Saturday, May 28, 2022

Record Roundup: 22 for 22 (Part 1)

There's no single reason why it took me so long to complete my "Best Of 2021" series, just life - in all its stress, strife, wonder, and joy. But all throughout everything that was going on and while I was doing my darnedest to put some shape to the music of last year, I was listening - passionately - to music from this year. And there has been plenty of brilliant stuff, more than enough to fill a dozen roundups. In order to keep myself (and you) from getting overwhelmed, I'm starting off with 22 albums across all genres, split in two parts. Future posts will drill down further into each genre. 

Find songs from most of these albums (some are only on Bandcamp) and follow along with my 2022 listening in these playlists:


Laura Cocks - Field Anatomies It's only fitting that an album of "blisteringly physical works for flutes" comes in an exquisite package, hand-collaged with dried flowers and decorated with beeswax. The beauteous outside, however, belies the often fierce sounds inside, as Cocks (known for their work with the ever-questing Tak Ensemble), goes toe to toe with some very extreme conceptions of what can be done with a flute, breath, the body, electronics - and some even less expected sources of sound. Bethany Younge's Oxygen And Reality, for example, was composed for piccolo, electronics, balloons, and hardware, and includes at least as much rhythmic breathing as anything else. It also features Cocks in seeming conversation with theirself, as half-heard spoken sentences cross the soundscape. That's the second track; the first is David Bird's Atolls for solo piccolo and 29 spatialized piccolos, which kicks things off with what sounds like someone taking oxygen from the flute before eventually exploding in dazzling swirls of gleaming sound. 

Jessie Cox, whose work was recently heard on the excellent Wavefield Ensemble album Concrete And Void, contributes Spiritus for solo flute, which alternates meditative tones with busy flurries of melody. "Contributes" is the wrong word, however, as the collaboration between composer and performer is as deep as it gets on Field Anatomies, beautifully detailed in the conversations on episode 22 of the Tak Editions podcast. The two other pieces are You'll See Me Return To The City Of Fury for glissando flute and electronics by DM R (Diana Marcela Rodriguez), both jarring and space-age sleek, and Produktionsmittel I for amplified flute, aluminum foil, glass bottle, and fixed media by Joan Arnau Pàmies, frantic and animalistic even when its just the sound of crinkling foil. All of these works are fully formed and as rewarding as they are demanding. Field Anatomies is a remarkable piece of art, which will cause emotion and inspiration to sprout faster than the packet of seeds that comes with the special edition CD.  Act fast, in any case: only five copies remain.

Weston Olencki - Old Time Music The Tak Editions podcast also gave me the opportunity to focus on the mind of Olencki, which was perfect (though not required) prep for their music, as represented by this monster of a tape from Tripticks. The three works here astound in their invention, conceptual gravitas, and sheer listenability. Wittily titled Tenor Madness, the opener puts sax player Anna Webber through more changes than a dozen fake books as she interacts with some very messed up electronics derived from  short extracts of over 300 albums spanning recordings of the (improvising) tenor saxophone from 1939 to the present. And that should give YOU an idea of how Olencki's mind works! A Vine That Grew Over The City And No One Noticed is a four-part work for "two electro-mechanically controlled banjos, homemade magnetic resonators, solenoid motors, AM radio transmitters, vintage transistor and tube radios, railroad spikes, mason jars, carriage bolts, South Carolina red clay distortion unit, 60Hz ground hum, field recordings, and neural net re-synthesis of seminal old-time repertoire and Markov-driven Scruggs-style banjo picking." I swear I hear a snippet of John Lennon's Well Well Well in there, too...but for all that it's compulsively listenable, a drone that sounds as old as Appalachia and as new as the Boeing Starliner that just connected to the International Space Station. The last piece, Charon Guiding The Weary 'Cross The Long River (Or, How To Care For A Dying Instrument), is comprised of a similarly baffling array of source material, including "hydrophonic recordings made of the Connecticut River transduced through found slate roofing tiles," and would probably give the titular hell-bound oarsman a chill up his demonic spine.  Kudos to Olencki for putting as much thought into how the end products sound as he did into making them. Drastically original and staggering stuff.

Christopher Trapani - Horizontal Drift On the title track of Trapani's latest portrait album, Dan Lippel plays a quarter-tone guitar through software of the composer's own design called LoopSculptor. The piece incorporates tropes from Delta blues and other genres native to Trapani's hometown of New Orleans, resulting in a 10-minute trip through museum of hazy half-memories. The title seems to do double duty, referring both to American expansion and the interactions of various loops across the software's grid layout. The unusual instrument, the engineer's approach to sound, and the emotionally resonant results are paradigmatic of the whole album, which opens with Targul, a piece for vioara cu goarna, a horn-enhanced instrument similar to a Stroh violin. Played with seemingly casual mastery by Maximilian Haft, the sound is not unlike a gramophone, with a sharp, tinny edge that blends perfectly with the sketchy, truncated phrases of the music. Haft also finds himself in a sort of duet/competition with electronics played through megaphones, adding immersive depth to the attenuated sounds. Trapani also puts new-music piano maven Marilyn Nonken through her paces in Lost Time Triptych, a piece for scordatura-tuned instrument that manages to be inspired by both Gerard Grisey and Bob Dylan. The other works, including Linear A, for microtonal clarinet (Amy Advocat) and electronics, Forty-Nine, Forty-Nine, for a MIDI-controlled equal-tempered Fokker organ, and Tesserae, for viola d’amore (Marco Fusi) grab the attention as well. Trapani continues to prove himself to be smart, playful, and fearless explorer on this triumphant collection.

Pathos Trio - When Dark Sounds Collide The first thing that struck me upon listening to this was how richly it was recorded, with the percussion of  Felix Reyes and Marcelina Suchocka fairly leaping out of my speakers and taking up space in my living room like blow-up furniture. The piece, Evan Chapman's Fiction Of Light, begins with Alan Hankers delicate (and delicately enhanced) piano, which only gives the drums more presence. Two-thirds of the way in, things get glitchy and pulsating and we're in the realm of a Radiohead remix. The group's versatility is further proven by Alison Yun-Fei Jiang's Prayer Variations, which includes some very subtle work from Reyes and Suchocka, letting Hankers takes center stage, before they drop the "boom." It's a dynamic and satisfying piece, as are works by Alyssa Weinberg and Finola Merivale. Hankers' own Distance Between Places ends the album on a brooding note. Each work was commissioned by Pathos and has an accompanying video by Four/Ten Media (Chapman is a co-founder), lending even more of a sense of occasion to this excellent debut.

Eric Nathan - Missing Words I got a great sense of kissenkühlelabsal from Whitacre Hill's horn in the first part of Missing Words, performed by the Boston Modern Orchestra Project. And in case you think I've lost my mind, "kissenkühlelabsal" is a word Ben Schott invented to describe "the ineffable pleasure and instant relief of a cool pillow." Every movement of this six-part work is in fact based on one of Schott's words from his Schottenfreude project, which turns into a great excuse for Nathan to produce reams of chamber music, from sparkling to introspective, and have it performed to a fare-thee-well by BMOP, the American Brass Quintet, cellist Parry Karp and pianist Christopher Karp, the International Contemporary Ensemble, the Neave Trio, and Hub New Music. Whether you know the words or not, this is a delight to listen to, although it did require some fingerspitzentanz ("tiny triumphs of nimble-fingered dexterity") to get the booklet out of the CD package so I could read the liner notes!


Carlos Nino & Friends - Live At Commend, NYC For some reason it took me years to find out that the innovative label RVNG had a performance space and store in lower Manhattan. Now sadly on hiatus, at least I got to spend one blissful night in that jewel-box of artistry back in 2019, listening to sets by Phong Tran and Adam Cuthbért. But I wasn't there on November 16, 2021, when Nino assembled this crack lineup to make peaceful, yet intricately textured music. Adding to Nino's bells, chimes, and percussion were the great Laraaji (electric kalimba, vocals, and iPad), Surya Botofasina (keyboards), Photay (Buchla, 808, and electronic drums), and Will Logan (drum set). That should give you an idea of the sound dimension you can enter when you press "Play" - and I hope you do.

The Living Earth Show and Danny Clay - Music For Hard Times Composed/organized by Clay as "calming strategies" for musicians stuck at home, these 15 gentle, twinkling tracks find Living Earthers Andy Meyerson (percussion) and Travis Andrews (guitar) and, in Book Two, a cast of dozens including the San Francisco Girls’ Chorus and students from the San Francisco Conservatory (who sent in tracks via Dropbox) finding their way towards the light. Let it shine on you.

Debit - The Long Count Just in case your existential dread has been too well alleviated by the sweet sounds above, here comes Delia Beatriz using machine learning to process the "ancestral technology" of Mayan wind instruments, creating a disquieting dreamscape that pays homage to a culture that has not so much been forgotten but "purposefully erased." Whether the Mayans would find anything to recognize in these sounds is unknown, but I think they would appreciate the effort - and we can enjoy the spare, spectral beauty either way.

Hip Hop & RnB

FKA Twigs - Caprisongs As someone who has championed Twigs since before she was FKA but was disappointed in both her long-form releases (LP1 and Magdelene), this album - she calls it a mixtape - is a balm to my ears. While still on the leading edge of electronic RnB, there's a sense of play and lightness on these 17 tracks that's a far cry from the overly considered work on those earlier releases. Whether it's the presence of new collaborators like producer El Guincho, who worked on most of the album, or just the fact that she considered it a mixtape rather than an album allowed her to fly more freely. A breezy, but deeply creative, caprice.

Pusha T - It's Almost Dry Four years after the perfection of Daytona (my #3 album of 2018), "cocaine's Dr. Seuss" is back with his fourth album, collaborating almost equally with his two greatest partners, Pharrell Williams and Kanye West - and nearly hits those same heights. The album starts with three knockouts, the first two produced by Williams and the third by West. Brambleton opens the album with a door-knock snare drum and spooky keyboards as Pusha details his sense of betrayal after his former manager claimed credit for his stories. Let The Smokers Shine The Coupes deals out a deeply funky groove as Pusha once again finds new ways to be the king of coke rap, saying "If kilograms is the groove/I done sold the golden goose." 

Then, in a masterstroke only West could come up with (and that Pusha T begged for), Dreaming Of The Past drops the hammer with a slightly sped-up sample of Donny Hathaway's take on John Lennon's Jealous Guy. The ice-cold vibe warms right up as Pusha practically duets with Hathaway while reminiscing about the good old days when "We hollowed the walls in back of bodegas" and "Gun stutter, make the drumline like Grambling." Even as he relitigates his old life, he's self-aware enough to point out that he "Didn't have to reinvent the wheel, just a better design." But even so he tries out some new things, like the way he floats his voice over Williams' nagging groove on Call My Bluff. The final track, Pray For You, combines old and new as Pusha T takes a "side step back into the duo/The kings of the Pyrex," by having his brother Malice (aka No Malice) join him on the song. Over a churchy track by producer/singer Labrinth that flashes back to Prayer, which opened Clipse's unreleased debut album (finally available!), Malice brings the heat like the old days, which has me both dreaming of the past and eager for the future.

Kendrick Lamar - Mr. Morale & The Big Steppers In one of the instantly busy hot-take threads that popped up when this eagerly awaited album dropped - Lamar's fifth and first since the Pulitzer prize-winning Damn in 2017 - a friend of a friend said, "I like the rapping but I wish the music was more hip hop." This reminded me of another exchange where someone asked if Revolution #9 was a Beatles song. My response was that, while it's an unwieldy sound collage, it is a Beatles song by virtue of being on a Beatles album. Mr. Morale comes from a similarly imperial view: it's all hip hop because Lamar is a hip hop artist, and one of such creativity and stature that he can bend whole genres to his will. To be clear, there are sonic references to reggae, jazz, r&b, and, of course, many sub-genres of hip hop - but like iron filings on a magnet, they all adhere to Lamar's wiry form, moving the genre along rather than leaving it behind. 

Lyrically, Lamar is on another plane than most rappers, dishing out a memoir's worth of tangled reflections, observations, stories, and histories. The dense firehose of words is often challenging to sort through and revealing enough to occasionally cross into "TMI" territory. But as Lamar himself says on Worldwide Steppers: "I am not for the faint of heart." He then continues with a few lines that give a hint of the micro and macro concerns of the album: "My genetic build can build multi-universes, the man of God/Playin' "Baby Shark" with my daughter/Watchin' for sharks outside at the same time/Life as a protective father, I'd kill for her." The cover depicts him with a child in his arms, a crown of thorns on his head, and a gun in his waistband, all signifiers for the world's weight, which he feels heavily on his shoulders. In Mother I Sober, which features featherweight vocals from Portishead's Beth Gibbons, Lamar remarks, "I'm sensitive, I feel everything, I feel everybody/One man standin' on two words, heal everybody." That sense of responsibility may have led him to overstuff the album, which runs an hour and 13 minutes. But Lamar is a visionary artist and incapable of being less than fascinating at this point in his career. It's still early days for my relationship with Mr. Morale - for all I know a song that now feels half-baked might prove to be a favorite in a few months. An essential listen.

Next time: Latin, rock, folk, pop, etc. 

Sunday, May 08, 2022

Best Of 2021: Out Of The Past

According to a report in Music Business Worldwide from January 2022, consumption of "catalog" music (i.e. stuff older than 18 months) is not only the majority of listening overall, but actually increased  between 2020 and 2021. They speculate that some of this might be due to older listeners flocking to streaming services during COVID and staying in their comfort zone when they get there. As someone who is constantly in a state of near-overwhelm trying to keep up with new releases (and filter the best stuff to you), I get it! But, perhaps ironically, my consumption of reissues was lower than usual in 2021, which makes it easier for me to create a more concise list of what rose to the top. So here are a mere dozen of the best releases from out of the past. Two of them you'll have to find on vinyl, but you can listen to tracks from the others here or in the playlist below. 


Bob Dylan - Springtime In New York: The Bootleg Series, Vol. 16 / 1980-1985 Just in case you think I’m a total Dylan Stan, take note that not only didn’t I buy the last two volumes in this series (More Blood, More Tracks and Travelin’ Thru), I didn’t even review them. I listened, of course, and found them wanting. It could be that I was just still rushing on that run from Volume 13: Trouble No More, which was my 2017 reissue of the year. That ecstatic sound continues almost unbroken on the first two discs here, which bring to light the sessions that led to Shot Of Love, revealing that what became a good album could have been a great one. With the same core band that made Saved and toured that album and Slow Train Coming (most notably Fred Tackett (guitar), Tim Drummond (bass), Jim Keltner (drums) and backup singers Clydie King, Carolyn Dennis, and Regina McCrary), these recordings find a well-oiled machine able to respond to Dylan's every wish and whim with passion and professionalism. This leads to jaw-dropping moments like Price Of Love and Borrowed Time, where Dylan makes up songs as he goes along, the band follows, and you nearly get a master take - if he had bothered to record them again, they might have become classics. Dylan also assays a number of covers, dispatching classics like I Wish It Would Rain and Fever with casual mastery. He even has a run at Sweet Caroline, investing that crappy song with more feeling and depth than Neil Diamond possesses on his best days.

Discs three and four jump ahead to the making of Infidels, it's ultra-clean digital soundscape a world away from the road-hardened greasiness of the earlier material. But a band with Mark Knopfler, Mick Taylor, and Sly & Robbie (guitars, bass, and drums respectively) is incapable of doing wrong, even when the songs go awry, like Julius And Ethel, a tuneless and tone-deaf tribute to the Rosenbergs. But most of it is magic, especially the spine-tingling full-band version of Blind Willie McTell, recorded on the first day of the sessions. Singers, songwriters, and musicians might be ready to sell part of their souls to be involved with something like that. For Dylan, it was just another day at the office. There are other revelations here, including great versions of Foot Of Pride, Lord Protect My Child, and a storming live take on Enough Is Enough, a song that never made it into the studio. The only complaint I have about this phenomenal set is that the compilers didn't include all three songs Dylan played with The Plugz on Late Night With David Letterman in March 1984. But that's a minor quibble about a major achievement.


Lee Morgan - The Complete Live At The Lighthouse I know, I know, there was that great John Coltrane discovery last year, which was certainly a more than worthy document that needed to come out. But this Lee Morgan material is so furiously, gloriously, compelling and alive that I just keep coming back to it. My relationship to the original Live At The Lighthouse double album started over 30 years ago with some very personal crate digging: in my brother's collection. I was looking for anything early 70s that rode the line of fusion, progressive jazz, spiritual jazz, what have you. I was partly on a mission for Mike D., who was in constant need of new grooves to mine for the Beastie Boys. So anything of interest I would tape twice and send him a copy. While I'm not sure what he thought of LATL, I became obsessed, listening to the tape on repeat. Auto-reverse was definitely employed. I could not get enough of each long, luxurious track, with sparkling interplay between Morgan's fluttering and soaring trumpet and his genius band of Bennie Maupin (sax/flute/bass clarinet), Harold Mabern (piano), Jymie Meritt (bass), and Mickey Roker (drums). All of the compositions were new and had great introductory sections and chord changes that inspired the best from everyone. The music was much knottier and explosive than the soul jazz Morgan was known for, approaching free jazz at times, such as the oozing majesty of Maupin on  Neophilia. I even got hooked on Morgan's laconic introductions: "This is one composed by Harold Mabern...very bright, busy, and the title is The Beehive." 

I never spotted that album in the wild but one day in 1997, I was walking past Academy Records and did a double-take: there in the window was a three-CD set of Live At The Lighthouse. I did a U-turn, walked in, and snapped it up. I was in pig heaven with that thing, which had more songs than the original four, all of which were as good as the ones I had been listening to for years. But it quickly became clear that Blue Note had used different takes at times; intricate solos that I knew as well as my own soul were different - as was the intro to The Beehive. But it was only slightly frustrating as the music was so fantastic, especially the Latin-tinged and exquisitely melancholy I Remember Britt. But now, finally, we have it all, 12 sets of music recorded over three days - over seven and a half hours of music, and not a half-hearted note to be heard. Sometimes I dive in and listen to an individual set, or swap through different recordings of the same song, never tiring of any of the variations. I have even worked eight-hour day listening to nothing else and been a happy man, cursing only the interruptions of meetings and phone calls! - thank you, Blue Note. Thank you, Lee Morgan.


Sonny Greenwich - Sun Song I'm fairly convinced that there is no better fan community than that of the Beastie Boys. The most recent "Exhibit A" being that of Fred Heff, someone I met online through that world who has now turned me on to the extraordinary, Montreal-based reissue label Return To Analog by sending me a stack of recent releases. All of them were distinguished by masterful pressings, gorgeous remastering, and quality design and packaging. These are the kind of LPs you invite people over to listen to and this 1974 album by Canadian guitarist Greenwich may have been the best of the lot, a dose of spiritual jazz that really delivers on the promise of the genre. Greenwich's questing single-string solos, played with a fat tone just this side of distortion, are perfectly accompanied by the warm pool of sound created by Don Thompson (piano), Rick Homme (bass), Terry Clarke (drums) and Clayton Johnson (percussion). I fell in love at first listen and now give the album pride of place alongside things like In A Silent Way by Miles Davis and Journey to Satchidananda by Alice Coltrane. You'll likely never find an original copy - and this one probably sounds better - so consider this a public service from Return To Analog.

Nico - Drama Of Exile Long out of print and still absent from streaming services, Nico's penultimate album gets a much-needed reissue from Modern Harmonic. Don't kick yourself for missing the translucent red and black marble limited edition, just get the black vinyl and be happy you can listen to Nico's brilliant entry into post-punk. Angular guitars, pumping bass and drums, icy keyboards, and occasional sax create perfect frames for her songs, which are typically dark, but more melodic than some of her other stuff. She also covers I'm Waiting For The Man and Heroes, attacking both with iconoclastic energy, as if she actually could better the originals - the fact that she gets as close as she does is a minor miracle. 


Carroll Thompson - Hopelessly In Love (40th Anniversary Expanded Edition) Available on vinyl for the first time since its release in 1981, this reissue throws a spotlight on one of the greatest lovers rock albums of all time. In fact, the whole genre, a romantic, British-born offshoot of reggae, could be explained by Thompson's sweet voice floating over these languid grooves, which have just a touch of the burgeoning sound of digital dancehall. The expanded version adds material from various 12" singles, including Make It With You, a divine duet with Sugar Minott from 1983. If you're unfamiliar with Thompson or lovers rock, press play and fall hopelessly in love.

Various Artists - Different Fashion: High Note Dancehall, 1979-1981 This collection of 33 early dancehall 12-inches (11 released here for the first time) came out last December, when barbecue season seemed but a dream or a half-forgotten memory. Now, the time to fire up the grill is here, and this expert overview of Sonia Pottinger's High Note singles is here for you to provide the perfect soundtrack. Featuring some familiar names, like Ansel Collins and Marcia Griffiths, and many that are less so - Zara, Tony Tuff, Lee Van Cleef, Sonya Spence, etc. - singing over killer cuts by The Revolutionaries, Roots Radics, and others, this is a nonstop groove-a-thon. After all, who wants to keep picking the music, when there's BBQ to tend to?

Bob Marley & The Wailers - The Capitol Sessions '73 After being removed from their opening slot on a tour with Sly & The Family Stone - for being too good - BMW made use of their time on the west coast by booking an in-studio set, which was recorded and filmed in front of a small and extremely lucky audience. Finally coming to light (at least officially), it's another precious - and smoking hot - document of the band just on the cusp of Peter Tosh's departure. Bunny Wailer was already home in Jamaica, having found that life on the road was not for him. As on Talkin' Blues, the 1991 collection which included material recorded a week later at The Record Plant, Joe Higgs sits in for Bunny Wailer and sounds great, although Marley and Tosh are front and center. But perhaps the true stars are the Barrett brothers, Aston and Carlton, whose bass and drums provide a ceaselessly inventive and intricately funky foundation for everything that transpires. 


The Beatles - Let It Be (Super Deluxe) Everything you need to know about this forensic and deeply moving document of the Beatles semi-last album (and the accompanying Get Back documentary) can be found here. Where will the Fab Four reissue train stop next? 


Ike & Tina Turner - The Bolic Sound Sessions This collection of alternate takes, previously unreleased songs, and live material from the closing years of Ike & Tina's musical and personal partnership, is a pointed reminder of the musical alchemy they created together. Ike named their studio Bolic Sound in tribute to Tina's maiden name, Bullock, and perhaps also to her hyperbolic power as a singer and performer. While there are a few unnecessary moments (there was no need to remake their versions of River Deep-Mountain High or Proud Mary), much of this is furiously funky or hypnotically bluesy stuff. The backings show Ike's skill as an arranger as they manage to meet Tina's unholy power without ever pushing her to the background. There is no debate that Ike was an often reprehensible person, but we likely would never have had Tina as we knew her without him.

Leslie Winer - When I Hit You - You'll Feel It This is one of those axis-correcting collections, detailing the last 30 years of a unique career by an artist last compiled a decade ago. A literal black-market baby, Winer carved her own path from the beginning, turning a provocative way with words and her intense appearance into friendships with William S. Burroughs and Jean-Michel Basquiat - and a notable modeling career. As the 80s came to a close, she began recording, completing Witch, her first album, in 1990. While it was ahead of its time in its combination of spoken word, samples, programmed drums, and dubbed-out bass, Witch was delayed for three years and subsumed on release by music Winer had anticipated, like Portishead and Massive Attack. But Winer was probably never going to fill stadiums or soundtrack your local Starbucks; she's just a little too edgy for that. But her commitment and strength of personality (or even personhood) shine through every fascinating track here. Naturally, Light In The Attic do a wonderful job with the packaging, so you might want to track down the vinyl - Popmarket has it for a reasonable price. 

Perrofláuta - s/t First digital release for the 1998 debut by this Spanish band, which featured Gecko Turner alongside Markos Bayón and C´sar Inn. Five years before Gecko's epochal Guapapasea!, you can hear his blissful blend of south-of-the-equator sounds in nascent form. As we approach the eighth year without a new record from him (save for a compilation), this is doing a nice job of filling in the gaps.

Hailu Mergia & The Walias Band - Tezeta Awesome Tapes From Africa once again live up to their name with this reissue of an album originally released on cassette in 1975. All instrumental, it features those wonderfully watery Ethiopian harmonies at full strength, led on by Mergia's fanciful organ playing, which is supported by mesmerizingly mellow rhythm tracks and beautiful horns. Though expertly remastered, there's still a trace of evocative murkiness - and if you want to amplify that you can buy it on cassette!

For more reissues and excavations from 2021, dig into this playlist, and keep up with with what 2022 brings to light here

You may also enjoy: 
Best Of 2020: Out Of The Past
Best Of 2019: Out Of The Past
Best Of 2018: Out Of The Past
Best Of 2017: Out Of The Past
Best Of 2016: Reissues
Best Of The Rest Of 12: Out Of The Past