Month: April 2024

April 2024: Music I Lived to Listen To

I will again try to comment meaningfully on each of the following alphabetically-ordered new release in single complete sentences. Two introductory notes, though:

  1. Later this year, Phil Freeman’s Cecil Taylor biography In the Brewing Luminous will be published. I’m reading a review copy, and I’m here to tell you it’s outstanding. First of all, this book was badly needed, given Taylor’s singular genius and influence; second of all, in well-documented form it gathers much info that’s out there in one place; third, it’s so comprehensive it’s alerted this passionate fan to recordings he’s never heard of; fourth–no surprise with Mr. Freeman–it advances some critical arguments very convincingly; and fifth, in a continuance from Freeman’s stellar electric Miles investigation, Running the Voodoo Down, the author excels–really excels–at describing a furious, sometimes byzantine music in very distinctive and accurate detail. That’s a trick I really envy; if I could do a fifth as good a job as Freeman, I’d be writing about jazz much more frequently. Check out Phil’s chock-full Burning Ambulance Substack to learn more.
  2. I’m not that much a fan of Light in the Attic’s new Lou Reed tribute The Power of the Heart–at all–but that damn Bobby Rush will be ninety-one in November, and if Sally truly can’t dance, he sure as hell can. He elides a few phrases in Reed’s lyric I bet he wasn’t wholly comfortable with, but he, as per usual for many, many years, sells the song. Hear it in the Spotify Playlist linked at the bottom!

April Top 15 New Platters:

Byron Asher’s Skrontch Music: Lord, when you send the rain (Sinking City)–Like Asher’s previous Skrontch Music album, the problems of New Orleans’ (and other places’) present send him backwards into the future, with spoken clips, traditional instrumentation, and post-modern feints and juxtapositions helping us get why.

Bruno Berle: No Reino Dos Afetos 2 (Psychic Hotline)–The Bandcamp description of this soothing singer’s project (the first volume is excellent, too) informs us that lo-fi, dub step, and other ingredients are utilized to help Berle break away from the Brazilian expected–but I also note that it notes the album’s “sun-soaked” and “sun-drenched” affect, so maybe that’s just historical gravity, not at all a bad thing.

Beyonce: Cowboy Carter (Parkwood Entertainment)–OK, so it’s not all that country (please dig out featured vet Linda Martell’s Color Me Country if you want that)–it’s just a really good Beyonce album, but, with much less pre-release hype and in-release bombast, I’d argue Mickey Guyton made a stronger statement with Remember Her Name in ’21 without riding a horse or wearing a cowboy hat (plus she turned whiskey into wine).

Buck 65, doseone, Jel: North American Adonis (Handsmade)–Rap earworm line of the year from this on-a-serious-verbal-roll Canadian MC is that he bets his CDs are gonna be “alive in a landfill”–that’s thinking ahead.

Cedric Burnside: Hill Country Love (Mascot / Provogue)–The North Mississippi Hill Country blues practitioners are getting whittled down something considerable, R. L.’s grandson’s has gamely tried keep the style alive with some gently modern tweaks, and he finally nails it here.

James Carter: UN (J.M.I. Recordings)–J.M.I.’s cutting analog jazz vinyl, and, while I have not heard them all (David Murray’s 2023 offerings, solo and with Plumb, were impressive), this is tops for them so far, causing one to wonder why it’s taken JC this long to wax an unaccompanied set…though I’m still waiting for his Earl Bostic tribute album.

Big Freedia & The Louisiana Philharmonic Orchestra: Live at the Orpheum Theater (Queen Diva)–A bounce orchestra’s taking it too far, you might think, but you SHOULD already know not to sell the Queen Diva short.

Miha Gantar: New York City (Clean Feed)–When I received a digital review copy of this 5-disc collection of new compositions and improvisations by the 26-year-old Slovenian pianist, I rolled my eyes but, as I have sworn to do with these “gifts,” gave it a shot–then found myself so mesmerized not only by the variable moods and configurations (strings, solo, drums only, collab with sax sensation Zoh Amba, etc.), but also by the distinctiveness of the six-count-’em-six pieces that I listened to the whole thing straight through and determined that it’s my favorite jazz release of the year.

Matt Lavelle and the 12 Houses: The Crop Circles Suite, Part 1 (Mahakala Music)–NYC clarinetist, trumpeter, composer and conductor Lavelle, long a very underrated player on the jazz scene, released this, (it looks like the first half of) his “life’s work,” on his 54th birthday: easily one of the genre’s most ambitious, successful and inspiring records of the young year.

Meshell Ndegeocello (and Friends): Red Hot & Ra – The Magic City (Red Hot Org)–You know you cannot resist the pull of the perennially underrated Ndegeocelleo, assisted by jazz compatriots Immanuel Wilkins and Darius Jones, putting a fresh spin on The Sun One–which the Red Hot Org label seems recently dedicated to doing, with a Kronos Quartet set in the offing.

Tomeka Reid Quartet: 3 + 3 (Cuneiform)–More and more predictably, when you put Reid and guitarist Mary Halvorson in the same room, sparks will fly along with those fingers, and aural magic will be the result, as it is here.

Ann Savoy: Another Heart (Smithsonian Folkways)–Surprise of the month: a passionate combo of covers (Springsteen, Sandy Denny, Kinks!) and originals sung and played by acclaimed Cajun historian and member of one of the style’s most acclaimed and hardest working families, a Top-Tenner to my ears (and…heart).

Reyna Tropical: Reyna Tropical (Psychic Hotline)–I swear I’ve run into one of these albums every month for a couple of years: a moody, sexy, lithely swinging, electronic trance-r&b–maybe in this case, yeah, trance–tropical–album that I can’t quit playing and beats monkey gland shots or whatever, which means I might need to dive into the artist’s considerable (for her age) back catalog.

Fay Victor: Life is Funny That Way—Herbie Nichols Sung (TAO Forms)–I’ll admit that, while an earlier 2024 group from Brazil did successfully sing Bill Evans, I thought star-crossed jazz pianist Nichols’ quirky compositions were too high a hurdle, but then I didn’t know diddley about Victor, whose scatting isn’t just experimental but vies with Carter, McRae, Ross, and Vaughan (stylistically, not really Ella, though) at their most daring; the band makes it over the bar as clearly.

Bob Vylan: Humble as the Sun (Ghost Theater)–A youngster for our times, though, compared to his last two records, this one seems almost autumnal, as if the pure revolutionary fire he regularly lights has prematurely aged him–but these times can do that, too.

April Top 10 Old Platters [Post-Record Store Day CD Meteor Shower (for me, every day is RSD)].

Alice Coltrane: The 1971 Carnegie Hall Concert (Impulse!)–The latest entry in the Alice Coltrane revival is the rowdiest and maybe the best, thanks to horns shaking things up.

Emahoy Tsege Mariam Gebru: Souvenirs (Mississippi Records)–As they do a Professor Longhair platter, all homes that dig music need a record by the recently-departed, ghost-fingered Ethiopian pianist and nun, but this is her first recording with vocals, which I wasn’t completely certain hadn’t slowed down her already sauntering roll–but, upon two more listens, I was wrong again.

Grupo Irakere: Teatro Amadeo Roldan Recital (Mr. Bongo)–Cuban bands come no hotter than this one, and this is their long-unavailable debut recording (and it’s not just hot).

Rail Band: Rail Band (Mississippi Records)–Another debut recording by a legendary band, this one from Mali, this one too long-unavailable, and featuring not one but two legendary vocalists:  Salif Keita and Mory Kanté.

Sonny Rollins: Freedom Weaver–The 1959 European Tour Recordings (Resonance)–My good pal Chris Gray, referring to this album, wondered who could complain about “live Rollins ’59,” and. while I whole-heartedly agree, especially since Sonny’s working in a trio format, Sonny would soon hit the bridge to…woodshed; I promise you that if you’re ever this good at what you do that you think you’re not good enough, you might just need lysergic therapy. (Note: RSD 2024 choice now available on CD.)

Sun Ra: At the Showcase Live in Chicago 1976-1977 (Elemental Music)–Ra in Chicago, always a spot for top-of-the-line spaceworks, with the band orbiting. (Note: RSD 2024 choice now available on CD.)

Art Tatum: Jewels In the Treasure Box (Resonance)–Mainly, you need to know this Tatum is in trio mode, which naturally cuts into his usual carnival of pianistics but also allows guitarist Everett Barksdale and legendary bassist Slam Stewart to show their scintillating stuff. (Note: RSD 2024 choice now available on CD.)

Various Artists: Congo Funk! Sound Madness From The Shores Of The Mighty Congo River (Analog Africa)–Key words: “Congo,” “Funk!” (exclamation point earned), “Sound Madness,” “Mighty”–and “Analog Africa; in other words, “Merde, putain, lâche-toi le cul et jam !” (Et j’adore de la confiture!)

Various Artists: New York City Hardcore: The Way It Is (Revelation Records)–I had not heard of any of these bands, but all the vocalists sound in some way like my best friend, former ranter, opera buff, free jazz buff, French-Canadian advocate, European football nut, and scientist Mark Pelletier, so it’s a win.

Mal Waldron & Steve Lacy: The Mighty Warriors Live in Antwerp (Elemental Music)–Both these now-underrated instrumentalists started out trad, in a way–pianist Waldron accompanying twilight-era Billie Holiday, soprano saxophonist Lacy playing New Orleans jazz–but ended up taking things just out enough to be trenchantly in, and they were master players, especially live, and here they are backed by two more flexible and pretty legendary rhythm controllers you heard about last week: bassist Reggie Workman and drummer Andrew Cyrille. (Note: RSD 2024 choice now available on CD–and it might be the pick of the litter.)

SPOTIFY PLAYLIST:

LABELS TO WATCH: Psychic Hotline (Durham, North Carolina), Sinking City (always—New Orleans), Mahakala Music (Little Rock, Arkansas)

March 2024: Music I Lived to Listen To

Tried to keep it to 10 per month. Failed. Not even sure I didn’t fail in NOT keeping it to 10 (having trouble keeping track of what I’ve liked). Have not listened to Beyonce’s yet (other than first two singles–I just have to let her ride for awhile until the dust settles and I can think); also, I am apparently invulnerable to Katie Crutchfield’s charms (based on the songs, she is my kind of person, but her singing does not do it for me–it is what it is). Decided to do a Quarterly Top 10 (coming soon in a separate post). Blessed problems, I suppose.

MARCH TOP 25 (in alphabetical order, even, and under the feared “one sentence” rule)

Florian Arbenz: Conversation #11 / #12 (Hammer) – All twelve of this versatile Swedish percussionist’s conversations with other excellent musicians/responsive listeners are worth your time, and he gave a nice gift to every fan who bought every one of them along the way.

Citric Du: Zen and the Arcade of Beating Your Ass (Feel It Records) – Maybe it’s the marginally witty referential cover art that’s the main attraction, but their sound is redolent of its source and their songs’ words belie the title.

Guy Davis: Be Ready When I Call You (Continental Record Services) – Supposedly, this both has already been released and is not going to be released until later in the year, but it’s all there on Apple Music, and Ossie and Ruby’s son has a distinctly inherited wiliness and world view.

Joan Diaz Trio (Introducing Silvia Perez): We Sing Bill Evans (Fresh Sound Records)– Bill Evans, played and sung, you ask, but yes it works, Brazil is part of the reason, and the young Perez is the rest.

Empress Of: For Your Consideration (Major Arcana / Giant) – I feel like there is a small mountain of dreamy, sensual, hurt, flowing electronic records like this sung by women who can reach me that I can potentially hoist to the deserted island I hope is available if I need it in November.

Ethnic Heritage Ensemble: Open Me, A Higher Consciousness of Sound and Spirit(Spiritmuse) – Kahil El’Zabar is on a three-album roll keepin’ that AACM thang alive, and of the three this strikes me as the deepest.

Amaro Freitas: Y’Y (Psychic Hotline) – A gorgeous, late-night or early morning piano record out of Brazil by a terrific young pianist—and his backing band (on some of the songs) is loaded: do the names Hamid Drake, Jeff Parker, Shabaka Hitchings, or Brandee Younger ring a bell?

The Fully Celebrated Orchestra: Sob Story (Relative Pitch) – Three lively jazz orchestra selections in three months—should I be worried?

Heems & Lapgan: Lafandar (Veena Sounds / Mass Appeal India) – Dude’s funny, smart, verbally ingenious, but he’s never stuck with me long, so maybe it’s Lapgan?

Jlin: Akoma (Planet Mu) – The first song of Jerilynn Patton’s I ever heard, I was like, “I’m ridin’ ‘til I die,” and ain’t a damn thing changed about that here (touches of marching band and home cookin’ are just right), a sentiment collaborators Bjork, The Kronos Quartet, and Philip Glass might well affirm.

Adrienne Lenker: Bright Future (4AD) – It’s kinda one-note, but she (I think Lenker considers her gender undefined, but research turns up this pronoun) strikes that note with deeply moving resonance.

Mannequin Pussy: I Got Heaven (Epitaph) – And she got Jesus right (t)here.

The Messthetics: The Messthetics and James Brandon Lewis (Impulse) – My measuring sticks for jazz sax with electric band are prime OC Prime Time and James Carter’s Layin’ in the Cut, and I’ve kept waiting for this to really break loose through three plays, but as a JBL freak I’ll at least say this: it’s got dynamics and guitar feedback, the latter if which those other two didn’t, so like the Marvelettes, I’ll keep on holdin’ on….

Moor Mother: The Great Bail-Out (Anti-) – In these times she’s brave, bold, and boisterous, and the settings always put her across, which in this case are her most varied.

Kasey Musgraves: Deeper Well (Interscope / MCA Nashville) – Many are disappointed by this offering, but actual record critic Jon Pareles nailed what is working for me: a modesty that is very affecting and seems authentic, especially on the heels of her previous records (I would add too that she bares some hard-earned wisdom that’s winning).

Bill Orcutt Guitar Quartet: Four Guitars Live (Palilalia) – My favorite new (see below) record of the year: what would seem like a difficult collaborative project sounds excitingly organic—kinda makes me wish Bob Quine were still alive to hear it.

Ivo Perelman/Chad Fowler/Reggie Workman/Andrew Cyrille: Embracing the Unknown (Mahakala Music) – Perelman can wail beyond the call of the average free jazz tirekicker’s patience, but in the company of a rhythm section of two octogenarian instrumental griots, he sounds more responsive, and when he doesn’t…you can just listen to the rhythm section (and by the way, Fowler’s having a great year behind this and another stunning record).

Pissed Jeans: Half Divorced (Sub Pop) – These dudes have never hit for me, and I’m a punk self-starter, but, as Lightnin’ Hopkins and others have sung, “Now…is a needed time,” and theirs is a rallying cry.

Sai Galaxy: Okere (Soundway EP) – Everybody disco, West African style!

Sheer Mag: Playing Favorites (Third Man) – Rock and roll in many of its infinite varieties, all on one record…and that’s a compliment.

_thesmoothcat & Wino Willy: Ready, Set (Sinking City) – A) I buy everything Sinking City, a crafty New Orleans label, puts out (jazz, brass band, Indian chants, old and new school rap), and have never been disappointed; and B) this dreamy beats ‘n’ rhyme set evokes WWOZ at 3 a.m.

That Mexican OT: Texas Technician (Manifest / Good Talk / Good Money Global / Capitol) – One funny hijo de puta!

D. Clinton Thompson: Donnie’s Mood (Borrowed Records) – From out of obscurity one of the world’s great rock and roll guitarists, squirreled away in Springfield, Missouri, as usual, delivers a mostly instrumental record that “Sleep Walk” fans need—and for Morells / Symptoms / Skeletons fans who’re too late feeling their age, he pens a typically wry and weather-beaten “Live Fast Die Young.”

Tierra Whack: World Wide Whack (Interscope) – This woman is no ordinary rap artist, and I know that’s no great revelation—it’s just that to proceed from a wholly successful and delightful 15-song, 15-minute debut to a psychological (and understandable) (and still occasionally delightful) depth-plumbing that surely has some fans concerned is some kind of whiplash.

Willis, Carper, Leigh: Wonder Women of Country (Bismeaux EP) – It’s too short, and maybe there’s a full-length to follow, but the songs are strong and these women have soul—country-soul.

Coming soon! Noah Haidu: Standards II (Sunnyside) – A bewitching trio album where the spells are cast not so much by the pianist, who is definitely no slouch, but by another octogenarian rhythm section: Billy Hart on drums and Buster Williams on bass.

OLD & MISCELLANEOUS STUFF

Irakere: Teatro Amadeo Roldan Recital (Mr. Bongo) – The reissue of the first studio recording by one of Cuba’s hottest bands—and that’s saying something—is a welcome surprise.

Love Child: Never Meant to Be (12XU) – Where the fuck was I when this band was putting out these songs, fired by that guitar, in the early Nineties?

Various Artists: Love Hides All Faults—Deep Gospel Soul Selected by Jumbo (Elusive Vinyl / Pyramid Records) – I have complained to my musico-amis frequently about reissue/excavation bloat—everything ever recorded doesn’t have to be brought to market—but this may well be the most powerful compilation of locally/regionally recorded black gospel I’ve ever heard, and, despite Goner Record’s bait-line of “guitar forward” in advertising it, the real highlights are the true depth of emotional vocal power in these humble offerings and the range of arrangements they employ—can an excavation be my favorite record of the year?

Mississippi Records Blues and Gospel Bargains – Mississippi Records out of Portland does many things right (like keeping Dead Moon records in print), but one of the coolest is offering terrific old blues and black gospel comps on their Bandcamp site for “name your price.”

Franco Luambo Mkaidi: Presents Les Editions Populaires (Planet Ilunga) – The name, and you should know it, is Franco, he played a guitar like he was fencing against a master, and he could lead a band to rhythmic ecstasy—oh yeah, and though he recorded little that wasn’t great, much of it is difficult to attain (hint hint).