Blunt notes from casual CD listening -- reactions, not reviews
On Saturday, while making chopped liver for a dinner party and emptying a bookcase in need of repair, I listened to and commented on Facebook about 14 cds from the stacks of dozens of albums that have arrived since the first of the year seeking my review. I chose what I heard almost at random, pulling discs from the tops of piles, and rather than pre-selecting artists in whom I have established interests and prior knowledge, I mostly checked out people and groups I hadn't encountered before (I acknowledge a couple exceptions). I employed this standard for rating the cds, allowing no half-points into the process:
5 -- great, everybody ought to hear it
4 -- really, really good or peculiarly interesting, recommended to aficionados
3 -- good, not bad at all, good, maybe even very good (no half-points!)
2 -- ok, but maybe flawed, commonplace or I don't get it
1 -- stay away, waste of time, who cares but the artist's mom?
Years ago when I was reviewing recordings regularly for such publications as Down Beat, The Chicago Daily News, Illinois Entertainer, the Village Voice, Music & Sound Output, Audio and Jazziz, I would listen closely and many, many times while writing, trying to get far into the music so as to do justice to efforts artists had put enormous personal energy into. The comments that follow are based on much less attentiveness than that; my judgements were hasty and my notes are blunt. But from my experience working as a teenager in Chicago's Jazz Record Mart, hanging around various public radio stations over four decades and having informal listening sessions with friends and colleagues, this casual way of encountering new releases is more typical than concentration and immersion. So for what it's worth, I'm posting what I wrote for my Facebook "friends" for my blog readers to see, too. Take what follows as reactions and responses, rather than reviews.
In the order I put them on, with the intention of listening 'til I felt I understood what was being offered. I am not posting links to each of them, but assume most can be ordered, if you're interested, through Amazon.com.
Subscribe by Email
Subscribe by RSS
All JBJ posts
Ancient Future -- Planet Passion -- 2 (ok introduction to worthy genre, popularization of world music styles and soloists within easy-listening context)
Fareed Haque + The Flat Earth Ensememble -- Flat Planet -- 4 (sharp, sometimes raucous Chicago electric guitarist, fusionist South Asian background, tendencies, rhythms, collaborators; includes three-movement suite)
Fat Cat Big Band -- Meditations on the War for Whose Great God is the Most High You are God -- 3 (modestly original melodies but nice charts and admirably loose swing from Mingusesque youngish New York Village hangout 11-tet ed by guitarist Jade Synstelien; don't fear the title, there's also a tune called "F*ck the Man (Please Vote)")
Aki Takase/Rudi Mahall -- Evergreen -- 4 (wacky chamber jazz as spiky pianist and masterful bass clarinetist stretch but don't break "Mood Indigo," "Tea for Two," "It's Only A Paper Moon" and other old favorites, akin to Steve Lacy w/Misha Mengleberg; quite well recorded in Berlin)
Marc Courtney Johnson -- Dream of Sunny Days -- 3 (debut of a Chicago neighborhood-kinda singer inspired by Kurt Elling and similarly interested in startling re-evaluation of crooners' possibilities, working towards his own image/sound/style. Various settings include pianist Dan Cray's trio, horns and strings; repertoire from standards ("I Wish You Love," "Old Devil Moon") to original "Brand New Day" based on Coltrane and Obama).
Sound Assembly -- Edge of the Mind -- 3 (fancy writing/angular orchestrations by NYC co-leaders David Schumacher and JC Sanford reminiscent of Michael Mantler's for the Jazz Composers Association but less extreme and Jim McNeely's for the Village Vanguard Jazz Orchestra; new music elements worked with improvising soloists; John Hollenbeck drums, Andrew Green on breakthrough guitar, Kate McGarry sings one song; impressive and/or pretentious?).
Submerged -- Violence as First Nature -- 4 (for brash originality: unruly urban ugly electronic mixes, analog & digital sources plus slamming beat, processed vocals, stretched rubber explosions, white noise and dark slurs, the usual; disc 2 makes further hash of it all, opposite of easy listening).
Ramana Vieria & Ensemble -- Tears of a Queen -- 2 (She sings fado dramatically, in Portuguese, with precision accompaniment, all crisp, expressive, professional. Not my thing for more than a couple of tunes).
Nels Cline -- Coward -- 3 (Unapologetic distortion from gizmos and post-folkie guitar/autoharp, sometimes both together, by the Wilco member and longtime West Coast avant-gardist who favors Andrew Hill. Self-produced in his home studio. Is it indulgent? Well, there's a six part Onan Suite. . . )
Fareed Haque + The Flat Earth Ensememble -- Flat Planet -- 4 (sharp, sometimes raucous Chicago electric guitarist, fusionist South Asian background, tendencies, rhythms, collaborators; includes three-movement suite)
Fat Cat Big Band -- Meditations on the War for Whose Great God is the Most High You are God -- 3 (modestly original melodies but nice charts and admirably loose swing from Mingusesque youngish New York Village hangout 11-tet ed by guitarist Jade Synstelien; don't fear the title, there's also a tune called "F*ck the Man (Please Vote)")
Aki Takase/Rudi Mahall -- Evergreen -- 4 (wacky chamber jazz as spiky pianist and masterful bass clarinetist stretch but don't break "Mood Indigo," "Tea for Two," "It's Only A Paper Moon" and other old favorites, akin to Steve Lacy w/Misha Mengleberg; quite well recorded in Berlin)
Marc Courtney Johnson -- Dream of Sunny Days -- 3 (debut of a Chicago neighborhood-kinda singer inspired by Kurt Elling and similarly interested in startling re-evaluation of crooners' possibilities, working towards his own image/sound/style. Various settings include pianist Dan Cray's trio, horns and strings; repertoire from standards ("I Wish You Love," "Old Devil Moon") to original "Brand New Day" based on Coltrane and Obama).
Sound Assembly -- Edge of the Mind -- 3 (fancy writing/angular orchestrations by NYC co-leaders David Schumacher and JC Sanford reminiscent of Michael Mantler's for the Jazz Composers Association but less extreme and Jim McNeely's for the Village Vanguard Jazz Orchestra; new music elements worked with improvising soloists; John Hollenbeck drums, Andrew Green on breakthrough guitar, Kate McGarry sings one song; impressive and/or pretentious?).
Submerged -- Violence as First Nature -- 4 (for brash originality: unruly urban ugly electronic mixes, analog & digital sources plus slamming beat, processed vocals, stretched rubber explosions, white noise and dark slurs, the usual; disc 2 makes further hash of it all, opposite of easy listening).
Ramana Vieria & Ensemble -- Tears of a Queen -- 2 (She sings fado dramatically, in Portuguese, with precision accompaniment, all crisp, expressive, professional. Not my thing for more than a couple of tunes).
Nels Cline -- Coward -- 3 (Unapologetic distortion from gizmos and post-folkie guitar/autoharp, sometimes both together, by the Wilco member and longtime West Coast avant-gardist who favors Andrew Hill. Self-produced in his home studio. Is it indulgent? Well, there's a six part Onan Suite. . . )
Denny Zeitlin Trio -- In Concert -- 3 (Zeitlin's maturely buoyant and brilliant pianism expanding on the jazz tradition of virtuosity out of Art Tatum, past Bill Evans and Don Friedman, stopping just short of '60s esthetic innovations (Hancock, Hill, Tyner, Corea, Jarrett) or radicalism (Cecil Taylor, who else?) but with elegance and fresh surprises anyway, fast-fingered bass by Buster Williams and perfect rhythmic touches from Matt Wilson.)
Will Sellenraad -- Balance -- 2 (Wake up you guys! Drummer Victor Lewis is one of the finest with straight hardbop momentum but the material all by guitarist Sellenraad and bassist Kiyoshi Kitagawa is undistinguished, the guitar esthetic/approach/sound/attack is understated though complicated, saxophonist Abraham Burton not overly inspired, nor am I to keep listening, though they've got it together, it's not just *lame* . . . )
Alex Heitlinger -- the daily life of uncle roger -- 3 (Heitlinger is a trombonist who's written moody material for trumpet & clarinet/alto sax to join him in the frontline, piano or Fender Rhodes, bass and drums. Maybe Uncle Roger has a farm and is threatened by changing circumstances; reminiscence, regret, determination, defiance, reluctant acceptance, self-assertion seem to come up, but the title track finds wry bounce in the cyclical nature of 'most everything. The good playing, sudden shiftsRak and not over-politeness by the entire company might grow on me).
Rakalam Bob Moses -- Father's Day B'Hash -- 2 (From the freedoms that veteran drummer Moses encourages in his band mostly comprising students from New England Conservatory, you can tell he's a true-believer in the art and universalism of intuitively improvised music. But 17 minutes into it I'm waiting for a theme to emerge from the twittering, for ideas to take hold and move. Here's Moses playing frenetic piano with a cymbal or tambourine clattering -- inside the well? -- and horns massed a la Ayler et al on New York Eye and Ear Control. Elsewhere, massed dissonant tutti. The solo "Drums for Shompa Lodro," Moses' father aka Richard Moses, is happening. . . Not sure I'll return to this, however attractive the cover and transparent the engineering. I've given it a good chance.)
Flow Trio -- Rejuvenation -- 3 (it's a lot easier to get into an improvisational ensemble's stream of consciousness when there are three well-attuned players than nine, as in Moses' recording. Tenor saxophonist Louie Belogenis goes deep into himself and far to the edge with his horn; Morris is not as good a bassist as guitarist, but serves the function, and Charles Downs simmers on drums. The music's discordant but nonetheless comforting, companionable. Thanks for that.)
I'll try this again sometime -- or is it too dismisive a way of "reviewing" cds?
Will Sellenraad -- Balance -- 2 (Wake up you guys! Drummer Victor Lewis is one of the finest with straight hardbop momentum but the material all by guitarist Sellenraad and bassist Kiyoshi Kitagawa is undistinguished, the guitar esthetic/approach/sound/at
Alex Heitlinger -- the daily life of uncle roger -- 3 (Heitlinger is a trombonist who's written moody material for trumpet & clarinet/alto sax to join him in the frontline, piano or Fender Rhodes, bass and drums. Maybe Uncle Roger has a farm and is threatened by changing circumstances; reminiscence, regret, determination, defiance, reluctant acceptance, self-assertion seem to come up, but the title track finds wry bounce in the cyclical nature of 'most everything. The good playing, sudden shiftsRak and not over-politeness by the entire company might grow on me).
Rakalam Bob Moses -- Father's Day B'Hash -- 2 (From the freedoms that veteran drummer Moses encourages in his band mostly comprising students from New England Conservatory, you can tell he's a true-believer in the art and universalism of intuitively improvised music. But 17 minutes into it I'm waiting for a theme to emerge from the twittering, for ideas to take hold and move. Here's Moses playing frenetic piano with a cymbal or tambourine clattering -- inside the well? -- and horns massed a la Ayler et al on New York Eye and Ear Control. Elsewhere, massed dissonant tutti. The solo "Drums for Shompa Lodro," Moses' father aka Richard Moses, is happening. . . Not sure I'll return to this, however attractive the cover and transparent the engineering. I've given it a good chance.)
Flow Trio -- Rejuvenation -- 3 (it's a lot easier to get into an improvisational ensemble's stream of consciousness when there are three well-attuned players than nine, as in Moses' recording. Tenor saxophonist Louie Belogenis goes deep into himself and far to the edge with his horn; Morris is not as good a bassist as guitarist, but serves the function, and Charles Downs simmers on drums. The music's discordant but nonetheless comforting, companionable. Thanks for that.)
I'll try this again sometime -- or is it too dismisive a way of "reviewing" cds?
Subscribe by RSS
All JBJ posts
Categories:
About
Jazz Beyond Jazz
Miles Ornette Cecil: Jazz Beyond Jazz
more
Howard Mandel
I'm a Chicago-born and New York-based writer, editor, author, arts producer for National Public Radio -- for more than 30 years, a freelance arts journalist
working on newspapers, magazines and websites, appearing on tv and radio, teaching at New York University and elsewhere. I'm president of the Jazz Journalists Association. more
Contact me Click here to send me an email... more
What if there's more to jazz than you suppose? What if jazz demolishes suppositions and breaks all bounds? What if jazz - and the jazz beyond, behind, under and around jazz - could enrich your life?
moreMiles Ornette Cecil: Jazz Beyond Jazz
I'll be speaking:
![]()
I'm on Facebook
![]()
Follow Jazz Beyond Jazz on Twitter
more
Howard Mandel
I'm a Chicago-born and New York-based writer, editor, author, arts producer for National Public Radio -- for more than 30 years, a freelance arts journalist
working on newspapers, magazines and websites, appearing on tv and radio, teaching at New York University and elsewhere. I'm president of the Jazz Journalists Association. moreContact me Click here to send me an email... more
Blogroll
Jazz Beyond Jazz
Jazz Journalists Association's Jazzhouse
Thelonius Monk Institute of Jazz
James Hale's Jazz Chronicles
The Bad Plus' Do The Math
Larry Blumenfeld's Listen Good
Fred Kaplan's Jazz Messenger
Doug Ramsey's Riffides
Hank Shteamer's Dark Forces Swing Blind Punches
Michael J. West's Pop Musicology
Tim Posgate's Canadian 'jazzlife'
David R. Adler's Lerterland
Dean Minderman's St. Louis Jazz Notes
Carl Wilson's cross-genre Zoilus
Darcy James Argue's Secret Society
David Ryshpan's Settled in Shipping
Dave Douglas's Greenleaf Music Blog
Pamela's Bebopified
Andrea Cantor's JazzInk
Kazue Yokoi's exblog (in Japanese)
Jazz.com
Bob Lewis' Jazz My Two Cents Worth
Marc Myers' Jazzwax
Bruno Leicht's Subjective Jazz Views
JazzCorner
AllAboutJazz
CelebStoner
U of Guelph's Improvisation, Community and Social Practice
Jazz Foundation of America
Bret Primack, Jazz Video Guy
Rock & Rap Confidential
Alex W. Rodriguez's Lubricity
Jazz Journalists Association's Jazzhouse
Thelonius Monk Institute of Jazz
James Hale's Jazz Chronicles
The Bad Plus' Do The Math
Larry Blumenfeld's Listen Good
Fred Kaplan's Jazz Messenger
Doug Ramsey's Riffides
Hank Shteamer's Dark Forces Swing Blind Punches
Michael J. West's Pop Musicology
Tim Posgate's Canadian 'jazzlife'
David R. Adler's Lerterland
Dean Minderman's St. Louis Jazz Notes
Carl Wilson's cross-genre Zoilus
Darcy James Argue's Secret Society
David Ryshpan's Settled in Shipping
Dave Douglas's Greenleaf Music Blog
Pamela's Bebopified
Andrea Cantor's JazzInk
Kazue Yokoi's exblog (in Japanese)
Jazz.com
Bob Lewis' Jazz My Two Cents Worth
Marc Myers' Jazzwax
Bruno Leicht's Subjective Jazz Views
JazzCorner
AllAboutJazz
CelebStoner
U of Guelph's Improvisation, Community and Social Practice
Jazz Foundation of America
Bret Primack, Jazz Video Guy
Rock & Rap Confidential
Alex W. Rodriguez's Lubricity
AJ Ads
Introducing
AJ Arts Blog Ads
Now you can reach the most discerning arts blog readers on the internet. Target individual blogs or topics in the ArtsJournal ad network.
Advertise Here
AJ Arts Blog Ads
Now you can reach the most discerning arts blog readers on the internet. Target individual blogs or topics in the ArtsJournal ad network.
Advertise Here
AJ Blogs
AJBlogCentral | rssculture
About Last Night
Terry Teachout on the arts in New York City
Terry Teachout on the arts in New York City
Artful Manager
Andrew Taylor on the business of arts & culture
Andrew Taylor on the business of arts & culture
blog riley
rock culture approximately
rock culture approximately
critical difference
Laura Collins-Hughes on arts, culture and coverage
Laura Collins-Hughes on arts, culture and coverage
Dewey21C
Richard Kessler on arts education
Richard Kessler on arts education
diacritical
Douglas McLennan's blog
Douglas McLennan's blog
Dog Days
Dalouge Smith advocates for the Arts
Dalouge Smith advocates for the Arts
Flyover
Art from the American Outback
Art from the American Outback
Life's a Pitch
For immediate release: the arts are marketable
For immediate release: the arts are marketable
Mind the Gap
No genre is the new genre
No genre is the new genre
Performance Monkey
David Jays on theatre and dance
David Jays on theatre and dance
Plain English
Paul Levy measures the Angles
Paul Levy measures the Angles
Real Clear Arts
Judith H. Dobrzynski on Culture
Judith H. Dobrzynski on Culture
Rockwell Matters
John Rockwell on the arts
John Rockwell on the arts
Straight Up |
Jan Herman - arts, media & culture with 'tude
Jan Herman - arts, media & culture with 'tude
dance
Foot in Mouth
Apollinaire Scherr talks about dance
Apollinaire Scherr talks about dance
Seeing Things
Tobi Tobias on dance et al...
Tobi Tobias on dance et al...
jazz
Jazz Beyond Jazz
Howard Mandel's freelance Urban Improvisation
Howard Mandel's freelance Urban Improvisation
ListenGood
Focus on New Orleans. Jazz and Other Sounds
Focus on New Orleans. Jazz and Other Sounds
Rifftides
Doug Ramsey on Jazz and other matters...
Doug Ramsey on Jazz and other matters...
media
Out There
Jeff Weinstein's Cultural Mixology
Jeff Weinstein's Cultural Mixology
Serious Popcorn
Martha Bayles on Film...
Martha Bayles on Film...
classical music
Creative Destruction
Fresh ideas on building arts communities
Fresh ideas on building arts communities
The Future of Classical Music?
Greg Sandow performs a book-in-progress
Greg Sandow performs a book-in-progress
On the Record
Exploring Orchestras w/ Henry Fogel
Exploring Orchestras w/ Henry Fogel
Overflow
Harvey Sachs on music, and various digressions
Harvey Sachs on music, and various digressions
PianoMorphosis
Bruce Brubaker on all things Piano
Bruce Brubaker on all things Piano
PostClassic
Kyle Gann on music after the fact
Kyle Gann on music after the fact
Sandow
Greg Sandow on the future of Classical Music
Greg Sandow on the future of Classical Music
Slipped Disc
Norman Lebrecht on Shifting Sound Worlds
Norman Lebrecht on Shifting Sound Worlds
publishing
book/daddy
Jerome Weeks on Books
Jerome Weeks on Books
Quick Study
Scott McLemee on books, ideas & trash-culture ephemera
Scott McLemee on books, ideas & trash-culture ephemera
theatre
Drama Queen
Wendy Rosenfield: covering drama, onstage and off
Wendy Rosenfield: covering drama, onstage and off
lies like truth
Chloe Veltman on how culture will save the world
Chloe Veltman on how culture will save the world
visual
Aesthetic Grounds
Public Art, Public Space
Public Art, Public Space
Another Bouncing Ball
Regina Hackett takes her Art To Go
Regina Hackett takes her Art To Go
Artopia
John Perreault's art diary
John Perreault's art diary
CultureGrrl
Lee Rosenbaum's Cultural Commentary
Lee Rosenbaum's Cultural Commentary
Modern Art Notes
Tyler Green's modern & contemporary art blog
Tyler Green's modern & contemporary art blog
6 Comments
Leave a comment