Coming up!

This place isn't dead, but I've been unlucky with my internet connection lately, only having a cell phone running on android to get by. I have Listening Booth notes on the new Ben Allison, Honey Ear Trio, Other Dimensions in Music & Fay Victor, Jon Lundbom & Big Five Chord and a few others that I hope to post sometime early next week.

Until then, have a good Easter period and/or Passover.

R.I.P. Billy Bang

I was truly saddened to learn that Billy Bang passed away yesterday, April 11th, 2011. Free jazz violinists don't grow on trees, but between him and Leroy Jenkins, some truly amazing music has been created. Ottowa Citizen has more. EDIT: Tom Hull has a mini CG and more links here. Post on npr's A Blog Supreme.

Billy Bang played on many great records, both as leader and with people like Sun Ra, William Parker, Kahil El'Zabar, Marilyn Crispel, William Hooker and Bootsy Collins to name a only a few. Below, some picks of my favorite Billy Bang recordings, off the top of my head and probably missing a few gems:

• Billy Bang Quintet: Rainbow Gladiator (Soul Note, 1981)
• Billy Bang Sextet: The Fire From Within (Soul Note, 1985)
• Billy Bang: Bang On! (Justin Time, 1997)
• Billy Bang: Vietnam: The Aftermath (Justin Time, 2001)
• William Parker Violin Trio: Scrapbook (Thirsty Ear, 2003)
• Sirone-Bang Ensemble: Configuration (Silkheart, 2005)
• Billy Bang: Vietnam: Reflections (Justin Time, 2005)
• Billy Bang Quintet feat. Frank Lowe: Above and Beyond: An Evening in Grand Rapids (Justin Time)

Never got a copy of Prayer for Peace, Bang's last record and one much praised by Tom Hull.

EDIT: Finally got a digital copy of Prayer... yesterday. Also, if this happens to be your first visit (thanks to Hull for the link), please note that my jazz library/list/grades haven't been properly updated in ages. Hoping to sort this out sooner rather than later.

EDIT 2: Thanks to Destination: Out!'s lovely Billy Bang farewell post, I came across the rare album Intensive Care, released under the group name Jazz Doctors in 1984, a one off project with Bang, Frank Lowe, drummer Dennis Charles and bassist Rafael Garrett. It's a highly well-played and enjoyable record that deserves a mention among those above (see my Jazz pages for grades).

Listening Booth, week 13: MOPDtK

• Mostly Other People Do the Killing: The Coimbra Concert (Clean Feed) - What MOPDtK do is not really deconsrtuc jazz history, but rather weave elements from across the board into a mesh that make them sound truly unique. Ragged rhythms and brassy timbres from New Orleans jazz, speedy bebop and post bop, skronky outbursts and sudden stops 'n' starts that point to both Monk and free jazz are melded together in a way that suggest both love for and defiance of conventions and traditions, and in turn proves great knowledge and grasp of jazz history. Live, though, deconstruction does happen. But not really of the jazz traditions as much as their own compositions. One tune will suddenly take a different turn not only by way of "regular" jazz improvisation as one would expect, but at any time any one of the group may take the opportunity to start quoting a different composition from their own repertoire, just as Sonny Rollins might have quoted a standard or a pop tune during one of his solos back in the day ('though MOPDtK do that kind of referencing here too). The opening track here is a case in point: at trumpeter Peter Evans' cue, the groovy "Drainlick" (from This Is Our Moosic) speeds up and turns into the splendidly heady "Shamokin!!!" (off the album of the same name) as he starts playing the lead melody from that tune. This certainly keeps their music fresh, and will surprise even those who know their compositions well. Maybe not as solid and concise as their studio recordings, but that is probably not the point. The Coimbra Concert is a highly entertaining, exciting and engaging nearly two hour long document of überjass from one of the best jazz groups today. Oh, and the cover photo is fantastic (nudge nidge)! (8/10)*

* Grades are tentative, based on three or four listens, though quite often a few more. Much of the writing is done during listens, and should be considered notes more than final reviews.

Listening Booth, week 12, 2011

Freelance writing doesn't make for a good living these days, as you may know, especially when your main focus is jazz. My only real outlet on jazz have been non-profit magazines. And so, the economic situation isn't good. Add to that, I got some news yesterday regarding my academic prospects that left me totally deflated.

Now, this is not a personal blog, but I'm saying this because for the time being I'm not sure I'm in the mood to write much on these pages, even though I have things to say about Bob Geldof's rant at SXSW (the monoculture's been dead for decades, Bob) and the Smithsonian's new jazz anthology (have a listen to last week's NY Times popcast. EDIT: or read Ben Ratliff's excellent piece here, which draws in the Martin William's "curated" Smithsonian Collection of Classic Jazz (which I have, btw.)). Hopefully, things will sort themselves out, one way or the other, but until then expect no frequent updates (may add to the 2011-list, though). No words here, just grades.

• The Baseball Project: Volume 2: High & Inside (Yep Rock) (7/10)*
• Hayes Carll: KMAG YOYO (& Other American Stories) (Lost Highway) (7/10)*
• Honey Ear Trio: Steampunk Serenade (Foxhaven Records) - Sax, bass, drums trio. Got this just recently. Sounds great, juxtaposes calmness and skronk, and it may benefit from more plays. (7/10)*
• The Pains of Being Pure at Heart: Belong (Slumberland) (7/10) *
• Lucinda Williams: Blessed (Lost Highways) - Picks: "Seing Black", "Convince Me" (6/10)*

* Grades are tentative, based on three or four listens, though quite often a few more. Much of the writing is done during listens, and should be considered notes more than final reviews.

Listening Booth, week 10, 2011

Not a lot of words here, or records for that matter, but I wanted things to get going, so I'm posting this anyway.

• Mike Watt & the Missingmen: Hyphenated-Man (Clenched Wrench/Original Recordings Group) - Mr. Watt apparently got the idea for this 30 song album (opera) from Hieronymus Bosch's famous painting/triptych The Garden of Earthly Delights. The songtitles refer to several of the strange figures in that work, who Watt takes to represent different aspects in his own life. These are short, snappy songs, linking the styles of Minutemen and Firehose -- the Missingmen is also a bass, guitar & drums trio. The bass is very much the primary driving force, and Watt delivers his associative words in his distinctive, rough voiced, sea-chanty style. As you'd expect, it's dynamic and jumpy, even if the barrage does make seem a bit samey towards the end. Picks of the bunch: the spikey "Belly-Stabbed-Man" and the mellow guitar-driven "Hollowed-Out-Man". (7/10)*

• PJ Harvey: Let England Shake (Island) - Collaborating with both John Parish and Mick Harvey, this music is sparse in terms of instrumentation yet powerful in terms of impact. The autoharp is prominent throughout, which lends the music and eerie feel, and critique of war mongering politics is the overriding theme. Picks of the bunch: "The Words that Maketh Murder" & "The Colour of the Earth" (7/10) *

• Drive-By Truckers: Go-Go Boots (ATO) - Murder ballads, DBT style. Pick: "Used to Be a Cop" (7/10)*
• Jamaladeen Tacuma: For the Love of Ornette (Jam All Productions) - The most interesting electric bass player (and one of the best dressed gentlemen) in jazz since the mid 70s, Tacuma makes a convincing harmolodics inspired tribute to Ornette Coleman. Pick: "Tacuma Song" (6/10)*
• Bright Eyes: The People's Key (Saddle Creek) - (6/10)*

* Grades are tentative, based on three or four listens, though quite often a few more. Much of the writing is done during listens, and should be considered notes more than final reviews.

EMP Pop Conf. 2011 Links + bits

The annual EMP Pop Conference took place this past weekend, much earlier in the year than it has done previously. I understand that Twitter has been the chosen arena for quick peaks into the goings on of the conference, but I try to stay far far from that place. Fortunately, Ned Raggett has posted longer notes from the weekend here, here and here.

Edit: Christgau has posted a report here.

A lot of thing has happened since I went vacationing a few weeks back, and generally spent as much time as possible offline. The Grammys, for example, but I'm not in the mood to write too much about that. I admire Spalding's talent, and I'm happy she won, but her music interests me very little - to me it's all chops, no substance. As for Arcade Fire, well theirs was easily my favorite album of the ones that were nominated.

Hoping to have a fresh Listening Booth up by early next week. Other than that, check out the recent links from the web, "Subject to Change", on the right hand column.

Listening Booth: Mario Pavone, Rodrigo Amado & more

Started writing these a few weeks ago, but held the post back until I got to at least five write-ups. Sadly, things have prevented me from writing more here, and as I had hoped to put 2010 on the shelf come the end of January, I'll just post the ones I managed to write now, with a few more records below with only the (tentative) grades added. My apologies to both the artists and potential readers.

• Mario Pavone Orange Double Tenor: Arc Suite t/pi t/po (Playscape Rec.) - Veteran bassist and composer Mario Pavone has a knack for writing twisting and twirling themes, but always with a solid sense of propulsion, most often provided by his own bass work. This time around he gets a lot of assistance from pianist Peter Madsen in that department. Long time associate Tony Malaby plays tenor and soprano, Jimmy Greene also plays tenor, and together with trumpet player Dave Ballou they explore the interwoven melodies. The always reliable Gerard Cleaver plays drums, while Steven Bernsein assists with slide trumpet on one track. The music is slightly jagged but equally sure footed and rhythmically engaging, 'though at times perhaps a bit too restrained. I was actually at more than one time reminded of some of the early George Russell compositions, perhaps because of some of the shared duties by the bass and the piano. Not quite as good as Deez To Blues or Ancestors (both on Playscape), but still enjoyable (6/10) *

• Rodrigo Amado, Kent Kessler & Paal Nilsen-Love: The Abstract Truth (European Echoes, 2008) - A trio date with Kent Kessler on bass and Paal Nilsen-Love on drums, Amado playing tenor and baritone saxophone. With Kessler (Vandermark 5 and others) and Nilssen-Love you'll get both hard swing and some solid punch, which is exactly what they provide here, complementing Amado's deep sound, who swivels around the rough'n'tumble rhythms with gruffs, riffs or spurts of melodic ideas, every now and then slowing things down, which leaves us with some welcome breathers. The album is not very heavy on melodic themes, though, so some of the numbers seem to glide into the next, separated more by changes in tempo or mood than anything else. That said, the tough "Universe Unmasked" is a highlight, with deep, rumbeling bass vamps that release more driving sections, Amado huffing and puffing on baritone. (7/10)*

• Rodrigo Amado, Taylor Ho Bynum, John Hébert & Gerald Cleaver: Searching For Adam (Not Two, 2010) - This quartet recording was apparently at least partly inspired New York and the traffic of cities. There is a lot of ebb and flow -- quiet and loud, organized and free -- in the music here, so that makes sense to me. Amado plays more melodically here, while Ho Bynum (trumpet) brings in the more abstract elements, as Hébert (bass) and Cleaver (drums) keeps things moving along nicely. (7/10)*

Note: Rodrigo Amado was recently a guest on Jason Crane's The Jazz Sessions. Go listen!

I also received a third release by Amado, Motion Trio (European Echoes, 2009), with Miguel Mira on cello and Gabriel Ferrandini on drums, but I have not gotten around to play it more than once yet, so I'll refrain from writing anything on it here.

• Jason Adasiewicz with Mike Reed and Nate McBride: Sun Rooms (Delmark) 7 *

• Chris Lightcap's Bigmouth: Deluxe (Clean Feed, 2010) 7

• Lisa Mezzacappa Bait & Switch: What Is Known (Clean Feed, 2010) 7*

• Mike Pride's From Bacteria to Boys: Betweenwhile (AUM Fidelity) 7 *

• Jason Moran: Ten (Blue Note, 2010) 6*

Addendum: I've written a lot about the Moran record in various posts on the blog previously, and there's no point in repeating all of it. There is no doubting Moran's talent, I just happen to find his musical ideas and themes fairly uninteresting, especially here (I like Black Stars quite a lot, though). Also, though I don't hold the following against Moran, it deserves a mention: The fact that Tom Hull apparently got stick for not appreciating the record enough after the Village Voice Jazz Critics Poll was announced, which Ten won in a landslide, says a lot about the state of a section of the modern jazz audience as well. To them, Moran is the new leading star; the John Coltrane or Miles Davis of his generation. Fact is, though, jazz was never just about Coltrane or Davis. It was and will always be much, much more than those two, just as the jazz of 2010 was much more than Moran.

* Grades are tentative, based on three or four listens, though quite often a few more. Much of the writing is done during listens, and should be considered notes more than final reviews.

Pazz & Jop 2010

The results for The Village Voice's annual Pazz & Jop critics poll have just been posted. This year, not very surprsingly won, in a landslide victory, by Kanye West's My Beautiful Dark Twisted Fantasy. A quick count reveals that eight of the top 10 are on my own year-end list, even if not all of them are very high on said list, which has to be a record of some sorts. The highest placed jazz record is Mary Halvorson's Saturn Signs at 135.

Catching up with last year's records: William Hooker's Earth's Orbit

Inspired by various year end lists ,as well as some late purchases/arrivals, I've be assessing and/or reassessing some records from last year. More will be posted in the coming days.

• William Hooker: Earth's Orbit (NoBusiness) - A limited edition double LP, the first of which, "Bliss (East)", is a live recording with Adam Lane on bass and Darius Jones on alto from The Stone in New York. "Bliss (East)" is groovy, freewheeling jazz, where Hooker's wonderfully skitting drums is pushed along by Lane's deep and rumbeling bass, while Jones honks and screams on top. They mix the heady with mellower parrts, which adds dynamics, and Lane's knack for a groove plus Jones bluesy tone give the music some focus between and during the more rip-roaring parts. Highly exciting set, slightly reminicent of Charles Gayle's great Touchin' On Trane. The secod part, "Bliss (West)", is a live quartet set recorded in San Fransisco with Aaron Bennett on tenor, Weasel Walter on guitar, and Damon Smith on bass. It leans more towards free improvisation, with plenty of skronk provided by both the sax player, the guitarist as well as some bowed bass. In between, they slip into some sludgy noir-like bluesy parts, and with Hooker shouting from behind his kit. "Bliss (West)" is the less engaging of the two sets (I'd say "Bliss (East)" is even close to an 8) but not without it's charms and exciting parts. As a whole, though, Earth's Orbit showcases Hooker as an inventive and lively drummer, playing in two different set-ups with slightly different outcomes, but still keeping an artistic unity which works very well over the space of two vinyl LPs. (7/10)*

* Grades are tentative, based on three or four listens, sometimes a few more. Much of the writing is done during listens, and should be considered notes more than final reviews.

Tom Moon and Don Was on Liner Notes

"When somebody downloads an album from most places on the Internet, what they get is a file containing fairly decent digital representation of the music and a tiny image of the front cover. For those who come to music to expand their horitons, it’s essentially a dead-end. More than that, the absence of information sends a signal: The folks who were involved in the creation of this work are relatively meaningless, just a shade more important to the end-user than the factory worker who bolted the player together. "

Go read the thing! Liner notes provide more than fodder for fact geeks. More importantly, they provide info on who made/provided what on a given record, and can point those interested in the direction of these other musicians' work, should they be so inclined. Which we often are. Of course, a lot of information on recordings is available online nowadays, on Wikipedia, discography pages and so on, but when you buy a physical record, most of this info comes with the package. Downloading files, in order to get this information, you'll have to do exstra work.

2010 Voice Jazz Poll - Moran the same

The 2010 Voice Jazz Poll just went online, not surprisingly won by Jason Moran's well made, but not terribly exciting Ten (and I stand by my claim that the Monk cover is not very good at all). I find the choice a bit uninspired, but there you go. Nice to see Mary Halvorson, Henry Threadgill, Nels Cline and Mostly Other People do the Killing among the top 50, and Threadgill deservedly won best reissue.

Very disappointed, 'though, that Adam Lane's wonderful Ashcan Rantings nor Mark Lomax Trio's bluesy-and-kicking The State of Black America are not on the list at all. Was Tom Hull the only one voting for them? Lane's record was released late in the year (in November, if I remember correctly), so that may have played a part, and both his and Lomax's are on failry small labels and may have limited review copies available, but surely records as good as these must have been picked up by a few others ("go buy a copy, you tight ass") and my disapointment stands nevertheless (naturally, differences in taste come into play as well. I'm just being a bit of an ass here to get my feelings accross). I guess it is up to mr. Hull and myself to continue to spread the word about these two very good records.

EDIT: just got around to the individual ballots, and both Troy Collins and Jeff Stockton have Ashcan... in their top 10s, Ludwig van Trikt have Lomax' as his third favorite of 2010.

Comments on the year in jazz by Tom Hull can be accessed here, and his thoughts on the poll itself here. Good comments regarding review copies, or "who gets what", and we seem to be on the same page re: Moran. Some of his older records are very good indeed.

Everybody else is doing it... Jazz faves of 2010

I've been reluctant to post this now, as I often am, since I still feel there are a few more records to cover. This year, more than the previous five or so years, I've also not been able to hear a handful of well received albums that I suspect might have had an impact on the list.

In a few cases, such as William Hooker's Earth's Orbit (NoBussiness) - which also has contributions from Adam Lane and Darius Jones, who ended up topping this year's and last year's lists respectively - the albums have been exclusively available as vinyl only imports. The same goes for Jason Ajemian's Protest Heaven (482 Music), much praised by Stef Gijssels. I'm very much pro-vinyl, but it makes it difficult for jazz writers like me to get a listen (copies have been ordered, but will probably not arrive until well into the new year). Another one I am yet to hear is Billy Bang's Prayer For Peace, which Tom Hull has as his number one pick. I've not been able to find it on eMusic, which I rely on for a good percentage of new jazz, nor on iTunes or any of the streaming sites available to me. I am currently not on TUM's mailing list, either, so ... (EDIT April, 2011: Got the Bang record just after his passing. It would certainly make a push for a top 5 spot. Still, I'll let the list below stand as published).

I have, 'though, been spinning a few of records that have popped up on various year-end lists here and there, such as Jason Moran's Ten (Blue Note), but none of them have impressed me in any particular way. The Moran record seems to be a hot tip for consensus jazz album of the year, but apart from a promising first few tracks, to me the bop-derived albeit modern sounding music on the album seems too safe, and Moran over plays at times, especially on the (failed, in my ears) Monk cover "Crepuscule With Nelly". For Monk interpretations, I have more faith in the more humor friendly and angular approach of The Microscopis Septet, whose new record of Monk tunes, Friday the 13th (Cuniform), is another one I'm yet to hear.

Anyway, complaining about the records I haven't gotten around to is useless, so here is a list of the jazz records I have been able to hear, "won", as it were, by a record of vibrant post-Mingus jazz (even Ellingtonian at times) filtered through Loft Jazz and informed by avant-rock, full of both powerful and beautiful music: Adam Lane's Full Throttle Orchestra's Ashcan Rantings.

1. Adam Lane: Ashcan Rantings (Clean Feed)
2. The Mark Lomax Trio: The State of Black America (Inarhyme Records)
3. Mostly Other People Do the Killing: Forty Fort (Hot Cup)
4. Dual Identity (Rudresh Mahanthappa & Steve Lehman): Dual Identity (Clean Feed)
5. Angles: Epileptical West - Live in Coimbra (Clean Feed)
6. Wadada Leo Smith & Ed Blackwell: The Blue Mountain (Kabell, rec. 1986)
   
7. David S. Ware: Onecept (Aum Fidelity)
8. Mike Reed's Loose Assembly: Empathetic Parts (482)
9. The Nels Cline Singers: Initiate (Cryptogramophone)
10. Henry Threadgill's Zooid: This Brings Us To, vol. 2 (Pi Recordings)

Ten more:

• Mary Halvorson Trio & Quintet: Saturn Sings (Firehouse 12)
• Mike Reed's People, Places & Things: Stories and Negotiations (482)
• Vandermark 5 Special Edition: The Horse Jumps & The Ship Is Gone (Not Two)
• Jon Irabagon: Foxy (Hot Cup!)
• Steve Swell Slammin' the Infinite: 5000 Poems (Not Two)
• Henry Grimes & Rashied Ali: Spirits Aloft (Porter)
• Zanussi Five: Ghost Dance (Moseróbie)
• Rudresh Mahanthappa & Bunky Green: Apex (Pi Recordings)
• Juxtaposed: Tsar Bomba (Bolage)
• Tarbaby: The End Of Fear (Posi-Tone Records)
  

Edit (Dec. 29th, 20109:

I did not add a list of reissues when I wrote this, and as I don't have a reasonably good overview in front of me as I write this addition, I won' t attempt to make one ('though, I know Air's Air Raid and Marion Brown's Why Not? is on the list on the 2010 section of the blog). Still, I'd be surprised if any reissue could topple the Complete Novus & Columbia Recordings of Henry Threadgill & Air box set released by Mosaic. Threadgill was, and still is, one of the most exciting and original jazz composers of the past 35 or so years -- not to mention a terrific sax player -- and both his Sextet(t) and not least Air with Fred Hopkins and Steve McCall were among the best and most exciting groups during that same time frame. Add to that statement the fact that I regard both Air's Air Lore and the Sextet recording Rag, Bush and All, both included in the set, as solid 10s (or A+, if you are so inclined), and that all of the other albums on here are interesting and exciting, and most of them highly engaging and original to boot, both in terms of composition and execution, my reasons for naming it my fave reissue of 2010 should be clear. If there is one draw back to the set, it would be the the orignal albums are spilt between discs, meaning one half of a record may appear on one disc, the other half on another, with the first few tracks of a second album following. Since I own the ones I truly treassure on original vinyls and/or CDs, this is not a big issue with me. But other listeners may want to program their CD players (or import the discs to iTunes or similar and spilt them into their respective albums there) to get the record by record listening experience.

My smile is stuck, I cannot go back to your frownland.

R.I.P. Don Van Vliet aka Captain Beefheart

A quick glance at JJA's year-end bonanza

The Jazz Journalists Association webpage have invited their members to post year-end lists in their blog section (late November, early December is always too early for me to finalize a list, for various reasons, but mostly because I use the first weeks of December to catch up.)

The lists point in all different directions, which makes consensus less of a given, but on the plus side it suggests that writers out there are able to spread the word about most every strain of what we know as jazz (whether they are any good at backing up their "likes" in writing, I can't say. I've only read a few, from what I can recall.) Still, only a few of the lists have piqued my interest beynd glancing through, mostly because they contain a few or more touch-stone releases (e.g. MOPDtK, Mary Halvorson, David S. Ware or others), which suggests that our tastes may be similar enough for me to happily check out or reassess whatever else is on their respective lists (most interesting so far: Geoffrey Himes, Laurence Donohue-Greene, Gordon Marshall (still aching to hear that William Hooker record. Wish they would make some mp3s available, as the price is too steep for me to import it myself, at the time of writing), and Tim Duroche.

That said, I usually take time to listen to as many of the albums as possible, especially if they recieve multiple mentions, even if some of the choices initially may seem uninspired to me (based on my biases, that is.) Jason Moran's new record is listed plenty of times, and I've given it a quick spin (first impression: OK, nothing more. Messes up a Monk tune big time.) Another record that pops up more than a couple of times is the Ruresh Muhanthappa & Bunky Green album, which I've written about already. Fine record though it is, the "up-and-coming youngster teaming up with rediscovered forgotten older statesman" formula certainly seems like it could win you extra votes, no matter how the record actually sounds (again, based on my biases.)

Anyway, I hope to have a Listening Booth ready in a couple of weeks, containing some of the records I've been able to pick up from these lists (mostly, by using Spotify, WiMP or other streaming sources) as well as other things (for example, I came to Mike Reed's Loose Assembly's Empathetic Parts a bit late, but it does sound very good indeed.)

Kanye receives plaudits

Full score for Kanye's latest opus at Pop Matters, P'fork and Rolling Stone. The P'fork write-up spends too much space delving into the backstories that may or may not have had an impact on the creative process, and way too little on the album itself. The other two work better: the PopMatters review, among other things, discusses the filmatic aspect of the record, while Rob Sheffield in Rolling Stone inevitably -- but perhaps fittingly -- calls it a "rock-star manifesto". But I take issue with this excerpt:

"Nobody else is making music this daring and weird"

If I were nice, I'd call it hyperbole. In reality, though, it's just plain wrong, and doesn't serve the review well. A truer statement, if one really needs to include it, would be "Nobody this popular is making popular sounding music this daring and weird."

Sometimes, no matter how excited you may be, holding back a bit just makes more sense.

Recents updates

I've just added the five most recent articles that I've contributed to FAN Fanzine on the Norwegian section of the blog. These are fairly short pieces on Mike Reed, Nels Cline, Bill Dixon, Mike Watt and Minutemen, and David S. Ware. No versions in English, I'm afraid.

Quick Notes

Updated the "best of" 2010 list this weekend. Nothing much, but some tweaks and a couple of new records added. Here are the (tentative) grades of the new additions (no write-ups this time around. I'm sorry):

• No Age: Everything In Between (Sub Pop) 8
  
• Eskmo: Eskmo (Ninja Tune) 7
  
• Steve Reich: Double Sextet/2x5 (Nonesuch) 7
  
• Of Montreal: False Priest (Polyvinyl) 7
  
• Taylor Swift: Speak Now (Big Machine) 7

Also, I want to remind any visitor to have a look on the "Subject to Change" links section on the sidebar, which I update regularly even if there may not be any new posts on the blog. Most recently, William Parker guests Jason Crane's The Jazz Session. And an interview with David S. Ware to come on Thursday. Looking like a very good week, Mr. Crane.

Quickfire Perfect Sounds Listening Booth: Fall 2010, vol. 3

Rock/pop/other:

• Superchunk: Majesty Shredding (Merge) & The Thermals: Personal Life (Kill Rock Stars) - Superchunk and the Thermals seem like kindred spirits to me. Both play energetic heart-on-sleeve and punky music when the "indie" landscape otherwise have seemed to prefer a slightly slower pace and emotional disengagement ('though you'll be able to find other artists with similar knacks in both cases -- Sebadoh in the 90s and Titus Andronicus spring to mind). The Thermals made a very good album with 2006 The Body, the Blood, the Machine, while in Superchunk's case the pick hit is their early comp Tossing Seeds, which contains the brilliant "Slack Motherfucker". Both of their respective new albums are stocked with fuzzy power-popish tunes: Superchunk's is buzzing and sprightly, while The Thermals have eased up their politics (which were more eloquently put than most others) as well as slowing down the pace somewhat. Both records also have one killer tune each, Superchunk's "Digging for Something", and The Thermals' "I Don't Believe You" (7/10 & 6/10)*

• The So So Glos: Low Back Chain Shift EP (Green Owl) - Tourism/Terrorism was a spunky, loose-knit garage punk record that mixed tales of affections for ones neighborhood with disbeleif in political descisions to great effect. On this EP, they're less overtly political, and their sound is cleaner and fuller -- e.g. the addition saxophone and piano on the jumpy "Lindy Hop" (7/10)*

• The Books: The Way Out (Temporary Residence) - (7/10)
  
• Bottomless Pit: Blood Under the Bridge (Comedy Minus One) (7/10)
  
• El Guincho: Pop Negro (Young Turks) (7/10)
  
• Johnny & Jenny: I'm Having Fun Now (Warner Bros.) (7/10)
  
• The Corin Tucker Band: 1,000 Years (Kill Rock Stars) (6/10)
  
• Neil Young: Les Noise (Warner Bros.) (6/10)
  

* Grades are tentative, based on three or four listens, sometimes a few more. Much of the writing is done during listens, and should be considered notes more than final reviews.

Work in Progress

I have been doing some tinkering with the layout of Prefect Sounds, as you may have noticed, trying to optimize readability (the previous layout, which you can still find on the other PS pages, was a bit too white and I felt it put too much strain on the eyes to look at for more than a few minutes at a time) as well as giving some prominence to the links in the sidebar. I'm still not fully satisfied -- the header is still not right -- so there may be a few hick-ups in the upcoming week or so. Any comments are welcome.

Marion Brown, R.I.P.

Just learned that altoist Marion Brown passed away on Oct. 10th last week. One of the (many, admittedly) forgotten men of the 60s avant garde/New Thing movement, he is perhaps best know for having played on Archie Shepp's Fire Music (1965) and Attica Blues (1972), as well as John Coltrane's Ascension (1965. All on Impulse!), but he had a substantial career as a leader, too. Though as with so much important avant garde jazz from the late 60s, 70s and onwards, the recordings are hard to come by. His very fine album Why Not?, recorded for ESP in 1966 with such notables as Rashied Ali on drums, Sirone on bass, and Stanley Cowell on piano, has just recently been re-released on CD, and is well worth checking out. The only other records that seem to be in print is his debut, Three For Shepp (Impulse!), an ECM release with Anthony Braxton, among others, and Offering from 1993.

Clifford Allen has posted an interview with Marion Brown on his blog, and there is also an interview form 2003 on All About Jazz.

Edit: WKCR are currently having a 24 hour memorial broadcast in Marion's honor.