Tag: No Business Records

Not Quite Apocalypse, Yet: OCTOBER ’24–Best Stuff I Heard

  • 1.86.0-WCXSX24H5BJESUVV5RXH5DOOGY.0.1-1

The post title is all I’m saying about the obvious.

If you haven’t had a chance to do so through other portals, you should check out the rock and roll high school story I’d never gotten around to writing since it happened on March 30, 2005: the Hood-Cooley-Isbell Drive-By Truckers playing an unplugged concert at the high school where I was working (I’d only asked their people if one of those guys could talk to our rock and roll club). I have a Substack on top of this (why?), and there you will find Part 1 and Part 2 of the tale. You’ll get a kick out of it, I think.

This seemed a sluggish month for music (I was personally and professionally too busy to be sluggish myself), but then it came on at the tail end. In fact, it’s still coming on as I type this and try to catch up with some last-second drops.

Yep–still trying (and only succeeding via ridiculously adhered clauses) to write one-sentence reviews. I’ve got multiple jobs, people! And I like to read and play with cats when I’m home!

Note: Speaking of work, my popular music-infused Stephens College freshman composition class is reading the great music writer Ann Powers’ alternate history of American pop, Good Booty (please read it and her new and intriguing Joni Mitchell bio Traveling Traveling Traveling yourself), and I talked Ann into an interview for my students’ edification. If you’re interested in hearing it–she ranges widely and always eloquently–click this link (it was a Zoom interview, and since my students could not participate due to the class’ on-line asynchronous nature, I had to record it for them).

OCTOBER 2024 NEW RECORDINGS I HEARD (alphabetically ordered)

BOLDED = Damn good!

Amy & The Sniffers: Cartoon Darkness (Rough Trade) – The Internet seems to be underwhelmed by this record, but I respect punk pizzazz, and this has it–along with humor, shit-smearing, joy, and self-effacement.

The Belair Lip Bombs: Lush Life (Third Man) – For some reason (maybe it’s that I’ve never seen Johnny Depp and Jack White in the same photo), I don’t trust Third Man, but I read “power pop” in one review, and…yeah, maybe.

Church Chords: elvis, he was Schlager (Otherly Love) – Dark horse indie-rock / experimental AOTY candidate, from a label to keep your eye on, featuring wry vocals and sweet-memory-tickling musical stylings fired by these guitarists: Jeff Parker, Nels Cline, and Brandon Seabrook, the latter of whom often drags Dock Boggs into the 21st century.

Day Dream: Duke & Strays (Corner Store Jazz) – Last post I bemoaned my late discovery of the master drummer Phil Haynes, so, though I asked myself if I needed to hear another Ellington/Strayhorn tribute with predictable song choices, I tried it, and its sideways and intriguing interpretations, performed live, dazzled me–very much due to Haynes’ playing.

EELS: Being Dead (Bayonet) – Listened to out of obligation, repeat-played out of fixation, this “joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil’ house in the heart of Austin, Texas” (see Bandcamp) proves indie rock is far from dead.

Flagboy Giz and The Wild Tchoupitoulas: Live from the French Quarter Fest (Injun Money) – I will always investigate Mardi Gras Indians action, I’m thrilled to hear these chants “bounce”d, I’m glad Flagboy’s name is pronounced with a hard “g”…now, if someone will tell me where to get a hard copy (downloads are hard enough to find).

Joe Fonda: Eyes on the Horizon (Long Song) – Master jazz bassist (Fonda) and indefatigable pianist (Satoko Fujii) pay tribute to eminence grise of free improv trumpet, Wadada Leo Smith–who’s on trumpet.

Phillip Golub: Abiding Memory (Endectomorph) – Alternating lightly dancing drum rhythms with moments of composed tension that don’t disrupt the album’s flow, Golub’s writing does justice to the title.

Mickey Guyton: House on Fire (Capitol Records Nashville) – Of course it would have been hard for Guyton to top Remember My Name, which featured about a decade’s worth of songwriting, and there’s always the sophomore slump to consider, but honestly, though it doesn’t have the occasional quiet bite of its predecessor, this one satisfies–pleasurable artistic solidity.

Rich Halley 4: Dusk and Dawn (Pine Eagle) – A time-tested quartet led by a Julius Hemphill-inspired, very underheard saxophonist is worth your time–the expressive balance achieved by the group and the sensitive production make this a treat for the mind’s ear.

High Vis: Guided Tour (Dais) – Sadly, I’d not heard of this London group, because I’m always hunting for living punk rock, and, though I need to listen backwards through their work, along with Amyl & The Sniffers (see above) this album made me really happy and really amped.

Judas Priest: Invisible Shield (Deluxe Edition) (Sony) – This truly enjoyable and deeply admirable album’s inclusion is dedicated to my late brother-from-another-mother Mike Rayhill (The Jimbobs, The Luvhandles, The Balls), who would have loved it (and, to be clear, I do, too–thanks, Chuck Eddy).

Messiah in Glytch: Geisha in the Machine (FPE EP) – I had heard nothing about this explosive, confrontational, complex little record, but the MC’s handle and the album title intrigued me, and FPE takes chances on challenging artists–and MIG is one: highly recommended to hip hop heads needing some socio-political bars, boom-bap, and in-your-face flow.

more ease & kaho matsui: computer & recording works for girls (Full Spectrum) – I dig that title, and it’s more delightful–and calming–than the title portends.

Mount Eerie: Night Palace (self-released) – I’ll be honest: I signed up for the Bandcamp listening party for this album yesterday, had not closely listened to Phil Elverum since he traced his family tragedy on A Crow Looked at Me, and was prepping for an interview (see above) while participating in said party…but the many musical moments and lyrical snatches that caught me up short make this sound like a Top-Tenner

PYPY: Sacred Times (Goner) – I shall quote my best friend of 45 years, my former bandmate, my first and best tutor in punk rock, and former webmaster of The Rawk and current overseer of the Facebook group of the same name, Mark Anthony: “This is kicking my ass today! Stuck somewhere between Pylon and Romeo Void with a healthy dose of skronk and early 80’s techno?”

Walter Smith III: three of us are from Houston and Reuben is not (Blue Note) – A first-class mainstream jazz session by saxophonist Smith, aided and abetted by the always thoughtful, fluent, and interesting Jason Moran on piano.

Tyler, The Creator: CHROMAKOPIA (Columbia) – I have half-followed Tyler since his Odd Fellows days, but at some point–often several points–during each release, he’s put me off–until this one, another record with punk pizzazz (both instrumental and verbal) that doesn’t even need its excellent guest spots to be really good and that drew this comment from my former student, DC resident, and Creator adept Erin Datcher: “He’s wearing the mask on the cover to signal that he’s telling the truth this time.”

2024-RELEASED EXCAVATIONS OF OLD BUSINESS

Arthur Blythe Quartet: Live! From Rivbea Studios, Volume 2 (No Business) – Black Arthur blowing in a loft on fire.

Andrew Hill Sextet Plus 10: A Beautiful Day Revisited (Palmetto) – This very welcome reissue from the fearsome pianist and composer originally earned its title, and now does even more, thanks to Palmetto’s touch.

Charlie Parker: Bird in Kansas City (Verve) – With a few of one foot’s toes in the past and the other’s whole stepping into the future, and thanks to guitarist Efferge Ware’s chopping, Freddie Green-influenced guitar on the closing tracks, Parker is captured here sounding like a 1939 Basie escapee–as fully Kansas City-bred as he ever sounded.

Phil Ranelin & Wendell Harrison: Tribe 2000 (Org Music) – As good a place as any to catch up with an excellent and often-steaming Detroit jazz duo–and scene.

Various Artists: Even the Forest Hums—Ukrainian Sonic Archives 1971-1996 (Light in the Attic) – Beyond keeping the people of Ukraine on your mind, this wide-ranging and surprisingly pop-sounding compilation (LITA advertises it as “folk, rock, jazz, and electronic”) invites you into the country’s music, both pre- and post-Soviet collapse.

JULY 2024: The Best Newish Releases I Lived to Listen to This Month

‘Twas hard to squeeze in extended and deep listening this month, what with a long and much-needed vacation in Dauphin Island, Alabama, and difficult family matters, but I hung in there. The beach, two rounds of fresh shrimp off a Bayou Le Batre fishing boat, ample portions of Blue Moon, tons o’ time spent with my very best friends and my beloved (I was the house DJ but stuck to old favorites from our past for the most part–along with Fox Green’s new album*), two great audiobooks that cut the feeling of a long-ass drive in half [Tommy Orange’s Wandering Stars and James McBride’s The Heaven and Earth Grocery Store (still only 67% finished, so don’t send me any spoilers)], and a late-breaking political surprise have done wonders for my mood. And just finishing Ann Powers’ neat Joni Mitchell book led to that estimable music critic’s possible engagement with an upcoming class of mine, during which the students will read, write, and talk about Powers’ equally sterling tome, Good Booty! I need to quit being so emo on this blog….

OK, to the music: lots of new jazz, a clear-cut AOTY possibility which may surprise my handful of readers (don’t sleep on Corb Lund*!), a face-punch of an envoi from X, a fresh blues/r&b voice from (of all places) Memphis. Dig in!

Recorded in 2024

Note: If listed as “self-released,” know that I tried.

[ahmed]: Giant Beauty (fonstret) – When I came back from vacation, news of this somewhat mysterious multi-national improvisatory unit’s five-disc exploration of bassist Ahmed Abdul-Malik’s work piqued me as deeply as I can be piqued, then I discovered they were damned serious about their journey and exciting in making it–then, while prepping this post, I listened to their 2023 Abdul-Malik quest Super Majnoon and it might just be better.

Charles Gayle / Milford Graves / William Parker: WEBO (Black Editions) – Gayle could wail, Graves kept all collaborators on their toes with his nimble mind, feet, hands, and heart (both men have gone to meet ‘Trane), and Parker remains simply the reigning master bassist in jazz, so this 1991 concert–the trio seldom recorded together–is special.

John Escreet: the epicenter of your dreams (Blue Room Music) – The above two records roar, and with everything going on in our world they might be too much; however, the fleet inventiveness of Brit pianist Escreet, who’s worked with players ranging from Dr. Tyshawn Sorey to Floating Points, might be more up your alley, especially with Mark Turner, a kind of 21st century Lester Young, flowing beside him on tenor.

Fox Green*: Light Over Darkness (self-released) – I once yelled in a garage band in Fayetteville, Arkansas, and, if we’d been able to stay together over time, considering what we have otherwise ended up doing with our lives, I’d like to think we could have (only) come within spitting distance of this smart Little Rock Americana-rock unit–and have been proud of that.

Boldy James & Conductor Williams: Across the Tracks (self-released) – I’ve tried with Detroiter James’ last few albums, and they’ve just taken me halfway there, so it’s funny that, among other things, cameos from very young guest MCs put this over for me.

Janel Leppin: Ensemble Volcanic Ash—To March is to Love (Cuneiform) – This is cellist/composer Leppin’s second excellent album of 2024–the first was the wonderfully spacy New Moon in the Evil Age, a duet with her husband Anthony Pirog on which she also sings–and its wide-ranging sounds are anchored by the justifiably ubiquitous bassist Luke Stewart, who along with Leppin is making a run at Jazz Musician of the Year.

Corb Lund*: El Viejo (New West) – This is an AOTY-worthy country concept album about gambling–not simply with a hand of cards–and Lund’s writing (he has occasional assistance) and his band’s living-room playing are astoundingly sharp.

Charles McPherson: Reverence (Smoke Sessions) – Along with Bobby Watson, McPherson is one of the last of the great Charlie Parker torch-carriers, though here he demonstrates that he’s learned plenty of other moves in his eighty-five years on the most recent of a shining run of records…and I get to see him live in a few months!

Moor Mother: The Great Bailout (Deluxe Edition) (Anti-) – Camae Ayewa never takes a historical prisoner, and this is one of two excellent and musically complex Afrofuturism-meets-Europastism records of 2024 (the other being Red Hot Org / Kronos Quartet’s Sun Ra tribute Outer Spaceways Incorporated)–but for that you have to get the deluxe version.

David Murray: Francesca (Intakt) – Twenty years ago, poring over jazz record guides and hunting down a myriad of terrific Murray releases on DIW, I just knew this guy couldn’t keep up such prolific musical fecundity for much longer….

Pet Shop Boys: Nonetheless (Parlophone) – The limited series It’s a Sin, which I took in several years ago, sent me back to luxuriate in the power, wit, and effervescence of the first PSB albums, and, though the world has taken a toll on the last of those, and though “wit” seems too light a word for the wisdom on display here, they remain…unbowed.

Roberto Ottaviano: Lacy in the Sky with Diamonds (Clean Feed) – Jazz fans familiar with the other Steve Lacy probably won’t think that’s a terrible title–the band’s aim in this tribute is to write the mighty soprano saxophonist’s name in the sky, and they nail it, especially the leader.

Red Kross: Red Kross (In the Red) – They definitely still got it, and I really hear prime Raspberries in this one.

Rempis / Adasiewicz / Abrams / Damon (coming in October): Propulsion (Aerophonic Records) – All four of these men are superior improvisors, but Jason Adasiewicz, who last year transformed AACM star Roscoe Mitchell’s compositions into something completely different on an album of his own, is the star, laying a calming bed of imaginative, evocative vibes underneath the others’ blooms of sound.

Chappell Roan: The Rise and Fall of a Midwest Princess (Atlantic) – Straight outta Willard, Missouri, an unfettered soul that has not a little in common with none other than Little Richard–yeah, I said it!

Christopher Rountree / Wild Up: 3BPM (Brassland) – Though I was a bit disappointed in Wild Up’s fourth volume of Julius Eastman tributes/interpretations, I still buy sound-unheard anything with which they associate their name, and founder Rountree’s debut, enlisting the group’s help, tops it.

Taliba Safiya: Black Magic (self-released EP) – The Memphis blues again–with a vengeance.

SAULT: Acts of Faith (self-released) – Now you’ll have to lean on Soulseek or your pals for it, or wait–I never can with them–and you’ll have to believe me when I say it’s near the top of the group’s pretty solid catalog, thanks to a Mayfieldian streak running through its 32 unbroken minutes.

Ren: Sick Boi (renmakesmusic.com) – Unlike Eminem, Ren’s really ill; also unlike Eminem, Ren’s really ill.

Takkak Takkak: Takkak Takkak (Nyege Nyege Tapes) – It’s hard to keep up with releases from this Kampala label, and I’ve tried, but out of them all, turned up loud, this one thumps so hard and weird I immediately played it twice.

Natsuki Tamura & Satoko Fujii: Aloft (Libra) – Tamura (trumpet) and Fujii (piano) are married in more ways than one; they’ve made several duet albums and their telepathy is well-honed here.

X: Smoke & Fiction (Fat Possum) – The band thanks the original Ramones by first name in the notes, open with what sounds like a tribute, then proceed to say so long to us and their partnership in style: Zoom zooming, Bonebrake cracking the skins hard, and John and Exene harmonizing like yesterday was tomorrow. (The LP version was released early, without a lyric sheet, or I’d comment on those–what I could pick up seems appropriately bittersweet.)

New Archival Excavations (a somewhat paltry selection, but I welcome tips):

Bessie Jones, John Davis, the Georgia South Sea Island Singers with Mississippi Fred McDowell and Ed Young: The Complete “Friends of Old-Time Music” Concert (Smithsonian) – The musical Bessie many know best is Smith, the Mississippi bluesman they may be most familiar with John Hurt, but Jones was one of the greatest folk-gospel singers of all-time, and McDowell, best known as the source of The Rolling Stones’ “You Got to Move,” played spiritual tunes with as much–possibly more–stinging fire than he did blues.

Kalaparusha Maurice McIntyre: Rivbea Live! Series, Volume 1 (No Business) – AACM stalwart meets primo NYC Loft-era setting for serious fireworks.

What To Do?

For several years this has been the spot where I have created gradually expanding lists of my favorite new albums and archival releases that turned my crank for each calendar year. It’s been quite fun most of the time, and recently got me on a few lists to receive review copies, many of which are actually pretty damn good. Thing is, doing so seems to encourage me to have to keep up with everything I hear about that sounds cool. That motivation, plus my natural curiosity and fear that I might miss something, inflates this seemingly fun project into a major pain in the ass too frequently and causes something that I really don’t think is healthy: I spend so much time cramming stuff in my earhole that I spend far less time listening to music I have loved for years. I’m freshly into my sixties, and I am not sure I want to keep doing it. Face it: when you keep hearing “Watching the Wheels” in your head and feeling upbraided by poor ol’ doomed John, you might wanna shift down. Also, so many of my talented, sharp-eared and big-hearted friends–many via the kind graces of Substack–are already doing the work; when you take their work together and add in the indefatigable Tom Hull–and these people do a lot of writing–I have to question what need have you/they of me. Seriously. I ain’t fishin’ for compliments. I mean, I know all that this has been and what it hasn’t.

So…I have some ideas. Obviously, if I only wrote about a few records I liked each month–wrote about them, much more fun than listing–regardless of vintage, I’d solve two problems: 1) I could watch the wheels more frequently, and 2) I’d have time and be motivated to listen to time-tested favorites. I could supplement that new practice by scribbling a bit about how music has manifested itself in my private and professional life, which it always does in interesting ways every month. I could write about ONE new record and ONE old one that really knocked me for a loop–and, again, give the reader a peek into music’s impacts on my domains (I think I actually have more than two, if I get out of the private – professional split and subdivide them. I could just look back into the history of this blog–some readers may not have noticed I’ve done several different things with it over the years–and pick up where I left off with something that was working when real life knocked me off the tracks for a bit.

I’ll figure it out. In the meantime, jeez, at least 10 new records have been rattling my bones by the end of January since I’ve been posting lists. I really can’t say that right now, but I can say this:

Tyler Keith’s seldom if ever disappointed me, going back to the earliest days of his I know, when he co-led The Neckbones, a Southern-fried Voidoids in more than a few ways. Keith wrestles with sin and salvation as regularly but more explicitly than Jerry Lee, he’s a reminder to listeners that much of the best rock and roll–and that’s what Hell to Pay is, even if a violin sneaks in–has come from the working class, and he’s got a way of conjuring desperation that always feels like the United States to me. His first new record in awhile, Hell to Pay, on Black and Wyatt Records, shows his commitment to those values has waned not a whit, and that his musical attack coheres with his excellent dark ‘n’ pulpy ‘n’ sweaty Southern noir novel The Mark of Cain, published last year. I highly recommend both vinyl and book, the latter his first.

Japanese pianist and bandleader extraordinaire Fujii released her 100th album as a leader or co-leader in 27 years (Hyaku: One Hundred Dreams–check it out), sending me on a backwards binge through her catalog that’s yet to hit an impasse. Fujii can do it all scintillatingly: lead big bands and ensembles, duet with all manner of instruments (with other pianists, with violin, and here, with electric guitarist Yoshihide), play like petals falling and landing or a rockslide rattling down to the road. She’s been a “Where have I been?” artist for this listener, and I suspect I’ll spend the year continuing to get caught up. On Ayler Records, and that should tell you something about her intensity.

Am I the only one who mourns the death of the hard-copy music guide? (It sure put the damper on my bathroom reading.) Moping the other day, I was thumbing through an old Penguin Guide to Jazz–I always loved them because they covered European jazz very well and very reliably–and came upon this 1974 **** record I’d overlooked. I then hit Discogs, found a decently-priced copy, and there weren’t many, then waited for Mr.Postman. I’ve played it 4-5 times since then (a few months ago); the band was a cooperative that notably included Sun Ra vet Ahmed Abdullah on trumpet and a young William Parker on bass. At many points on the record they sound like the Arkestra as if led by Ayler: almost magically structured, but intense–intensely martial. I can’t get enough of it; it’s out of print, so if you want to sample it…well, you knows what to do (RIP Barrett Strong). On No Business Records, and good luck. And here’s your luck–whaddya know?