Categories
2020 releases

Support Musicians via Bandcamp on Friday 3/20/20…and beyond

To support musicians during the Covid-19 pandemic, Bandcamp is waiving their revenue share on all sales Friday, March 20, from midnight to midnight PST.

Though certainly not exhaustive, I have assembled a list of some of my favorite recent and forthcoming releases on some of the greatest labels in the world available via Bandcamp. Just click on the label to see all their offerings on Bandcamp and/or click on the album title to see that specific release.  You can use the players on this page to listen.

Musicians are some of the hardest-hit by our new reality, so please consider supporting these and other artists now by loading up if you are able AND by spreading the word about this opportunity.

Don’t forget, you can pay in excess of the asking prices of releases on Bandcamp, making this an optimal way to enact your generosity for all that our favorite musicians do for us.

While you’re at it, ease into the habit of frequenting Bandcamp along with other great music retailers on the regular if you haven’t already!

Music matters friends, so let’s do our best to propagate it in any way we can.

Be safe and be well.

 

GEENLEAF MUSIC

Webber/Morris Big Band “Both Are True

listen here

 

 

INTAKT RECORDS

Tim Berne’s Snakeoil “The Fantastic Mrs 10

listen here

 

 

Aruan Ortiz “Inside Rhythmic Falls

listen here

 

 

Ohad Talmor Newsreel Sextet “Long Forms

listen here

 

 

INTERNATIONAL ANTHEM

Irreversible Entanglements “Who Sent You?

listen here

 

 

NORTHERN SPY RECORDS

Horse Lords “The Common Task

listen here

 

Jerry Cunningham “The Weather Up There

listen here

 

 

ORANGE MILK RECORDS

Nick Storring “My Magic Dreams Have Lost Their Spell

listen here

 

 

OUT OF YOUR HEAD RECORDS

Curt Sydnor “Deep End Shallow

listen here

 

 

NEW FOCUS RECORDINGS / PANORAMIC RECORDS

Ali Can Pushkulcu “Gibberish Shreds

(pre-order, so no preview yet)

 

Hasco Duo “The Same Old Wonder

listen here

 

Luis Ianes “Instrucciones de Uso

listen here

 

 

PI RECORDINGS

Tyshawn Sorey “Unfiltered

(preview at link above)

 

Liberty Ellman “Last Desert

listen here

 

 

PYROCLASTIC RECORDS

Kris Davis “Diatom Ribbons

listen here

 

 

RARE NOISE RECORDS

Bobby Previte, Jamie Saft, and Nels Cline “Music From The Early 21st Century

listen here

 

Giorgi Mikadze “Georgian Microjamz

listen here

 

 

RATTLE RECORDS

Steve Barry and Judy Bailey “Elements

listen here

 

Ferocious “Ferocious

listen here

 

 

CHRIS BROKAW

Chris Brokaw “End of the Night Band Live at the Lost Church

listen here

 

Chris Brokaw “End of the Night

listen here

 

 

FENNESZ

Fennesz “Live at Empty Bottle/Chicago”

listen here

 

Fennesz “Live at Jazz Café

listen here

 

 

OREN AMBARCHI

Oren Ambarchi “Simian Angel

(preview unavailable)

 

 

STEAMROOM RECORDS

Jim O’Rourke “Steamroom 46

listen here

 

 

SOUTHERN LORD

Caspar Brotzmann Massaker “Home

listen here

 

 

SHHPUMA

Bernhard Meyer and John Hollenbeck “Grids

listen here

 

 

BIRDWATCHER RECORDS

Jessica Pavone “Brick and Mortar

listen here

 

 

CHANT RECORDS

Curha “II

listen here

 

Randi Pontoppidan & Christian Rønn ” HEAD¨SPACE

listen here

 

 

EARS & EYES RECORDS

Nuturia “Meeting In Progress

listen here

 

Categories
2019 new releases

Fredrik Nordström, Caspar Brötzmann Massaker, Mick Rossi’s Anti-Matter, Rudy Royston, and Christopher Trapani

Fredrik Nordström – Needs (Clean Feed Records)

Although Swedish saxophonist Fredrik Nordström has gathered a “double quartet” in the Coleman sense of instrumentation (two times sax, trumpet/trombone, bass, and drums, each panned in the stereo field, joining their respective quartet), it would be unwise to expect Ornette-style harmolodics and free improvisation from this group on Needs. In fact, the band presents more as a densely charted and tightly syncopated, well-oiled octet / big band machine than a “double quartet”…but this ain’t your old man’s big band either. Nordström has called Needs “progressive jazz with unquestionable influence of contemporary classical and rock music”, and while that might suffice for a press kit, the music contains too many dimensions to be adequately summarized in a couple handfuls of words.

The fact that this album was recorded in one day reveals the high degree of musicianship with which we are dealing.  As far as Needs personnel goes, Nordström and Fredrik Ljungkvist handle the reeds, Mats Äleklint and Niklas Barnö play trombone and trumpet respectively, Filip Augustson and Torbjörn Zetterberg man double basses, and Christopher Cantillo and Fredrik Rundqvist do the drumming. The two rhythm sections in particular are notable for their anchor-like steadiness, freeing the horns to do what they do best within the parameters set by Nordström’s terrific charts and conduction cues.

Needs is an especially gratifying near-48 minute listening experience, one that could only really be improved upon by witnessing it live. So, what say you Fredrik…any stateside dates soon?

learn more at Clean Feed Records and buy at your local record store or Squidco or Amazon

 

 

Caspar Brötzmann Massaker – The Tribe & Black Axis (Southern Lord)

It was 1993, and there I was, 22 years young and bright-eyed, sprinting across Houston Street after wrapping up my gig at the Knitting Factory with my band Rodan, b-lining towards CBGBs on Bowery, my first time in said establishment and only my second time in the city that never sleeps. All fingers were crossed that I hadn’t missed any of the set of a band I had just been hipped to very recently, Caspar Brötzmann Massaker. I showed my CMJ pass to the door guy and recklessly power-walked through the crowd towards a most menacing sound coming from deep within the room. Then, bam, I ran headfirst into Swans force of nature Michael Gira, who did not flinch or yield, but exited the room. The brief encounter was sobering, no doubt, but significantly less so than what I was about to witness on stage. Massaker were touring on Koskofen, an album I was obsessed with at the time, and one that can only be described as insistent, pummeling brilliance. Suffice it to say that I was completely unprepared for how excellent and world-altering guitarist Brötzmann and his trio with mainstay bassist Eduardo Delgado-Lopez and drummer Danny Arnold Lommen were that night. I tracked down everything I could find by the group, including their first two German import-only records The Tribe and Black Axis.

Forward to 2019 and venerable imprint Southern Lord have re-mastered and reissued Brötzmann’s first two releases so that the uninitiated might experience the origins of one of the most vital groups of the past 30 years. This is absolutely indispensable listening for anyone who pursues music that moves beyond the safety of genre and/or casual listening. Unfair as it might be, to get you in the ballpark, imagine if Hendrix had been angrier and hadn’t been raised on the blues and you’re there. Some of the band’s strongest material is included on these two albums: “The Tribe”, “Tempelhof”, “Massaker”, “Hunter Song”, and “Böhmen”… Coincidentally, this is the track list of 1994’s Home, a greatest hits of sorts, re-recorded with supernatural and ex-Gore skin-mauler Lommen who supplanted Massaker’s two previous drummers Jon and Frank Neumeier.

The release of The Tribe and Black Axis marks phase one of Southern Lord’s Massaker re-issue project, to be concluded at a later date in 2019 with the release of all five Massaker’s albums individually, as well as in a collectable box set with extensive liner notes, etc. Additionally, according to the label, “Caspar is also rumored to be working on brand new material”, so there’s that too. This right here is the good stuff!

learn more at Southern Lord and Southern Lord and buy at your local record store or at bandcamp, bandcamp, Amazon, or Amazon

 

 

Mick Rossi’s Anti-Matter – Live at Barbes (Chant Records)

Perhaps best known for his work with Philip Glass or for backing mega-star Paul Simon, Mick Rossi is a remarkably well-rounded keyboardist / musician by any metric. With his own group Anti-Matter, Rossi cuts loose and takes a hard left turn, producing some of the most exceedingly grooving and expertly executed roof-raising music north of New Orleans.

Alongside Billy Drewes (reeds) Ron Horton (trumpet) Alan Ferber (trombone) Michael Sarin (drums), Michael Bates (bass), Rossi has hit upon the perfect combination of accessible and challenging, nearly all the while remaining infinitely danceable. Not unlike Steven Bernstein’s unstoppable Millennial Territory Orchestra, Anti-Matter get the party started, sustain the crowd’s attention with a ever-evolving combinations of pyrotechnics and impeccable feel, and don’t let up until the job is complete, not an easy feat when one realized that they never succumb to banal jam-band tactics. Although there is no shortage of startling solos on Live at Barbes, the lasting impression is that these guys play so dang well together as a unit.

I am certain that if I were to host a block party in celebration of a certain individual being removed from a certain high office in our nation’s capital, I could do no better than to hire Anti-Matter as the musical act.

learn more at Chant Records  and buy at your local record store or bandcamp

 

 

Rudy Royston – Flatbed Buggy (Greenleaf Music)

It is no secret that Rudy Royston is one of the most technically accomplished and creative drummers on the scene in 2019, particularly when his resume boasts high-profile spots in the groups of and on recordings by Bill Frisell, Dave Douglas, Rudresh Mahanthappa, and JD Allen. What we are now realizing, however, is that Royston has fully come into his own as a masterful and original composer with the release of his third album, Flatbed Buggy.

Inspired by Royston’s youth in Texas, FB ranges from capricious scrappers like “Bobblehead” to heartfelt ballads like “girl….WOMAN” and everything in between: Texas-sized ground is covered from start to finish, more than enough in deed to please even the most fussy music lover. Surrounding himself with an all-star crew of reedman John Ellis, accordionist Gary Versace, cellist Hank Roberts, and Joe Martin on bass, Royston makes daring and downright fun compositional choices throughout, not the least of which is the material’s inspired instrumentation.

If you’re like me and find yourself missing the childlike sense of wonder afforded by late 80s/early 90s downtown music scene of Bill Frisell’s Have a Little Faith or Lounge Lizard’s Voice of Chunk, FB might be for you.

learn more at Greenleaf Music and buy at your local record store or bandcamp or Amazon

 

 

Christopher Trapani – Waterlines (New Focus Recordings)

Waterlines is Christopher Trapani’s premier portrait release, consisting of five pieces composed between 2005 and 2013. Master performers abound, JACK Quartet, vocalist Lucy Dhegrae, pianist Marilyn Nonken, and Longleash are featured, among others.

Trapani draws from a respectable array of influences from folk forms and Bob Dylan to spectral composition and microtonal approaches. He composes for combinations of traditional acoustic and electronic instruments, voice, and folk instruments and idiosyncratic string instruments. To be honest, this all reads as “sounds that could be particularly offensive to me”, and as such, I approached Waterlines with great caution. Even so, I came to enjoy Trapani’s aesthetic more and more with each successive listen.

I am particularly taken with the disc’s two lengthiest pieces, “Waterlines” and “Cognitive Consonance”. “Waterlines”, written in response to Hurricane Katrina’s destruction of Trapini’s hometown of New Orleans, features settings of five songs about flooding from the delta blues cannon. One senses reverence for the source material rather than a sort of musical gentrification on these recordings, a pleasant surprise to say the least, due in no small part to the artistry of Dhegrae and Talea Ensemble / James Baker. “Cognitive Consonance”, the jewel in the crown of Waterlines, also references source material, this time traditional Ottoman classical music, as studied by Trapani while in Istanbul. Featured on the piece are seemingly disparate elements Turkish qanûn performed by Didem Başar, icy and spectral electronics, and compelling and tripped-out micro-tonalities courtesy one hexaphonic electric guitar that Trapani himself plays on this recording.

Despite reservations, I’m so glad I gave Waterlines a fair shake, uncovering a massive and unique talent in Trapani, and one I will continue to follow. I anticipate that many of you who choose to dive in will feel similarly.

learn more at Trapani’s website and New Focus Recordings and buy at your local record store, bandcamp or Amazon

 

 

Categories
2018 releases

Cécile McLorin Salvant, Cory Smythe, Phronesis, Fred Frith, and The Lie Detectors

Cécile McLorin Salvant – The Window (Mack Avenue)

Let’s start with this: Cécile McLorin Salvant is one of the three or so most compelling and excellent vocalists making music in 2018. On her new duo album The Window, her magnificently refined aesthetic and masterful interplay with pianist Sullivan Fortner sets Salvant apart in a way that is profound and likely discouraging to others in the singing game. More obscure gems from the torch and pop cannons and beyond sit comfortably aside enchanting takes on standards by Richard Rogers, Cole Porter, Dori Cayimi, and other all-time greats of songwriting.

Dense spells are cast at will as Fortner receives the go-ahead to brandish his French-Impressionistic meets German-Romantic (filtered through Monk-ish stride) dexterity as he does on Bernstein’s “Somewhere” and on the Winstone/Rowles classic “Peacocks” when they are joined by Melissa Aldana on tenor sax. When in this trance-state, one almost forgets that these are primarily songs about the total desolation that love can bring – beguiling, not unlike love’s spell itself. Despite the somewhat depressing subject matter, this remains one of the most splendid records of 2018 and one can only hope that Salvant returns to this seamless duo format with Fortner again and again in the future.

learn more at Mack Avenue and buy at your local record store or Amazon

 

 

Cory Smythe – Circulate Susanna (Pyroclastic)

As part of Tyshawn Sorey’s exceptional trio, pianist Cory Smythe’s extraordinarily reactive playing was one of the absolute standouts at the most recent Big Ears Festival. Smythe furthers his trend of astounding on Circulate Susanna, a kind of otherworldly song-cycle inspired in part by a version of his musical upbringing in rural Illinois, particularly as it was informed by America’s dark past as reflected in the paradoxically light tone of its popular music. He is joined by the gifted and imaginative duo of guitarist Daniel Lipell and vocalist Sofia Jernberg.

Lipell’s deft acoustic guitar playing is purposefully detuned and at times liberally doused in electronic processing that only enhances the Partch-like alien-ness of the proceedings. Jernberg vocalizes in a wholly unique and gripping way: part throat harmonizing, alien binary code, part western art music master, and part possessed and/or rabid animal. There are numerous moments on this recording when I have no concept of who is playing what and how, not unlike a Kagel piece, and that is a decided plus in my book. A seemingly Burroughsian lyrical cut-up of the classic “Strange Fruit” adorns the final powerhouse track “To Gather the Wond” that I have now listened to over 20 times in a row…the mood is chilling, but I cannot get enough of it. Big props to pianist Kris Davis for releasing this one on her new imprint Pyroclastic.

learn more at Smythe’s website and buy at your local record store, bandcamp or Amazon

 

 

Phronesis – We Are All (Edition Records)

For their 8th studio release, Phronesis – the vehicle for bassist Jasper Høiby, pianist Ivo Neame, and drummer Anton Eger to throw down – shows no sign of taking it easy.  In fact, We Are All is a rallying cry for unity in a time of profound divisiveness.  Kinetic, syncopated, deliberate, direct, and jagged are words that initially come to mind when describing the sounds on WAA, but that is selling it short.  These guys are undoubtedly playing their asses off here, but it’s not simply a wank-fest by any barometer – there is a sum > parts certainty about this recording.

Collectable artwork and collectable sounds abound from the venerable Edition Records, this is a release that encapsulates 2018’s cloud of anxiety as well as its resilient pushback. At six tracks in just fewer than 41 minutes this is and will always be my kind of record.

learn more at Edition and Phronese’s website and buy at your local record store, bandcamp, or Amazon

 

 

Fred Frith Trio – Closer to the Ground (Intakt Records)

Legendary guitarist and musical maverick Fred Frith has covered a lot of territory over 50+ years, but, as he mentions in the liner notes to his new album Closer to the Ground, he has always been in a band for what only that kind of arrangement can bring.  Not only is his trio with bassist Jason Hoopes and drummer Jordan Glenn another of those many bands, but it’s one of Frith’s most superlative since his much-beloved Henry Cow.

As an improvising soloist of the highest order, I can’t imagine Frith wanting for a single thing more from his latest rhythm section – they lay down metronomic and/or shifting grooves, they create sunset-like colors on which Frith eviscerates and/or gently highlights with an array of engaging tremolo and reverberant effects, and they are acutely aware of their supporting-yet-not-passive role and play and/or don’t play accordingly.  Bravo to Swiss imprint Intakt Records for being home to such a vital statement from a singular artist and his inventive crew.

learn more at Intakt Records and buy at your local record store, bandcamp, or Amazon

 

 

The Lie Detectors – Part III: Secret Unit (Chant Records)

The duo of guitarist Eyal Maoz and drummer Asaf Sirkis aka The Lie Detectors is at ease stretching out, perhaps a result of their longstanding rapport, stretching back to when they were 10 years old growing up in Rehovot, Israel.  In the intervening years, Maoz and Sirkis have amassed resumes that read like a who’s who of creative music in NYC and Europe, and for good reason: these guys rip!

TLD is a finely-tuned vehicle replete with rack and pinion steering, precision gearbox, four-piston aluminum monobloc fixed caliper brakes, and on P3:SU they prove more than capable of leaping into and traversing whatever terrain presents itself.  The music freaks out like early Mothers of Invention, pummels like Tony Williams Lifetime, zigzags like another wicked duo, Ruins, and locks into cruise control like a kind of majestic Endless Summer.  Hop in the back and hold on to your hat…it’s heck of a gratifying ride.

learn more at Chant Records and buy at your local record store, bandcamp or Amazon