Listening Booth: Music releases (and other stuff) covered July through November, 2018

As I've been listening back on some of the year's notable releases with the deadline for the Francis Davis run Jazz Critics Poll coming up this weekend, it seemed an apt opportunity to post a rundown of the music I've covered during the second half of 2018. I've got no time to add translated excerpts or listening notes this time around, so this post lists artists and releases, plus my original grading where applicable, in addition to where and when they were published.

For Musikkmagasinet (Klassekampen's weekly music supplement):

• Mia Dyberg Trio: Ticket (Clean Feed) - Reviewed Aug. 6th, 2018. Original grade: 5/6

•  Daniel Carter, William Parker, Matthew Shipp: Seraphic Light (AUM Fidelity) - Reviewed Aug. 13th, 2018. Original grade: 5,5/6

•  Moskus: Mirakler (Hubro) - Reviewed Aug. 20th, 2018. Original grade: 5/6

•  Wayne Shorter: Emanon (Blue Note) -Reviewed Aug. 27th, 2018. Original grade: 4/6

•  Ken Vandermark / Klaus Kugel / Mark Tokar: No-Exit Corner (Not Two Records) - Reviewed Sept. 3rd, 2018. Original grade: 5,5/6 

• Lassen: Eventyrer (Jazzland) - Reviewed Sept. 17th, 2018. Original grade: 4,5/6

•  Tord Gustavsen Trio: The Other Side (ECM) - Reviewed Oct. 1st, 2018. Original grade: 5/6

• The Necks: Body (Fish of Milk/Northern Spy) - Reviewed Oct. 1st, 2018. Original grade: 5,5/6

•  Fay Victor’s SoundNoiseFUNK: Wet Robots (ESP-disk) - Reviewed Oct. 8th, 2018. Original grade: 5/6

• Hanna Paulsberg Concept + Magnus Bro: Daughter of the Sun (Odin) - Reviewed Oct. 15th, 2018. Original grade: 5,5/6

• Jonathan Finlayson: 3 Times Round (Pi Recordings) - Reviewed Oct. 22nd, 2018. Original grade: 4/6

•  Trondheim Jazz Orchestra & Ole Morten Våga: Happy Endlings (Odin) - Reviewed Oct. 29th, 2018. Original grade: 5,5/6

•  Charles Mingus: Live In Detroit / Strata Concert Gallery / 46 Selden (BBE) - Reviewed Nov. 5th, 2018. Not graded.

• Atomic: Pet Variations (Odin) - Reviewed Nov. 12th, 2018. Original grade: 4,5/6

• Myra Melford’s Snowy Egret: The Other Side of Air (Firehouse 12) - Reviewed Nov. 19th, 2018. Original grade: 5/6

• Eric Dolphy: Musical Prophet: The Expanded 1963 New York Studio Sessions (Resonance Records) - Reviewed Nov. 26th, 2018. Not graded.

Live reviews:

• Sons of Kemet, Oslo Jazzfestival, Nasjonal Jazscene August 12. Published Aug., 20th, 2018

For Jazznytt:

• Steve Coleman and Five Elements: Live at the Village Vanguard, Vol. 1 (The Embedded Sets) (Pi Recordings) - Reviewed in Jazznytt #248, fall 2018. No grade.

• Der Lange Schatten: Concurrances (Trouble In The East Records) - Reviewed in Jaznnytt #248, fall 2018. No grade.

• Friends & Neighbors: What’s Next? (Clean Feed) - Reviewed in Jaznnytt #249, winter 2018. No grade.

• Mette Rasmussen Chris Corsano: A View of The Moon (from the Sun) (Clean Feed) - Reviewed in Jaznnytt #249, winter 2018. No grade.

Listening Booth: Fave music a bit past the half way point, published reviews April through July 3rd, Geri Allen RIP & more

This post should have been posted a month ago, but events has prevented me from finishing it. Since July is a quiet month for me in terms of writing, I don't feel too bad posting it at the end of the summer break.

The few months prior to the summer break were difficult ones. Not only did my dad die in May, just before that and in the weeks following, so did Chris Cornell, Geri Allen, Prodigy, and then Khelan Phil Cohran, all of them musicians who have made an impact on me at least to some extent over the years. Following their respective deaths, I've found solace, power and courage in the music they made, in particular in the case of Cornell and Allen. And as for my dad, some of the music he loved. But life goes on, and additionally, there has been so much great new music released so far this year (and much more just over the horizon) to keep me occupied and to lift my spirits.

None more so than William Parker's terrific, riveting and uplifting Meditation / Resurrection double album, which showcases two of his quartets -- the actual William Parker Quartet as well as In Order to Survive. It's a truly wonderful release. Parker has hit similar heights on record previously, but part of what makes this one so interesting is how the two albums both contrast and mirror each of the two groups, both among the best jazz ensembles of the past few decades, and in doing so revealing the breadth of Parker's work in the quartet format as well as how his singular voice as a musician and composer permeates the music of both, with the unparalleled rhythmic power duo of Parker and Hamid Drake at their respective cores. As I wrote in the conclusion of my review for Musikkmagasinet, whether the music swings hard or moves in more abstract, exploratory patterns, absorbing melodies and impelling grooves never too far away, and few if anyone today makes avant-jazz this warm, energetic, soulful, fiery and engaging quite like Parker and his trusted cohorts.

A couple of words, too, for Geri Allen. I was a tad late to Allen's music, admittedly, not really digging into her discography until I re-listened to and was subsequently captivated by her trio recording Printmakers (Minor Music), featuring Andrew Cyrille on drums and Anthony Cox on double bass, for the 1984 project I started almost 10 years ago. Geri Allen was a terrific pianist and a talented composer whose artistic practice followed its own path. Much has been made of Allen's ability to operate on either side of the trad./mainstream and the avant-garde so-called divide, but to me she rendered such a division pointless, and thus paved the way for how great musicians such as the bassist Eric Revis (who also has a new, really good album out) seem to think and work today. It was as if she ripped away the wires of a dividing fence and danced between the posts with grace and vivacity.

Printmakers remains a fave, but there are many other great recordings with Allen, both as a sidewoman and as a leader and co-leader. From her work with Oliver Lake, Steve Coleman, and Wallace Roney, to the trio recordings with Charlie Haden and Paul Motian and later Dave Holland and Jack DeJohnette, up to the very recent group she had with David Murray and Terri Lyne Carrington, and many others, including an album with Ornette Coleman. She'll be sorely missed.

Published reviews, April through July 3rd.

• Trio 3: Visiting Texture (Intakt Records) Reviewed for Musikkmagasinet/Klassekampen, April 10., 2017. Original grade 5 out of 6. A

• Thelonious Monk: Liaisons Dangereuses (1960) Reviewed for Musikkmagasinet/Klassekampen, May 8., 2017. [Link to online version] Not graded (part of an article). A

• Jaimie Branch: Fly or Die (International Anthem) Reviewed for Musikkmagasinet/Klassekampen, May 29., 2017. [Original grade 5 out of 6. A-

• Akmee: Neptun (Nakama Records) Reviewed for Musikkmagasinet/Klassekampen,June 19., 2017. Original grade 5 out of 6. A-

• William Parker Quartets: Meditation / Resurrection (AUM Fidelity) Reviewed for Musikkmagasinet/Klassekampen, July 3., 2017. Original grade 6 out of 6. A+

• Linda May Han Oh: Walk Against Wind (Biophilia Records) Reviewed for Jazznytt #243, Summer 2017. Not graded. B+

• The Angelica Sanchez Trio: Float the Edge (Clean Feed) Reviewed for Jazznytt #243, Summer 2017. Not graded. A-

Additional published writing: "Opp med Shipp-farten", on Matthew Shipp, Musikkmagasinet/Klassekampen, April 3., 2017 and Chris Cornell obit, Musikkmagasinet/Klassekampen, May 22., 2017.

Fave new releases, January through the first week of July 2017:

For the ages:

• William Parker Quartets: Meditation / Resurrection (AUM Fidelity)
• Angles 9: Disappeared Behind the Sun (Clean Feed)
• Harriet Tubman feat. Wadada Leo Smith: Araminta (Sunnyside Records)

Heavy rotation:

• IDLES: Brutalism (Balley Records)
• Jens Lekman: Life Will See You Now (Secretly Canadian)
• Trio 3 (Andrew Cyrille, Oliver Lake, Reggie Workman): Visiting Texture (Intakt Records)
• Jaimie Branch: Fly or Die (International Anthem)
• Arto Lindsey:  Cuidado Madame (Northern Spy Records)
• Khalid: American Teen (Right Hand Music)
• Akmee: Neptun (Nakama Records)
• Alexander Hawkins: Unit[e] (self-released)
• Lisa Mezzacappa: avantNOIR (Clean Feed)
• Matthew Shipp Trio: Piano Song (Thirsty Ear)
• Craig Taborn: Daylight Ghosts (ECM) 
• David S. Ware Trio: Live in New York 2010 (AUM Fidelity) 
• Emperor X: Oversleepers International (Tiny Engines)

Thoroughly enjoyed:

• Satoko Fujii Orchestra Tokyo: Peace (Libra Records)
• CP Unit: Before the Heat Deadth (Clean Feed)
• Eivind Opsvik Overseas: Overseas V (Loyal Label)
• Atomic: Six Easy Pieces (Odin)
• Preservation Hall Jazz Band: So It Is (Legacy Recordings)
• Lithics: Borrowed Floors (Water Wing Records, 2016)
• Orchestra Baobab: Tribute to Ndiouga Dieng (World Circut Records) 
• Wire: Silver/Lead (pinkflag)
• The Mountain Goats: Goths (Merge Records)
• Goncalo Almeida-Rodrigo Amado-Marco Franco: The Attic (NoBusiness) 
• Priests: Nothing Feels Natural (Dischord Records)
• Steve Coleman: Morphogenesis (Pi Recordings) 
• Saint Etienne: Sound of Water Heavenly Recordings)
• Miguel Zenón: Típico (Miel Music) 
• Nicole Mitchell: Mandorla Awakening II: Emerging Worlds (FPE Records)
• Angelica Sanchez Trio: Float the Edge (Clean Feed) 
• JD Allen: Radio Flyer (Savant Records) 
• Oumou Sangare: Mogoya (No Format)
• Jason Isbell and the 400 Unit: The Nashville Sound (Southeastern)
• Spoon: Hot Thoughts (Matador)
• Harris Eisenstadt Canada Day Quartet: On Parade in Parede (Clean Feed)
• Brandon Seabrook: Die Trommel Fatale (New Atlantis)
• Bardo Pond: Under the Pines (Fire Records)
• Sunny Sweeney: Trophy (Aunt Daddy Records)
• Tresspass Trio: The Spirit of Pitesti (Clean Feed)
• The Microscopic Septet: Been Up So Long it Looks Like Down to Me: The Micros Play the Blues (Cuneiform Records) 
• Diet Cig: Swear I'm Good at This (Frenchkiss Records)
• Syd: Fin (Columbia)
• Amor Amok: We Know Not What We Do (Intakt Records) 
• Led Bib: Umbrella Weather (RareNoise Records)
• Nnamdi Ogbonnaya: DROOL (Father/Daughter Records) 
• Brandon Seabrook: Die Trommel Fatale (New Atlantis Records) 
• The Necks: Unfold (Ideologic Organ) 
• Low Cut Connie: Dirty Pictures (Part 1) (Contender) 
• Omar Souleyman: To Syria, With Love (Mad Decent)
• Ross Hammond: Follow Your Heart (Prescott Recordings)
• Jeremy Pelt: Make Noise (High Note)
• Julia Ulehla & Aram Bajakian/Dálava: The Book of Transfigurations (Songlines Recordings) 
• Noah Perminger: Meditations on Freedom (self released)
• Benjamin Brooker: Witness (Rough Trade)
• Cloud Nothings: Life Without Sound (Carpark Records)

Reissues and vault music:

• Dave Holland: Conference of the Birds (ECM)
• Thelonious Monk: Les Liaisons Dangereuses (1960) (Sam Records) 
• Prince: Purple Rain (Deluxe, Expanded Edition) (NPG Records/Warner)
• Soundgarden: Ultramega OK (Sub Pop)

 

Listening Booth: Published reviews and fave music of 1st quarter, January through March, 2017

Not too many albums covered here, partly because I did not write for the latest issue of Jazznytt, but worth the update nonetheless, not least because among these are some terrific albums. Below, 20 of the most notable new albums I heard form January through March (listed 20 because I had to stop somewhere. Albums to be released have not been included).

• Steve Swell Quintet: Soul Travelers (Rogue Art, released 2016) Reviewed for Musikkmagasinet/Klassekampen, Januray 16., 2017. Original grade 5 out of 6. -- A-

•  The XX: I See You (Young Turks) Reviewed for Musikkmagasinet/Klassekampen, Januray 16., 2017. Originally graded 5 out of 6. -- B+

• The Modern Times: This is the Modern Times (Drabant) Reviewed for Musikkmagasinet/Klassekampen, Januray 30., 2017. Originally graded 4,5 out of 6. -- B+

• Matthew Shipp: Piano Song (Thirsty Ear) Reviewed for Musikkmagasinet/Klassekampen, February 6., 2017. Originally graded 5 out of 6. -- A-

•  Liza Mezzacappa: avantNOIR (Clean Feed) Reviewed for Musikkmagasinet/Klassekampen, February 20., 2017. Originally graded 5 out of 6. -- A-

•  Angles 9: Disappeared Behind the Sun (Clean Feed) Reviewed for Musikkmagasinet/Klassekampen, February 27., 2017. Originally graded 5,5 out of 6. -- A

• Atomic: Six Easy Pieces (Odin/Grappa) Reviewed for Musikkmagasinet/Klassekampen, Feruary 27., 2017. Originally graded 5 out of 6. -- A-

•  Harriet Tubman (feat. Wadada Leo Smith): Araminta (Sunnyside Records) Reviewed for Musikkmagasinet/Klassekampen, March 6., 2017. Originally graded 5,5 out of 6. -- A

•  Eivind Opsvik: Overseas V (Loyal Label) Reviewed for Musikkmagasinet/Klassekampen, March 20., 2017. Originally graded 5 out of 6. -- A-

20 engrossing and enjoyable albums, January 1st. - March 31st.:

• Angles 9: Disappeared Behind the Sun (Clean Feed)
• Harriet Tubman (feat. Wadada Leo Smith): Araminta (Sunnyside Records)
• IDLES: Brutalism (Balley Records)
• Trio 3 (Andrew Cyrille, Oliver Lake, Reggie Workman): Visiting Texture (Intakt Records)
• Jens Lekman: Life Will See You Now (Secretly Canadian)
• Lisa Mezzacappa: avantNOIR (Clean Feed)
• Matthew Shipp Trio: Piano Song (Thirsty Ear)
• CP Unit: Before the Heat Death (Clean Feed)
• Eivind Opsvik Overseas: Overseas V (Loyal Label)
• Atomic: Six Easy Pieces (Odin)
• Lithics: Borrowed Floors (Water Wing Records, 2016)
• Orchestra Baobab: Tribute to Ndiouga Dieng (World Circut Records) 
• Led Bib: Umbrella Weather (RareNoise Records) 
• Priests: Nothing Feels Natural (Dischord Records)
• Miguel Zenón: Típico (Miel Music)
• Spoon: Hot Thoughts (Matador)
• Bardo Pond: Under the Pines (Fire Records)
• Sunny Sweeney: Trophy (Aunt Daddy Records)
• The Microscopic Septet: Been Up So Long it Looks Like Down to Me: The Micros Play the Blues (Cuneiform Records)
• Syd: Fin (Columbia)

Listening Booth: belated round-up of published reviews, mid April through November, 2016

I'm smack in the middle of paternity leave, which has left and still leaves little to no time for writing. Add to that, I had a very busy summer -- much of it on the road -- and as for the rest, between doing renovation work on the house as well as my professional writing gigs I've not been able to update the blog much at all this year. Still, I thought I had to do something and for now, posting the usual list of music I've reviewed during this period (well, up until I entered the leave period at least) will have to do.

• Vijay Iyer & Wadada Leo Smith: A Cosmic Rhythm With Each Stroke (ECM) -- Reviewed for Musikkmagasinet/Klassekampen, April 11., 2016. Originally graded 4 out of 6.
• The Coathangers: Nosebleed Weekend (Suicide Squeeze) -- Reviewed for Musikkmagasinet/Klassekampen, April 18., 2016. Originally graded 5 out of 6.
• Eric Revis Trio: Crowded Solitudes (Clean Feed) -- Reviewed for Musikkmagasinet/Klassekampen, April 25., 2016. Originally graded 5 out of 6.
• Kenny Barron Trio: Book of Intuition (Impulse!) -- Reviewed for Musikkmagasinet/Klassekampen, April 25., 2016. Originally graded 4,5 out of 6.
• Beyoncé: Lemonade (Parkwood/Columbia) -- Reviewed for Musikkmagasinet/Klassekampen, May 2., 2016. Originally graded 5 out of 6.
• Snarky Puppy: Culcha Vulcha (GroundUP Music/Decca) -- Reviewed for Musikkmagasinet/Klassekampen, May 30., 2016. Originally graded 3 out of 6.
• Jane Ira Bloom: Early Americans (Outline Records) -- Reviewed for Musikkmagasinet/Klassekampen, June 13., 2016. Originally graded 5 out of 6.
• Festen: Festen (Clean Feed) -- Reviewed for Musikkmagasinet/Klassekampen, June 20., 2016. originally graded 4,5 out of 6.
• Cortex: Live In New York (Clean Feed) -- Reviewed for Musikkmagasinet/Klassekampen, August 8., 2016. Originally graded 5 out of 6.
• Steve Lehman & Sélébéyone: Sélébéyone (Pi Recordings) -- Reviewed for Musikkmagasinet/Klassekampen, August 29., 2016. Originally graded 6 out of 6.
• Peter Brötzmann, William Parker, Hamid Drake: Song Sentimentale (CD version, Otoroku) -- Reviewed for Musikkmagasinet/Klassekampen, September 19., 2016. Originally graded 5 out of 6.
• Drive-By Truckers: American Band (ATO Records) -- Reviewed for Musikkmagasinet/Klassekampen, October 3., 2016. Originally graded 5,5 out of 6.

• Bennett, Johnston, Mezzacappa, Rosaly: Shipwreck 4 (NoBusiness) -- Reviewed for Jazznytt, #240
• I.P.A.: I Just Did Say Something (Cuneiform Records) -- Reviewed for Jazznytt, #240
• Jason Roebke Octet: Cinema Spiral (NoBusiness Records) -- Reviewed for Jazznytt, #240
• Greg Ward & Ten Tongues: Touch my Beloved's Thought (Greenleaf Records) -- Reviewed for Jazznytt, #240

Additional published writing:

• "Nasjonale natur-verk": interview with Wadada Leo Smith, published in Musikkmagasinet/Klassekampen, October 17., 2016.

As we're entering poll and year-end lists season, I'm currently revisiting a good deal of the music that has caught my attention throughout this past year, as well as stuff that for various reasons I have not had the time or opportunity to dig into at all. I hope to add a list of some of the most notable of these releases in the coming week, possibly with a comment or two on at least a couple of them.

Listening Booth: Reviews and noteworthy releases, 1st quarter 2016

Below is a list of my published reviews from January of this year through to, and counting, the first week of April. Additionally, 30 noteworthy releases from the year so far, ordered alphabetically. It's not much, I'll grant, but the number will likely improve as I catch up with recent and upcoming releases, and revisit others during the 2nd quarter.

• Aruán Ortiz Trio: Hidden Voices (Intakt Records) -- Reviewed for Musikkmagasinet/Klassekampen, February 1st, 2016. Original grade 5 out of 6.
• Michael Formanek Ensemble Kolossus: The Distance (ECM Records) -- Reviewed for Musikkmagasinet/Klassekampen, February 29th, 2016. Original grade 5,5 out of 6.
• Hanna Paulsberg Concept: Eastern Smiles (ODIN) -- Reviewed for Musikkmagasinet/Klassekampen, February 29th, 2016. Original grade 4,5 out of 6.
• Moskus: Ulv Ulv (Hubro) -- Reviewed for Musikkmagasinet/Klassekampen, April 4th, 2016. Original grade 5 out of 6.
• Bathysphere: Bathysphere (Driff Records) -- Reviewed for Jaznytt #238, 2016. Originally not graded.
• Jon Lundbom & Big Five Chord: Make the Magic Happen EP and Bring Their 'A' Game EP (Hot Cup Records) -- Reviewed for Jazznytt #238, 2016. Originally not graded.
• Protean Reality: Protean Reality (Clean Feed) -- Reviewed for Jazznytt #238, 2016. Originally not graded.

Aditional published material:

• "Pianistenes Pianist," my Paul Bley obitiuary for Musikkmagasinet/Klassekampen, January 11th, 2016.
• "Et jazza omland," highlights from Jazzland Records' output on the occasion of its 20 year anniversary, for Musikkmagasinet/Klassekampen March 14th, 2016.

Heavy Rotation, 1st quarter 2016:

• Kenny Barron: Book of Intuition (Impulse)
• Bent Shapes: Wolves of Want (Slumberland Records)
• Big Ups: Before a Million Universes (Tough Love Records)
• BJ the Chicago Kid: In My Mind (Universal)
• Bombino: Azel (Partisan Records)
• Thomas Borgmann, Max Johnson, Willis Kellers: One For Cisco (NoBusiness)
• Cobalt: Slow Forever (Profound Lore)
• Empirical: Connections (Cuneiform Records)
• Field Music: Commontime (Memphis Industries)
• Michael Formanek Ensemble Kolossus: The Distance (ECM Records)
• Robbie Fulks: Upland Stories (Bloodshot Records)
• Charles Gayle Trio: Live at Jazzwerkstatt Peitz (Jazzwerkstatt)
• Gutbucket: Dance (Gut Records) 
• William Hooker: LIGHT. The Early Years 1975-1989 (NoBusiness)
• Anna Högberg Attack: Anna Högberg Attack (Omlott)
• Kamaiyah: A Good Night in the Ghetto (self released)
• Julie Kjær 3: Dobbeltgænger (Clean Feed)
• Large Unit: Ana (PNL)
• Jeff Lederer Brooklyn Blowhards: Brooklyn Blowhards (little(i)music)
• Moskus: Ulv Ulv (Hubro)
• Bob Mould: Patch the Sky (Merge)
• Willie Nelson: Summertime: Willie Nelson Sings Gershwin (Columbia/Legacy)
• Aruán Ortiz Trio: Hidden Voices (Intakt Records)
• Parquet Courts: Human Performance (Rough Trade)
• Hanna Paulsberg Concept: Eastern Smiles (ODIN) 
• Roswell Rudd, Jamie Saft, Trevor Dunn, Balasc Pandi: Strength & Power (RareNoiseRecords)
• Rønnings Jazzmaskin: Jazzmaskin! (Losen Records)
• Henry Threadgill Ensembel Double Up: Old Locks and Irregular Verbs (Pi Recordings) 
• White Denim: Stiff (Downtown Records)
• Wussy: Forever Sounds (Damnably) 

Listening Booth: Reviews 4th Quarter 2014 + 1st Quarter 2015. Pt. 1

Records reviewed for Klassekampen's weekly music supplement Musikkmagasinet from October through December 2014, plus January through April 2015 (As per usual, this list does not include live reviews, which during this period included Sheila Jordan and Kris Davis Trio, nor articles such as my piece on Mostly Other People Do the Killings Kind of Blue album/project). If you're the artist, the label, distributor, or in any other way connected to the releases and artists listed here and would like to see the relevant review/piece, send me an e-mail with a request to perfectsounds.chrismonsen[at]gmail.com or monsen.christopher[at]gmail.com.

• Tyshawn Sorey Trio: Alloy (Pi Recordings) - 7* (Reviewed for Musikkmagasinet/Klassekampen, November 3rd, 2014. Original grade: 5 out of 6)

• Large Unit: Erta Ale (PNL Records) - 8* (Reviewed for Musikkmagasinet/Klassekampen, November 17th, 2014. Original grade: 5 out of 6)

• Leo Welch: Sabougla Voices (Fat Possum) - 7* (Reviewed for Musikkmagasinet/Klassekampen, December 15th, 2014. Original grade: 5 out of 6)

•  John Coltrane: Offering: Live at Temple University (Resonance Records) - 7* (Reviewed for Musikkmagasinet/Klassekampen, January 19th, 2015. Not graded)

• Ted Daniel's Energy Module: Innerconnection (NoBusiness Records) - 8* Reviewed for Musikkmagasinet/Klassekampen, January 19th, 2015. Not graded)

• Horace Tapscott Quintet: The Giant is Awakened (International  Phonograph Inc.) - 8* (Reviewed for Musikkmagasinet/Klassekampen, January 19th, 2015. Not graded)

• Sun Ra and his Arkestra: In the orbit of Ra (Strut Records) - 7* (Reviewed for Musikkmagasinet/Klassekampen, January 19th, 2015. Not graded)

• New Vocabulary: New Vocabulary (System Dialing Records) - 6* (Reviewed for Musikkmagasinet/Klassekampen, January 26th, 2015. Original grade: 4,5 out of 6)

• Rudresh Mahanthappa: Bird Calls (ACT) - 8* (Reviewed for Musikkmagasinet/Klassekampen, February 9th, 2015. Original grade: 5,5 out of 6)

• Vijay Iyer Trio: Break Stuff (ECM) - 6* (Reviewed for Musikkmagasinet/Klassekampen, February 9th, 2015. Original grade: 4,5 out of 6)

•  Chris Lightcap's Bigmouth: Epicenter (Clean Feed) - 8* (Reviewed for Musikkmagasinet/Klassekampen, March 23rd, 2015. Original grade: 5 out of 6)

•  Kirk Knuffke: Arms & Hands (Roayl Potato Family) - 8* (Reviewed for Musikkmagasinet/Klassekampen, April 20th, 2015. Original grade: 5 out of 6)

•  Mark Lomax II & Edwin Bayard: #BLACKLIVESMATTER (marklomaxii.com/blacklivesmatter) - 8* (Reviewed for Musikkmagasinet/Klassekampen, April 27th, 2015. Original grade: 5 out of 6)

Records reviewed for Jazznytt as well as some other stuff to be posted soon.

Listening Booth: Reviews 2nd Quarter, April through June, 2014

With the summer vacation well and truly over, and the first reviews of the fall season already published this week, here is a belated overview of records reviewed from April through June, 2014. Additional notes on some notable releases I for one reason or another have not covered previously will be posted at some point later in the week. The first quarter overview can be accessed here. A list of my fave recordings from January to July can be found here.

• Moskus: Mestertyven (Hubro Records) – 9* (Reviewed for Musikkmagasinet/Klassekampen, April 14th, 2014. 5,5 out of 6)

•  1982: A/B (Hubro Records) – 7* (Reviewed for Musikkmagasinet/Klassekampen, May 12th, 2014. 4,5 out of 6)

• Parquet Courts: Sunbathing Animal (Rough Trade) – 7* (Reviewed for Musikkmagasinet/Klassekampen, June 2nd, 2014. 4,5 out of 6)

•  Steve Lehman Octet: Mise en Abîme (Pi Recordings) – 8* (Reviewed for Musikkmagasinet/Klassekampen, June 23rd, 2014. 5 out of 6)

•  Angles 9: Injuries (Clean Feed) – 7* (Reviewed for Musikkmagasinet/Klassekampen, June 23rd, 2014. 4,5 out of 6)

* Grades adjusted for the PerfectSounds scale.

Listening Booth: reviews 4th quarter, October and November, 2013

Considering year-end lists and requests for poll participation are already popping up, and I need to send in one ballot by the end of the week, I thought I'd post an overview of my published reviews from October through to November. All things going well, I'll post short notes on more albums of note, many of which date back to late summer/early fall, throughout the week.

• Adam Lane Trio: Absolute Horizon (No Business) – 8* (Reviewed for Musikkmagasinet/Klassekampen, October 14, 2013. 5,5 out of 6. I also wrote an alternative write-up for the Black Friday Special, hosted by Tom Hull, which can be accessed here.)

• Pixel: We Are All Small Pixels (Cuneiform) – 7* (Reviewed for Musikkmagasinet/Klassekampen, October 28, 2013. 4,5 out of 6)

• Mopti: Logic (Jazzland Recordings) – 6* (Reviewed for Musikkmagasinet/Klassekampen, October 28, 2013, 4 out of 6)

• Ralph Alessi: Baida (ECM) – 8* (Reviewed for Musikkmagasinet/Klassekampen, November 18, 2013. 5 out of 6)

• Tim Berne: Shadowman (ECM) – 7* (Reviewed for Musikkmagasinet/Klassekampen, November 18, 2013. 4,5 out of 6)

• Ola Kvernberg Trio: Northern Tapes (Jazzland Recordings) – 6* (Reviewed for Musikkmagasinet/Klassekampen, November 25, 2013. 4 out of 6)

• Karl Seglem: NyeSongar.no (NORCD) – 5* (Reviewed for Musikkmagasinet/Klassekampen, November 25, 2013. 3,5 out of 6)

• Gisle Torvik: Tranquil Fjords (NORCD) – 4* (Reviewed for Musikkmagasinet/Klassekampen, November 25, 2013. 3 out of 6)

* Grades have been re-adjusted for the PS scale.

Listening Booth: half year round-up, Jazz, pt.2

Well, my plan went belly up, so I will have to finish this at a later date. Among the remaining releases I have jotted down notes for (from approxomately January to late June 2013) are Tylor Ho Bynum Book of Three: Continuum 2012, Jonathan Finlayson Moment & the Message, Rich Halley 4 Crossing the Passes, and Mike Pride Birthing Days, plus a few pop/rock/rap releases. Part two of this will therefore consists of exactly one album, but I'll add some tentative grades for a couple of other releases from the "in" pile, too:

• Gerald Cleaver's Black Host: Life in the Sugar Mines (Northern Spy) – Late 60s chant-like spiritual jazz, shredding guitars, deep grooves and soaring saxophone cries crash together with splashes of electronics for spice. Half of the eight tracks here stretch beyond the 10 minute mark, the best of which move through free form outbursts, surging grooves, and quieter sections at varying intervals, the opening "Hoover" being a prime example. The lesser ones seem more bound to one motif or idea but end up treading water: "Gromek" keeps churning and churning, but moves very little in any direction. The band, drummer and main man Gerald Cleaver with Cooper-Moore on piano, Darius Jones on alto, Pascal Niggenkemper on double bass and Brandon Seabrook on electric guitar, stir up massive, raw and alluringly violent music at times – "Ayler Children", with its ascending sax and guitar lines over a rapid-fire rhythm, rocks, for lack of a better term. Though not without meditative moments, the ferociousness of this album is its most captivating quality. 7*

• Chris Potter: The Sirens (ECM) – 7*
• Ches Smith & These Arches: Hammered (Clean Feed) – 7*
• Craig Taborn: Chants (ECM) – 6*
• Trespass Trio + Joe McPhee: Human Encore (Clean Feed) – 6*

 * The Perfect Sounds Listening Booth series is where I post jotted down thoughts and impressions of records. The writing of these notes is mostly done during listens, without too much consideration to composition and/or argumentation, and while the intention is that these notes will form the basis of possible future reviews, they should not be considered fully formed reviews in and of themselves. The grades are tentative and liable to change.

Listening Booth: half year round-up, Jazz, pt.1

The next couple of days, I will be posting thoughts on some of the records I've heard these past 6 months, by and large 2013 releases, that I haven't reviewed for Musikkmagasinet or in any other capacity but have listening notes for. I'll try to round up most of these releases by the end of this week, when I leave for a largely internet free vacation by the sea side for a couple of weeks. Starting with a couple of post of jazz records and hopefully come Friday, finishing off with some notable relases of rock/pop/rap/other. Possibly even a top 10 or so list of "2013 faves so far". Some of these albums stretch back to the beginning of the year, some may have been mentioned in previous posts, and may even already appear on the (admittedly not very up-to-date) 2013 favorites page.

EDIT: for info about my published reviews from January to June 2013, see here and here.

• Barry Altschul: The 3dom Factor (TUM Records) – Veteran drummer whips up 10 tunes of playful, loose and at times refreshingly humorous free spirited jazz in collaboration with the bustling sax of Jon Irabagon and the meaty bass of Joe Fonda. Melodies, always central here, spin out of purposefully tumbling yet resolute and pivotal rhythms as the musicians expertly straddle the rowdy and the buoyant. 8*

• Darcy James Argue's Secret Society: Brooklyn Babylon (New Amsterdam Records) – Nothing if not ambitious, the second outing by the Darcy James Argue conducted jazz-rock-avant jazz-post-rock-folk big band is a musical story of sorts about a mythic Brooklyn, in part a collaboration with visual artist Danijel Zezelj. Ellington-esque in vision though not necessarily execution, the music is at times both interesting and even engrossing in its scope, mimicking the hustle-and-bustle of urban life through a variety of styles and techniques, the tunes decisively moving forward. But quite often the music is too rigid, like a cab stuck in the stop-start of rush hour traffic where you'd want it to be like the street wise kid nimbly working his way in and around a crowded street. To put it another way: the jazz doesn't rock enough nor the rock swing enough, and vice-versa. 6*

• Terence Blanchard: Magnetic (Blue Note) – Rhythmically, this recalls both syncopated modern R&B – think D'Angelo's band in their pomp – and modern post-bop/post-fusion. Not unlike such similarly inclined Blue Note releases as the recent Robert Glasper projects, even if this leans heavier on jazz. Spearheaded by the husky tone of Blanchard's trumpet, the playing is tactful, almost restrained at times, which in particular suits the low key ballads neatly. Blanchard also graciously gives plenty of room for the rest of the band: Brice Winston shines on "Jacob's Ladder", for example, while good ol' bass master Ron Carter owns the sprightly "Don't Run", not to take anything away Blanchard and Ravi Coltrane's solos. A gorgeous sounding album, not all of this works: some of it is hampered by a rather schematic turn-taking of solos, and the insistence on building layers-upon-layers in tunes like the title cut, feels a bit heavy handed in the long run. 7*

 * The Perfect Sounds Listening Booth series is where I post jotted down thoughts and impressions of records. The writing of these notes is mostly done during listens, without too much consideration to composition and/or argumentation, and while the intention is that these notes will form the basis of possible future reviews, they should not be considered fully formed reviews in and of themselves. The grades are tentative and liable to change.

2012 pre-poll record round-up (Listening-booth extra)

I'm throwing these notes and grades out there ahead of the poll deadlines.

• Grass Roots (Sean Conly, Alex Harding, Darius Jones & Chad Taylor): Grass Roots (AUM Fidelity) - [Reviewed in Klassekampen, Nov. 19th, 2012: 5,5 stars out of 6] 8

• Titus Andronicus: Local Business (XL Recordings) - [Reviewed for Klassekampen Oct. 22nd, 2012: 4,5 stars out of 6] 7

• Ceremony: Zoo (Matador) - If there is one thing I've learned over the years of following punk and hard core, it's that "hard core" hard core fans tend to be an annoyingly retrograde bunch. The smart HC/punk bands know this, too, just ask Ian McKaye or Mike Watt. So when the latest Ceremony, formely of hard core powerhouse Bridge Nine, received fairly mixed reception seemingly on the grounds that they had abandoned their roots, I shrugged. Me, I find that their new garage leaning, slightly off-kilter, stop-start punk approach coupled with a newfound penchant for writing, y'know, hooks haven't softened their message one bit, but rather given their music focus and purpose. 7

• Ravi Coltrane: Spirit Fiction (Blue Note) - Ask me not why it took me so long to get to this, although I must admit to not having been fully convinced by Ravi Coltrane's previous efforts. But the band here – Ravi Coltrane on saxophones, Luis Perdomo on piano, Drew Gress on bass – E.J. Strickland on drums – serves up some free-as-in loose, mostly flitting and airy tunes, some of them very short, with their interweaving improvised melodic lines that make for a very compelling and rewarding listen. About as soothing as modern jazz can get, without disappearing into the background, 'though "Check Out Time" also provides some oopmh. 7

•  Gavlyn: From the Art (Broken Complex) - Tough, sassy, quick witted, articulate (you bet that counts) and with an assured flow that blows most of her male collegues out of the water. The backdrop heavily sampled and funky, like a loving homage to 90's era Stones Throw ("What I Do", "Staring Problem", "Why Don't You Do Right") 7

• Jasmine Lovell-Smith's Towering Poppies: Fortune Songs (Paintbox Records) - Quintet led by New Zealand born, New York based soprano saxophonist Jasmine Lovell-Smith, currently studying music at Wesleyan University. I've seen chamber jazz applied, but to me this is less arranged, yet still a  gorgeous collection of subtle, loose knit, sweet with just a pinch of sour, lyricism. Nothing is rushed, here, and it's all the more rewarding for it. 8

• Sonic Avenues: Televison Youth (Dirtnap) - These Montreal, QS, pop-punks lovingly recreate the 70's British forefathers, even down to the accent, with a splash of 60's garage rock. Hardly revolutionary, but at times quite catchy ("Givin' Up On You" "Television Youth"). 7

• Cities Aviv: Black Pleasure (Mishka) - Barely audible half rap, half spoken words over stark synths. Interesting sounds, but few themes, no hooks, no stories of interest. Not much of anything here, really. Apart from sounds. 6

• Clinic: Free Reign (Domino) - 6

• Henry Cole & The Afrobeat Collective: Roots Before Branches (self-released) - 7

• Donald Fagen: Sunken Condos (Reprise) - 7

Listening Booth, week 19: catching up with 2011

These notes have been sitting on my hard drive for ages, and since I don't have anything else written at the moment, I thought I'd just throw them out there. I'll hopefully have notes on the new Mary Halvorson Quintet and the Wadada Leo Smoth 4 disc set ready shortly.

• Ambrose Akinmusire: When the Heart Emerges Glistening (Blue Note, 2011) - Big on year-end lists and polls for 2011. In short: hip-hop and nu-R&B colored modern post-bop. Akinmusire's  trumpet tone is rounded and smokey, and the band here is solid, if a bit safe. The biggest problem is that I don't find his thematic and melodic ideas very interesting nor terribly engaging, and the rhythmic patterns, with their latin-tinged hip-hop leanings, sound dated and uninspired to me. He's definitely got talent, and I really do like his tone. 6*

• Gerald Cleaver Uncle June: Be It As I See It (Fresh Sound, 2011) - Adventurous drummer Gerald Cleaver leads a rollicking and big sounding semi big-band with several "younger" heavy hitters of modern jazz, among them Drew Gress (bass), Tony Malaby (soprano and tenor sax) and Craig Taborn (piano). At times the album is boisterous, as reeds and piano pile on over a steady rhythmic backdrop, but these sections are counter balanced by more meditative pieces, some with voice. Electro-acoustic noise adds color. The five part "Fence & Post (For Mom & Dad" is the centerpiece. Ambitious, even if it fails to hold my attention throughout. 6*

• Orrins Evan: Captain Black Big Band (Posi Tone, 2011) - Fairly straight forward formally, but big and punchy, just the way I like it, and there are some good tunes as building blocks, especially the slow building "Easy Now." The ancestor seems to be Basie rather than Ellington, but the tempos are definitely bop-derived. Enjoyable. 7*

• DJ Quik: The Book of David (Mad Science, 2011) - Expert veteran beat maker adds shrapnel to his vintage good spirited electro funk, and bite to his rap, particularly on the opener "Fire and Brimstone." He's always up for killer dope and good times, and serenading women, especially the "real women." "I don't need nobody," he claims on the albums best tune, as if he only cared about himself, and yet he brings his special brand of the electric boogie to the party and manages to spread more good vibes than most these days. 8*

Some records with grades but missing notes:

• Tim Berne: Insomnia (Clean Feed, 2011) - 7*
• Ralph Carney's Serious Jass Project: Seriously (Smog Veil, 2011) - 7*
• Cities Aviv: Digital Lows (mixtape, 2011) - 7*
• Freddie Gibbs: Cold Day In Hell (mixtape, 2011) - 5*
• Kendrick Lamar: Section.80 (Top Dawg Entertainment, 2011) - 7*
• Neptune: Silent Partner (Northern Spy, 2011) - 6*
• The Rapture: In the Grace of Your Love (DFA/Modular) - 6*
• Craig Taborn: Avenging Angel (ECM, 2011) - 7*

* The Perfect Sounds Listening Booth series is where I post jotted down thoughts and impressions of records. The writing of these notes is mostly done during listens, without too much consideration to composition and/or argumentation, and while the intention is that these notes will form the basis of possible future reviews, they should not be considered fully formed reviews in and of themselves. The grades are tentative and liable to change.

Listening Booth, week 16, 2012: Darius Jones Quartet

Darius Jones Quartet: Book of Mæ'Bul (Anther Kind of Sunrise) (Aum Fidelity) - In his ongoing epic, Darius Jones seems intent on picking musicians to fit the music he has imagined for each album, or verse, as he calls them: For the excellent raw and bluesy debut Man'ish Boy, he enlisted elder statesmen Cooper-Moore (diddley-bo and piano), and Rakalam Bob Moses (drums), while for the groovier and punchier follow-up Big Gurl (Smeel My Dream), Adam Lane (bass) and Jason Nazary (drums) were brought in. This trend of building a band around the music continues on Book of Mæ'Bul, where the band has been expanded from a trio to a quartet, adding piano to the sax-bass-drum mix.

The first thing you hear on the opener "The Enjoli Moon", are the hushed tones - Satie like in it's minimalism - of Matt Mitchell's piano, before bassist Trevor Dunn and drummer Ches Smith join Jones in stating a plaintive theme. From this, they spin out into a short, controlled frenzy, only to return to the theme. The song fluctuates between these sections, until, towards the end, the tune lifts to a crescendo, before the band lands safely back into the original theme as the song ebbs out. It's a perfect opener, as it contains much of the elements that typifies the album, and that sets it apart in Jones' discography.


There's not much of the swagger, groove, and headlong excitement that typified the music on Man'ish Boy and Big Gurl here; only the sprightly post-bopish "Winkie" speeds things up beyond mid-tempo. Mæ'Bul is in turn looser, freer and also has a softer touch: the airy "So Sad" is one of the albums highlights. Yet for all its differences, Jones' unique personality and tone permeates the music here as it does on all of his records. 


 Where Jones' trios were like a three-pronged spear with Jones in the middle, the roles here seem more set. The dexterous rhythm section of Dunn and Smith mostly stay back and provide a loose-knit platform for the melodic/thematic and solo duties shared between Jones and Mitchell. But here and there, the interplay and the ceding of space between the main soloists comes across almost like turn-taking exercises, as in the latin tinged mid-section of the otherwise lovely "Be Patient With Me", rather than to organically rise from the themes. As such, oarts of the otherwise lovely music here seems jagged and disconnected. 


 Bill Shoemaker noted in his review in the March, 2012 issue of Point of Departure that the previous records have "largely documented potential" and that that this record is "a significant step forward." I'm not so sure I agree. Book of Mæ'bul dips to a much greater degree into the classic jazz landscape, albeit the classics that came out of the more avant-leaning post-bop of the 60s, such as, say, the music of Andrew Hill. That he is able to weave more "classic" sounding jazz into his own music suggests that this is definitely a broadening of horizon, the addition of the piano also helps. But in turn the record loses some of the energy and freshness that made Man'ish Boy and Big Gurl such exciting and stand-out albums. This punk rocker-at-heart firmly believes that well articulated energetic music can be as mature a statement as so-called contemplative-meaning-quieter music, and so I found that Mæ'bul's predecessors' more vigorous tempos and rougher edges were fully formed statements in their own rights, and perhaps even better documents of Jones' unique voice as a musician and composer in the modern jazz landscape. 7*


* The Perfect Sounds Listening Booth series is where I post jotted down thoughts and impressions of records. The writing of these notes is mostly done during listens, without too much consideration to composition and/or argumentation, and while the intention is that these notes will form the basis of possible future reviews, they should not be considered fully formed reviews in and of themselves. The grades are tentative and liable to change.

Listening Booth week 7: Charles Gayle Trio

• Charles Gayle Trio: Streets (Northern Spy Records, 2012) - Streets is Charles Gayle's first studio album since his two 2006 releases, Consider the Lilies (Clean Feed) and the solo piano Time Zones (Thompkins Square.) Streets is also the first album to feature Gayle's alter ego, Streets the clown, the significance of which I shouldn't speculate too much on, although Gayle has performed in clown painting for a while. Me, I figure the title refers to his many years spent homeless on the streets of New York. If the clown somehow allows him to put himself in the mood of that period, well, then all the better. Charles Gayle has become somewhat of a sax-bass-drum trio specialist over the years. 'Though he hasn't performed exclusively in that format, much of the time he has, and his most memorable albums are trio albums: the soulful Homeless (Silkheart, 1988), with the deep rolling bass of Norris "Sirone" Jones and Dave Pleasant on drums, and the heady rush of the now deservedly classic Touchin' On Trane (FMP, 1991), with William Parker's rumbling, talking drum-like bass lines and the fleeting drumming of Rashied Ali. As with those two albums, Streets is a trio recording, and also one very much marked as much by Gayle's compatriots as his own distinct style and timbre. Bassist Larry Roland's playing here is the very essence of plucking, creating percussive patterns with only minimal sustain, barring the odd sections such as the intro to "March of April." Gayle himself has never been too occupied with themes or melodies. He is all about feel. It's as if he just steps up to the podium and speaks his mind. So it is perhaps fitting that the first thing you hear on Streets is the sharp sound of Gayle's tenor. He has, either by age or by design (I'd be inclined to say the latter), by and large abandoned the lung bursting runs and screams that used to be synonymous with much of his music. Rather, him and Roland play in bursts, with sudden stops or pauses, and the rhythmic pattern becomes almost Monk-like, especially on "Compassion II." Drummer Michael TA Thompson is much more of a constant, laying down a platform for Gayle and Roland's interplay as well as pushing them on. Although these are patterns and elements you'll find throughout the album, they are used to different effect: "March of April", with Roland's aforementioned menacing bass intro, is ominous, the closing "Tribulations" is fierce and a nod back to Gayle's older material, and the prayer "Glory & Jesus" is peaceful and gorgeous. Streets is not only a worthy addition to Gayle's discography, I'd be tempted to say it's also his best since Touchin' On Trane. 8*

* The Perfect Sounds Listening Booth series is where I post jotted down thoughts and impressions of records. The writing of these notes is mostly done during listens, without too much consideration to composition and/or argumentation, and while the intention is that these notes will form the basis of possible future reviews, they should not be considered fully formed reviews in and of themselves. The grades are tentative and liable to change.

Listening Booth, week 52, 2011

• Mats Eilertsen: Skydive (Hubro) - Bassist and composer Mats Eilertsen (b. 1975) was born in Trondheim, Norway, and got his education at that city's renowned Jazz Academy. He's been an in-demand session musician since the 90s-- among others for Jacob Young, Solveig Slettahjell as well as playing on a trio of Sonny Simmons releases -- 'though he has in recent years also been releasing several albums of his own compositions, the last of which is Skydive on the tiny Hubro label. As a bassist here, he doesn't assert himself much, eschewing vamps, riffs, and walks/runs, and instead keeps a rather low profile, staying in the background, grounding and accentuating Olavi Louhivuori's drum beat as well as the occasional cymbal hit with full and rich sounding drawn out notes, making the tunes seemingly glide along. There's little in terms of heads or themes here, instead there are narrative-like melodies, which saxophonist Tore Brunborg, guitarist Thomas T. Dahl and pianist Alexei Tuomarila take turns in moving along. It's all very sweeping and wooshing, contemplative and "calming" if not very exciting music. But the records is wonderfully produced and it sounds great, as most Hubro releases do. 6*
  
  * 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 rather than final reviews.

Listening Booth, week 47: shorts: Magic Pocket

I don't write much about Norwegian jazz here. That's partly a conscious choice -- Norwegian jazz releases are well covered in mainstream media (I feel dirty using those words with Fox "News" in mind) media, which I was always trying to provide an alternative to -- but considering the bulk of those who visit these pages live abroad and may be curious about jazz from these shores, I'm making an exception today. Also, it's a damn fine record.

• Magic Pocket: The Katabatic Wind (Bolage) - Magic Pocket is a young-ish brass and drums quartet (all born between 1975 and '82) consisting of Erik Johanessen on trombone, Hayden Powell on trumpets, Daniel Herskedal on tuba, and Erik Nylander on drums, tabla machhines and drum machine. For this release, they're augmented by the electronics and piano of Morten Qvenild. The music here is atmospheric, drawn out melodic lines and sheets of sound underpinned by understated grooves. The tuba moves in and out of it's rhythmic "bass" role, the brass blends with the electronics, trickles of piano here and there without ever getting ambient territory. The bolero-esque "The Thar Desert" is particularly enchanting, while the bouncy "Darts" showcase their more playful side. Lovely stuff. 8*

* 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 rather than final reviews.

Listening Booth, week 47: Greg Ward's Phonic Juggernaut

• Greg Ward: Greg Ward's Phonic Juggernaut (Thirsty Ear) - Chicago born, now New York residing saxophonist and composer Greg Ward's credentials indicate that he's a man of varied tastes and that he's a musician willing and capable of handling several genres, from various strains of jazz, to Klezmer and classical music. I know him best from his collaborations with drummer Mike Reed. This is Ward's second album as a leader after 2010's Fitted Shards: South Side Story -- which I missed -- on 19-8 Records. Phonic Juggernaut is a sax-bass-drums trio record, and an enthralling one at that. The impressive opener "Above Ground" moves through several stages, starting off with Ward's blocks of intervals over the hectic yet forceful polyrhythms of drummer Damion Reid, into pockets of near calmness, and then back again. Much like the album as a whole. Reid's drumming, which reminds me a little bit of Ronald Shannon Jackson, provides much of the sonic freshness of this record. The drums are very much front and center, almost relentless, throughout, and especially so on the more heady pieces. And Phonic Juggernaut is fast paced at times, as the name would suggest, but combines that with the spacious and lyrical, such as on the lovely "Velvet Lounge Shut-In". Bassist Joe Sanders is the minimalist in the trio, relatively speaking, working off and in between Reid's busy rhythms and Ward's sharp and clear alto leaps with a mixture of insistent vamps and lyrical playing -- check his melodic interplay with Ward on the closing "Sectionate City". The bass is mixed unusually low and given little bottom, and although I miss its fullness and punch at times, the result works remarkably well within the sonic whole of the record. I'm hoping there's more to come from this trio, because there's clearly a unique musical chemistry between the three. 7*


Bonus: Listen to the title track, "Phonic Juggernaut", courtesy of Thirsty Ear Recordings on Soundcloud.



* 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 rather than final reviews.

Listening Booth, week 46, 2012: ASAP Rocky

• ASAP Rocky: LiveLoveA$AP (mixtape/selfreleased/liveloveasap.com) - This Harlem, New York native declares an affinity for Houston and doesn't want to be likened to a certain New Orleans rapper. Still, his slightly-behind-the-beat flow as well as the nasal timbre of his voice certainly has similarities with the Carter. The lyrical universe of LiveLoveA$ASP is filled with references to recreational drugs, reveling in it's effects. But it's the sonics of the record that really impresses. Delightfully produced, especially the tracks by Clams Casino and Beautiful Lou, it conjures up the sort of trippy soundscapes that Tricky once mastered so well - note in particular the laid-back groove and the sampled guitar lick of "Trilla", produced by Beautiful Lou. Additional color is provided by syrupy beats and rumbling bass (and hence the Houston love, I guess), Clams Casino's "Bass" a case in point. When the moods do get darker, they do so without succumbing to the techniques of horror core schlock, neither sonically or lyrically. No stoopid shock effects here. ASAP doesn't need such cheap tricks to be interesting. 8*

* 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 rather than final reviews.

Listening Booth, week 46, 2012: Taylor Ho Bynum Sextet

• Taylor Ho Bynum Sextet: Apparent Distance (Firehouse 12) - A four piece suite, originally commissioned through a New Jazz Works grant. The sextet consists of Ho Bynum on trumpet, Jim Hobbs (of Fully Celebrated "fame") on alto sax, Bill Lowe on bass trombone and tuba, Mary Halvorson on guitar, Ken Filiano on bass and Tomas Fujiwara on drums. Ho Bynum and Halvorson has played under the tutelage of Anthony Braxton, but there's not a whole lot of traces of him here, barring the odd twirling theme here and there. The obvious center piece of the album is the 20 minute long "Source", where Ho Bynum and Halvorson play interweaving melodic lines that Hobbs and Lowe eventually join in on and create their own paths out of, over Filiano and Fujiwara's funky and propulsive rhythms. The piece builds to a cacophonous crescendo during Hobbs' solo, and slides back into grove. There are a lot of interseting things going on here, with Hobbs in particular shining alongside Ho Bynum, while Halvorson often stays in the background for long sections, riffing with Filiano to help create dense grooves. 7*

* 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 rather than final reviews.

Listening Booth, week 41, 2011: Darius Jones Trio

There haven't been much activity here, and there won't be until after the 15th of Nov. at the earliest. Below are a few notes on Darius Jones latest plus some grades for a couple of other records I've listened to lately, but do not have any notes to speak of.

• Darius Jones Trio: Big Gurl (Smell My Dreams) (AUM Fidelity) - Darius Jones debut, Man'ish Boy (a Raw and Beautiful Thing), was stunning. A riveting and deeply moving album by a saxophonist with a distinct voice, both in terms of his playing and his compositions. His new record, Big Gurl (Smell My Dreams), may lack some of raw emotion of his debut, but it makes up for it in power and groove. Replacing multi-instrumentalist Cooper-Moore and drummer Rasid Bakr in the trio is Adam Lane on bass, an original musician and composer in his own right, and Jason Nazary on drums, who both played on the debut's "hidden track". Big Gurl is full of hard hitting, groovy free-bop sprinkled with more contemplative pieces, such as the haunting "I Wish I Had a Choice". Jones alto sound is stirring, sometimes piercing, and he is wont to leaps and shrieks, but always maintains a strong sense of melody and theme. Adam Lane plays thick, powerful, syrupy yet somehow nimble lines and riffs as only he can, while Nazary glides in and out of the beat. The opener "E-Gaz" and the menacing closer "Ol' Metal-Faced Bastard", with it's rhythmically stumbling sections, come charging at you with swagger and purpose, while the above-mentioned "I Wish I had a Choice" and "My Special 'D'" are quieter, more reflective pieces. There's also a reworking of "Chasing the Ghost", one of the center pieces of Man'ish Boy. While much of the allure of he original version was how Jones sounded like he was losing his way on this headlong chase, here, augmented by Lane's stubborn bass lines, it sounds galvanized, more confident, as if with a renewed sense of mission. Somehow very fitting, I think. 9*

• Dave Alvin: Eleven Eleven (Yep Roc) - 7*
• Girls: Father: Son, Holy Ghost (True Panther) - 8*
• Jens Lekman: An Argument With Myself (Secretly Canadian) - 8*
• Mekons: Ancient and Modern: 1911-2011 (Bloodshot Records) - 8*
• Kanye West & Jay-Z: Watch the Throne (Def Jam) - 8*

* 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 rather than final reviews.