): Chicago rapper Chancelor Bennett, has mixtapes since 2012, but this is only counted as his second (or third) studio album (some dispute whether the title is one word or two). Much of interest here, some amusing, some making me uncomfortable, impressing on me that the impact of racism is still very palpable (e.g., the 4th of 4 "black commandments": "if they wanna we go to war"), not that the solution isn't clear ("my problem is your problem; your problem is my problem"). A- [sp]

Charley Crockett: Dollar a Day (2025, Lone Star Rider/Island): Country singer-songwriter, has been kicking out 2-3 albums per year since 2015, making this his 16th. All are good. None are great (although I gave his Live From the Ryman Auditorium an A-). B+(***) [sp]

Orhan Demir/Neil Swainson: Wicked Demon (2024-25 [2025], Hittite): Turkish guitarist, acoustic, based in Canada since 1977, has a 1990 album and several more recent, nice duo with bass. B+(**) [cd]

Mark Ernestus' Ndagga Rhythm Force: Khadim (2025, Ndagga): German DJ, side credits back to 1993, released his first Afro-centric ndagga albums in 2013. This particular group is fairly minimal: Bada Seck (bougarabou, thiol, mbeung mbeung bal, tungune), Serigne Manoune Seck (bougarabou, khine, mbeung mbeung, tungune), and Mbene Diatta Seck (vocals). B+(**) [sp]

Evidence: Unlearning Vol. 2 (2025, Rhymesayers Entertainment): Rapper/producer Michael Perretta, former member of the jazz-inflected Dilated Peoples (5 albums, 2000-14), has a half-dozen solo albums since 2007, including Unlearning Vol. 1 (2021). B+(*) [sp]

Fatboi Sharif & Driveby: Let Me Out (2025, Deathbomb Arc): Rapper from New Jersey, several albums since 2021, with various producers (Steel Tipped Dove twice), first with fellow NJ producer. Somewhat ghoulish. B+(*) [sp]

Ingebrigt Häker Flaten/(Exit) Knarr: Live at Artfacts '22 (2022 [2025], Sonic Transmissions): Norwegian bassist, Discogs credits him with 58 albums since 2000, performance credits go back to 1994 and number 274, he's anchored such major groups as Atomic and the Thing, as well as numerous Ken Vandermark projects. Septet here named for a 2021 album, here with Mette Rasmussen (alto sax), Atle Nymo (tenor sax/clarinets), Erik Kimestad (trumpet), guitar, piano, and drums. B+(*) [sp]

Ingebrigt Håker Flaten/(Exit) Knarr: Drops (2024 [2025], Sonic Transmissions): Same band concept, although the cast has shifted, with Amalie Dahl on alto sax (except for one track with Mette Rasmussen), Karl Hjalmar Nyberg on tenor, no trumpet, Marta Warelis taking over at piano (with electronics), Jonathan F. Horne on guitar, and an extra drummer for one track ("a bold, extended lineup"). B+(**) [sp]

From the Dirt: Colored Edge of Memory (2025, self-released): Americana band from Frederick, Maryland, with Dan Kenny as singer-songwriter, filed them under folk although there is also a bluegrass influence. Seems nice enough, but I doubt that much will stick. B+(***) [sp]

Freddie Gibbs & the Alchemist: Alfredo 2 (2025, ESGN/ALC): Rapper Fredrick Tipton, many albums since 2004, several with producer Alan Maman since 2018, including their previous Alfredo (2020). B+(*) [sp]

The High & Mighty: Sound of Market (2025, Eastern Conference): Hip-hop duo, Eric Meltzer (Mr. Eon) and Milo Berger (DJ Mighty Mi), recorded an album in 1999 on Rawkus that got some notice, three more through 2005, now one more. B+(***) [sp]

Kaytranada: Ain't No Damn Way! (2025, RCA): Haitian DJ/producer based in Canada, fourth album since 2016, not counting many mixtapes, a few collaborations, and lots of production work. Fairly basic beat-centric album, exactly what I expect. B+(***) [sp]

Knowledge the Pirate: The Round Table (2025, Pimpire/Trouble Chest Entertainment): Rapper Richard Iverson, half-dozen albums since 2018, this one sometimes co-credited to executive producer Roc Marciano, who also gets a featuring listing on one song. B+(**) [sp]

Lex Korten: Canopy (2024 [2025], Sounderscore): Pianist, also plays Rhodes, couple previous albums, scattered side credits (recently: Simon Moullier, Alfredo Colón, Sasha Berliner, Zoh Amba). Most tracks here feature voice (Claire Dickson), alto sax (David Léon), guitar (Tal Yahalom), drums (Stephen Boegeheld). I'm not much into the vocals. B [cd] [09-19]

Rocío Giménez López/Franco Di Renzo/Luciano Ruggieri: La Palabra Repetida (2025, Blue Art): Argentinian pianist, has a couple albums since 2017, trio with bass and drums, their second together, standards, mostly from jazz (Davis, Ellington, Parker, Shorter, Coltrane). B+(**) [bc]

Mahotella Queens: Buya Buya: Come Back (2025, Umsakazo): South African vocal trio, best known for backing Mahlathini (1937-99), but they have a fair number of albums on their own, starting in 1966, with this new album their first since 2007. Classic township jive, can't miss. A- [sp]

Lili Maljic: The Nearness of You: In Loving Memory of Jim Rotondi (2024 [2025], Pacific Coast Jazz): Standards singer, sticks to A-list songs, handles them well enough, the dedication to the trumpet player, who died two months after helping out here, is a nice touch. B+(**) [cd]

MindsOne: Stages (2025, Fort Lowell): Hip-hop group (Kon Sci, Tronic, various DJs but mostly DJ Noumenon), fifth album since 2007. Old school scratches, and (per HHGA) "precision, moving between introspection and sharp observations about life, ambition, and purpose." A- [sp]

Nils Petter Molvær: Khmer Live in Bergen (2023 [2025], Edition): Norwegian trumpet player, developed a distinctive strain of jazztronica in the 1990s -- which, by the way, started with Masqualero with Arild Andersen, which once again brings us back to George Russell and his Electronic Sonata -- especially on the ECM albums Khmer (1998) and Solid Ether (2000). This draws songs from both albums, bringing back the original band from the latter, plus long-time collaborator Jan Bang (live sampling). A- [sp]

Nourished by Time: The Passionate Ones (2025, XL): Alt-r&b singer-songwriter Marcus Brown, second album. B [sp]

Nova Twins: Parasites & Butterflies (2025, Marshall): British duo, Amy Love (vocals/guitar) and Georgia South (bass/vocals), third album, funk beats, metallic clang hilights, can rap some. I've been a fan so far, and some of this is really extraordinary, but it's rather hit-and-miss, taking four songs to get to "Soprano," and more to get to what sounds like supercharged Queen. B+(**) [sp]

Panic Shack: Panic Shack (2025, Brace Yourself): Welsh post-punk band, Sarah Harvey the singer, first album after a couple EPs, 11 songs, 34:16. Some of the themes I'm not into, but they have so much fun with them I can't complain. Reminds me of some '70s new wave, only not male. A- [sp]

Preservation & Gabe 'Nandez: Sortilège (2025, Backwoodz Studioz): Former has a 25-year history as an underground DJ without revealing so much as a name (unless it's Jean Daval? "half-French," from New York); 'Nandez (or Nadez) is younger, "half-Malian," both with some connection to Billy Woods. B+(***) [sp]

Margo Price: Hard Headed Woman (2025, Loma Vista): Country singer-songwriter, fifth studio album since 2016 (plus a live Perfectly Imperfect at the Ryman). Strong upbeat pieces, loses a bit on the ballads. B+(***) [sp]

ShrapKnel & Mike Ladd: Saisir Le Feu (2025, Fused Arrow): Hip-hop duo, Curly Castro and PremRock (Mark Debuque), from Philadelphia's Wrecking Crew, fourth album since 2020, couple more since, this one produced by Ladd, who has a rep as a spoken word artist including collaborations with jazz musicians, especially Vijay Iyer. B+(**) [sp]

Earl Sweatshirt: Live Laugh Love (2025, Tan Cressida/Warner): Rapper originally from Chicago, father a South African poet and political activist, mother a law professor noted as a "critical race theorist," started with Odd Future in Los Angeles, 6th studio album since 2013 (counting an Alchemist collab), but short at 24:08 (11 tracks). B+(*) [sp]

Zach Top: Ain't in It for My Health (2025, Leo33): Country singer-songwriter, grew up on a rance in Washington, second album. B+(**) [sp]

UFO Fev & Body Bag Ben: Thousand Yard Stare (2025, 1332): Rapper and beats, I've seen cover scans with the credits flipped but will go with Discogs (especially since they have a scan to prove it). B+(**) [sp]

Jubal Lee Young: Squirrels (2025, Reconstruction): Countryish singer-songwriter, never heard of him through 6-7 albums since 2004, son of Steve Young (1942-2016), another one I've barely heard of (just enough to have him redundantly listed in my country and folk files, neither of which actually graded an album). Christgau recommended this one, and it's interesting enough, and more than a little amusing. Not yet enough to send me back to the catalogs, but I wouldn't rule that out. I sat on the fence here a while, but finally decided not to give a fuck. A- [sp]

Recent reissues, compilations, and vault discoveries:

Bar-B-Q Killers: Part 1: The Last Shit (1986 [2025], Chunklet Industries, EP): Athens, GA garage band, three songs, 8:24. Title per cover, but Discogs lists as Chester Drawers, after the first song on what is basically a single. Group went on to release an album, Comely, in 1987. B [bc]

Marshall Crenshaw: From "The Hellhole" (2012-16 [2025], Yep Roc): Retro rocker in the early 1980s, seemed major for several striking albums, still sounds much the same, although this collection of remastered stray tracks stikes me as pretty useless. B- [sp]

Woody Guthrie: Woody at Home: Vol 1 + 2 (1951-52 [2025], Shamus): Famous folksinger (1912-67), from Oklahoma, wrote hundreds of songs, with most of his recordings in 1944-49. These previously unreleased tapes -- 22, with 13 songs that hadn't been previously released -- were recorded shortly before he was diagnosed with Huntington's Disease, which ended his career early. This is fairly minor, but interesting. B+(*) [sp]

Old music:

Body Type: Expired Candy (2023, Poison City): Australian garage rock group, four women, second album after two EPs. Pretty good, but ran on well past my peak interest. B+(***) [sp]

The High & Mighty: Home Field Advantage (1999, Rawkus): Philadelphia hip-hop duo, rapper Mr. Eon (Erik Meltzer) and producer DJ Mighty Mi (Milo Berger), first album, draws some notable guest spot artists, like Eminem. B+(***) [sp]

Unpacking: Found in the mail last week:

• Tom Cohen: Embraceable Brazil (Versa) [10-10]
• Juan Pastor's Chinchano: Memorias (Calligram) [10-03]
• Natsuki Tamura/Satoko Fujii: Ki (Libra) [09-19]

Ask a question, or send a comment.

Tuesday, September 9, 2025

September archive (in progress).

Music: Current count 44818 [44780] rated (+38), 21 [22] unrated (-1).

After another week of massive thrashing, I finally decided to delay this until after I finished my next Substack Notes on Everyday Life piece. It is called More Thoughts on Bernie Sanders and Capitalism. As it goes out in email, I want to give it a night to rest, then reread and edit it tomorrow. (The link above will get you to my first rough draft, in what I regard as the definitive archive for such pieces. I made an edit to the previous column, Bernie Sanders Finds It's OK to Talk Like an Old Lefty, which was so minor I didn't bother with updating the copy on Substack.) I wrote the section on Sanders' political program on Monday, while it was raining all day. I wrote the preceding "thumbnail history" today.

The extra day (or may be two, since I only did the cutover around 9 PM on Tuesday) let me push the rated count over 30. I was surprised to see the A-list grow to 10. Not a record, and not much more than last week's 8, but I figured I'd resist my temptation to downgrade the non-jazz releases I rarely spend much time with, especially as Haim, CMAT, and Sabrina Carpenter held up for 3-5 plays each. Still didn't get anything serious written about the latter, but it's not like I haven't been writing about anything.

I should also mention that I have a fair amount of Loose Tabs drafted. Pretty good chance I'll post one of those before next Music Week. It's pretty ugly so far, but I also opened up a book file for the latest political concept. Mostly just gross outline cribbed from a letter which goes back to June 1. As my plan going way back before that has always been to spend a month writing off the top of my head, the fact that I've already procrastinated more than three months bodes ill, but it's a step. A big chunk of tomorrow's post fits in with the thinking.

So it's not like I'm getting nothing done, but the pace remains extremely slow. I did manage to finally get Laura's new computer up and running. Only thing left is to configure the mailer. I had a long-running problem with a light upstairs, which I finally got working (at least with the original halogen bulb; the replacement dimmable LED bulbs come on but never dim, and worse still never turn off -- wonder what could explain that?). I have some padding ready to put up in the carport, to keep from banging the new car doors on the brick. I started to put it up on Sunday, but ran out of light; they it rained, then I wrote, and tomorrow I have a gruesome dentist thing, but it shouldn't take long once I get it started. I got far enough on the woodpile project to take some pictures. Then I noticed that the first round of pictures on it were dated June 19.

I spent some time today shopping for hooks to hang moulding on. I don't urgently need to add it, but I have lots of pieces in the basement. Next step will be to build the recycling kiosk. The idea there is to cobble it together using up some of the most useless pieces of scrap wood. It will sit in the foyer, and collect stuff to give away. I'm looking forward to doing some decluttering after that. Also need to do some plumbing: upstairs sink is probably something I can do, but I'll need some help for the basement floor drain.

That should be enough for the week -- especially Loose Tabs can chew up endless time. Also need to do some work getting Francis Davis Jazz Critics Poll set up. We don't need to send invites out until November, but I don't want to put things off to the last minute, per usual. I'm slowly working my way through John Cassidy's Capitalism and Its Critics, and finding it very useful. I've ordered a bunch more books in the last week, with no idea when/how I'll get to them. The way things are going, it's doubtful I will.

New records reviewed this week:

Baths: Gut (2025, Basement's Basement): American electropop producer Will Wiesenfeld, fourth studio album since 2010 (also has two "B-Sides" compilations), has scattered moments but doesn't sustain them. B [sp]

Marilina Bertoldi: Para Quien Trabajas Vol. 1 (2025, Sony Music Argentina): Argentinian singer-songwriter, considered rock, has a couple previous albums, sort of a new wave sound, in Spanish, impressive until it slips a bit toward the end (10 songs, 29:27). B+(**) [sp]

The Beths: Straight Line Was a Lie (2025, Anti-): Indie rock band from New Zealand, singer-songwriter Elizabeth Stokes the singer-songwriter, Jonathan Pearce is lead guitarist/producer, fourth studio album since 2018. B+(***) [sp]

Sabrina Carpenter: Man's Best Friend (2025, Island): Pop singer-songwriter, started with Disney as a teen, so this is counted as her 7th album, but just 3rd in my book. This follows up on her breakthrough hit. A- [sp]

Chicago Jazz Orchestra: More Amor: A Tribute to Wes Montgomery (2024 [2025], Chicago Jazz Orchestra): Trombonist Jeff Lindberg is artistic director, with several group albums starting with a Porgy & Bess in 2004. Bobby Broom is featured here on guitar, playing both Montgomery's classics and the chintzier fare of his later years, with no shortage of strings. B+(*) [sp]

Chicago Underground Duo: Hyperglyph (2024 [2025], International Anthem): Rob Mazurek (trumpets, electronics, voice, flutes, bells) and Chad Taylor (percussion, including mbira and kalimba). B+(***) [sp]

CMAT: Euro-Country (2025, CMATBaby/AWAL): Irish singer-songwriter Ciara Mary-Alice Thompson, third album, all effusively admired, and not without reason, although the big production can be as much work to listen to as they were to concoct. "Ready" is way over the top, enough so that the more modest fare comes as a relief. I'm not very good at parsing her texts, but accept on faith that she's very smart, means well, and is having a remarkably good time with her newfound fame. A- [sp]

George Coleman: George Coleman With Strings (2022 [2025], Savant): Tenor saxophonist, now 90, perhaps best known for his brief term in the Miles Davis Quintet, but he's recorded some outstanding albums on his own: My Horns of Plenty (1991) is a favorite, Eastern Rebellion (1975) is another classic, and A Master Speaks (2016) kicked off one of history's finest octogenarian revivals. Seems like everyone wants to do a strings album sooner or later, even though very few have panned out. Stan Getz, in Focus, is perhaps the only one where the strings are as interesting as the sax; Art Pepper's Winter Moon is one where the strings are as gorgeous as one might hope for, and the sax even more splendid. But early efforts, like Charlie Parker, Coleman Hawkins, and Ben Webster, were nothing more than signature saxophone over mediocre backdrops, and that's been par for the course. Bill Dobbins handles the strings here, and gives them a tolerable air of 1940s soundtrack melodrama. Also helping is a fine mainstream rhythm section: David Hazeltine (piano), John Webber (bass), Joe Farnsworth (drums), and Café Da Silva (percussion). A- [sp]

Hannah Delynn: Trust Fall (2025, self-released): Nashville-based folkie singer-songwriter, first album after a couple of EPs, very slow, rather an accident that I gave this sufficient play to warm to some of its details. B+(**) [cd] [09-09]

Dijon: Baby (2025, R&R/Warner): R&B singer-songwriter Dijon Duenas, American but born in Germany to a military family stationed there. Second album, got some rave reviews but I have trouble getting past the glitchiness. B+(*) [sp]

Joe Ely: Love & Freedom (2025, Rack 'Em): Legendary Lubbock singer-songwriter, started in the Flatlanders, his 1978 Honky Tonk Masquerade is an all-time favorite, and he's had lots of good ones since then, most recently 2024's Driven to Drive -- but that one was reconstructed from older demos. This was also based on home studio demos, but no info on how old they are. (One song talks about being 30 but feeling 45. Ely's 78 now.) Still sounds pretty good. B+(***) [sp]

Fieldwork: Thereupon (2024 [2025], Pi): Fourth album under this name, the first in 2002 with pianist Vijay Iyer and sax (Aaron Stewart) and drums (Elliot Humberto Kavee). The second substituted Steve Lehman on sax (2005), and the third brought in Tyshawn Sorey on drums (2008) -- a supergroup, even then, with Sorey contributing 6 songs to 3 for Iyer and 2 for Lehman. All three are superb, as is this new one, from the free rhythmic extravaganza to open to the soft landing to close. Song credits split 5-4-0, but "all tracks collectively developed." A- [cd]

Folk Bitch Trio: Now Would Be a Good Time (2025, Jagjaguwar): Indie folk-rock trio from Melbourne, Australia; first album, after singles going back to 2020. B [sp]

Ghostface Killah: Supreme Clientele 2 (2025, Mass Appeal): Wu-Tang rapper Dennis Coles, went solo in 1996, followed by Supreme Clientele in 2000. Regarded at the time as the most gangsta of the Clan, I wasn't a fan at the time, although later albums like Fishscale impressed me. B+(*) [sp]

GoGo Penguin: Necessary Fictions (2025, XXIM): English fusion band, 7th album since 2012, a piano-bass-drums trio but with synths and extra strings. B+(**) [sp]

Omer Govreen Quartet: All Things Equal (2024 [2025], J.M.I.): Israeli-born, Amsterdam-based bassist, has side-credits with Michael Moore and Ziv Taubenfeld, probably his first album as leader, original compositions, played with Aleksander Sever (vibes), Floris Kappeyne (piano), and Wouter Kühne (drums). B+(***) [sp]

Haim: I Quit (2025, Columbia): Three sisters, all sing, play guitar-bass-drums-plus, with producer Rostam Batmanglij (mostly keyboards but also guitar, mandolin, and sitar) co-credited on all songs. I was reluctant at first, but this is pretty catchy. A- [sp]

Ill Considered: Balm (2025, New Soil): London-based group, ten numbered albums plus a few more starting with their eponymous debut in 2017, specialize in free improv built on top of deep grooves, although this one short-changes the groove in favor of solemn ambience. Group is reduced to: Idris Rahman (tenor sax/bass clarinet/flute), Liran Donin (bass/taishogoto), and Emre Ramazanoglu (percussion). Unusual business plan calls for an LP run limited to 300, each with "a unique hand-painted cover by Vincent De Boer [where] each one forms part of a larger 300-piece canvas" (on Bandcamp for £50, limit 1 per customer). B+(**) [sp]

Ill Considered: Live at Eye Film Museum (2024, New Soil): A full live show in Amsterdam, in one 89:28 chunk (although there are obvious gaps between pieces). B+(**) [bc]

Ill Considered & Rob Lewis: Emergence (2024, New Soil): I've tried to follow this group fairly closely, but several recent albums escaped my attention. As best I can figure out, Lewis is a London-based cellist-composer who mostly does soundtrack work. Some of that comes through, only sometimes as overwrought drama. B+(**) [bc]

Ill Considered: UnEvensong (2024, New Soil): Fourth album in as many months, rushed out in early December as a Christmas album, but while titles like "Come All Ye Faithful" and "Frosty the Snowman" are familiar, they don't weigh heavy on the music, which soars (ah, there's a wee bit of "Auld Lang Syne"). B+(***) [sp]

Larry Keel/Jon Stickley: Larry Keel & Jon Stickley (2025, self-released, EP): Two flat-picking guitarist singer-songwriters, filed this under bluegrass, which seems to be where they've been working since 2004 or so. Five songs, 17:09. B [cd]

KRS-One: Temple of Hip Hop Global Awareness (2025, R.A.M.P. Ent Agency): Another old-timer, just turned 60, still able to summon up the anger and the sound ("boom bap back to the basics") of his prime, which like Public Enemy and Wu-Tang sounds especially great right now. Of course, he's even more self-conscious and ever more didactic than his peers, but that's always been his thing. A- [sp]

Laufey: A Matter of Time (2025, AWAL): Icelandic singer-songwriter, last name Jónsdóttir, mother a Chinese classical violinist, has studied in Scotland and at Berklee, lived in DC and Los Angeles, has a twin sister who's a violinist and has a degree in international relations. Third album since 2022, gets some attention from jazz critics, but also hits the pop charts. Whatever this is, it is pretty accomplished. B+(**) [sp]

Billy Lester Trio: High Standards (2017 [2025], Ultra Sound): Pianist, described by Howard Mandel in 1998 as "a late-bloomer on that reticent branch of the jazz tree, the school of Lennie Trisano." His Discogs credits start in 2002 (aside from a composition credit for a song Anthony Braxton recorded first in 1997 as part of his Tristano Project). Trio here with Marcello Testa (bass) and Nicola Stranieri (drums), same as his Italy 2016 album, playing standards plus a closing 9:29 "Free Improvisation." B+(**) [cd] [09-12]

Christian McBride Big Band: Without Further Ado, Vol. 1 (2025, Mack Avenue): Mainstream bassist, emerged as a band leader in the 1990s and has retained his standing as a poll winner. He's had many ventures, with this his fourth big band album. Key here is that he's lined up a long list of big name singers, starting least conventionally with Sting and Andy Summers. B+(**) [sp]

Ashley Monroe: Tennessee Lightning (2025, Mountainrose Sparrow): Pistol Annies singer-songwriter decided to go big on her 7th album (since 2009): 17 songs, 61 minutes. So far hardly anyone has noticed (80/1 at AOTY after nearly a month). I can't say as I noticed much either, at least until the closing "Jesus Hold My Hand." B+(*) [sp]

Ned Rothenberg: Looms & Legends (2024-25 [2025], Pyroclastic): Alto sax/clarinet player, tends to work the gentler side of free jazz, and has since 1981. Solo here, includes some shakuhachi, a very attractive album, one that doesn't sound like practice, as most solo reeds albums do. Holds up to multiple replays. A- [cd]

Superchunk: Songs in the Key of Yikes (2025, Merge): Indie rock band from North Carolina, 13th studio album since 1990 (with a 2001-10 gap), Mac McCaughan the singer-songwriter. Got a reputation for political songs recently, but I'm mostly just hearing soaring guitars. B+(**) [sp]

Sunny Sweeney: Rhinestone Requiem (2025, Aunt Daddy): Country singer-songwriter, sixth studio album since 2006. Terrific sound, songs include anthems, as timeless as the clichés they're built on. A- [sp]

Teyana Taylor: Escape Room (2025, Taylormade/Def Jam): R&B singer-songwriter, fourth album since 2014, two gold records so far, also has a fairly substantial acting career. Talks through a lot of this. B [sp]

Recent reissues, compilations, and vault discoveries:

Larry Stabbins/Keith Tippett/Louis Moholo-Moholo: Live in Foggia (1985 [2025], Ogun): British saxophonist, b. 1949, not a lot under his own name but side credits start up in 1971, joining the pianist in 1978, and the drummer by 1982, while also working in groups led by Chris McGregor, John Stevens, Tony Oxley, and Barry Guy. This same trio recorded Tern in 1982. Two long pieces here (45:34 and 27:11). In fast company here, he rises to the occasion. A- [sp]

Old music:

Hannah Delynn: The Naked Room Demos (2021, self-released, EP): "Stripped down and straight forward," 5 songs, 18:57. B [bc]

Hannah Delynn: Making Friends (2023, self-released, EP): Five well-crafted, nicely produced songs, 16:58. Leans toward pop, but doesn't deliver much. B [bc]

Evan Parker/Ned Rothenberg: The Monkey Puzzle (1997, Leo): Duo, another one followed in 2007, former plays soprano and tenor sax, latter bass clarinet and alto sax. Parker has a lot of this sort of thing, both solo and duo. Rothenberg adds a nice balance. B+(***) [bc]

Ned Rothenberg Double Band: Overlays (1991, Moers): Two alto saxophonists (with Thomas Chapin), two electric bassists (Jerome Harris, also on guitar, and Kermit Driscoll), two drummers (Adam Rudolph, credited percussion, and Billy Martin). The basses set up a funk current that the saxes tease at and play with like Ornette Coleman. A- [bc]

Ned Rothenberg: The Crux: Selected Solo Wind Works (1989-1992) (1989-92 [1993], Leo): Seven pieces (54:45), on alto sax (4), bass clarinet (2), and shakuhachi (1). He fills his space with wonder and fascination. B+(***) [bc]

Ned Rothenberg Double Band: Parting (1996 [2004], Moers Music): The last of three Double Band albums, released after second saxophonist Thomas Chapin's death, with Jerome Harris back on electric guitar and bass, Tony Scherr on electric and acoustic bass, and drummers Michael Sarin and Samm Bennett. Wile some of this is impressive, it can also be overwrought. B+(*) [sp]

Ned Rothenberg: Ghost Stories (1999-2000 [2000], Tzadik): Four tracks recorded in three sessions, a 6:30 shakuhachi solo, and three longer: duos with Riley Lee (shakuhachi) and Satoshi Takeishi (percussion), and the 19:41 title piece with cello (Erik Friedlander), pipa (Min Xiao-Fen), and percussion (Takeishi again). B+(*) [sp]

Ned Rothenberg Sync: Harbinger (2001-03 [2004], Animul): Plays clarinet, bass clarinet, alto sax, and shakuhachi, backed by Jerome Harris (acoustic bass, string guitar, acoustic bass guitar) and Samir Chatterjee (tabla). This is very nice. B+(***) [bc]

Ned Rothenberg/Satoh Masahiko: Decisive Action (2003-04 [2004], BAJ): Duo with piano, two sessions, Rothenberg playing clarinet, bass clarinet, alto/soprano sax, shakuhachi. B+(**) [bc]

Unpacking: Found in the mail last week:

• Mike Clark: Itai Doshin (Wide Hive) [10-03]
• Orhan Demir/Neil Swainson: Wicked Demon (Hittite) [07-14]
• Wadada Leo Smith/Sylvie Courvoisier: Angel Falls (Intakt) [10-03]
• Mark Turner: Reflections On: The Autobiography of an Ex-Colored Man (Giant Step Arts) [10-10]

Ask a question, or send a comment.

Monday, September 1, 2025

September archive (in progress).

Music: Current count 44780 [44745] rated (+35), 22 [24] unrated (-2).

August is done and dusted. Having learned as a child that summer is the school break from June through August (or Memorial Day through Labor Day), I'd say summer is done too. Were I to look back at my notebooks and planning documents from May, I'm sure I'd be deeply depressed at how little I have to show for this summer -- especially as I recall looking forward to post-operation eyesight, some fairly ambitious home projects, a new car which could make travel possible again, and a newly restructured view of my writing projects. Truth is, I've made some progress on all of those fronts, but they're all unsettled, while time is marching on, or maybe even running out.

I've offered lists of things to do the last couple weeks. Little point in repeating them here. Perhaps I'll have more to show next week. I will note that while I predicted the rated count would fall this week, it's held up pretty well (35 albums), but more notable is the quantity and quality of the A-list albums (8, with 2 at full A grades), and mostly surprises (only 2-3 I had expectations for: Zenón is always good; Cat & the Hounds was Joe Bebco's mid-year top pick and right up my alley; I expected Hooker to be good, but more like 2024's high-B+ The Charcot Sessions). Two albums came from Saving Country Music's mid-year list, two more from Hip-Hop Golden Age's evolving list, and several HM from both sources. I had seen a fair amount of hype for the Jaleel Shaw album, but was in no rush to seek it out, until a copy showed up in the mail (along with the Hancock album I had requested, and the nearly as good Rubalcaba). One thing is that many of the reviews offer very little beyond a slugline and a grade.

Nothing more on Jazz Critics Poll to report. I'm still planning on running it this year, but it's unlikely I'm going to find time to do much more than that. I also made no progress on writing my next Notes on Everyday Life post, after outlining it last week. I did think about a new intro, on why the donor class is willing to indulge Trump's revolutionary fantasies but is terrified of Sanders and other democratic leftists. My guess is that once I start, the piece will come together quickly. But getting to it is a problem. I'm also thinking about using Substack's Notes outlet, less to promote my longer pieces than because much of what I'm thinking about can be written up in a single paragraph, although fitting the character count limits in X and Bluesky can be a pain.

Beyond that, I'm thinking about doing a couple of actual "everyday life" posts: one on the computer I've been building -- which is ready for its smoke test, although I'd still like to tidy up some of the strangling wires (which are too many and often too long); another is a post on the recycling kiosk, which I expect to cobble together as soon as the woodpile project is completed (again, just some tidying up to do before working on the kiosk). Both have been humbling experiences, although I'm sure they'll be remembered more kindly once they're working. Meanwhile, I'm taking the Cassidy book at a leisurely pace, just finishing the chapter on John Hobson's critique of imperialism, which still hasn't sunk in very deep in Washington.

I do have a few Loose Tabs, but they're very hit-and-miss, the longest section the one on Trump administration corruption. I recommended an article, In Trump's D.C., the swamp runneth over, on Bluesky. I got a question today, from Canada, which reads in part:

I know you're astonished with how many people actually voted for an obviously deranged loon, but do you think his voters will ever see through or even care about the grift he's carrying out. Will ordinary joes raise their voices, or will that result in blood in the streets?

With these military deployments, do you think there could be a backlash within the ranks to stop the madness? A little extreme, I know, but things are getting a lot out of hand.

I'm not a good person to be asking this to, partly because I see much more of what's going on than most people do, and partly because I tend to err on the side of optimism (which was much more fashionable when I was a child than it's since become). But since you asked, I think this comes down to a few key questions:

1. Is Trump going to be popular enough in 2026 (and 2028) for Republicans to win? I don't think he is now, and I don't think there is any chance that his acts are going to help him out. On the other hand, Democrats are also very unpopular right now, but as they are out of power, they're more likely to benefit from Trump's unpopularity than be hurt by their own. Republicans were very unpopular in 2008 and 2020, but for reasons that were largely forgotten about two years later. On the other hand, they do seem to benefit from a double standard.
2. If Trump sees not being able to win, and if his options to cheat are insufficient, will he try to derail the elections? I don't see how he could do this, but I don't doubt that he would try if he could. Short of this, he does have lots of options to influence the election, and these could (and probably will) get really ugly.
3. If the elections are held and Republicans lose, could he prevent the winners from taking office? Aside from litigating a few close races, this would amount to staging a coup. While the military is likely to support many normally illegal Trump orders, this would be a very big ask.

The US is a pretty complex political system, with lots of independent power distributed among many institutions. Since inauguration, Trump has made an unprecedented attempt to grab more power than any previous president. And I think he's been more successful than anyone would have predicted, in large part because many institutions -- including big law firms, universities, newly anti-woke businesses, and much of the media -- have knuckled over without a fight. Businesses and financiers are still pretty confident they can buy what they need. And the Republican-packed courts have repeatedly bowed to their "unitary executive." So right now, we don't have a good sense of where everyone's red lines lie. The big player here is the media, which while nowhere near as formidable as in the past can still emerge as as a public conscience to save democracy. Democrats had little success in 2024 painting Trump as a threat to democracy, because most people, led by most of the media, didn't buy the menace. Canceling elections, stealing them, and/or staging a coup could tip the balance, and turn resistance from a seemingly irrational obsession of "premature antifascists" to something mainstream patriots can get behind.

On the other hand, note that even if Democrats win big in 2026, Trump will still be president for two more years, and can still do a lot more damage -- especially if the Supreme Court effectively blesses his dictatorial impulses. And it's going to take decades and/or unprecedented radical democratic majorities to undo the consequences of a monumentally foolish electorate in 2024. As for the Democrats, that's another can of worms.

When we bought the car, I considered the possibility of driving to Arkansas for the annual Brown Family Reunion. I did see a post today from a distant relative I could have met there, referring back to his "8th great-grandfather, Jeremiah Brown Sr. (1687-1767)," and providing a link to Jeremiah Brown House and Mill Site," a National Register Historic Place in Maryland originally built in 1757 by Brown. I've never seriously looked into my genealogy, but figure it might be an interesting sideline to the memoir project. I do know a bit about my ancestors back to the Civil War, after which Abraham Hull moved from Pennsylvania to western Kansas, and Matthew Brown moved from Ohio to northern Arkansas. I know that Abraham had a grandfather who immigrated in 1798, a refugee from the failed revolution in Ireland. So it looks like the Browns go back even further, but still count as refugees. Good chance John Brown is another distant relative (or so I've been told). None of this has any obvious bearing on how I turned out.

New records reviewed this week:

Gino Amato: Latin Crossroads 2 (2025, Ovation): Pianist, sequel to his 2024 album, arranged a set of standards for latin big band and singers, like "Moonlight in Vermont" and "I Love Paris" and "Windmills of Your Mind" and "Me and Julio Down by the Schoolyard." B+(*) [cd]

Oren Ambarchi & Eric Thielemans: Kind Regards (2023 [2025], AD 93): Australian guitarist, lots of records since 1998, duo here with a Belgian drummer, ducking and weaving through two sides, 47:12. B+(**) [sp]

Oren Ambarchi/Johan Berthling/Andreas Werlin: Ghosted III (2024 [2025], Drag City): Guitar/bass/drums trio, the latter two Swedish, third album together. B+(***) [sp]

Apollo Brown & Bronze Nazareth: Funeral for a Dream (2025, Escapism): Detroit hip-hop producer Erik Stephens, many albums since 2009, with rapper Justin Cross, less famous but has a lot of credits since 2002. A- [sp]

Rodney Crowell: Airline Highway (2025, New West): Quality country singer-songwriter since 1978, another fine batch of songs. B+(***) [sp]

Jesse Daniel: Son of the San Lorenzo (2025, Lightning Rod): Country singer-songwriter, fifth (or 6th?) album since 2018. B+(**) [sp]

Matt Daniel: The Poet (2025, self-released): Country singer-songwriter from Texas, seems to have a previous album. Don't know from poet, but he's a pretty classic-sounding songster. B+(***) [sp]

Joe Ely: Love & Freedom (2025, Rack 'Em): Legendary Lubbock singer-songwriter, started in the Flatlanders, his 1978 Honky Tonk Masquerade is an all-time favorite, and he's had lots of good ones since then, most recently 2024's Driven to Drive -- but that one was reconstructed from older demos. This was also based on home studio demos, but no info on how old they are. (One song talks about being 30 but feeling 45. Ely's 78 now.) Still sounds pretty good. B+(***) [sp]

Colin Hancock's Jazz Hounds Featuring Catherine Russell: Cat & the Hounds (2024 [2025], Turtle Bay): "A 1920s Jazz and Blues Centennial," arranged and produced by Hancock, who plays cornet and C-melody sax. Seems to be his first album, but he scored a coup in getting the singer. Only band member I recognize is Evan Christopher (clarinet/alto sax), but Vince Giordano (bass sax) guests. Terrific songs from the real jazz era. A- [cd]

The Hives: The Hives Forever Forever the Hives (2025, PIAS): Swedish post-punk group, five albums 1997-2012, a hiatus from the departure of their bassist ("Dr. Matt Destruction") and ended in 2023 with The Death of Randy Fitzsimmons (an alias credited with their songwriting). Title song suggests they've found the secret to endurance, which is keeping it simple, but also fast and loud. B+(***) [sp]

Cody Jinks: In My Blood (2025, Late August): Country singer-songwriter, from Texas, styled outlaw, started in a thrash metal band, 11th album since 2006, has got the voice and knows a few licks. B+(*) [sp]

Olivia Ellen Lloyd: Do It Myself (2025, self-released): Country singer-songwriter, originally from West Virginia, now based in Brooklyn, has a previous album from 2021 (Loose Cannon). B+(***) [sp]

Tony Logue: Dark Horse (2025, Jenny Ridge Productions): Country singer-songwriter, has a couple previous albums. Hard worker, Lynyrd Skynyrd fan. "The road I'm on is dark and dirty/ It's that crazy that keeps me sane." B+(***) [sp]

Roberto Magris: Lovely Day(s) (2024 [2025], JMood): Italian pianist, couple dozen albums since 1990. This one is solo, starts with an original, then hits the usual bases (doubling up on Monk and Andrew Hill), in fine fashion. B+(***) [cd]

Juliet McConkey: Southern Front (2025, Soggy Anvil): Country singer-songwriter, out of Austin, second album. B+(*) [sp]

Brad Mehldau: Ride Into the Sun (2025, Nonesuch): Pianist, got his start on Fresh Sound in 1993 before landing on a major label in 1995 and soon moving through his remarkable The Art of the Trio series. Since then he's diversified, with everything from Bach to Beatles and solos to big bands. This is about half orchestra, with some vocals and flutes and such, most playing Elliot Smith songs. Some nice piano spots, but not much else I find interesting. B [sp]

Nerves Baddington: Driving Off Cliffs (2025, Apt. B Productions): Birmingham, AL duo, Inkline the rapper and Kilgore Doubt the producer, have a couple previous albums I've liked. B+(**) [sp]

Cam Pierce: A Thousand Lonely Horses (2025, self-released): Country singer-songwriter from Oregon, based in Nashville, leans toward the western end of c&w, seems to have a couple previous albums but I'm finding almost nothing on the internet: just one SCM review, and a streaming widget. Songs are solid-plus, voice good, pace assured. A- [os]

Ken Pomeroy: Cruel Joke (2025, Rounder): Country singer-songwriter, a Cherokee from Oklahoma, third album. B+(***) [sp]

Queen Herawin: Awaken the Sleeping Giant (2025, Matic): New York rapper, sophomore album. Dense and powerful. Done prematurely at 32:22, but no regrets. A- [sp]

Ravita Jazz: Alice Blue (2025, Ravita Music): Bassist Phil Ravita, from Baltimore, has a previous album co-led by Skip Grasso, wrote most of the originals, plus a couple from pianist Greg Small, while covering "I Can't Stand the Rain" and a medley of Led Zeppelin and "Sunny Side of the Street." Features saxophonist Paul Carr. B [cd]

Steve Rosenbloom Big Band: San Francisco 1948 (2024 [2025], Glory): Alto saxophonist, has a side-credit from 1983 and a quintet album from 1997, but not a lot more, as his main gig seems to have been in psychiatry. Original pieces, conventional big band. It's possible my CD is defective, as it sounds awfully murky, but crystal clarity wouldn't help much either. [PS: If it was meant to sound like this, drop the grade to D.] C [cd]

Gonzalo Rubalcaba/Chris Potter/Eric Harland/Larry Grenadier: First Meeting: Live at Dizzy's Club (2022 [2025], 5Passion, 2CD): Cover just lists their first names, which is sufficiently unique for the pianist, probably first guess for the saxophonist, and probably surmisable for the others (at least if you assume drums and bass). This is about as good as you'd expect: Potter steals the show, as he often does, and hearing him expound at length is always a pleasure, as is the pianist when he inserts one of his distinctive solos. B+(***) [cd]

Jaleel Shaw: Painter of the Invisible (2022 [2025], Changu): Alto saxophonist, originally from Philadelphia, half-dozen albums since 2005, Discogs lists 57 performance credits, has some range and isn't real consistent but finds a nice post-Coltrane vibe here and expands on it at length (11 tracks, 71:13). Mostly quartet with Lawrence Fields (fender rhodes), Ben Street (bass), and Joe Dyson (drums), with spots for Lage Lund (guitar) and Sasha Berliner (vibes), one track on piano. A- [cd]

Sam Stoane: Tales of the Dark West (2025, Cloverdale): Cowgirl from rural California, first album, originals plus covers of Gene Autry ("Back in the Saddle Again") and Rodney Crowell ("Even Cowgirls Get the Blues"). A- [sp]

Turnpike Troubadours: The Price of Admission (2025, Bossier City): Honky tonk band from Oklahoma, 7th album since 2007, a favorite of Saving Country Music, I've never been much impressed. B+(*) [sp]

Molly Tuttle: So Long Little Miss Sunshine (2025, Nonesuch): Singer-songwriter, fifth album since 2019, last two topped the bluegrass charts, but Saving Country Music reviewed but refused to grade this "sad development that the Millennial Queen of Bluegrass has gone pop" and adds that producer Jay Joyce "deserves to get chlamydia from the Tyler Childers koala." I'd have to look that one up, but offhand seems dumb and mean. I had to look Joyce up too: produced albums since 1998, mostly starting with Nashville artists like Eric Church and Patty Griffin (and more recently Ashley McBryde and Lainey Wilson) and making them slightly more pop, although it doesn't seem like he's made anyone into something alien (at least not Brandy Clark or Miranda Lambert). Here she wrote the songs here (most with fiddler Ketch Secor; two more leaned on Kevin Griffin; then there's the Charli XCX cover). They're fine (a couple better than that). B+(**) [sp]

Vega7 the Ronin/Machacha: The Ghost Orchid (2025, Copenhagen Crates): Rapper from Queens, eighth album since 2022, with Danish producer Mattæus Overgaard Jensen, prolific since 2016, second album together. B+(***) [sp]

Hayley Williams: Ego Death at a Bachelorette Party (2025, Post Atlantic): Singer-songwriter, started 2005 fronting the group Paramore (6 albums through 2023; she's the only continuous member) before releasing a solo album in 2020, this her third. So well hooked only indifference holds me back. B+(**) [sp]

Miguel Zenón Quartet: Vanguardia Subterranea: Live at the Village Vanguard (2024 [2025], Miel Music): Alto saxophonist, from Puerto Rico, long-running quartet with Luis Perdomo (piano), Hans Glawischnig (bass), and Henry Cole (drums), celebrates their 20th anniversary with their first-ever live album, drawn from a six-day stand. They've been producing superb studio albums all along, taking Latin idioms and distilling them (and Coleman and Coltrane) into conventional quartet form all along, so it's no surprise that this is also superb. Some day I expect the whole series to get boxed up, as with Art Pepper. A [cd]

Recent reissues, compilations, and vault discoveries:

John Lee Hooker: The Standard School Broadcast Recordings (1973 [2025], BMG): Major bluesman, born (1912?) to sharecroppers in Mississippi, left home for Memphis, wound up in Detroit in the 1940s, recording his first hits in 1948-49, and plying his trade up to his death in 2001, recording duets and guest spots with anyone who would have him, which by then was pretty much everyone (cf. The Best of Friends). While fans came and went, he managed to sound ancient and primeval in the 1950s, and even more so in the 1990s. This is a previously unreleased studio session, recorded in San Francisco, with piano-bass-drums backup (notable is his 20-year-old son, Robert Hooker, on piano), playing long, relaxed versions of 8 songs (58:17), some reworked classics and some jams. It was commissioned for "a groundbreaking educational program sponsored by Standard Oil (later Exxon)," only three of which were broadcast. Less intense, but as satisfying as anything he ever recorded. A [sp]

Steve Tintweiss and the Purple Why: Live in Tompkins Square Park 1967 (1967 [2025], Inky Dot Media): Cover also notes: "NYC Free Jazz," and lists names across the top banner: Jacques Coursil (trumpet), Perry Robinson (clarinet), Joel Peskin (tenor sax/bass clarinet), Randy Kaye (drums./piano), Laurence Cook (drums), Steve Tintweiss (bass/vocals/percussion/composer/leader), James DuBoise (guest trumpet). Tintweiss played on some ESP-Disk and related albums (1966-70), and appeared on some Amy Sheffer albums in the 1980s, but had nothing under his own name until he started rifling through old tapes in 2019. Not extraordinary nor outrageous, but I take a little nostalgic joy in this primitive squelchiness. B+(**) [cd]

Zulu Guitar Blues: Cowboys, Troubadours and Jilted Lovers 1950-1965 (1950-65 [2025], Matsuli Music): Early, almost primeval roots of township jive. B+(**) [sp]

Old music:

Brad Mehldau: Après Fauré (2023 [2024], Nonesuch): Established himself in the late 1990s as a major jazz pianist, so I've followed him pretty regularly, balking only when he seemed to stray too far into classical and/or soundtrack music, so I skipped this (and several other albums; working backwards here as long as I can stand it). Solo piano exercise, with five pieces by Gabriel Fauré (four nocturnes and an excerpt from "Piano Quartet No. 2") along with "Fauré-like" originals. Nice enough. B [sp]

Brad Mehldau: After Bach II (2017-23 [2024], Nonesuch): Solo, picks up some scraps from the session that produced his 2018 After Bach, and adds some extra material, again mixing in a few originals modeled on. I don't hate much of it, but my patience is wearing thin. B- [sp]

Brad Mehldau/Ian Bostridge: The Folly of Desire (2022 [2023], Pentatone): Piano and voice duo, the former composing in his archest classical mode, the latter a British tenor with a long list of recordings (since 1995), and evidently some reputation among lieder aficionados. I expected to hate this, and often I do, but Bostridge does have a remarkable voice, and after he's slogged through the 11 title songs, he finally puts it to good use, with an exceptional version of "These Foolish Things." Four more songs, including two by Cole Porter (and one by Schubert) are less striking, but they could make a decent standards album. B- [sp]

Perico Sambeat: Ademuz (1995 [1998], Fresh Sound New Talent): Spanish alto saxophonist, also plays flute, albums since 1990, appeared on Brad Mehldau's New York-Barcelona Crossing albums, takes the lead here, with Mehldau (piano) and Mark Turner (tenor sax) prominent on the cover, along with trumpet (Michael Leonhart), guitar (Kurt Rosenwikel), bass, drums, percussion, and voice (Enrique Morente). B+(**) [sp]

Unpacking: Found in the mail last week:

• Armen Donelian: Stargazer (Sunnyside) [10-03]
• Phil Haynes & Free Country: Liberty Now! (Corner Store Jazz) [10-17]
• Rubén Reinaldo: Fusión Olivica (Free Code Jazz) [06-04]
• Jovino Santos Neto Quartet: Mais Que Tudo: Live at Kerry Hall 1995 (Origin) [09-19]
• Craig Taborn/Nels Cline/Marcus Gilmore: Trio of Bloom (Pyroclastic) [09-26]
• Milan Verbist Trio: Time Change (Origin) [09-19]

Ask a question, or send a comment.

Tuesday, August 26, 2025

August archive (final).

Music: Current count 44745 [44701] rated (+44), 24 [30] unrated (-6).

Calendar has today as the last Monday in August, so I should be wrapping up the monthly archive and starting a new one for September. But I'm finding it hard to move ahead, maybe because I feel like I've accomplished so little this summer. Made very modest progress on some of my projects, but too little to mention. Did come up with a healthy set of reviews this week, most of which surprised me.

I did publish a third Notes on Everyday Life column on Saturday, Bernie Sanders Finds It's OK to Talk Like an Old Lefty. This was occasioned by reading his post-2020 campaign book. I'm thinking about follow it up this week with a "More Thoughts" piece, as I find myself with some:

1. I might start with the section on policies (pp. 265-275), which offer various combinations of impossible, unreliable, insufficient, and vague, not that they don't dance around real problems. I doubt I can (or should) posit an alternate list, at least until we sort through some other considerations.
2. I have a short point on the the "failure" of his 2020 campaign -- quotes because I'm not sure he wanted to win, although losing to Biden wasn't really optimal either.
3. Another short point on how he was first out of the gate with his anti-oligarchy tour against Trump, even though he has no real chance for a 2028 run.
4. Some thoughts about how to focus the "anger about capitalism" he recognizes into a way of talking and formulating policies. People are pretty heavily armored against his old left critique, and my new left critique hasn't fared much better, but misgivings about capitalism are much more broad-based than we credit, and that suggests approaches we haven't really explored.

The last point will have to be very schematic: I haven't really figured it out yet, and doubt I could explain it briefly if I had. One idea is to try to formulate each postulate as a end (telos) and a set of initial paths toward it. For example, if your end is a full right to quality health care, what are the practical steps that move you in that direction? Bernie's Medicare-for-All is a pretty big step, but one that's hard to sell whole (and does it still work if it's cut up into an ACA-style compromise?). I have some thoughts, but no time to go into them here.

There's also a section on media, another subject worth looking into, but while Sanders has valid complaints, but they're not all that useful. There's little that can be done with policies -- not that a number of past policy decisions haven't made the situation worse. Given that there's no practical way to make media trustworthy, the only real alternative is to get viewers and readers to be more wary, and more critical. Neil Postman argued that the highest goal of education is to equip us with finely-tuned bullshit detectors. That the media fails so often in this regard cannot be chalked up to a shortage of bullshit to detect.

One need hardly add that the point of Trump's assault on education is to dull critical senses, or to obliterate them altogether. Why not turn this around on them, pointing out not just what they're trying to get away with, but how them are doing it. It's not as if the public isn't already skeptical of the Fake News Lamestream Media. One thing I've found in life is that it's virtually impossible to restore shattered faiths (e.g., my own early and quite fervent belief in religion, patriotism, and free enterprise). You'd have a better chance of building on what they already find credible, which is that the whole system is rotten. Then show how Trump is part of that rot, and not a fix. His desire to turn American history into some sort of catechism isn't just dogmatic. It's some kind of lobotomy.

One reason I'm having trouble facing September is that I had this schedule in my mind about the 20th Annual Francis Davis Jazz Critics Poll: we'd make some key website design decisions in August, then start qualifying voters in September, so when November came around the website and mailing lists would be ready, and the poll would deploy like clockwork. Thus far none of that's happened. I'll try to get some messages out in the next week or two, to get the ball rolling. I run an "admin" email list for people who would like to help out, or just act as a sounding board for my ruminations, so if you're interested in joining that, let me know. If you know of anyone who should be voting but isn't, let me know -- or better still, get them to contact me. I'll post more info when I have some.

PS: I posted this a day late, basically because I ran out of energy Monday night, and still wanted to mention the jazz poll. Spent most of the day working on the garage wood pile. I didn't make a lot of progress, but I did make a little. Should be done this week (although rain could spoil tomorrow). I thought about pulling Monday's records forward here, but I figure I won't have much next week -- I'm finally optimistic about my home projects, which will cut down on my listening/writing time. Besides, plenty already below. (Although I might as well sneak in cover pics for two surprise A- records next week.) I still haven't done the monthly cutoff, but will probably treat the rest of the week as the first of September.

New records reviewed this week:

Eric Alexander & Vincent Herring: Split Decision (2025, Smoke Sessions): Tenor and alto sax, mainstream, both came up in the 1990s (late 1980s for Herring), third album styled as a joust (after 2005's The Battle and 2012's Friendly Fire), backed by Mike LeDonne (piano), John Webber (bass), and Lewis Nash (drums). B+(**) [sp]

Barry Can't Swim: Loner (2025, Ninja Tune): Scottish electronica producer Joshua Mainnie, second album. B+(***) [sp]

Alain Bédard Auguste Quartet: Particules Sonores (2024, Effendi): French Canadian bassist, side credits back to 1985, second Auguste Quartet album, with Mario Allard (saxes), Marie-Fatima Rudolf (piano), and Michel Lambert (drums). B+(**) [sp]

Hayes Carll: We're Only Human (2025, Hwy 87): Country singer-songwriter, albums since 2002, most real good and some brilliant. More of the former here, some of the latter. A- [sp]

Sharel Cassity: Gratitude (2023 [2025], Sunnyside): Alto saxophonist, half-dozen albums since 2008, star-studded rhythm section here -- Cyrus Chestnut (piano), Christian McBride (bass), Lewis Nash (drums) -- with guest trumpet (Terell Stafford) and/or trombone (Michael Dease) on a couple tracks. B+(***) [sp]

Monique Chao Jazz Orchestra: Time Chamber (2023 [2024], Da Vinci Jazz): Pianist, born in Taipei, based in Milan, released a quartet album in 2021, a Subconscious Trio album in 2022, and now this big band album: sounds exceptional out of the gate, but runs on a bit past my interest. B+(**) [sp]

Bootsy Collins: Album of the Year #1 Funkateer (2025, Bootzilla/Roc Nation): Prime-time bassist for James Brown and George Clinton, recorded classic funk albums in the 1970s with his Rubber Band, mixed results since then, finds the old magic for the title track, and hints at it further on. Of the later developments, most of the rap just doubles down on the funk, but it runs long and spreads a bit too far. B+(***) [sp]

Adegoke Steve Colson & Iqua Colson With Andrew Cyrille/Mark Helias: Glow: Music for Trio . . . and Voice (2025, Silver Sphinx): Pianist, originally from New Jersey but associated with AACM, backed by bass and drums, with his wife on most songs -- she's accompanied him as far back as 1980's Colson Unity Troup. B+(***) [cd]

Deafheaven: Lonely People With Power (2025, Roadrunner): Black metal band, sixth album since 2011, easily the highest-rated album I hadn't heard this year (20 on my metacritic list, next one down was Heartworms at 57; 83/19 at AOTY), by definition useless to me, but tolerable at low volume (I know, not the point), but they do seem to have something special -- manic frenzy that comes through anyway. I'm not sure I wouldn't like them even more at even lower volume, but might miss the quiet bits that definitely help. B+(*) [sp]

DJ Koze: Music Can Hear Us (2025, Pampa): German electronica producer Stefan Kozalla, 7th studio album since 2000, lots more DJ mixes, singles, etc. B+(**) [sp]

Wayne Escoffery: Alone (2024, Smoke Sessions): Tenor saxophonist, born in London, based in New York, albums since 2001, impressive chops and tone but albums have been erratic. Title suggests solo, but he's backed by Gerald Clayton (piano), Ron Carter (bass), and Carl Allen (drums), so must just be his mood. B+(**) [sp]

Joe Farnsworth: The Big Room (2025, Smoke Sessions): Mainstream drummer, albums since 1998, Discogs counts 234 side-credits since 1992 (most often with Eric Alexander). Sextet with Jeremy Pelt (trumpet), Sarah Hanahan (alto sax). Joel Ross (vibes), Emmet Cohen (piano), and Yasushi Nakamura (bass), with all but the bassist bringing songs (one cover is "I Fall in Love Too Easily"). Flashy up front, but interest tails off. B+(*) [sp]

Steven Feifke: The Role of the Rhythm Section Vol. II (2023 [2024], La Reserve): Pianist, has several blbums since 2015, including a previous volume in 2022. He also has a septet and a big band, but this is just a trio, with Dan Chmielinski (bass) and Bryan Carter(drums). Mostly standards, with a serious focus on the rhythm. B+(**) [sp]

Béla Fleck/Edmar Castañeda/Antonio Sanchez: BEATrio (2025, Thirty Tigers): Banjo, harp, and drums trio. Fleck was born in New York, was inspired by Earl Scruggs to start in bluegrass, called his group the Flecktones, which recorded ten studio albums 1990-2011, but he has branched out in jazz and world music, here with the Colombian harpist and Mexican drummer (first initials BEA). B+(*) [sp]

Garbage: Let All That We Imagine Be the Light (2025, Infectious Music/Stunvolume/BMG): Rock band from Wisconsin, eighth album since 1995, singer Shirley Manson, drummer Butch Vig already had a reputation as a producer (Nirvana). Starts nice enough, but sharpens up considerably. Eventually you get to: "They hate your women/ They rob your children and they love their guns/ They're all liars, they're all users." A- [sp]

Jacob Garchik: Ye Olde 2: At the End of Time (2023 [2025], Yestereve): Trombonist, from San Francisco, based in New York, dozen or so albums since 2005, one called Ye Olde in 2015. Avant-fusion group then featured the multi-guitar attack of Brandon Seabrook, Mary Halvorson, and Jonathan Goldberger, with Vinnie Sperrazza on drums. This time Ava Mendoza replaces Seabrook, aside from two tracks with others (Miles Okazaki and Sean Moran on guitar, Josh Dion on drums). This got distributed early enough to show up on some mid-year ballots (I had my copy at the time; Discogs says this was "already being sold at concerts as early as July 11). Not much to my taste, but impressive enough I'm cutting it some slack B+(**) [cd] [08-29]

Bruce Gertz Quintet: Octopus Dreams (2024 [2025], Open Mind Jazz): Bassist, composer here, hype sheet says he's led "over 20 albums," Discogs lists his credits as starting in 1979, with "featuring" spots under Jerry Bergonzi and Mick Goodrick. Quintet here with trumpet (Phil Grenadier), tenor sax (Rick DiMuzio), piano, and drums. B+(*) [cd]

Roger Glenn: My Latin Heart (2025, Patois): Flute player, also vibes/marimba, alto sax, and vocals here, cover proclaims "a jazz legend revealed": the legend has one previous album, from 1976, plus 60+ side credits starting in 1970 with Mary Lou Williams, Mongo Santamaria, and Donald Byrd, later with Cal Tjader, and while he's slowed down since 2006, there are no real gaps. B+(**) [cd]

S.G. Goodman: Planting by the Signs (2025, Slough Water/Thirty Tigers): Folk singer-songwriter, from Kentucky, third album since 2020. B+(**) [sp]

Kelly Green: Corner of My Dreams (2024 [2025], La Reserve): Jazz singer-songwriter, plays piano, based in New York, several albums since 2017. Arrangements lean toward strings. B+(*) [cd]

Andy Haas/Brian g Skol: The Honeybee Twist (2024 [2025], Resonant Music): Duo, sax with live effects and drums. The saxophonist has a long list of interesting albums, from Martha & the Muffins through Radio I-Ching to recent works. This seems marginal, an experiment in moving through space and time, but interesting nonetheless. B+(***) [cd]

James Holden & Waclaw Zimpel: The Universe Will Take Care of You (2025, Border Community): Cover just offers surnames. Holden is a well-established (since 2006) electronica producer, with titles like The Idiots Are Winning and Imagine This Is a High Dimensional Space of All Possibilities. Zimpel is a Polish clarinetist, albums since 2008, that first with Chicago-based free jazzers (Dave Rempis, Tim Daisy), but also has a couple albums with Schackleton, so he's been down this road before. This starts off shimmering, goes beyond glitzy, and winds up somewhere in the stars. A- [sp]

Aruán Ortiz: Créole Renaissance (2024 [2025], Intakt): Cuban pianist, in US since 2002, based in New York, dozen-plus albums since 2012, this is his second solo, the first with a title that played off "Cuban" and "Cubism" (Cub(an)ism). This one again references art (e.g., surrealism), especially as used by modernist intellectuals of the African diaspora -- the centerpiece here namechecks many such movements. B+(***) [cd] [08-29]

Greentea Peng: Tell Dem It's Sunny (2025, AWAL): British neo-soul singer-songwriter Aria Wells, second studio album (first in 2021), closer to trip-hop here, but the singer is the focus, not just atmosphere. A- [sp]

PlainsPeak: Someone to Someone (2024 [2025], Irabbagast): New quartet led by Jon Irabagon (alto sax), all his pieces, with Russ Johnson (trumpet), Clark Sommers (bass), and Dana Hall (drums), the group name a nod to Chicago, where the skyscrapers are supposed to tower higher than any of the surrounding plains -- which is probably true as far as one can see from there, but the plains I know go higher (if not steeper). Still, a good example of freewheeling two-horn quartets. A- [cd]

Playboi Carti: [I Am] Music (2025, AWGE/Interscope): Atlanta rapper Jordan Terrell Carter, fourth album since 2017, most sources credit title as simply Music, but cover reads I Am Music (all caps, twice). For further confusion, the 30-track (76-minute) album cane out on 3/14, followed by similar 30-track V1, V2, and V3 releases through 3/20, and in April a 34-track variant called Sorry 4 Da Wait. (Discogs also lists "variants" 1-8.) B+(**) [sp]

Mike Pope: The Parts You Keep (2022 [2025], Origin): Bassist, has previous albums from 2002, 2012, and 2021. This is an ambitious work, with originals studded with Parker and Coltrane pieces, "That Old Feeling," and ending with a bit of classical music featuring his 85-year-old pianist mother. Otherwise, the pianist is Geoffrey Keezer, with Nat Smith on drums, and spots for trumpet (Randy Brecker), sax (Roxy Coss), guitar (Amaury Cabral), and strings (two tracks). B+(**) [cd]

PUP: Who Will Look After the Dogs? (2025, Rise): Canadian post-punk album, acronym stands for Pathetic Use of Potential, fifth album since 2013. B+(*) [sp]

Julius Rodriguez: Evergreen (2024, Verve): Originally a drummer, leaves that part to others here while he plays keyboards (including piano and organ), guitar, and electric bass, and does some programming. Gets occasional help on horns and elsewhere, including a Georgia Anne Muldrow vocal. B+(***) [sp]

Marc Seales With Ernie Watts: People & Places (2022-23 [2025], Origin): Pianist, side-credits from the 1980s but not much as leader until he landed on this label, first with Don Lanphere in 1996, on his own since 2004. Good to hear so much tenor sax. B+(***) [cd]

Kae Tempest: Self Titled (2025, Island): English poet/rapper, has published poetry collections since 2012, four plays, a novel, and studio album since 2014 (or 2011?). Music is very strong here, and so are the words. A- [sp]

Emma-Jean Thackray: Weirdo (2025, Brownswood/Parlophone): English singer-songwriter, started in jazz playing trumpet, second album, vocals are up front, synthesizers are her main instrument, and she's played everything else, aside from two guest spots. B [sp]

These New Puritans: Crooked Wing (2025, Domino): English band, fifth studio album since 2008. Caroline Polachek guests. B+(*) [sp]

Ben Thomas Tango Project: The Hat With the Grin and the Chuckle (2025, Origin): Vibraphone/bandoneon player, second group album (I missed the title when I originally logged this). Band includes two violins, clarinet, piano, and bass, with Thomas also credited for percussion. B+(**) [cd]

Water From Your Eyes: It's a Beautiful Place (2025, Matador): Chicago band, principally Rachel Brown (vocals) and Nate Amos (guitar/production), started with self-released albums in 2017, breakthrough was 2023's Everyone's Crushed. I was slow on that one, and I'm slow on this one, but it's distinctive and interesting enough that I keep coming back to it, even though I'm not sure what it's delivering. A- [sp]

Carlos "Zingaro"/João Madeira: Arcada Pendular (2023 [2025], 4DaRecord): Portuguese violin and bass duo, the former with many albums since 1988, many more side credits since 1969, but still no explanation for the quote marks (last name evidently Alves; use sometimes suggests a nickname, but quotes are as often omitted). I'm beginning to feel compromised here, as I would normally never give a violin-bass duo stream more than a cursory single pass, with some flavor of B+ depending on how it hit me, but Madeira keeps sending me CDs, and after 4-5 plays I start to love them. (Needless to say, there's no guarantee that I'll give your CD commensurate attention. But it happens on occasion, and with Madeira it's happened a lot.) A- [cd]

Zurhub [Mattan Klein/Ezequiel Hezi Joit]: Countryside Motorways (2024 [2025], Origin): Flute and guitar, backed by keyboards (Itay Simhovich), bass (Assaf Hakimi), and Dani Benedikt (drums). B [cd]

Recent reissues, compilations, and vault discoveries:

Emahoy Tsege Mariam Gebru: Church of Kidane Mehret (1963-72 [2025], Mississippi): Ethiopian pianist (1923-2023), also plays organ and harmonium here, also happened to be an Ethiopian Orthodox nun, a selection of her 1963-96 solo recordings was a highlight of the Éthiopiques series. This is a 1972 album with two earlier cuts added. She's done some remarkable work, but too much organ here. B [bc]

Kinloch Nelson: Waiting: More Recordings, 1968-1976 (1968-76 [2025], Tompkins Square): Guitarist, in the American primitive vein, from Rochester, studied classical and jazz guitar (the latter with Gene Bertoncini, the former Stanley Watson), has been playing since 1967 ("performing since 1969"). This follows a 2019 Tompkins Square compilation, Partly On Time: Recordings 1968-1970, with several other self-released albums. B+(**) [sp]

Alick Nkhata: Radio Lusaka ([2025], Mississippi): Singer-songwriter from Zambia (1922-78), formed a quartet in the 1940s, which later became the Lusaka Radio Band, and later still the Big Gold Six, having some hits in the 1950s, and possibly after independence in 1964 (he had worked as a field recording engineer during WWII, and with the Central African Broadcasting Service until 1974). I don't see any dates, but Discogs lists his singles (where dated) between 1950-59. This sounds naively crude at first, but picks up midway (perhaps with a bit of calypso?). B+(***) [bc]

Old music:

The Colson Unity Troupe: No Reservation (1980, Black Saint): AACM pianist Adegoke Steve Colson and vocalist Iqua Colson, still together with a new 2025 album, released two albums under this name, this one with Wallace LaRoy McMilan (a saxophonist from St. Louis who also worked with Muhal Richard Abrams, Roscoe Mitchell, Henry Threadgill, and Wadada Leo Smith 1975-82, but not much since), Reggie Willis (bass), and Dushun Mosley (percussion). The music is quite adventurous here, but the changes sorely try the vocalist, who winds up sounding operatic. B+(**) [sp]

Roger Glenn: Reachin' (1976, Fantasy): Flute player, also vibes, started in Latin jazz with Mongo Santamaria and in fusion with Donald Byrd, combines them on his first own album (and only album until 2025). Electric keyboards by Mark Soskin and Larry Mizell, electric bass (Paul Jackson) and guitar (Ray Obiedo), lots of percussion (bata, congas, shekere). Good funk as long as they keep it up. B+(*) [sp]

Unpacking: Found in the mail last week:

• Gino Amato: Latin Crossroads 2 (Ovation) [08-13]
• Earscratcher: Otoliths (Aerophonic) [10-10]
• Fieldwork: Thereupon (Pi) [09-05]
• Champian Fulton & Klas Lindquist: At Home (Turtle Bay) [05-02]
• Zack Lober: So We Could Live (Zennez) [10-03]
• Ravita Jazz: Alice Blue (Ravita Jazz) [08-15]
• Steve Rosenbloom Big Band: San Francisco 1948 (Glory) [09-01]
• Gonzalo Rubalcaba/Chris Potter/Eric Harland/Larry Grenadier: First Meeting: Live at Dizzy's Club (5Passion) [07-11]
• Jaleel Shaw: Painter of the Invisible (Changu) [07-11]

Ask a question, or send a comment.

Monday, August 18, 2025

August archive (in progress).

Music: Current count 44701 [44663] rated (+38), 30 [36] unrated (-6).

I ended last week's post with long list of projects I hoped to get done last week. The only ones I've accomplished are "another newsletter" -- the piece there is titled Sheila Jordan (1928-2025) -- and a Loose Tabs (which ran to 277 links, 20669 words). Which is to say that once again I spent pretty much the whole week at the computer, hacking out long strings of words. Meanwhile, the house projects languished, and the "dinner for some very old friends" fell through. I don't think we even used the new car except for one grocery store trip.

I should do better this week. I did the first tiny bit of "setting up the website framework for the broader Notes on Everyday Life project": the website archive of the newsletters is here. It's currently hand-collated, but I can maintain that until some further inspiration comes along. The second part, which I've referred to as "the pile," will still take some design work, but I have a rough idea what I want to do there: each file will have a set of embedded markup, which can be used both by the PHP code that presents the file and by external programs, which can build up indexes and feed search tools. This doesn't have to be very fancy, but I have to think about index terms and trade-offs between simplified markup and extra work in output. I'm expecting at this point that I'll wind up using this software for several piles. It might even make sense to treat it as an open source software project, but right now I'm thinking that's Version 2, as making software reusable is a much bigger job than just getting something to work. (You'd think that this sort of thing must already exist somewhere, and it probably does, albeit with more complexity and more trouble than I need: one such example is Mediawiki, which was actually my original idea for such a tool.)

It only now occurs to me that the easiest pile to prepare data for might be music reviews. I've long been stymied by the idea of adapting an album-review database, like I used for Christgau, to my data, which has a slightly different granularity. (Apologies for not trying to explain what I mean by that.) But for practical purposes, it might suffice to just offer artist pages, each with an intro and all the relevant albums. As I already have most of the reviews sorted by artist, it wouldn't be hard to move them into the pile. The notebooks, on the other hand, will be more work, as they'll need to be sorted topically. (Perhaps AI could help there?)

Still, I hope to spend more time on the house projects this week. Those will pull me away from the computer, and result in fewer new records rated, but this is a slow season anyway. I'm surprised to find August half gone already. I need to start thinking about some preliminary jazz poll organization. I had hoped to use this time to restructure the website, but haven't come close to working on it. While the quality of what I do still seems satisfactory, the quantity has sunk considerably.

One thing I did take the time to do today was to vote in the DownBeat Readers Poll. I typically have zero effect there, and they don't publish ballots, so unless I publish mine, no one will notice or care who I vote for. I do, however, keep notes, so you can look them over. Main value to me comes from the album lists, as they serve as a checklist for my own listening. In this case, I've noted that I haven't heard 24 new jazz albums (18.8% of 128), 11 historic jazz albums (28.3% of 32), 36 blues albums (75.0% of 48), and 12 "beyond" albums (21.7% of 58). I'll work on whittling that down, but should also note that they didn't nominate tons of really good albums, and they nominated even more not-so-great ones.

I'm generally pleased with the newsletter response so far. I'm just starting to figure it out, and I'm trying to ease into it. I wasn't expecting to do a post on music, at least this early, but it suddenly seemed like the thing to do. Not sure what the next one will be, but I need to go back and re-read Loose Tabs and this one and see what comes to mind.

New records reviewed this week:

Gabriel Alegría Afro-Peruvian Sextet: El Muki (2025, Saponegro): Peruvian trumpet player, established his group in 2005, composed all the pieces. B+(***) [cd]

David Bailis: Running Through My Mind (2025, Create or Destroy): Guitarist, leads a quintet, some nice work by Caroline Davis (alto sax). B+(**) [cd]

Miki Berenyi Trio: Tripla (2025, Bella Union): British singer-songwriter, born in London, father Hungarian, mother Japanese, singer-guitarist in Lush (1987-96), reunited briefly 2015-16, had another short-lived band Piroshka, first album under her own name here, with Oliver Cherer (bass), Moose (guitar), and a drum machine. B+(***) [sp]

Ron Blake: Scratch Band (2021 [2023], 7Ten33 Productions): Saxophonist (tenor/baritone/soprano here), had three albums on Mack Avenue 2003-08, only a couple since (but many more side credits, including 1990s work with Roy Hargrove). Trio with Reuben Rogers (bass) and John Hadfield (drums). I remember the 1990s as a great decade for mainstream tenor saxophonists, full of warmth with a bit of gruff. I wouldn't call this a great example, but it fills the role and fits the need. B+(***) [cd]

Rory Block: Heavy on the Blues (2025, M.C.): Blues singer-guitarist, debut album 1975, 75 now, 37th album, writes some but recent albums have been covers/tributes -- this appears to be a mix. [PS: Christgau notes a "detailed booklet," which I haven't seen, but could motivate extra spins that might put this over. On the other hand, I moved on to Maria Muldaur, which sounded solid A on first play.] B+(***) [bc]

Erika de Casier: Lifetime (2025, Independent Jeep Music): Singer-songwriter, born in Portugal, parents from Belgium and Cape Verde, based in Copenhagen, fourth album since 2019, trip-hop (more or less). B+(**) [sp]

Ryan Davis & the Roadhouse Band: New Threats From the Soul (2025, Sophomore Lounge/Tough Love): Indiana band, second album, singer-songwriter plays guitar/keys/more, has worked his way through several previous bands (State Champion, Tropical Trash, Electric Drywall Band, Equipment Pointed Ankh). Stretches 7 songs to 57:06. [PS: I bump this up after my wife raved about it.] B+(***) [bc]

Mike Freeman Zona Vibe: Circles in a Yellow Room (2019 [2025], VOF): Vibes/marimba player, originally from Omaha, based in New York, seems to have a 1991 debut, another in 2000, third Zona Vibe album since 2011. Sparkling, with trumpet (Guido Gonzalez), tenor sax/bass clarinet (Jim Gailloreto), and a lot of Latin tinge. B+(***) [cd]

Dylan Hicks & Small Screens: Avian Field Recordings (2025, Soft Launch): Singer-songwriter, based in Minneapolis, interesting as such since his 1996 debut, has lately turned toward jazz, or "ambient and meditative instrumentals" as he describes the six interludes separating seven real songs here. I'm not that much into ambient/meditative, and the songs tend to slip past me -- I think I hear a bit of Randy Newman here and there, but not the sarcasm. Or maybe Dave Alvin? Still, working while this is on is a pleasure, and what little attention I do pay is amply rewarded. A- [cd]

Bonnie J Jensen: Rise (2024-25 [2025[, MGM Metropolitan Groove Merchants): Jazz singer-songwriter from Australia, fifth album. B+(*) [cd]

Sheila Jordan With Roni Ben-Hur & Harvie S: Portrait Now (2023 [2025], Dot Time): Jazz singer, got her start chasing Charlie Parker when he played Detroit, and after 1951 in New York, where she married his pianist, Duke Jordan, studied with Lennie Tristano and Charles Mingus. She always sung, but remained a well-kept secret, even after George Russell gave her a feature on his 1962 album, which led to a single Blue Note album, Portrait of Sheila (1963), and well into the 1970s she made her living doing secretarial work. I encountered her on Roswell Rudd's 1974 album Flexible Flyer (or maybe it was Rudd's 1973 Numatik Swing Band -- in either case it must have been 1978 when I caught up), and she's been my favorite jazz singer ever since. (One of the first things that attracted me to Francis Davis was how much he appreciated Jordan.) She cut a second album in 1975, when she was 47, and never again paused. In 1977 she hit on the idea of recording only backed with a bass -- Arild Andersen (one of Russell's now-famous students from his Scandinavian exile days) on Sheila -- a format she's often returned to, notably with Cameron Brown and Harvie S (né Swartz). Harvie returns here, along with guitarist Roni Ben-Hur. Title refers back to her first album, but to make a point of how far she's come. She's not quite in perfect voice, but her ability to accentuate just the right syllables, salvaging standards like "Willow Weep for Me," and still maneuver around a piece as tricky as "Relaxing at the Camarillo" -- and turn it into a riveting story, not just a piece of scat gymnastics -- is uncanny. Regrets after deaths are common. Mine is that she never had a producer who could just let the tape run as they fed her with songs, like Norman Granz with Ella Fitzgerald, or Rick Rubin with Johnny Cash. I imagine it would be like lobbing softballs at Ted Williams. A- [sp]

Maria Muldaur: One Hour Mama: The Blues of Victoria Spivey (2025, Nola Blue): She started in Jim Kweskin's Jug Band back in the 1960s, went solo with a hit song and album in 1973, leaned increasingly to blues in the 1990s, and found her calling with her 2001 Memphis Minnie tribute (Richland Woman Blues), which brought her to Blue Lu Barker (2018) and now to Spivey, whose 1926-36 singles provide the juiciest of these 12 songs, many salacious but ending with the grim "T.B. Blues." Spivey made a comeback in the early 1960s, so there's a personal connection. Also worth noting that Spivey spent a lot of time fronting real jazz bands, so the fit here with backup by Jim Dapogny and Tuba Skinny is natural. Elvin Bishop and Taj Mahal are duet partners. A [sp]

Jesika von Rabbit: Bunnywood Babylon (2025, Dionysus): Singer-songwriter Jessica Leischow, from Wisconsin, second album, formerly fronted the band Gram Rabbit (5 albums, 2006-12). B+(**) [sp]

Jonathan Richman: Only Frozen Sky Anyway (2025, Blue Arrow): Singer-songwriter from Massachusetts, founded the Modern Lovers, their John Cale-produced debut album was recorded in 1972 but didn't appear until the punk/new wave explosion in 1976. I loved that album, and also his 1983 Jonathan Sings!, but not much more, and haven't his later albums, of which there are 20 or more. This is not bad, but unlikely to stick with me. B+(*) [sp]

Ross Thorn: Ross Thorn Tries Fitting In (2025, Casa De Copas): Folkie singer-songwriter from Duluth, has a couple previous albums on Bandcamp but none in Discogs, no credits given but cover pic shows him with a banjo and there's a fair amount of guitar and fiddle in the background. B+(***) [bc]

Chris Wabich: 1978 (Steep) (2024 [2025], ADW): Drummer, albums since 2007, "featuring" names on the cover: Josh Nelson (piano), Dan Lutz (bass). Presumably his pieces. Very nice. B+(***) [cd]

Morgan Wade: The Party Is Over (Recovered) (2025, Ladylike/Sony): Country singer-songwriter, fifth album since 2018, all aces (though I'm having a little trouble focusing here). B+(***) [sp]

Recent reissues, compilations, and vault discoveries:

Lonnie Johnson With Elmer Snowden: Blues & Ballads (1960 [2025], Craft): Bluesman, famed as a guitarist, recorded from 1925 on, landed on Prestige's blues label as the folk blues revival was kicking up. He sings and plays electric here, with Snowden on acoustic guitar. (Snowden is better known as a banjo player and as a jazz bandleader, including of the Washingtonians before Duke Ellington took over.) Also with Wendell Marshall on bass. The blues, including a surprising "St. Louis Blules," are fine. I'm less sure of the ballads. B+(*) [sp]

Edna Martinez Presents Picó: Sound System Culture From the Colombian Caribbean (1950s-70s [2025], Strut): Colombian DJ, based in Berlin, curated these dance tracks -- I hear there's a "detailed booklet," but haven't seen it, leaving me with no more than impressions that the music dates from the 1950s to 1970s, and while played by Colombian sound systems called "picós," the music is more likely African (especially Congolese) than local. (One review also notes Jamaican soca, Ghanaian highlife, Arab disco, and various Caribbean forms, like jibaro, descarga, rhumba, mambo, and gwo ka, as well as salsa, cumbia, and champeta). A- [sp]

Old music:

Alberta Hunter/Lucille Hegamin/Victoria Spivey: Songs We Taught Your Mother (1961 [1962], Bluesville): Three blues singers from the 1920s, rediscovered during the big folk blues revival c. 1960. The trio had their early work compiled by Document into 4-5 CDs each. Hunter (1895-1984) recorded one more album in 1961, then staged a fairly major comeback in 1980 with Amtrak Blues. Hegamin (1894-1970) only appeared on one more album (A Basket Full of Blues, with Spivey and Buddy Tate). Spivey was a decade younger (1906-76), and more active at least through 1965. They take turns, reviving their old hits, backed by a mix of old jazz hands, including Willie "The Lion" Smith (piano), J.C. Higginbotham (trombone), and Zutty Singleton (drums). B+(***) [sp]

Peter Ind: Looking Out (1958-61 [1962], Wave): English bassist (1928-2021), first album, mostly with guitar (Al Schackman or Joe Puma), piano (Ronnie Ball or Sal Mosca), a couple cuts with drums (Dick Scott), one with vocalist Sheila Jordan -- probably her first recording, already distinctive. The rest is equally engaging, with the bass mixed prominently (turns out some of it was overdubbed). B+(**) [sp]

Peter Ind: Jazz Bass Baroque (1987 [1988], Wave): First side continues his bass overdub experiments, ranging from "Bach" to "Lush Life." Second side is a live set with Daryl Anger (violin) and Martin Taylor (guitar). B+(**) [sp]

Peter Ind: Looking Out/Jazz Bass Baroque (1958-87 [1999], Wave): Two (or effectively three) albums crammed together, each interesting, together adds up to a nice overview. B+(**) [sp]

Lonnie Johnson With Victoria Spivey: Idle Hours (1961, Bluesville): Major blues singer-guitarist (1899-1970), made 130 recordings for Okeh 1925-32, still regarded as classics (see Steppin' on the Blues, 58 on Robert Santelli's blues albums list), including some duets with Spivey. He continued to work steady, including some time in dixieland bands, but by 1960 he was recording for Prestige's blues subsidiary. Her early string ended in 1936, but came back for this reunion. B+(**) [sp]

Sheila Jordan/Mark Murphy: One for Junior (1991 [1993], Muse): Two bebop singers, distinctive voices, fast dynamics, quick to sling the scat. I've always adored her, but I've never cared for what little I've heard by him. Title refers to the late painter Helen Mayer (aka Junior Morrow). Backed by Kenny Barron (piano), Harvie S (bass), and Ben Riley (drums), with Bill Mays (piano/synth) on two tracks. She's terrific, of course. He's, well, pretty decent. B+(**) [yt]

Sheila Jordan/Jose Carra/Bori Albero: En La Fundación Valparaiso (2018 [2024], Clasijazz): Part of a Spanish tour just shy of her 90th birthday, from three sets in Mojácar, a small town on the Mediterranean coast east of Granada, backed by local piano and bass (although she cites Cameron Brown as her bassist in "Sheila's Blues"). B+(***) [sp]

Stephan Kramer: Thank You Sheila (2018, House Master): German guitarist, seems to be his only album, cover adds: "with Chris Lachotta and Alexander Hoetzinger feat. Sheila Jordan." Recorded live in Munich, no date given, with Jordan entering on the second cut, and it's her record from then on out. Choice cut: "Lady Be Good" (on Ella Fitzgerald). Ends with a very nice guitar piece. B+(***) [sp]

Steve Kuhn & Toshiko Akiyoshi: Country and Western Sound of Jazz Pianos (1963, Dauntless): Two pianists, Kuhn's first album, Akiyoshi has credits back to 1954, most of the c&w standards ("Trouble in Mind," "Down in the Valley," "Along the Navajo Trail," etc.) not sounding all that country, with sparkling pianos backed by guitar (Barry Galbraith), bass (Dave Izenson/John Neves), and drums (Pete LaRoca). B+(*) [sp]

Steve Kuhn/Gary McFarland: The October Suite (1966 [1967], Impulse): Pianist, and composer/conductor, with Ron Carter (bass) and Marty Morell (drums), plus strings on the first side, woodwinds on the second. McFarland (1933-71) played vibraphone early on, led and/or produced/arranged albums from 1961 on, many with titles like Soft Samba and Big Band Bossa Nova (for Stan Getz). B+(*) [sp]

Steve Kuhn Quartet: Last Year's Waltz (1981 [1982], ECM): Piano trio with Harvie S (bass) and Bob Moses (drums), plus singer Sheila Jordan, a group listed on their previous (1980) album as Steve Kuhn/Sheila Jordan Band. Live at Fat Tuesday's. Starts with three Kuhn originals, which while exciting enough don't give Jordan much to work with. Then we get an 8:19 "I Remember You" which is just extraordinary. Second side starts with a jaunty piece by the bassist, and two more by Kuhn, before Jordan again gets to feast on covers (although don't miss Kuhn's detonation of Monk). A- [sp]

Roswell Rudd/Steve Lacy/Sheila Jordan: Blown Bone (1967-76 [1979], Philips): Trombonist, one stray track from a 1967 session, the rest from two sets in 1976 with Lacy (soprano sax), bass (Wilbur Little), drums (Paul Motian), The first of those 1976 sets adds Enrico Rava (trumpet), plus singer Jordan on two tracks. The other adds electric piano (Patti Brown), clarinet/soprano sax (Kenny Davern), and tenor sax (Tyrone Washington), with Louisiana Red singing a blues. B+(***) [yt]

Victoria Spivey: Complete Recorded Works in Chronological Order: Volume 1 (11 May 1926 to 31 October 1927) (1926-27 [1995], Document): One of the classic female blues singer from the 1920s, recorded singles for Okeh 1926-28 (23 tracks here, plus more on Volume 2), with other labels up to 1937 (4 CDs today in this series). As is often the case for this label, lots of surface noise from the source 78s. But a cleaned up selection could be worth it. B+(**) [sp]

Victoria Spivey: Complete Recorded Works in Chronological Order: Volume 2 (31 October 1927 to 24 September 1929) (1927-29 [1995], Document): Probably the rest of her Okeh singles -- the Victors start later in 1929 -- including duos with Lonnie Johnson and some tracks with jazz groups led by Clarence Williams and Henry Allen. Sound still dubious, but where it clears up some terrific music ensues -- especially with Allen's band riffing. B+(***) [sp]

Victoria Spivey: Complete Recorded Works in Chronological Order: Volume 3 (1 October 1929 to 7 July 1936) (1929-36 [1995], Document): She recorded for Victor in 1930, and Brunswick in 1931. Not sure what else there is before some 1936 Decca sides (this ends with "T.B.'s Got Me Blues"), but this works in pieces with a few other leaders. Sound's better, especially on the closing jazz band sides. A- [sp]

Victoria Spivey: Complete Recorded Works in Chronological Order: Volume 4 (30 August 1936 to 21 July 1937) (1936-37 [1995], Document): This seems to be the end of her early recordings, on Vocalion (some as Jane Lucas), stretched to 22 tracks with 5 extra takes. She continued performing up to 1951, often in music films and stage shows, but I'm not seeing any recordings until 1961, when Bluesville brought her back for several albums. She's become a remarkably poised singer, as songs you don't need her for like "Trouble in Mind" prove, and the bands swing. She clearly deserves a proper compilation. B+(***) [sp]

Victoria Spivey With Lonnie Johnson: Woman Blues! (1962, Bluesville): She gets the leads this time, and plays piano, while he plays guitar, and sings some, mostly seeming superfluous. B+(**) [sp]

Christian Stock Trio & Sheila Jordan & Adrian Mears: Straight Ahead (2000, YVP): German bassist, side-credits back to 1982 but not a lot of them, found himself leading a trio here with Karel Růžička (piano) and Walter Bittner (drums). Twelve tracks, with the singer in on four ("Autumn in New York," "Badbados," "Sail Away," and "Song of Joy"), the trombonist on three others. Nice pieces, limited interest. B+(*) [sp]

Aki Takase: ABC (1982, Union Jazz): Japanese pianist, started playing in US in 1978, moved to Berlin in 1988, where she married another notable pianist, Alexander von Schlippenbach. She recorded this early album in New York, with Cecil McBee (bass), Bob Moses (drums). Sheila Jordan sings to open, but after that the only voice is a bit of shading, if that. B+(**) [yt]

Unpacking: Found in the mail last week:

• Maria Muldaur: One Hour Mama: The Blues of Victoria Spivey (Nola Blue) [07-21]
• Aruán Ortiz: Créole Renaissance (Intakt) [08-29]
• Carlos "Zingaro"/João Madeira: Arcada Pendular (4DaRecord) [07-11]

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