Tom Hull: 2599-Streamnotes-January-2018.html (2025)

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Wednesday, January 31, 2018

With 154 records below (not counting 3 regrades), this is a prettysubstantial collection -- down a shade from 161 in December, but otherwisethe most of any month in 2017 except for January (155). January isusually a big month because I can draw inspiration from the great manyEOY lists summing up the previous year. Still, while this year's yieldis comparable to past years, it feels strangely incomplete. The mostobvious difference is that lastJanuary I discovered 9new A- records from 2016, whereas this month's total is down to 4(the other 3 A- records this month are 2018 releases, but January2017 had 8 new releases at A-, so the overall drop is from 17 to 7).More evidence: looking at my 2017 EOY lists forJazz andNon-Jazz, the A-listsplit between Jazz/Non-Jazz is 81/56. In most years the Jazz/Non-Jazzsplit is relatively even (e.g., 81/83 in 2015, although they divergeda bit more in 2016: 75/67). Aside from some random statistical noise,I assume these changes are mine and not the world's. I have sometheories about this, but right now they're so off-the-wall I don'tdare try to enumerate them.

As I do every year, I just copied off my workingYear 2017 list to keep afrozen copy (the former listwill continue to collect 2017 releases for another year). My 2017 listcurrently includes 1037 new albums, by grade: A: 0; A-: 139; ***: 167;**: 290; *: 275; B: 117; B-: 39; C+: 7; C: 2; C-: 0; D+: 1, ungraded: 8.It also includes 97 old music albums, by grade: A: 1; A-: 20; ***: 25;**: 21; *: 18; B: 8; B-: 2; C+: 1. C-: 1, ungraded: 2. Total albums1134. This is actually up a bit from 2016 (1074) and 2015 (1110, butdown from the last few years, like 2014 (1166).

The main source for my list suggestions is myEOY Aggregate, whichcurrently lists 2615 records from 281 lists. This is down quite abit from 2016, which probably has something to do with my ownshorter-than-usual non-jazz A-list. (Also hurts that the VillageVoice has only published their top 100 albums, whereas most yearsthe list tops 1500 albums. Jazz is better represented because I'vecredited at least one point to every album mentioned in theJazz Critics Poll.)

While I've no doubt missed a lot of obscure gems, I'll note that(thanks to streaming) I've heard 94 of Pazz & Jop's top-101 albums(exceptions: Power Trio (at 65), Elder, Ty Dolla Sign, Converge, ArielPink, Juana Molina, U2); also 97 of my EOY Aggregate's top-101 (save:The Horrors (73), Grizzly Bear, Mac DeMarco, Kevin Morby). Maybe oneof the reasons I haven't found as much good non-jazz this year as usualis that I've spent too much time listening to stuff other people seemto like.

Most of these are short notes/reviews based on streaming recordsfrom Napster (formerly Rhapsody; other sources are noted in brackets).They are snap judgments, usually based on one or two plays, accumulatedsince my last post along these lines, back on December 31. Past reviewsand more information are availablehere (10685 records).

Recent Releases

21 Savage/Offset/Metro Boomin: Without Warning (2017,Epic): Atlanta rappers, Shayaa Bin Abraham-Joseph and Kiari KendrellCaphus (of Migos), with producer Leland Wayne. Underground beats, sounderstated you're never quite sure what's up.B+(*)

Fatima Al Qadiri: Shaneera (2017, Hyperdub, EP):Electronica producer, born in Senegal, grew up in Kuwait, based inBerlin, has two albums and a bunch of EPs. Whiffs of Arab musicmixed in with the electronics. Five cuts, 21:09.B

Wali Ali: To Be (2016-17 [2017], Mendicant): Guitarist,Discogs describes him as "disco-soul guitarist," noting he did sessionwork for Rick James, Patrice Rushen, Teena Marie, Gladys Knight, MarvinGaye, etc. He doesn't mention any of those names on his website, buthas an alternative list of names including Taj Mahal, Peter Tosh, andStanley Turrentine, and the Broadway musical "Mule Bone." He also says"his sound combines the music of Miles and Trane with that of Hendrixand Santana," but I'm mostly hearing Wes Montgomery, and rather likingthat.B+(**) [cd]

As Is Featuring Alan & Stacey Schulman: Here's to Life(2017 [2018], self-released): Guitar and vocals, standards (more orless), backed by various musicians with some strings, sax (David Binney),and featured spots for Grégoire Maret (harmonica). Some sweet spots.B [cd]

Cardi B: Gangsta Bitch Music Vol. 1 (2016, KSR):Rapper Belcalis Almanzar, from the Bronx, got major label push forthe hit single "Bodak Yellow" -- top song of 2017 according to thePazz & Jop critics poll -- but no albums yet, just a bunch ofsingles and two short mixtapes. This one runs 33:10 with four skitsthat could easily be disposed of, and songs that tease you withoutquite delivering.B+(**)

Cardi B: Gangsta Bitch Music Vol. 2 (GBMV2) (2017,KSR): Shorter at ten cuts, 28:26, skits down to just one, but guestsup -- learning to delegate, or cut corners. Released in January, wellbefore her big single in June.B+(*)

Jeff Baker: Phrases (2017 [2018], OA2): Jazz singer,handful of albums since Jeff Sings Chet in 2003, writes abouthalf of his songs here, drawing on Bonnie Raitt, Billy Joel, and RyanAdams for standards. Brings in some first-rate musicians includingDarrell Grant (piano), Steve Wilson (alto sax), Geof Bradfield (tenorsax), and Marquis Hill (trumpet), plus a string quartet.B [cd]

Julien Baker: Turn Out the Lights (2017, Matador):Singer-songwriter from Memphis, not that anything she does suggestsMemphis or Tennessee or any particular geography, other than perhapsthe Moon. Slow, full of striving and, I guess, regret; nothing I'mparticularly partial to, but not unappealing, either.B

Django Bates' Beloved: The Study of Touch (2016[2017], ECM): British pianist, has bounced around a lot since 1990,ranging from avant to fusion, playing with Dudu Pukwana and GeorgeRussell, recently doing a big band Saluting Sgt. Pepper(not very good). This is a mainstream piano trio, with Petter Eldh(bass) and Peter Bruun (drums).B+(*)

Stefano Battaglia: Pelagos (2016 [2017], ECM, 2CD):Italian pianist, prolific since 1988 including several volumes ofBill Evans Compositions, picked up by ECM in 2005. Solo here,sometimes prepared.B+(**)

Beck: Colors (2017, Capitol): Slacker hero back inthe 1990s, turned soul man for his peak run, maturing into some kindof pop icon -- this is his 6th straight top-10 album, starting withSea Change in 2002; i.e., the point when I stopped taking anyreal interest in whatever he was doing. Clearly he knows a lot aboutworking the studio. Less clear why he bothers.B

Dave Bennett: Blood Moon (2017, Mack Avenue): Clarinetplayer, first album was a tribute to Benny Goodman, second subtitledSongs of Great Clarinetists, on 2013's Don't Be That Wayhe became one himself. Continues in a retro-swing vein, with RegSchwager on guitar and Dave Restivo on piano.B+(**)

Bibio: Phantom Brickworks (2017, Warp): Electronicaproducer Stephen Wilkinson, from England, caught my ear with the morepop Mind Bokeh (2011), but has lately settled into ambient,best just a bit of piano with synth washes.B

Bicep: Bicep (2017, Ninja Tune): DJ/production duofrom Belfast in Northern Ireland, Andrew Ferguson and Matthew McBriar.First album, after a long run of singles and EPs since 2010. Nicemix of bounce and sonic flair.B+(**)

Big K.R.I.T.: 4Eva Is a Mightly Long Time (2017,Multi Alumni/BMG, 2CD): Not as big as it looks -- 22 cuts, 84:48 --but clearly could have been edited into something more impressive,stunning even. As is, it no doubt takes a lot more effort to sortthrough than I can give it, and I can't swear it's worth it, butI'd give it fairly decent odds. I'm surprised this hasn't gottenmore EOY list support.B+(***)

Raoul Björkenheim Triad: Beyond (2016 [2017],Eclipse Music): Trio, recorded in Helsinki, the guitarist joinedby Ville Rauhala on double bass and Ilmari Heikenheimo on drums.Playing this after the Ecstasy quartet, I can't help but feelthat something's missing. But not the guitarist.B+(**)

Blanck Mass: World Eater (2017, Sacred Bones):Solo project by electronica producer Benjamin John Power, also dbaFuck Buttons. Massively orchestrated shards of sound, something Iusually hate but find somewhat rousing here.B+(*)

Samuel Blaser With Marc Ducret/Peter Bruun: Taktlos Zürich2017 (2017 [2918], Hatology): Trombone-guitar-drums trio,fractures in interesting ways.B+(*)

Anouar Brahem: Blue Maqams (2017, ECM): Oud playerfrom Tunisia, filed under jazz due to the company he keeps -- here:Django Bates (piano), Dave Holland (bass), Jack DeJohnette (drums),with Manfred Eicher producing, making sure nothing untoward happens.With different company he'd be New Age, but not as good.B+(**)

Bully: Losing (2017, Sub Pop): Alt/indie band,principally singer Alicia Bognano, from Minnesota but studiedaudio engineering in Nashville and worked an internship inSteve Albini's Chicago studio. Second album.B+(**)

Daniel Caesar: Freudian (2017, Golden Child):Canadian singer-songwriter, Ashton Simmonds; soft, slow, slinkyneo-soul in a near-falsetto, often beguiling, can drag a bit.B+(*)

Chronixx: Chronology (2017, Soul Circle Music/Virgin):Jamaican singer-songwriter Jamar McNaughton, second album, father wasa singer known as Chronicle, so he started out as Little Chronicle.In a sort of "neo-trad" move, would like to revive the classic soundof '70s reggae, but Jah doesn't seem to be willing.B+(*)

Cigarettes After Sex: Cigarettes After Sex (2017,Partisan): Slowcore band, originally from El Paso, principally GregGonzalez -- an appealing idea, I once thought, but this is the firstgroup that delivers on the concept, perhaps because I hear more thana little Neal Tennant in his voice. Still doesn't find redemption indance, or much of anything else, so this may be a passing fancy.A-

Cleric: Resurrection (2017, Figure, EP): JordenHodgetts, techno DJ/producer from Manchester [UK], 18 records (mostlyEPs) since 2012. Five cuts, 23:15. Tasteful beats. [Napster has thismixed in with another Cleric, see below.]B+(*)

Cleric: Retrocausal (2018, Web of Memory): Avant-metal,post-hardcore, and/or noisecore band from Philadelphia. Played this byaccident, expecting more mild techno, but didn't find the initial thrashunlistenable, but are the blood-curdling screams really necessary? [Rarecase where I halted album midway.]B-

The Clientele: Music for the Age of Miracles (2017,Merge): British indie band, initially formed in 1991 but waited until2000 to release their debut album, took a break after 2010, so thisis some sort of comeback. Rather lush, strings even, horns too, addingto its catchy grace.B+(***)

George Cotsirilos Quartet: Mostly in Blue (2017 [2018],OA2): Guitarist, born in Chicago, based in Berkeley, sixth album,mostly trios but adds pianist Keith Saunders here. All originals,mostly genteel postbop groove pieces.B+(*) [cd]

The Courtneys: II (2017, Flying Nun): Vancouver girlgroup qua alt/indie band, guitar-bass-drums, landed on a label nowowned by Warner but famous for breaking guitar-pop groups from NewZealand (The Bats, The Chills, The Clean), mostly because the shoefits -- although I'd say they sound more like the Feelies.B+(**)

Sylvie Courvoisier Trio: D'Agala (2017 [2018], Intakt):Swiss pianist, based in New York; following AllMusic I filed her underAvant-Garde -- an early album was titled Music for Barrel Organ,Piano, Tuba, Bass and Percussion -- but she's regularly worked inavant-jazz circles, especially since moving to Intakt in 1999. Triohere with Drew Gress (bass) and Kenny Wollesen (drums).B+(***) [cd]

CunninLynguists: Rose Azura Njano (2017, A Pieceof Strange Music/RBC): Hip-hop crew from Lexington, Kentucky, aroundsince 2002 (Will Rap for Food). Underground beats, r&b alittle soft around the edges, but I like the rapper -- seems like thevoice of reason.B+(**)

CupcakKe: Ephorize (2018, self-released): Chicagorapper Elizabeth Harris, with her fifth album in three years, comingoff her Marilyn Monhoe and Queen Elizabitch tours, coming up on her21st birthday in March -- talk about living fast. More audio porn,less social realism, sometimes you wish she'd slow it down a bit andrelish how ridiculous life can get.B+(***)

Scott DuBois: Autumn Wind (2017, ACT): Guitarist,quartet gets front cover mention -- Gebhard Ullmann (tenor sax/bassclarinet), Thomas Morgan (bass), Kresten Osgood (drums) -- but thefine print reveals more wind instruments (flute, oboe, clarinet,bassoon) and a string quartet, recorded separately after the fact.I'm not sure that the extras matter much, although sometimes thewinds do kick up mightily.B+(***)

EABS: Repetitions (Letters to Krzysztof Komeda)(2017, Astigmatic): Polish group, acronym stands for Electro-AcousticBeat Sessions, the electric including guitar, bass, and turntables,plus trumpet, tenor sax, drums, with Marek Pedziwiatr playing bothpiano and synths. The compositions draw on the legendary pianist,dating from 1962-67, but juiced up with the beats and even a rapintro (and some later vocals, in English).B+(***) [bc]

EMA: Exile in the Outer Ring (2017, City Slang):Singer-songwriter, initials for Erika Michelle Anderson, fromSouth Dakota, third studio album, dense electopop, some spokenword.B+(**)

Eminem: Revival (2017, Aftermath/Shady/Interscope):Starts with a bitch about how he's lost his stardom, but he somehowmanaged to snag the sample of the year -- no less than Beyoncésinging the "Walk on Water" refrain. It's clearer than ever that hehas a signature style: tightly wound raps rising from fierce tobatshit crazy, played off against irresistible pop hooks. Sometimesthe batshit even rings true, especially when he takes on Trump andracism.A-

Peter Evans/Agustí Fernández/Mats Gustafsson: A Quietnessof Water (2012 [2017], Not Two): Trumpet, piano, unspecifiedsax, none of these players particularly noted for calm contemplationof nature. They play an elaborate shell game where the instrumentspretend to be something else or merely hide in each other's murk.B+(*)

Agustí Fernández/Albert Cirera/Ramon Prats: The Liquid TrioPlays Bernoulli (2017, Sluchaj Fundacja): All originals, jointlycredited, only Bernoullis I can find mention of are Swiss mathematicians --Wikipedia has pages on seven of them, most famously Jacob (1654-1705,Bernoulli numbers) and Daniel (1700-1782, Bernoulli's principle).Piano, saxophones, and drums, in an often-exciting thrash.B+(***)

Fleet Foxes: Crack-Up (2017, Nonesuch): Seattle"baroque pop" group, third album since 2008, the top-rated EOYAggregate album that I hadn't bothered checking out -- number 27as I write this -- and for good reason. Not that it's reallyawful. More like it's bland and affectless, leaving one to wonderwhat anyone hears in it.C+

Danny Fox Trio: The Great Nostalgist (2016 [2018],Hot Cup): Pianist, based in New York, has a couple previous albums,mostly trios like this one with Chris van Voorst van Beest (bass)and Max Goldman (drums).B+(***) [cd]

Charlotte Gainsbourg: Rest (2017, Because Music):Daughter of French singer-songwriter Serge Gainsbourg and Britishactress Jane Birkin, born in England, first album in 1986, secondin 2006, this her fifth overall. Synth-based music, dream pop,lyrics effortlessly flowing between English and French -- thelatter I'm unable to follow but find charming nonetheless.B+(**)

Hillary Gardner/Ehud Asherie: The Late Set (2017,Anzic): Standards singer, based in Brooklyn, one-third of the vocalgroup Duchess. Just the pianist for accompaniment, with Asherieturning in a particularly sensitive job.lB+(*)

Mary Gauthier: Rifles & Rosary Beads (2018, Inthe Black): Folk singer, has some good records under her belt, co-wrotethese songs with veterans and spouses with their peculiar experiencesand their usual rationalizations for their "service" -- no jingoismhere let alone bloodlust, nothing that challenges my anti-militaryinstincts, but I come away with little interest or empathy, no matterhow remarkable the social realism. [PS: On further reflection, I wasa bit harsh. The multiple writers make this less consistent than BeckyWarren's War Surplus, but diversity has its merits and charms.]A-

Ghostpoet: Dark Days + Canapés (2017, Play It Again Sam):British singer-songwriter Obaro Ejimiwe, not really a rapper but not muchof a singer either. Fourth album, nice groove, not as down as trip hop.B+(**)

Perfect Giddimani: Live My Life Again (2017, Giddimani):Greg Rose, from Jamaica, adopted the name Perfect for his first albumback in 2006, title Giddimani, merging those names in 2011 forBack for the First Time. Includes a catchy song on Trump, butmostly hit and miss.B+(*)

Justin Gray & Synthesis: New Horizons (2017 [2018],self-released): Bassist, from Toronto, plays electric but preferredinstrument seems to be bass veena, which seems to pair well with tabla(Ed Haney), strings and lots of percussion.B+(**) [cd]

Jeff Hamilton Trio: Live From San Pedro (2017 [2018],Capri): Drummer, best known as co-leader of the Clayton-Hamilton JazzOrchestra, runs a splashy little piano trio on the side, with TamirHandelman and Christoph Luty. One song each from Hamilton and Handelman,two from J. Clayton, a few other standards including "In Walked Bud."The pianist is swift and deft, but you notice the cymbals plenty too.B+(**) [cd]

Natalie Hemby: Puxico (2017, GetWrucke): Singer-songwriter,first album, named for her Missouri hometown. Based in Nashville, where shehas a couple dozen songwriting credits, including co-credits on a big chunkof Miranda Lambert's last two albums.B+(**)

Nona Hendryx & Gary Lucas: The World of Captain Beefheart(2017, Knitting Factory): Lucas' project (labor of love?): he played guitarin Beefheart's Magic Band in the 1980s, and in 2005 formed a jazz groupwith Philip Johnston called Fast 'N' Bulbous. Otherwise, he pops up inall sorts of odd places -- my database shows him with Pulnoc and doinga Max Fleischer tribute. Hendryx is a singer, the strongest voice in '70sLabelle, but she's wanders downtown, most memorably working with BillLaswell's Material. Mixed bag of songs, but most as unexpected as Monk,which gives them plenty to chew on, and leaves you with "Tropical HotDog Night" stuck in your synapses.A-

Robyn Hitchcock: Robyn Hitchcock (2017, Yep Roc): Englishsinger-songwriter, twenty-first studio album since 1981. I'm surprised notto find any of them previously rated in my database, as I'm pretty sure Ihad an old LP or two -- none of the titles look familiar, but Globe ofFrogs (1988) has a song I recall ("Balloon Man").B+(*)

Ibeyi: Ash (2017, XL): French duo, second album, twinsisters Lisa-Kaindé Diaz (vocals/piano) and Naomi Diaz (percussion),born in Paris, the name Yoruba for twins, their father Cuban percussionistAnga Diaz, their mother French-Venezuelan singer Maya Dagnino.B+(*)

Ishmael Ensemble: Songs for Knotty (2017, BanoffeePies, EP): Principally Pete Cunningham (sax, bansuri, keyboards,synthesizer), with Russel Ramirez (trombone), others coming andgoing (clarinet, guitar, drums, two different vocalists). Filedit under jazz due to the horns, but closer to electronica, ambientsometimes. Four songs, 21:51.B

Japanese Breakfast: Soft Sounds From Another Planet(2017, Dead Oceans): Singer-songwriter Michelle Zauner, from Oregon,of Korean and Jewish descent, previously fronted several bands, wentsolo in 2016 and this is her second album. Guitar layered over keyb,plays both ends of alt/indie and electropop, making it look remarkablyeasy.B+(**)

Sharon Jones & the Dap-Kings: Soul of a Woman(2017, Daptone): Retro soul singer, formed the Dap-Kings and startedrecording in 2002, never great but she made a strong effort. Not surewhen this was recorded, but Jones suffered a stroke while watchingthe 2016 election returns and died a few days after, making her oneof the first victims of that mega-disaster.B+(*)

Stacey Kent: I Know I Dream: The Orchestral Sessions(2017, Okeh): Jazz singer, originally from New Jersey, studied inEngland, where she married saxophonist Jim Tomlinson and stayed.Tomlinson produced, rounding up a huge orchestra which fits neatlyin place, occasionally adding nice touches, never crowding thesinger -- adept in her usual several languages.B+(**)

Kondi Band: Salone (2017, Strut): Based in Brooklyn,a collaboration between Sorie Kondi, a thumb piano player from SierraLeone, and producer DJ Chief Boima, an American who traces his ownroots back to Sierra Leone. B+(***)

The Koreatown Oddity: Finna Be Past Tense (2017,Stones Throw): Los Angeles "MC/Producer," has ten albums (mostonly available as cassettes, if that) since 2013, this the firston a label you've heard of. Starts with two songs about dinosaurs.Interesting, but gets sloppy toward the end.B+(**)

LeeAnn Ledgerwood: Renewal (2016 [2017], SteepleChase):Pianist, from Ohio, has a record as far back as 1990 but not surehow many since. Trio, with Ron McClure on bass and Billy Hart ondrums. Two originals, covers a mix of songbook and jazz standardsplus a piece from Hindemith.B+(**)

Ted Leo: The Hanged Man (2017, SuperEgo):Singer-songwriter from Indiana, in various mostly punkish groups,most notably Ted Leo and the Pharmacists (1999-2010), first albumunder just his own name. Some catchy moments, but don't stickwith you.B

Gregory Lewis: Organ Monk Blue (2017 [2018],self-released): Organ player, the fifth of his Organ Monktitles, returning to trio format after his more expansive (andtrans-Monkish) Breathe Suite. I've always regarded hisalbums as a clever gimmick, but he gets more out of less herethan I imagined possible. Obvious credit goes to guitarist MarcRibot, but the organ continues to do the heavy lifting, glidingin and out of recognizable Monk, funk, and soul.A- [cd]

Lil Uzi Vert: Luv Is Rage 2 (2017, Atlantic):Symere Woods, rapper from Philadelphia, first studio album afterseveral mixtapes, including Luv Is Rage (2015) and an EPLuve Is Rage 1.5 (earlier 2017). Tight beats, tight raps,runs long, doesn't sink in.B+(*)

L'Orange: The Ordinary Man (2017, Mello Music Group):Seattle-based beatmaster, nine releases since 2011 mostly with aco-headline rapper, goes with featured guests here. A little scattered,but stays interesting.B+(***)

Luka Productions: Fasokan (2017, Sahel Sounds):Luka Guindo, from Mali, "rapper, producer, and multi-instrumentalist,"second album, describes this as "new age music from Africa" but it'scloser to ambient electronica, with mostly spoken words over the veryspare beats.B+(**)

Daniele Luppi/Parquet Courts: Milano (2017, 30thCentury/Columbia): Short album (9 songs, 29:58), the concept anevocation of Milan in the 1980s. Luppi was born in Italy in 1972,based in Los Angeles but known more as a soundtrack composer andproducer, his best known record a collaboration with Danger Mousecalled Rome. He plays synthesizer, celesta, violin, andelectric harpsichord and is credited with editing, mixing, andart direction. This time he recruited Parquet Courts for a retropunk feel and added vocalist Karen O on four songs and some horns --the highlight of the closer ("Café Flesh"), possibly the year'sjazz-funk masterpiece.B+(***)

Mad Professor/Jah9: Mad Professor Meets Jah9 in the Midst ofthe Storm (2017, VP): Prolific dub produces, born Neil Fraserin Georgetown, Guyana, with younger Jamaican singer Janine Cunningham.Plods along under lots of echo at an easy pace, intrinsically appealingwithout leaving much of an impression.B+(**)

Aimee Mann: Mental Illness (2017, SuperEgo):Singer-songwriter, in 'Til Tuesday before going solo in 1993, ninestudio albums since, this the first I've heard since 1995's I'mWith Stupid. Acoustic guitar, strings, sounds surprisingly likeJoni Mitchell, although I can't quite remember why.B+(*)

Roc Marciano: Rosebudd's Revenge (2017, QualityControl/300/Atlantic): Rakeem Calief Myer, from New York, has severalalbums/mixtapes, shows an interest in the drug trade but otherwiseseems firmly grounded in underground culture.B+(**)

Marker: Wired for Sound (2017, Audiographic): KenVandermark group: two guitars, Macie Stewart on keyboard and violin,plus a drummer, Vandermark credited with reeds. At times they playlike a guitar band or an organ outfit -- fun when Vandermark honksalong or takes a squawk break, but they lack economy, stretching two(of three) pieces past 20 minutes, and can get tedious. Still, thereare stretches where they might be onto something.B

JD McPherson: Undivided Heart & Soul (2017, NewWest): Retro-rocker, could be rockabilly but doesn't rock that hard.B+(*)

Michete: Cool Tricks 3 (2017, self-released, EP):Underground pop star, touted by Pitchfork as "the worst queer rapperyou need to listen to," fresher when the first batch came out --lyrics like "I'm a stupid girl/I'm a dumb bitch" and "I wanna gethit by a car" need to be funnier, if not smarter.B [sc]

Miguel: War & Leisure (2017, ByStorm/RCA): Soulman, Miguel Pimentel, from San Pedro [CA], fourth studio album, analbum I go back and forth, up and down on, catchy enough but I mustbe missing something.B+(*)

Roscoe Mitchell: Discussions (2016 [2017], Wide Hive):Art Ensemble of Chicago founder, AACM legend, still going strong at 77,although his instrumental credit is down to sopranino saxophone. Largegroup, 19 pieces including a string quartet, oboe, bassoon, tuba, twoflautists, two percussionists, electronics. Arch, awkward, refuses tosettle into anything resembling a groove, yet remarkable in its ownpeculiar way.B+(**)

Mdou Moctar: Sousoume Tamachek (2017, Sahel Sounds):Tuareg guitarist from Niger, recorded this in Portland, OR, solo, sowhile he may be thinking rock he rarely pops out of his low-key,almost hypnotic groove.B+(*)

Mount Kimbie: Love What Survives (2017, Warp):British electronica duo, Dominic Maker and Kai Campos, third album.Genres include post-dubstep, future garage, and art pop -- lattermakes more sense, for better or worse.B

Mr. Lif & Brass Menazeri: Resilient (2017,Waxsimile): Boston rapper, underground, several excellent albumsboth on his own and by his group the Perceptionists. Teams uphere with a Bay Area Balkan brass band, sometimes rapping overthe deep brass, often laying back and letting them run. Not asinspired (or maybe I mean frenzied?) as their old country models(at least the ones I've heard), but has some novelty value.B+(*)

Simon Nabatov/Max Johnson/Michael Sarin: Free Reservoir(2016 [2017], Leo): Russian avant-pianist, left for Rome in 1979, studiedat Julliard in New York, since 1989 based in Köln. Piano trio, sharp andvibrant.B+(***)

Youssou N'Dour: Seeni Valeurs (2017, Jive/Epic):From Sénégal, emerged from Etoile de Dakar quite young as a star,and has dominated since the mid-1980s, but while his Nonesuchalbums (2002-10) got notice in the US, his more recent releaseshardly cause a ripple. First I heard of this was in an isolatedEOY list, and I've yet to find a single review or press release --it does show up on numerous streaming sites, and for sale as adownload. Strikes me as masterful, especially as the rhythm addslayers upon layers.A-

Maciej Obara Quartet: Unloved (2017, ECM): Polishalto saxophonist, first record on ECM, with Dominik Wania (piano),Ole Morten Vågan (bass), and Gard Nilssen (drums), recorded inOslo. Obara originals plus one Komeda cover, but he yields a lotof space to the piano, adding little beyond soft shadings.B

The Ed Palermo Big Band: The Adventures of Zodd Zundgren(2017 [2018], Cuneiform): Saxophonist, has led this big band since 1977,mostly pursuing an unhealthy obsession with Frank Zappa. Here he refractsTodd Rundgren songs through a Zappa prism and scales them up to big bandsize. Back in the 1970s I was a big fan of Rundgren, even writing afeature piece on him for the Village Voice -- one that I calculatedtook a full 24 hours just to make a single pass through his discography.I lost interest after that, but recognize a few bits here, most obviously"Hello It's Me." About the best I can say for Zappa was that I enjoyeda few minutes of Hot Rats. He always struck me as pretentious,his art a peculiar "freakiness for squares," and I've never found jazzefforts, either to canonize or to riff on him, fruitful -- Jean-LucPonty's 1969 King Kong is probably the most famous, and barelya B. I'd normally go easy on Palermo's pop culture humor and schmaltz,but the more Zappa he injects, the less amusing I find it.C+ [cdr]

Evan Parker/Mikolaj Trzaska/John Edwards/Mark Sanders: CityFall: Live at Café Oto (2014 [2017], Fundacja Sluchaj): WhatI think of as Parker's everyday trio -- as opposed to his venerabletrio with Barry Guy and Paul Lytton, with at least 15 albums over 30years (1983-2013) -- plus the Polish alto saxophonist (also on bassclarinet). Recorded on Parker's 70th birthday, he sticks with tenor,B+(**) [bc]

Reverend Peyton's Big Damn Band: Front Porch Sessions(2017, Family Owned): Three-piece country blues outfit from Brown County,Indiana, with Jayme Peyton as the Reverend, playing antique guitars(1930 steel-bodied National, 1934 wood-bodied National Trojan Resonator,a 1994 reproduction of a 1929 Gibson acoustic, and "a three-string cigarbox guitar"), backed by Breezy Peyton on washboard and Max Senteney ondrums, suitcase, and five-gallon plastic bucket. Young enough to havepicked up pointers from Squirrel Nut Zipper records, although CharleyPatton remains the holy grail.B+(**)

Lucas Pino: The Answer Is No (2017, Outside In Music):Tenor saxophonist, calls his group the No Net Nonet (a previous albumtitle). Does a nice job weaving in the horns, one result being thatthe solos that stood out were trumpet and trombone.B+(***)

Leslie Pintchik: You Eat My Food, You Drink My Wine, You StealMy Girl! (2018, Pintch Hard): Pianist, seventh album since 2004,mostly trio plus percussion (Satoshi Takeishi), adding horns (Ron Hortonand Steve Wilson) on two cuts, accordion on two others. Mostly originals,two standards, "Smoke Gets in Your Eyes" especially nice.B+(**) [cd]

Stuart Popejoy: Pleonid (2017, Leo): Bass guitarist,member of Bassoon ("avant-riffmetal trio") and Iron Dog ("electricimprovisation trio"), first album, a single 59:35 composition hackedout by algorithms and played by Sarah Bernstein (violin), Avram Fefer(alto sax), Steve Swell (trombone), and Kenny Wollesen (vibes/drums).B+(**)

Portico Quartet: Art in the Age of Automation (2017,Gondwana): British instrumental jazz-rock group, half-dozen albumssince 2007, early albums distinguished by their use of hang, butthat was replaced by samples after Nick Mulvey left in 2011, andtheir new work is mostly electronic groove music, rather fetching.B+(**)

Protomartyr: Relatives in Descent (2017, Domino):Detroit alt/indie band, Joe Casey singing, backed by guitar-bass-drums,fourth album, sort of a cross between the Fall and the Hold Steady,an impressive trick but less urgent and distinctive than either.B+(***)

Dan Pugach Nonet: Plus One (2017 [2018], Unit): Drummer,based in Brooklyn, large band comes in a couple of configurations -- onewith Ingrid Jensen on trumpet. Given to bombast, with Nicole Zuraitison four vocals that add little other than a change of pace.B- [cd]

Queens of the Stone Age: Villains (2017, Matador):I figured them for more of a hard rock outfit, which they weretwenty-some years ago when I first made their acquaintance, butthis is well within alt/indie norms, moderately catchy, a littlebit interesting, as best I recall.B

Real Estate: In Mind (2017, Domino): Alt/indie bandfrom New Jersey, Martin Courtney the voice, fourth album since 2009,has an easy pop feel but not much jangle (so not another Feelies).B

The Regrettes: Feel Your Foolings Fool! (2017, WarnerBrothers): Nominally a punk band led by singer Lydia Night and guitaristGenessa Gariano, no doubt got their major label deal because they knowa thing or two about pop hooks as well.B+(**)

Dave Rempis/Matt Piet/Tim Daisy: Hit the Ground Running(2017, Aerophonic): Alto/tenor sax-piano-drums, a rather impromptushow arranged as a benefit to Planned Parenthood (or Refugee One)on the occasion of Trump's inaugural -- something to take one's mindoff the great American catastrophe. Pretty diverting while it lasts.B+(***) [bc]

Margo Rey: The Roots of Rey/Despacito Margo (2017[2018], Origin): Mexican-American singer-songwriter/actress takes aturn as a jazz standards singer, scattering a couple of songs inSpanish among "The Nearness of You," "Nature Boy,' "Speak Low."Distinctive voice, thoughtful band.B+(**) [cd]

Eve Risser/Kaja Draksler: To Pianos (2017, Clean Feed):Piano duets, Risser from France, Draksler from Slovenia. Both are finepianists, but don't generate the energy, say, of the Kris Davis-CraigTaborn duets, although some of the problem here may be that it's soquiet at times that I lost track.B

Ryuichi Sakamoto: Async (2017, Milan): Japanesekeyboardist, first noted in the rock group Yellow Magic Orchestra,vast discography: Wikipedia counts 19 studio albums since 1978,6 live albums, 6 compilations, 5 EPs, and uncounted soundtracks.First album after a battle with throat cancer, which isn't evidentexcept perhaps that he tried a little harder.B+(*)

Christian Sands: Reach (2017, Mack Avenue): Mainstreampianist, looks like he cut four albums 2002-09 then this one, with abunch of side credits in between -- mostly with Bobby Sanabria orChristian McBride. Steady hand, mixes his guests up with MarcusStrickland (tenor sax/bass clarinet) most notable, two covers fromBill Withers and Barry Mann-Cynthia Weill-James Horner.B+(**)

Rev. Sekou: In Times Like These (2017, Zent): Raisedin rural Arkansas, based in New York, full name Osagyefo Uhuru Sekou,public intellectual, political activist, Pentecostal pastor, recruitedLuther and Cody Dickinson to beef up his blues licks, preaches truthto power but I can't say much for the music.B-

Serengeti: Jueles/Butterflies (2017, self-released):Credits: "David Cohn as Kenny Dennis, Jade as Jueles, Nedelle Torissias Stace, Rob Kleiner as Presto Stevens." More singing than rapping,what spoken vocals there are usually buried as background noise, soharder than ever to follow.B+(*)

Nadine Shah: Holiday Destination (2017, 1965):British singer-songwriter, mixed Norwegian and Pakistani descent,third album plus a couple EPs. Nothing especially exotic abouther music, but it flows and hangs together well.B+(*)

Siama: Rivers: From the Congo to the Mississippi(2016, Siama Music): Last name Matuzungidi, from Congo, played invarious soukous bands there, and later as things got dicier migratedthrough Uganda, Kenya, Dubai, and Japan. He's picked up some nuancesover the years, but what impresses here are the echoes of soukous.B+(**)

Steve Slagle: Dedication (2017 [2018], Panorama):Alto saxophonist, mainstream with terrific tone and poise, alsoplays soprano on one cut and flute on another, backed by piano trio(Lawrence Fields, Scott Colley, Bill Stewart), Roman Diaz's congason five cuts, and long-time collaborator, guitarist Dave Stryker,on more.B+(***) [cd]

Peter Sommer Septet: Happy-Go-Lucky Locals (2017,self-released): Tenor saxophonist, also plays clarinet, group coversthe big band bases without the depth that makes those bands big --a second saxophonist, a trumpet, a trombone, piano, bass, and drums.Three originals, some Ellingtonia (including Mingus' "Duke Ellington'sSound of Love"), a Monk, a Gershwin tune.B+(**) [cd]

Sparks: Hippopotamus (2017, BMG): Brothers Ron and RussellMael, from Los Angeles, cut their first record in 1972, flashed their witwith their sophomore album title, A Woofer in Tweeter's Clothing(not actually much good), enticed me briefly when they were picked up byIsland -- a label I listened to everything on in 1974, not just becausethey were the only label that regularly serviced me -- then fell out ofmy favor and beneath my radar. Indeed, their only record since 1980 I'venoted existence of was 1994's Gratuitous Sax & Senseless Violins --easily their second best title (way better than Terminal Jive,Whomp That Sucker, Angst in My Pants, or Music You CanDance To). As crass and garish as their prime, but closer to lightopera. Inadvertent self-critique qua song: "I Wish You Were Fun."B

Mavis Staples: If All I Was Was Black (2017, Anti-):Jeff Tweedy produced and wrote all the songs -- three, including thetitle track, co-credited to Staples. Political songs, but I wouldn'tcall them protest songs -- more about building things, like movements.I won't argue with the "when they go low, we go high" sentiment, butit offers no clue as to how low they actually go.B+(***)

Harry Styles: Harry Styles (2017, Columbia): Englishsinger-songwriter, famous (in some circles) as one-fifth of the boyband One Direction (2010-15; after Zayn Malik's departure they carriedon as a quartet, until they split up in 2016), appeared in Dunkirkso can claim to be an actor, debut album: something hard, somethingsoft, the accumulated life experiences of a 23-year-old celebrity.B

Kevin Sun: Trio (2017 [2018], Ectomorph Music): Tenorsaxophonist, also plays C-melody (2 cuts) and clarinet (3), based inBrooklyn although this was cut near Boston. First album, with WalterStinson on bass and Matt Honor on drums. The original pieces -- twogroup-credited -- take a while to sink in, but the album really comesalive on the one cover, a resplendent "All of Me." Sun also writes ablog worth checking out. He's young enough to cite Steve Lehman as a"key influence," but I find his writing about Lester Young moreinteresting.A- [cd]

Steve Swell: Music for Six Musicians: Hommage À OlivierMessiaen (2017, Silkheart): Avant trombonist, many recordssince 1996, second recent Hommage to a modern classicalcomposer -- the previous Kende Dreams to Bartók. The strings --Jason Kao Hwang on violin/viola, Tomas Ulrich on cello, but no bass --got on my nerves a bit at first, and I still could use more trombone.With Rob Brown (alto sax), Robert Boston (piano/organ), and JimPugliese (drums). The Messaien references, of course, are way overmy head.B+(***) [cd]

Thiefs: Graft (Le Greffe) (2017 [2018], Jazz & People):Nominally a French-American trio -- Christophe Panzani (sax, woodwinds,electronics), Keith Witty (bass, electronics), David Frazie Jr. (drums,acoustic and electric) -- augmented by Aaron Parks (piano, keyboards)on 6 (of 11) cuts plus five guest vocalists: best known is spoken wordartist Mike Ladd, most interesting is "rappeur franco-rwandais" GaëlFaye.B+(**) [cd]

Tricky: Ununiform (2017, False Idols): Trip hopproducer Adrian Thaws, 13th album since 1995, slow and smoky, witha wide range of guest vocalists.B+(*)

The United States Air Force Band Airmen of Note: Veterans ofJazz (2017, self-released): Big band, standard 17 pieces plusvocals from "Technical Sgt. Paige Wrobel," with "Colonel Larry H. Lang,Commander and Conductor." You've no doubt heard that "military justiceis to justice as military music is to music" (a Robert Sherrill booktitle) and variations on that. This isn't exactly the music they werereferring to, but it isn't much better. In particular, they've managedto wring all the spontaneity and individual flair out of jazz, onceagain saving the village by destroying it.D+ [cd]

Valley Queen: Destroyer (2017, self-released, EP):Los Angeles group, Natalie Carol vocals/guitar, Shawn Moronesguitar/vocals. Five songs, 24:26; Bandcamp as a bonus: a coverof a Destroyer song.B-

Ecca Vandal: Ecca Vandal (2017, Dew Process):Australian pop star, first album, fairly low budget, runs hot andcold, the hot stuff (e.g., "Price of Living") most impressive.B+(**)

Ken Vandermark: Momentum 2 & 3 (2016 [2017],Audiographic, 2CD): Website treats album as eponymous but theprevious Momentum 1: Stone (a 6-CD box with various lineups)was credited to Vandermark -- not that this matches any of those.Nor is the "&" clear: one group here, a sextet, performingtwo pieces (the 10-part "Brüllt" and the 2-part "Monster Roster")on one day, totalling 104:45. With Nate Wooley (trumpet), C. SpencerYeh (violin, voice, electronics), Christof Kurzmann (ppooll), JasperStadhouders (electric bass, electric guitar), and Tim Daisy (drums).The horns are everything you'd expect, but without them the rhythmand electronics rarely amount to much.B+(*) [bc]

David Virelles: Gnosis (2016 [2017], ECM): Pianist,born in Cuba, moved to Canada around 2001 and studied at Universityof Toronto. Fifth album, fairly large group with flute, clarinet,strings, and lots of percussion. Impressive piano player, but thiswinds through a lot of ponderous spots.B+(*)

Mark Wade Trio: Moving Day (2017 [2018], self-released):Bassist-led piano trio, with Mark Harrison on piano and Scott Neumannon drums. Second album, originals plus two covers.B+(**) [cd]

Trevor Watts/Veryan Weston/Alison Blunt/Hannah Marshall: DialoguesWith Strings: Live at Café Oto in London (2017, Fundacja Sluchaj):The former a long-running duo, alto/soprano sax and piano; the latteranother duo, violin and cello. The interaction is heated, the stringsif anything more feverish and far harsher than the piano-sax.B+(*) [bc]

Weird Beard [Florian Egli/Dave Gisler/Martina Berther/Rico Bauman]:Orientation (2017 [2018], Intakt): Swiss saxophonist, alsoplays clarinet, the group adding guitar, electric bass, and drums toan album which is far from weird, a pleasant groove which occasionallyrises to something more.B+(**) [cd]

Wiki: No Mountains in Manhattan (2017, XL): PatrickMorales, grew up on Manhattan's Upper West Side, joined the hip-hopcollective Ratking, out now with his first album. Voice has a wrytwist, lyrics too.B+(**)

Roy Woods: Say Less (2017, OVO Sound/Warner Brothers):Young r&b singer-songwriter from Ontario, actual name Denzel Spencer,first album after an EP.B+(**)

Msafiri Zawose: Uhamiaji (2017, Soundway): FromTanzania, grew up in a famous musical family, plays a style calledGogo-Fusion, has several previous albums. Mostly breaks down tosoft-toned trance-like rhythms, seductive but going nowhere.B+(*)

Zola Jesus: Okovi (2017, Sacred Bones): Nicole Hummel,aka Nika Roza Danilova, born in Phoenix, grew up in Wisconsin, four EPs,five albums, touring band mostly synths and drums, dark, inflated, andmelodramatic -- what they call "goth," I guess.B

Recent Reissues, Compilations, Vault Discoveries

Acetone: 1992-2001 (1992-2001 [2017], Light in the Attic):The pitch: "what if Chet Baker had played with the Velvet Underground?"Los Angeles trio, cut four albums and an EP 1993-2000. Bassist-singerRichie Lee doesn't sing much like Baker let alone play trumpet, whileguitarist Mark Lightcap's Velvets licks don't go much beyond "Pale BlueEyes" -- not that anything here is that fetchingA sampler with ninepreviously unreleased tracks (out of 16) trying to make a case for thegroup. Soft, slow, at best they remind me of another (better) '90s group:the Vulgar Boatmen.B

Airstream Artistry: Jim Riggs' Best of the TWO (1991-2008[2017], UNT, 3CD): Various UNT student bands directed by Riggs. The earlymaterial, in particular, struck me as relatively bright and pleasing, butnot so much so as to preclude fatigue by the third disc -- not sure ifit's them or me, nor do I much care to find out.B+(*) [cd]

Otim Alpha: Gulu City Anthems (2004-15 [2017], NyegeNyege): From Uganda, as is the label, touted as the originator of"electro acholi," culled from eleven years of recordings with producerLeo Palayeng, "a mixture of traditional Acholi 'Larakaraka' weddingsongs and bubblegum electronics." Intense rhythm, but rather one-note.B [bc]

Louis Armstrong: The Standard Oil Sessions (1950 [2017],Dot Time): A radio shot for "Musical Map of America," recorded in SanFrancisco but meant to represent New Orleans, never broadcast, acetateslong languishing among Armstrong's collection. Features Jack Teagardenand Earl Hines on the cover, Lyle Johnson (clarinet) and Clancy Hayes(guitar) in the fine print, and unknown bass and drums. Standard set,too much talk, but typically brilliant.B+(**)

Boombox: Early Independent Hip Hop, Electro and Disco Rap1979-82 (1979-82 [2016], Soul Jazz, 2CD): No prehistoryhere -- nothing antedates "Rapper's Delight," the only names I knoware Spoonie Gee and the Treacherous Three. More imitation thaninnovation, but as a collection of party rhymes this is hard tobeat.A-

Boombox 2: Early Independent Hip Hop, Electro and Disco Rap1979-83 (1979-83 [2017], Soul Jazz, 2CD): Like the previousvolume, nothing here you're likely to have heard before -- somerelevant numbers: after the first hit, "Rapper's Delight," in 197950-some rap records appeared by the end of the year, and over 100more the following year, so there's a lot of obscurities to choosefrom. Just not a lot of variety, as everyone's recycling the sameparty beats, and pretty much the same rhymes.B+(***)

Kenny Burrell: A Generation Ago Today (1966-67 [2018],Verve): Guitarist, started in bop in the fifties but had developed asilky smooth sound by the mid-sixties, nicely suited to swing tunes,including three from Benny Goodman here -- although the dedication ismore specifically to Goodman's pioneering guitarist, Charlie Christian.Phil Woods helps out on alto sax.B+(*)

Dancehall: The Rise of Jamaican Dancehall Culture (1977-93[2017], Soul Jazz, 2CD): New edition of a 2008 compilation, seems todiffer by dropping songs, although with various product configurationsit's hard to be sure. Dancehall evolved from reggae and rocksteady muchlike new wave did from disco, mostly by tightening and compressing thegroove and favoring talkie singers. Not sure how this stacks up againstthe only other dancehall comps I have in my database -- VP's Dancehall101 (released in two volumes in 2000; I've only heard Vol. 1,which came with a remix disc) -- but my impression is that this leansearlier, and is no doubt better documented. Mostly artists I've heard,even some memorable songs ("Murder She Wrote," "Diseases").B+(***)

Deutsche Elektronische Musik 3: Experimental German Rock andElectronic Music 1971-81 (1971-81 [2017], Soul Jazz, 2CD): Twoprevious albums, one from 2010 with more of the obvious Krautrockstars: Can, Amon Düül, Tangerine Dream, Faust, Cluster, Popol Vuh,Neu, Ash Ra Tempel; a second from 2013, most returning with a fewmore names (Michael Hoenig, Michael Rother); now this one, where thenames I recognize are a small minority. Choice cut: "White Overalls,"by La Düsseldorf.B+(*)

Gary Husband: A Meeting of Spirits (2005 [2017], Edition):British jazz/fusion/prog drummer/keyboardist, long associated with AllanHoldsworth, Billy Cobham, and (lately) John McLaughlin. Recorded this solopiano album about the time he was recruited for McLaughlin's 4th Dimensionband, and it makes for a helluva job application -- six originals set asinterludes among ten McLaughlin tunes.B+(*)

Azar Lawrence: Bridge Into the New Age (1974 [2017],Prestige): Tenor saxophonist, cut three albums 1974-76 then nothinguntil 2007. This is his first, five pieces, as many lineups, justpiano (Jo Bonner) and percussion for the shortest track, much morefor the others -- Woody Shaw and Jean Carn on two, the vocals nottoo intrusive; Arthur Blythe and Mtume on the other two, with JulianPriester (trombone) and Hadley Caliman (flute) on one of those.Still, all unfied by the leader's fierce saxophone, seeking tomerge avant and black power into something cosmic: a sign of timesthat didn't last.A-

Legacy: Neil Slater at North Texas (1982-2015 [2017],UNT, 4CD): The big one, four discs and a very substantial bookletchronicling Slater's direction of various UNT lab bands over threedecades. Big band music, sometimes notable, often generic but neversloppy or half-assed. Not something I spent much time on (other thanthe half-day it took just to play it once), but UNT has producedmore top-notch jazz musicians than any other college outside ofthe New York-Boston nexus, and Slater most likely had a lot to dowith that.B [cd]

The Lloyd McNeill Quartet: Asha (1969 [2017], SoulJazz): Flute player, recorded a handful of albums from 1968-80, laterbecoming better known for his drawing and painting. Quartet includesEugene Rush (piano), Steve Novosel (bass), and Eric Gravatt (drums),Postbop, some would say "spiritual."B+(*)

The Lloyd McNeill Quartet: Washington Suite (1970[2017], Soul Jazz): Marshall Hawkins takes over the bass slot fora similar first side, but the second turns toward Third Stream withan additional woodwind quintet.B

Willie Nelson: Willie's Stash Vol. 2: Willie Nelson andthe Boys (2011-12 [2017], Legacy): A dozen standards -- oneold Nelson song and no less than seven Hank Williams tunes -- fromthe sessions that produced Heroes (2012), with songs Lukasand Micah as "the boys." Nice, but Nelson tended to hide behind hisguests on Heroes, and the boys don't give him much cover.B+(*)

New Orleans Funk Vol. 4: Voodoo Fire in New Orleans 1951-77(1951-77 [2016], Soul Jazz): First New Orleans Funk volume cameout in 2000. I thought it was terrific when I reviewed it in RecycledGoods, but didn't notice later volumes until this one. Mixed bag, butthe high points are revelations, and the rest is pretty hopped up. Theexception in many ways -- among them the only song I recognize, isJames Waynes' "Junco Partner" (one of those highlights, perhaps myfavorite version ever).A-

Hermeto Pascoal & Grupo Vice Versa: Viajando Com OSom: The Lost 1976 Vice Versa Session (1976 [2017], Far Out):Brazilian composer, multi-instrumentalist, producer, all around legend,his discography starting in 1961 and continuing past his 80th birthday.First side strikes me as sloppy psychedelia but the folk tune expandedinto the 26:36 closer is a rhythmic romp that could have inspired theMiles Davis accolades the label likes to quote.B+(**)

Punk 45: Les Punks: The French Connection: The First Wave ofFrench Punk 1977-80 (1977-80 [2016], Soul Jazz): Followingfive volumes of UK and US punk -- all good, my favorite their surveyof Cleveland and the Mid-West, Extermination Nights in the SixthCity -- nineteen mostly short (three 4:07-4:09 cuts, only 4 moreover 3:00) cuts by groups I've never heard of (including a Stoogescover). Mostly in English, mostly derivative, still much fun.B+(***)

The Replacements: For Sale: Live at Maxwell's 1986(1986 [2017], Rhino, 2CD): Major 1980s alt-rock band, recorded thisafter their two greatest albums -- Let It Be and Tim --and before original guitarist Bob Stinson left, after which it wasshelved, leaving the band's only live recording as 1985's The ShitHits the Fans (a cassette-only 1985 release of a show from 1984).Reasonably well behaved here, but still harsh and jerky, raw.B+(**)

Space, Energy & Light: Experimental Electronic and AcousticSoundscapes 1961-88 (1961-88 [2017], Soul Jazz): Early electronica,mostly before it transformed from avant to dance music, although minimalistsrarely neglected their beats. Released on 3-LP, with one piece trimmed tofit onto a single CD (81:17 drops down to 78:55). Only a couple artistsfamiliar to me, an interesting mix but a bit spacey.B+(**)

Sun Ra: Discipline 27-II (1972 [2017], Strut/ArtYard): Just the keyboardist's name on the cover, although I'vealso seen this co-credited to His Astro Intergalactic InfinityArkestra, more or less his long-time large band with MarshallAllen and John Gilmore the best-known names. The music is asshambling as ever, I could have done without the "space ethnicvoices" that show so little discipline on the long title cut.B

The Revelators: We Told You Not to Cross Us . . . [20thAnniversary Edition] (1997 [2017], Crypt): Garage punk bandfrom Columbia, Missouri. Reissues their first album, adding six bonuscuts, a healthy dose of angst and thrash with a beat you can pogo to.B+(***) [bc]

Soul of a Nation: Afro-Centric Visions in the Age of BlackPower: Underground Jazz, Street Funk & the Roots of Rap 1968-79(1968-79 [2017], Soul Jazz): A fertile area to explore, as soul gotmarkedly more political from 1968 to 1972, as did avant jazz, andthe two spawned various cross-currents, some famous, many underground.Aside from Gil Scott-Heron's famous "The Revolution Will Not Be Televised" --lately familiar as the theme to the TV series Homeland -- thisleans toward jazz, not a bad idea, but only Joe Henderson breaks outfrom the African grooves (in the least topical piece here). Meanwhile,the "roots of rap" idea vanishes after Scott-Heron.B+(*)

Buddy Terry: Awareness (1971 [2017], Mainstream/Wewantsounds):Tenor saxophonist, third of five 1967-72 albums, started with Prestigeplaying soul jazz but this pushes some edges, at least well into postbopterritory. With Stanley Cowell (piano), Cecil Bridgewater (trumpet),guitar, two basses, drums, and Mtume's congas.B+(**)

Lucky Thompson: In Paris 1956: The All Star Orchestra Sessions(1956 [2017], Fresh Sound): Collects four sessions from March-May 1956,in Paris with large (8-10 piece) French bands led by Henri Renaud, GérardPochonet, and Dave Pochonet -- I can't attest to their "all star" status,although Martial Solal is in on twelve cuts. The bands offer too much oftoo little, but the saxophonist is often superb.B+(*)

Lucky Thompson: Complete Parisian Small Group Sessions1956-1959 (1956-59 [2017], Fresh Sound, 4CD): One of the greatpost-WWII tenor saxophonists, born in South Carolina, grew up in Detroit,joined Erskine Hawkins' big band straight out of high school, certainlyunderstood bebop -- he played on Charlie Parker's legendary septet --but retained a swing feel. He moved to Paris in 1956 and cut theseluscious small group sides with various locals (notably pianist MartialSolal) and American expats like Kenny Clarke and Emmett Berry.A-

Trevor Watts Amalgam: Closer to You (1976 [2018],Hi4Head): Alto/soprano saxophonist, a major figure in the Britishavant-garde from 1969 on although he didn't get into the habit ofreleasing records under his own name until after 2000. Amalgam washis first group, a sax trio, and their first record, Prayer forPeace (1969) is a landmark. This is a later edition of thegroup, with Colin McKenzie (bass guitar) and Liam Genockey (drums),the first four cuts released by Ogun in 1979. Reissue adds fivemore tracks (24:04) to the original four tracks (40:30). Fast bitsare immediately compelling; slower parts take longer to sort out.A- [bc]

Old Music

EABS: Puzzle Mixtape (2012-15 [2016], self-released):Mixtape assembled from sets at Klub Puzzle in Wroclaw, with theElectro-Acoustic Beats System septet and various guests, startingwith rapper Jeru the Damaja. Mixed bag after that, like they'retrying to come up with a Robert Glasper-like hip-hop/jazz fusion,but are more scattered.B+(*) [bc]

Fast 'N' Bulbous: Waxed Oop (An Impetuous Stream BubbledUp) (2009, Cuneiform): Guitarist Gary Lucas formed thisBeefheart tribute band in 2005 with Philip Johnston (MicroscopicSeptet) leading the septet's horn section -- Rob Henke on trumpet,but more important are anchors Dave Sewelson (bari sax) and JoeFiedler (trombone), waxing eloquent and adding some swing to DonVan Vliet's blues base. Opens and closes with the guitarist'stwisted blues licks, making me wonder (even though I love thehorns) if he doesn't have a more stripped down album somewhere.A- [bc]

Luka Productions: Mali Kady (2016, Sahel Sounds):Bamako-based DJ/producer Luka Guindo, something (unlike his later"new age" album) you could infer from this mashup, a mix of Malianstyles speeded up with hefty dose of hip-hop.B+(*)

New Orleans Funk Vol. 3: Two-Way-Pocky-Way, Gumbo Ya-Ya &the Mardi Gras Mambo (1959-84 [2013], Soul Jazz): All but twocuts 1964-70: a Professor Longhair classic early, and a Dirty DozenBrass Band retro-grinder late (if indeed I got the date right), whichmakes it more soul than funk, at least compared to Vol. 4.B+(***)

The Replacements: All for Nothing/Nothing for All(1985-90 [1997], Reprise, 2CD): The early albums, up through LetIt Bleed (1984) were on independent Twin/Tone, after which thegroup got a major contract and released four albums on Sire. Thefirst disc here samples those four albums, taking four cuts fromeach (my grades: A, A-, B, ?). All but two cuts on the second discare previously unreleased. The former are still front-loaded. Nothingspectacular on the latter but you often glimpse the rowdiness thatmade them so attractive in the first place.B+(***)

The Replacements: All Shook Down (1990, Sire): Thelast group album before Paul Westerberg went solo, one I didn't botherwith back at a time when I only heard records I bought. Probably moredisappointing at the time than it is now: it has more in common withWesterberg's later solo career than with the raucous band he led.B+(*)

The Revelators: Let a Poor Boy Ride . . . (1998 [2009],Crypt): A second album, recorded in Austin, but I'm not finding anyevidence it was released at the time. It builds on its predecessor,a bit less punk, a bit more rave up, the extra space filled up byfierce growl and soaring riffs.A- [bc]

Cecil Taylor: Garden 2nd Set (1981 [2015], Hatology):Previously known as Garden Part 2, released in 1990, the sixoriginal cuts reduced to five but expanded from 41:23 to 47:13. Solopiano, typically deep and frequently explosive.B+(***)

Revised Grades

Sometimes further listening leads me to change an initial grade,usually either because I move on to a real copy, or because someoneelse's review or list makes me want to check it again:

Raoul Björkenheim Ecstasy: Doors of Perception (2017,Cuneiform): Finnish guitarist (born in Los Angeles but grew up inFinland and has bounced back and forth), plays well-amped electricbut not fusion or any other obvious style. Group, often styled withuppercase C-T-S, is a quartet, with saxophonist Pauli Lyytinen addingseamless harmonic depth (especially with the bass sax), Jori Huhtala(bass), and Markku Ounaskari (drums). By the way, right on for thecover poster: "Donald, eres un pendejo."[was: B+(***)] A-

Jason Isbell and the 400 Unit: The Nashville Sound(2017, Southeastern): Second songwriter in Drive-By Truckers, on hisown for a decade now and folks who've followed him and care swearthis is his masterpiece. I can't fault the songcraft or doubt hisauthority, but don't care much either.[Was: B+(**)] B+(***)

Princess Nokia: 1992 Deluxe (2017, Rough Trade):Nuyorican melting pot rapper, Destiny Nicole Frasqueri, released asingle as Wavy Spice, guested with Ratking, repackaged last year'smixtape into this debut studio album. Beats no flashier than recentDIY norms (Lil Uzi Vert and Wiki come to mind), and sometimes shesubmerges in them, but sometimes she pops up and surprises you.[Was: B] B+(***)

Notes

Everything streamed from Napster (ex Rhapsody), except as noted inbrackets following the grade:

• [cd] based on physical cd
• [cdr] based on an advance or promo cd or cdr
• [bc] available at bandcamp.com
• [sc] available at soundcloud.com

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