Happy New Year! In the interesting of preserving my sanity–I hereby validate the fears of some of my handful of readers, upon scanning 200+-album lists, that I must be compromising my mental health–I am going to try to do something new with this blog in 2024. First, I’m not going to keep a running list; every month, I’m first going to list the 10-15 new records that grabbed me that month; then, I am going to gab about old stuff (not just reissues and archival digs) plus music-related experiences I had–yes, I don’t just lay on the couch surrounded by cats with my nose in a book and 10-12 albums queued up to play on or through my stereo. I do live. Sorry, as you might already have surmised–I’m really talking to myself. So here goes.

My Favorite 10 New Releases of the Month (alphabetically presented)

*Archival or Reissue

Acceleration Due to Gravity: Jonesville/ Advancing on a Wild Pitch: Disasters, Volume 2 (both featuring the writing and playing of Moppa Elliott—known for leading the oft-exciting and -interesting band Mostly Other People Do The Killing—and both on Hot Cup Records)

I’ve enjoyed several records by MOPDTK in the past, but didn’t dig in enough to know that Elliott led the band from behind his bass. The guy has definite ideas about how to name a band. Seriously speaking, these two records are very strong jazz, the former highlighting compositions by jazz great Sam Jones via a terrific nine-piece band that features the impressive young guitarist Ava Mendoza excelling in a more disciplined format than I’ve ever heard her in, the latter, also conceptual but moodier, made up of compositions representing preventable Pennsylvania disasters that will have me checking out Volume 1.

Friends & Neighbors: Circles (Clean Feed)

Straight out of Trondheim, Norway, this quintet contributes to my growing feeling that I straight-up love Scandinavian jazz. I’m sure there’s BAD Scandinavian jazz, but I’ve been engaged by almost every such record I’ve heard in the last few years. Unsurprisingly, given the band and album name, Ornette is close to this band’s heart, and you can hear it.

Satoko Fujii Trio: Jet Black/ Satoko Fujii and Kaze: Unwritten (both on Libra Records)

I knew nothing about the astoundingly prolific and consistently powerful Japanese pianist Fujii until I wound up on a mailing list and received a few review copies that sent me on a deep dive into her OVER 100 HUNDRED RELEASES and she shows no signs of slowing down. Whether working in a small or large combo, she composes and plays pieces that have very focused moods and complex structures, while allowing room for improvisations by her always high-quality supporting casts. I think of her work as stormy and meditative, and she works seemingly endless variations on producing that feeling. These two records are a great start for the beginner.

Ghetto Brothers: Power-Fuerza (Vampisoul)*

Vampisoul is a Spanish label I keep a close eye on because they often package very interesting vintage releases inexpensively. For example, they offer loads of ‘60s, ‘70s, and ‘80s cumbia; I’ve pigged out on those without being disappointed. The label calls this one a “Latin funk classic,” but it’s also got some decent romantic songs. You might have to be a bit patient.

Enrique Heredia Trio (with Pere Soto and Xavi Castillo): Plays Herbie Nichols (Fresh Sound Jazz)

I know little about Heredia or the other members of his trio, but I instantly purchased this due to my love for the short-lived Nichols’ distinctive compositions (see also A. B. Spellman’s book Four Lives in the Be-Bop Business). I wasn’t sure how a guitar trio would navigate them, but just when you think Heredia is fading into that kind of picking you’ve never liked in this genre, he leans into some mild distortion and slurring to keep you upright. The trio works up a killer groove while staying true to Nicols’ originality.

Abdullah Ibrahim: 3 (Gearbox)

The South African pianistic master turns 90 this October and he sounds undimmed in this studio-and-live trio recording (double bass/cello + flute/piccolo!) featuring his own compositions plus a few by Monk, Ellington and others.

Anna Kiviniemi Trio: Eir (We Jazz)

If you do not follow Chris Monsen’s Substack and you—like me, as I just said—like Scandinavian jazz, please rectify that, as Mr. Monsen has a nigh-infallible ear. I picked up on his plug for this, and was surprised and delighted by its gentle, inventive eloquence. It’s a pretty good month for jazz trio records, if haven’t noticed and /or trust me.

Mark Masters and Adam Shroeder: CT! (Capri Records)

I’ll put it simply: this big band tribute to the work of the irrepressible trumpeter and fluegelhorn enthusiast Clark Terry for the occasion of his 100^th birthday is smashing because it captures Terry’s uplifting energy. I’m not that much of a big band fan, but the ebullience of the group quickened my pulse, and Terry would definitely have approved. Masters arranges brilliantly and bari saxophonist leads the group.

Malcria: Fantasias Histericas(Iron Lung)

Had enough of me pluggin’ jazz? Well, ok then: how ‘bout some Mexican hardcore punk? Me, I needed it, and I bet Mexico does, too. I’ve yet to dive into translations, but they kick ass…and I think they’re on the side of the angels.

Montanera: A Flor de Piel (Western Vinyl)

I have developed a weakness for chanteuses embedded in atmospheric musical settings and seeming to sing in very specific chains like the sea. I don’t trust myself in my warm response to this Colombian with a master’s, but my students walked in to her music yesterday and were inspired to ask about it, so maybe I’m right. Isabelia Herrera makes a fascinating case for the album on Pitchfork that is beyond my means, and it feels right. The title apparently translate to “on edge” or “at skin level,” which adds a level of richness to listen for.

R.A.P. Ferreira & Fumitake Tamura: the First Fist to Make Contact When We Dap (Alpha Pup)

Trust Ferreira’s own words about the release, via the album’s Bandcamp site: “…this album more than any other i’ve made encapsulates my vision of rap music. it is free. it is international. it is beloved. it is sharp and silly. it presents one way and participates another. it flexes and is flexible. there is study and there is the mystical. slices and crumbs. it’s something my whole family listened to and enjoyed first.” And trust the words he spits that live up to that vision. He continues to honor the work of one of his guiding lights, Bob Kaufman.

Lou Reed: Hudson River Meditations (Light in the Attic)*

Frankly, my wife and I meditate. This music was created to support that, and it does. The opening track is ideally looped for focused awareness of just being; the bass throb of the second reminds you of your body. Well, that’s enough for now, but I can listen to it for pleasure and reading, too.

Sleater-Kinney: Little Rope (Loma Vista)

I have never been an S-K fanatic—I saw them live on the last Weiss tour and they rocked my ass, and I still dig and dig out Dig Me Out—and the last couple haven’t helped, but I really like this one. The writing’s excellent, the drums are fine…but there’s a new Rosanne Cash-like ache to Tucker’s vocals I hadn’t picked up before that keeps me locked in.

Kali Uchis: Orquideas (Geffen)

Uchis keeps getting better. She’s very assured here, her singing and the rhythms are very seductive, and…again…I have three obligations in this list alone…I need to check out the translations, but I love the sound of her singing in Spanish. Sound is enough.

Wildernauts: Wildernauts (Don Giovanni)

It’s a joy to hear Pete Stampfel’s voice further up the road to recovery—really, he’s there—and his fiddle joyfully scratching out not only some old ones but also (as far as I can tell) a new weird and funny one called “Peyote Blues.”

My Favorite Music Experiences, Late Discoveries and Dives Into Music I Already Have But Barely Have Time to Listen To (One-Sentence Limit!)

Musical Poker Night—at almost 62, I’ve lost several friends and sometimes feel isolated and lonely for buds, but, thanks to someone’s recommendation, I was invited to a kind of “Record Poker” night where we took turns playing stuff for each other, and, while I created a Carnival theme out of the 45s I brought, I got to hear some interesting noise records and some really quite fetching proto-dream-pop by Terry “Seasons in the Sun” Jacks’ sister!

Danny Brown—Everything I’ve ever heard by him I’ve liked, but due, I think, to the avalanche of stuff that rumbles into my ears, I’d never “taken his CDs to the truck” for a very close listen: Be Real 2.0 with much better range in subject matter and mood, plus it’s got to be hard to pull off autumnal rap.

Chet Baker book leads to Twardzik and Freeman—I finally cracked and read James Gavin’s painful Chet Baker bio Deep in a Dream, in which the facts reveal Baker able to make Jerry Lee Lewis seem like David Gates, but at least I was moved to check out the pianistics of the doomed Dick Twardzik (whom Baker may have left to die when he was overdosing) and the not-doomed Russ Freeman (check out Richard Meltzer’s interview with him in A Whore Just Like the Rest).

Hannah Ewens and Fans—I am just a really big fan of UK Rolling Stone editor and FANGIRLS author Hannah Ewens—I have an “intellectual” rock and roll crush on her, I think—and chose to teach that book to my current group of college freshman, unaware that it would perfectly dovetail into Taylor Swift ruining football and prove Ewens’ wisdom.

Birmingham Influence—Did you know how wide Birmingham, Alabama’s influence was on nearly the whole of pre-WWII jazz (plus post- if you count Sun Ra and Basie’s rebound), because if you didn’t, please read Burgin Mathews’ Magic City, which one of my remaining great buds (almost all of whom live miles upon miles away) gave me for Christmas.

Cuticles!!!—Why the hell didn’t I know (too late for the lists) that one of the best rock and roll albums of 2023 is funny as hell and came out of New Zealand—someone shoulda told me, and thankfully Isaac Davila did, albeit this month?

Embarrassment Documentary + Toons—I was an Embarrassment fan back in their days, but hadn’t listened to them in awhile, and I bet neither have you; should you want to change that, please watch the documentary We Were Famous Once, Don’t You Remember, one of the best-ever made on an ‘80s indie band, this one from WICHITA, not LAWRENCE!!!

Joni Mitchell Carnegie Hall Thrills—I have very mixed feelings about these big boxes repackaging a ton of stuff we already have, but by god, this concert wedged into the Asylum Years set makes my short hairs stand up for most of its duration, and I prefer her backed by a band.