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Monthly Archives: March 2019

April 2019


Various Artists
Pay It All Back Vol. 7
On-U Sound (dist. Redeye)

I was introduced to the On-U Sound label back in 1989, when the CD store where I worked had a copy of Pay It All Back Vol. 2 on the “Imports” rack. I gave it a spin, and my musical life hasn’t been the same since. That collection contained a dizzying array of sounds and styles, from radically deep roots reggae (Prince Far I’s “Water the Garden,” Bim Sherman’s “Run Them Away”) to techno settings of football chants (Barmy Army’s “Billy Bonds M.B.E.”), sampladelic electro-calypso (Forehead Bros.’ “Circular Motion”), and ethnographic dub (African Head Charge’s “Throw It Away”). I had never head of any of these artists before, and I spent the next two decades seeking out everything I could find by all of them, as well as everything I could dig up from the On-U Sound catalog. The latest installment in the series follows in what is now a longstanding tradition, presenting a wild mix of unreleased tracks, remixes, extracts from upcoming albums, and deep cuts from previous releases: some familiar names are back (African Head Charge, Mark Stewart, Little Axe) and some new ones are introduced (Los Gaiteros de San Jacinto, Higher Authorities, Denise Sherwood), but what remains the same is the thrilling stylistic variety–a variety that is grounded in groove, in bone-shaking bass, and in label head Adrian Sherwood’s wildly dubwise production style. And the booklet includes a comprehensive On-U Sound discography with extensive notes–a treasure trove of information in itself. This is the most exciting release of 2019 so far.


Johann Sebastian Bach
Concertos for 2, 3 & 4 Pianos
David Fray; String Ensemble of the Orchestra National du Capitole de Toulouse
Erato (dist. Naxos)

Johann Sebastian Bach
Violin Concertos; Sinfonias; Overture; Sonatas (2 discs)
Isabelle Faust; Akademie für alte Musik Berlin / Bernhard Forck; Xenia Loeffler
Harmonia Mundi (dist. PIAS)
HMM 902335.36

Like many of the baroque masters, J. S. Bach unapologetically recycled his own music, for example recasting violin concertos as keyboard concertos and vice versa. Thus it should come as no surprise to see BWV 1060 performed by David Fray as a “Concerto for 2 Keyboards” and by Isabelle Faust as a “Concerto for Oboe and Violin” (which is what Bach scholars generally believe was its original incarnation). These two recordings offer a lovely and interesting blend of contrasts and similarities, among them the fact that the Fray album is recorded on modern instruments and the Faust recording on period ones. And although I’m generally a big fan of Bach on modern keyboards, in this case I have to say that the massing of as many as three or four pianos, and their presentation alongside a string ensemble of wire-strung instruments, makes for a slightly muddled sound at times (though admittedly, if the keyboard parts were played by harpsichords I suspect the problem would be even worse). The pieces for two keyboards are the ones that come across most clearly and compellingly. Isabelle Faust’s two-disc program benefits from its variety of instrumental forms and textures: it offers a varied program of concertos, overtures, sonatas, and sinfonias (some drawn from Bach cantatas), all performed with the outstanding Akademie für alte Musik Berlin. Faust is playing a Stainer violin that looks like it has been given a modern neck and tailpiece but is strung with gut, and has a marvelous tone. The group sounds particularly majestic on their performance of the popular sinfonia from the cantata Ich liebe den Höchstein von ganzem Gemüte, and on my favorite of all Bach’s violin concertos, BWV 1042. Both of these sets are well recommended, but if you have to pick one I’d say go for the Faust.

Various Composers
American Recorder Concertos
Michala Petri; various ensembles
OUR Recordings (dist. Naxos)
Rick’s Pick

As the press materials point out, “it is one of the great ironies of the recorder’s long history, that despite being ubiquitous in nearly every American public school program, few composers ever explored writing for it.” True enough, though I’m not sure how great the irony really is–I would argue that it’s precisely the recorder’s ubiquity in elementary schools that contributes to its unfortunate reputation as basically a plastic toy for kids. Be that as it may, luckily we have the international treasure that is virtuoso recorder player Michala Petri, who has commissioned four showpieces of contemporary classical recorder music: each of them written as a concerto, but for a variety of instrumental forces and textures, from Roberto Sierra’s and Steven Stucky’s works for recorder and orchestra to Anthony Newman’s piece for recorder, harpsichord, and string quartet and Sean Hickey’s for recorder with winds, brass, percussion and harp. Most of these pieces (two of which are presented here in world-premiere recordings) are bracingly modernist, though Newman’s harks back very explicitly to the recorder’s glory days during the baroque period. Petri is, of course, a genius.

Joseph Bodin de Boismortier
Music for Flute, Viola da Gamba and B.C.
Umbra Lucis Ensemble
Brilliant Classics (dist. Naxos)

Speaking of the recorder’s glory days, here is a delightful recording of chamber works by Joseph Bodin de Boismortier, who is particularly well remembered today for his compositions for flute. This program consists of pieces in a variety of forms, from dance suites to solo harpsichord pieces and sonatas. The flute parts are played on the recorder (and in some cases on two or three recorders–bear in mind that this is the composer who wrote a series of concertos for five flutes) with that perfect blend of energy and ostentatious elegance that characterized so much French music of the period. The playing is wonderful throughout, but the recorded sound is a bit strange–warm and present but also oddly echoey. The sound isn’t idiosyncratic enough to detract from the overall listening pleasure, though.

Guillaume Dufay
Flos florum: Motets, Hymns, Antiphons (reissue)
Ensemble Musica Nova
Alpha Classics (dist. Naxos)

Making a very welcome return to market is this 2004 recording (originally issued on the Zig Zag Territoires label) of Marian motets and liturgical works by the towering figure of the early Franco-Flemish school, Guillaume Dufay. This gorgeous collection includes the latest of Dufay’s three settings of the antiphon Ave Regina caelorum, the one for four voices in which he repeatedly interpolates his own name, touchingly pleading for divine mercy on his own behalf. The singing is breathtakingly beautiful, rich and lush in tone despite the very small number of (mixed-gender) singers. Unfortunately, space in the booklet that might have been used to provide the sung texts is instead given over to advertisement for other releases in the series, but the music itself is simply spectacular.

Claude Debussy; Johannes Brahms
Cello Sonata; Clarinet Trio
Brian Thornton; Afendi Yusuf; Spencer Myer
Steinway & Sons (dist. Naxos)
Rick’s Pick

Playing alongside pianist Spencer Myer and (on the Brahms) clarinetist Afendi Yusuf, cellist Brian Thornton delivers a triumphant program that creates a fascinating juxtaposition: the relatively abstract and rather melodically arid Debussy cello sonata against the deeply poignant and melodically rich Brahms clarinet trio opus 114. I don’t mean to suggest that the Debussy work is less than brilliant, only that it offers such a dramatic contrast to the lush emotion of the Brahms work; with the Debussy we hear the 20th century being born, whereas with the Brahms we hear the dying glory of the Romantic era. Thornton is a powerful advocate for both pieces, and Yusuf is particularly noteworthy for the sweetness of his tone. Strongly recommended to all libraries.

David Behrman
On the Other Ocean (reissue; vinyl only)
Lovely Music (dist. Forced Exposure)
Rick’s Pick

Benoît Pioulard; Sean Curtis Patrick
Avocationals (vinyl/download only)
Beacon Sound (dist. Forced Exposure)
Rick’s Pick

I’m combining these two reviews because both of these titles are similar in some significant ways: both consist of music than can fairly be described as minimalist, bordering on ambient. It’s also true that in both cases, the music is created by means of distorting source material. Beyond that, however, the similarities are overwhelmed by difference. Behrman’s work (originally released in 1978, then reissued as a long-out-of-print CD in 1996, now reissued again on vinyl) was generated by what was then a state-of-the-art electronic system that “listened” to sustained tones played by live musicians and responded to them, in real time, with computer-generated tones of its own. A flutist, a bassoonist, and a cellist provided the inputs, and the resulting conversation between the musicians and the electronic feedback mechanism is beautiful, at times surprising, and always faintly melancholy. By contrast, Avocationals is a collaboration between electronic musicians Thomas Meluch (a.k.a. Benoît Pioulard) and Sean Curtis Patrick. Both have been involved in the murkier areas of pop music and Patrick has done soundtrack work. For this project, they took source material that included field recordings and heavily-processed voices (along with reel-to-reel tapes, synthesizers, and unrecognizable guitar) to “conjure up the ghosts of 20th-century Great Lakes shipwrecks.” This music is gorgeous and ghostly, sad and wonderful. It’s unlike anything else you’ve heard. Both recordings are very strongly recommended to all libraries.

Wolfgang Amadeus Mozart
Les trois dernières symphonies (2 discs)
Ensemble Appassionato / Mathieu Herzog
Naïve (dist. Naxos)
V 5457

I know, I know — Mozart’s last three symphonies (nos. 39, 40, and 41) are among the most popular and frequently-recorded of his works, and just about anyone with any awareness of classical music can practically sing along with the opening phrases of #40, while #41 is widely regarded as one of the greatest symphonic works ever composed. So you kind of need to have a hook if you’re going to bring a new recording of them to market. In this case, there are several hooks: one is that this is the first recording of Mathieu Herzog’s remarkable Ensemble Appassionato, an unusual group in that it is composed largely of musicians whose main gig is in chamber ensembles, notably string quartets like the Arod, the Hanson, and the Ébène (of which Herzog himself was a founding member). Also notable is Herzog’s flexible approach to orchestration and his willingness–despite working with modern instruments–to incorporate the influences of the period-instrument movement into his interpretations. Notice, in particular, the spritely vigor (not to say headlong rush) of the opening movement of the Jupiter on this recording. The result is a thrilling listen and a musicologically fascinating set.


Dominic Miller
Rick’s Pick

Here is a light, gorgeous, and impressionistically floating new album from guitarist Dominic Miller, assisted by bandoneon player Santiago Arias, keyboardist Mike Lineup, bassist Nicholas Fiszman, and drummer Manu Katché. The comparison with impressionism isn’t mine–it’s from an interview with Miller himself, who lives in the south of France and whose compositions for this album were significantly influenced by his thoughts about the region’s “sharp and witchy mistrals, combined with strong alcohol and intense hangovers, (which) must have driven some of these artists toward insanity: skies that are green, faces blue, perspective distorted.” But if that language leads you to expect music of lurid color and exaggerated expression (à la Toulouse-Lautrec), think more in terms of Seurat or Monet: pastel hues beautifully wielded, soft surfaces masking tight structure. This is an utterly gorgeous album.

Warren Vaché
Songs Our Fathers Taught Us
Arbors Jazz (dist. MVD)
ARCD 19464

Let’s all pause for just a moment a contemplate what it would be like to live in a home in which your dad taught you to play jazz standards. In this case, what cornetist Warren Vaché remembers are the 78-rpm shellac recordings that his dad had saved up lunch money to buy when he was a schoolboy, and which he played on the family’s record player every Saturday morning as Vaché was growing up. “Melancholy Baby,” “Slow Boat to China,” “Blue Room,” like that. Vaché plays these tunes in a soft and gentle way, even on the up-tempo numbers; there’s fire in his energy and tone, but cool restraint in his arrangements and phrasing. He’s accompanied by acoustic guitarist Jacob Fischer, bassist Neal Miner, and drummer Steve Williams–though the drums lay out for long stretches on this album, contributing to the overall feeling of relaxed warmth. Very, very nice.

Stéphane Grappelli Ensemble
May 17, 1957, NDR Studio Hamburg (reissue)
Moosicus (dist. MVD)
N 1303-2
Rick’s Pick

I’ve been a huge fan of jazz violinist Stéphane Grappelli since my teenage years (yes, I was very popular in high school), when I first encountered him through his work with David Grisman. That led me back to his 1930s work with Django Reinhardt, which still represents some of the most astonishing jazz ever recorded. This album finds him a couple of decades later, working in a German studio with pianist Maurice Vander, bassist Hans Last (who would later change his first name to “James” and become a world-famous film composer), and drummer Rolf Ahrens. Their set consists almost entirely of standards, but what I find most interesting here is how restrained Grappelli is, compared to the constant fireworks of his earlier work with Reinhardt. The tempos are brisk but never headlong, the rhythm swings with power but not wildly. And Grappelli’s playing is absolutely elegant as well as assertive. The recorded sound is warm and rich, and feels spacious despite the monaural mix. A must for all jazz collections.

Nick Sanders Trio
Playtime 2050
SSC 1537

For his third album as a leader, pianist and composer Nick Sanders takes us on a fascinating whirlwind tour of styles and influences. This is the kind of approach that could easily turn self-indulgent or show-offy (“Hey, did you see how I segued straight from a stride number to a hard bop tune?”) but Sanders has too much taste for that. Instead he just gives the impression of someone whose thoughts wander in unpredictable and really interesting ways: from bluesy meditations (“Prepared for the Blues”) to modernistic math-jazz (“The Number 3,” “Endless”) and borderline avant-gardism (“Hungry Ghost”). The consistent thread is one of examination and pondering, a sense that comes through even on the knottiest and most challenging tunes. The album closes on a quiet and contemplative note with “#2 Longfellow Park.” Highly recommended.

Paul Tynan
Rick’s Pick

The concept behind trumpeter and composer Paul Tynan’s latest album as a leader is quite interesting: he commissioned artworks from six friends (one of them his wife), and used each piece as the inspiration for a jazz composition. But he didn’t just take a melodic idea from each image; instead, his tunes are composed and arranged in intimate conversation with the artworks. For example, Tynan is a synaesthete, which means that colors are sometimes associated with musical tones in his mind; his composition “Everything I Have” is directly informed by the colors in his wife’s painting of the same name. Paul Vienneau’s “Swirl” is written as a through-composed piece that reflects the nature of the painting (down to the open space near its top) and its relation to the artist’s personal life. And so forth. That Tynan’s music can do all this while also swinging mightily is quite impressive.

Typical Sisters
Hungry Ghost
Outside In Music
OIM 1909

For some equally impressive jazz that doesn’t really swing at all, consider the latest from trio Typical Sisters (guitarist Greg Uhlmann, bassist Clark Sommers, drummer Matt Carroll). Again, the music is conceptual: the album’s title (which has nothing to do with the Nick Sanders composition of the same name, mentioned above) refers to the Buddhist concept of a being with an insatiable appetite, an idea with obvious relevance to our current media-saturated, hyper-materialistic culture. This music is meant to act as something of a counterbalance to that mode, although it draws pretty voraciously on cultural elements both high and low: references to a Samuel Barber piece here, elements of DJ culture there, passages of free jazz scattered in between. Nowhere will you encounter a typical head-solos-out-chorus jazz structure, but there’s no question that this is a jazz album. Imagine if Bill Evans had lived long enough to jam with Bill Frisell–maybe with John Zorn producing a couple of tracks. Very, very nice.


Le Vent du Nord
Rick’s Pick

Without adding anything as overt as electric instruments or drums, the latest album from leading Québecois folk band Le Vent du Nord somehow manages to feel more rockish than its earlier efforts–maybe it’s an added lushness to the production, or the bluesy piano elements that pop up on “Reel du capitaine,” or just a subtly increased sense of chestiness and bravado in Nicolas Boulerice’s singing. Otherwise, we get more of what we’ve come to expect from this magnificent group: rollicking croooked-rhythm fiddle tunes, lots of call-and-response singing, a seamless blend of modern and traditional songs, all played with infectious energy and airtight musicianship. There’s also a bit more politics than usual this time out, but unless your French is very good you may not catch most of it.

Alison de Groot and Tatiana Hargreaves
Alison de Groot and Tatiana Hargreaves
Free Dirt

Fiddler Tatiana Hargreaves (who has worked with Gillian Welch and Laurie Lewis, among others) and clawhammer banjo player Alison de Groot (of Molsky’s Mountain Drifters) have joined forces for this dynamite celebration–and extension–of the ages-old fiddle-and-banjo tradition. Combining vocal numbers both old and new with traditional fiddle tunes, they resurrect the deeply strange and lovely playing style of Mississippi fiddler John Hatcher on “Farewell Whiskey,” an equally strange arrangement of the familiar classic “Buffalo Gals,” a gender-tweaked version of the Blue Sky Boys’ “Who Wouldn’t Be Lonely,” and lots of other gems of old-time and new-old-time music. This is a technically impressive album, but more importantly it’s a fun, even thrilling one.

Kim Lenz
Slowly Speeding
Blue Star

I was introduced to Kim Lenz ten years ago, when she was fronting a rockabilly-revival group called the Jaguars and recording for the late and much-lamented Hightone label. At the time I found that I loved her voice and her energy, and wished that she’d write more memorable tunes. Now I’m catching up with her and finding that the years have been kind: her voice is even better, her energy is more restrained but just as intense, and she now writes undeniably catchy melodies. On the aptly titled Slowly Speeding, she harnesses that predatory intensity to focus on mid-tempo songs, all of them dark and smoldering and generally feeling more like gothic country than rockabilly. Her band doesn’t have a name anymore, but it’s got that great loose-but-tight feel that many groups spend years striving for. Strongly recommended.

Brìghde Chaimbeul
The Reeling
River Lea (dist. Redeye)

Brìghde Chaimbeul is a gifted player of the Scottish smallpipes, an instrument closely related to the English Northumbrian smallpipes and the Irish uillean pipes. What these instruments have in common (apart from their relatively small size, as one might guess) is a much lower volume and a much softer and more plaintive tone that those of their more famous cousin, the great highland bagpipes. On her debut album, Chaimbeul generally avoids both frenetic reels and dirge-like slow airs (both of which are commonly played on her instrument) and instead focuses on medium-tempo tunes, gathered from the playing of other musicians and from the Patrick McDonald collection and played with minimal accompaniment. Interestingly, these are interspersed with traditional pipe tunes from Bulgaria, which nestle quite comfortably in among the Scottish numbers. Chaimbeul is a player of rare grace and taste, and will bear watching in the future.


Mitch Woods
A Tip of the Hat to Fats
Blind Pig/The Orchard
BPCD 5170

Subtitled “Live from the New Orleans Jazz & Heritage Festival 2018,” this disc documents a set played by pianist and singer Mitch Woods as a tribute to local hero Fats Domino. It finds him at the head of a sextet that features three saxophones and a rhythm section, playing a very fun set of old and old-style R&B tunes by the likes of Professor Longhair, Leon René, Woods himself, and of course Fats Domino — plus a rollicking rendition of Hank Williams’ “Jambalaya” (not exactly an R&B tune, but definitely a solid choice for the venue). Woods and his band are having a palpably good time, and the recorded sound is surprisingly good for a live album. Despite just a bit too much between-song patter, this album would make a great choice for your library’s next staff party.

The Green Kingdom
Expanses Remixes (expanded reissue; 2 discs)
Rick’s Pick

The Green Kingdom is Michael Cottone, a Michigan-based sound artist. Five years ago he released an album called Expanses, which was conceived as an “homage to classic ambient and techno albums of the past, albeit passed through the filter of dusty samples from old vinyl and classical records, the odd guitar melody, electronics, and some soft rhythmic pulses.” The album was more successful than he anticipated, and is now being brought back to market with the addition of a bonus disc consisting of remixes by the likes of Halftribe, Hotel Neon, and Fingers in the Noise. The fact that none of the original tracks was titled makes it a bit difficult to keep track of which remix matches up to which original version, but it turns out not to matter: the remixes are, for the most part, just as ethereal and abstract as the tunes on which they’re based, and all of them create a mood that is eerily and utterly beautiful. Even though it’s only April, this one already has my vote for Best Ambient Release of 2019.

Daniel Avery
Song for Alpha: B-Sides and Remixes (digital only)
Mute/Phantasy Sound
No cat. no.

At first glance, this collection would appear to be similar to the Green Kingdom reissue reviewed above; however, it’s completely different. Rather than an expanded reissue of Daniel Avery’s album Song for Alpha, with remixes appended, it’s actually a compilation of B-sides and outtakes related to that album alongside a generous program of remixes by the likes of Luke Slater, Four Tet, Giant Swan, and Surgeon. Where Green Kingdom tends strongly towards the abstract and ambient, however, Avery always has one foot on the dance floor: this collection includes regular incursions of techno thump and invigorating breakbeats as well as more quiet and introspective fare. What’s consistent throughout the program, though, is his intense attention to detail: the more you listen, the more subtleties you’ll catch, and Avery’s mastery of texture and space is even more impressive than his way with a beat.

Hammock Music (dist. Redeye)
Rick’s Pick

And if you like your electronica much more on the lush and relaxing side, then definitely consider this ravishingly lovely new album from Hammock. This is the second in a projected three-album series (all of which will apparently have Latin names; the first one, issued in 2017, was titled Mysterium), and like its predecessor it seeks to split the difference between ambient electronica and neoclassical experimentation. Maybe “split the difference” isn’t quite right; this would never be mistaken for academic classical music–too much guitar, too little dissonance. But there’s much more here than just easy-listening sound sculpture; whereas Mysterium was an attempt to process the experience of grief and loss, Universalis is a move in the opposite direction, towards recovery and uplift. And in its quiet way it achieves that movement powerfully and propulsively, particularly on slow-moving but richly dense tracks like “Cliffside” and the orchestral “We Watched You Disappear.” Utterly gorgeous.

Charlie Faye & the Fayettes
The Whole Shebang
Bigger Better More

Back in 2016, Charlie Faye & the Fayettes delivered a delightful celebration of the girl-group sound, an unapologetically and unambiguously retro program of contemporary songs in 1960s style. For their follow-up, they’ve moved the clock up a few years, still knee-deep in the sixties but now starting to edge their way into the 1970s as well, with lusher strings and horn sections–and funkier beats. “That’s What New Love Is For” is horn-driven R&B, while “Say Those Words” draws on surf guitar and “Riding High” evokes the Carpenters. As always, Charlie Faye’s bell-like voice is as central to the group’s appeal as the sweet melodies she writes (sometimes with and sometimes without the help of Bill Demain). Listen carefully and you’ll hear some fairly contemporary political messages too, particularly on the album-closing “You Gotta Give It Up (Party Song)”–a tune that hints at the possibility of a New Wave element in their future work. Recommended.

Gang of Four
Happy Now
No cat. no.

The opening bars of the first song on Gang of Four’s tenth album will have you checking to make sure you didn’t cue up Solid Gold instead – those jagged, off-kilter shards of guitar sound for all the world like the intro to “Paralysed.” But any illusion that we’re back in 1981 disappears quickly as it becomes obvious that Gang of Four is now just guitarist Andy Gill and three other guys, drummer Hugo Burnham and bassist Dave Allen having decamped long ago, and original vocalist Jon King gone since 2012. But those three new guys are monsters: bassist Thomas McNeice and drummer Tobias Humble generate a groove that maintains a perfect balance between heavy and nimble, while singer John Sterry provides hints of the band’s past sound without actually directly imitating King. Lyrically, the band’s dry, cynical worldview is less explicitly Marxist than it was 40 years ago, but then, whose isn’t? The hooks are pretty dry and cynical as well, but they’re there if you listen.


40 Million Feet
Silverwolf (dist. MVD)

In April of 2018, sarangi player Shyam Nepali and acoustic guitarist Charlie Giagiari sat down in a Boston recording studio and spent four hours improvising together. This album documents that session, with extracts from it given titles like “The First Step without Shackles” and “Growing Wings on the Way Down.” Those who have had alarming experiences with free-improv music in the past should rest assured: in this case, “free” doesn’t mean either chaotic or skronky. It means spontaneously composed, but still richly melodic and harmonically logical. Nepali’s sarangi keens and soars while Giragiari’s guitar alternately plays melodies in unison and counterpoint, and drives the proceedings chordally. The resulting music is bittersweet and beautiful, sounding neither exactly like South Asian music nor like American music, but like something quite different from either. Very, very cool.

Meets (digital only)
Tru Thoughts
No cat. no.
Rick’s Pick

British producer Wrongtom has been the genius behind a whole slew of outstanding reggae and dancehall releases over the past decade, and his latest release is sort of a conceptual expansion on the “Wrongtom Meets” idea that has found him collaborating with the likes of Deemas J, Roots Manuva, and the Ragga Twins. Apart from those album-length projects, Wrongtom has also kept himself busy with one-off production and remix gigs, and this digital-only compilation album brings together a bunch of those (as well as some examples of other artists remixing his own work). As you might expect, the result is a solid winner: a dubwise take on the Hot 8 Brass Band’s version of “Sexual Healing,” a remix of Lakuta’s supremely woke “Bata Boy,” reworks of several Ragga Twins numbers, and much more. This is not only one of the best reggae albums of the year, but also one of the best party records of the decade.

Selo na Okuke/Village Tracks
Riverboat (dist. Redeye)

Croatian folk-rock is pretty unique-sounding. If the style of Kries is typical–and honestly, I don’t know how many Croatian folk-rock bands there are, so “typical” may not be a very apposite term here–then it’s characterized by rhythms that stomp more than they dance, and by deep, declamatory unison (not harmony) singing, sometimes in a call-and-response mode. This eight-piece band sounds like it consists mostly of drums, though electric guitar and bass are credited as well, and there are regular irruptions of keening bagpipes. There’s a political subtext here as well–the message apparently being one of unity in the wake of murderous division–but unless your Croatian is much better than mine you’ll catch it mainly by inference, and by knowing that Kries is made of of members from across the Balkan region. Anyway, the music is both interesting and profoundly stirring.

Hip Spanic Allstars
Old School Revolution (digital only)
Hip Spanic
HSR 2018-1
Rick’s Pick

A horn-driven Bay Area Latin funk supergroup featuring members of Tower of Power, Primus, Santana, Spearhead, and Los Mocosos? Yes, please! The latest from Hip Spanic Allstars delivers all the warm, funky joy you’d expect, providing a perfect soundtrack for warm (or even cool and foggy) summer nights hanging out with your friends on the sidewalk. When they say “old school” they mean it: there’s nothing modern about the Hip Spanic Allstars sound. This is a celebration of 1960s-style Latin soul, salsa, funk, and even zydeco, with Cuban and Puerto Rican elements mixed in as well (and maybe a hint of ska if you listen closely). It’s nothing but pure joy, and as I look out the window at the late-March snow falling outside, I feel like it’s exactly what we need right now.


March 2019


Various Composers
Anima Sacra: Sacred Baroque Arias
Jakub Józef Orliński; Il Pomo D’Oro / Maxim Emelyanychev
Erato (dist. Naxos)

This is the debut solo album by Polish countertenor Jakub Józef Orliński — and it also features the world-premiere recordings of eight of the eleven pieces on the program, all of them motets or arias drawn from oratorios written in 18th-century Germany and Italy. These pieces include a stunningly beautiful Confitebor tibi setting by Neapolitan composer Nicola Fago — an obscure Neapolitan composer whose sacred music is even less well-known than he is — and works by the likes of Domenico Sarro, Francesco Durante, and Gaetano Maria Schiassi. In addition to these deeply obscure pieces are more-familiar fare from Johann David Heinichen, Johann Adolf Hasse, and the always wonderful Jan Dismas Zelenka, whose Smanie di dolci affetti and S’una sol lagrima are highlights of the album. Orliński’s singing is amazing; his voice is unusually dark-hued for a countertenor, and always sweet and pure, never shrill or forced. The Il Pomo D’Oro ensemble provide marvelous support on period instruments, and the whole album is simply a joy.


J.H. Dahlhoff & Anonymous
Stil polonaise
Orkiestra Czasów Zarazy
Ayros (dist. Naxos)

And while we’re speaking of Poland, consider this delightful collection of 18th-century dance tunes from the famed collection of J.H. Dahlhoff, a collection distinguished by its significant number of tunes written in a Polish style. Dahlhoff was himself a “village musician” from Dinkier, in Westphalia, and one of the things that makes his collection historically interesting is that it shows how deeply into German territory the Polish influence had crept by the early- to mid-18th century. The program is bracketed by two Polish-style pieces written by Dahlhoff, but consists mainly of tunes that were probably collected from itinerant musicians of the time, the composers of which are of course entirely lost to history. The six-piece Orkiestra Czasów Zarazy plays these melodies with a shifting instrumentation that includes bagpipe, fiddle, nyckelharpa, viola da gamba, harpsichord, and trombone, among other instruments. Perhaps not an essential purchase for every library, but definitely worth considering for all early music collections.

Camille Saint-Saëns
Symphony #3 “Organ” & Other Works
Paul Jacobs; Utah Symphony / Thierry Fischer
Hyperion (dist. PIAS)
Rick’s Pick

Here at CD HotList we’re always happy to support a local artist when we can, and this magnificent new recording of orchestral works by Camille Saint-Saëns (the first in a projected three-volume series) offers a great opportunity to do just that. Playing under the baton of Thierry Fischer, the Utah Symphony has become one of the most impressive American orchestras on the scene in recent years, especially for one located in a second-tier city. Utah’s Wasatch Front offers an unusually deep pool of musical talent, and this orchestra has profitably drawn on that population for decades now, with consistently impressive results. The group’s interpretations of these three works (the Trois tableaux symphoniques d’après la foi and Bacchanale from Samson et Dalila, in addition to the title piece) are consistently impressive, its tone both rich and balanced and its phrasing suitably Romantic without being overweeningly dramatic. When the series is complete, it will mark the first time an American orchestra has recorded all five of Saint-Saëns’ symphonies, so libraries should be on the watch for all of the installments as they emerge. Highly recommended to all libraries.

Various Composers
Amarae morti
El León de Oro / Peter Phillips
Hyperion (dist. PIAS)

Although he is known primarily as both the founder and the conductor of the Tallis Scholars, Peter Phillips is also involved with several other choral ensembles across Europe, including the outstanding El León de Oro from Asturias, Spain. This group’s latest recording is a collection of polyphonic works by relatively obscure Renaissance composers, some of them from the Franco-Flemish region and some from the Iberian peninsula. While names like Orlande de Lassus, Tomás Luis de Victoria, and (especially) Giovanni da Palestrina will be familiar to most classical-music lovers, figures like Dominique Phinot and Nicolas Gombert are likely to be recognized only by specialists. The program itself is organized to flow from penitential works (notably settings of the Lamentations of Jeremiah and of the legendarily powerful Media vita text) to expressions of devotion and praise. Some are works for double choir (an approach of which Phinot was one of the early adopters), and all benefit from El León de Oro’s combination of large numbers–for this recording the group consists of no fewer than 33 singers–and rich blend. A must for all collections of Rennaissance music.

In the Loop

WoodWired is a duo consisting of bass clarinetist Cheyenne Cruz and flutist Hannah Leffler, who perform their original compositions with the help of looping software that allows them to layer and alter passages in real time. This approach allows the duo to take a somewhat more playful approach to their music than is typical with new-music ensembles, and the result is intricate, stylistically wide-ranging, and completely delightful. On the programmatic Yousafszai (a tribute to Nobel Laureate Malala Yousafszai), moments of lovely counterpoint are interrupted by simulated gunfire and followed by searching, poignant melodic lines; The 101 frankly rocks out, with layers of bass clarinet holding down the bassline while additional layers of clarinet and flute dance atop it. Red Forest strongly evokes both mid-century academic avant-gardism and mid-1970s dub reggae, but it is immediately followed by a fine Astor Piazzolla arrangement. Each track on this fine album breaks different ground, and I promise it’s like nothing you’ve heard before. Any library supporting a winds program would do well to add In the Loop to its collection.

Reiko Füting
Various performers
New Focus Recordings

With the vocal and instrumental compositions featured on this recording, Reiko Füting seeks to “explore the psychological nature of memory, as it is projected onto the compositional device of musical quotation. By realizing this device in the entire musical spectrum of assimilation, integration, disintegration, and segregation, while moving freely between clear borders and gradual transitions, quotation and memory may function as a means to reflect upon contemporary artists, cultural, social, and political phenomena.” That’s a pretty full conceptual agenda, and as is always the case with such music, that agenda begs a fundamental question: is the music itself (as opposed to its philosophical/conceptual foundation) worth your attention? The answer in this case is yes. Several of these works constitute contemporary responses to pieces by baroque composer Heinrich Schütz, while another is based on the writings of Friedrich Nietzsche and another is a piece for vocal quartet and instrumental ensemble that takes a Debussy piano prelude as its source material. All of this music is challenging and academic; most of it is also both interesting and compelling.

Various composers
Ave Maria: Baroque Recital
Raphaella Smits
Soundset Recxordings (dist. Albany)

This is not your typical baroque guitar recording. For one thing, guitarist and arranger Raphaella Smits has selected a somewhat unusual program of compositions originally for keyboard or violin as well as the more common lute pieces: Bach’s Prelude BWV 846 (in an arrangement based on Charles Gounod’s adaptation) and second keyboard partita (BWV 1004), selections from a Purcell keyboard suite, a gorgeous arrangement of one of Telemann’s fantasias for solo violin, and a couple of lute pieces by Silvius Weiss. Smits plays an eight-string guitar, which gives her quite a bit of additional range and stops her having to make the kinds of register adjustments that might be required with a conventional six-string guitar. Her playing is marvelous–virtuosic without being showy, and emotionally expressive within the constraints of the baroque idiom. Highly recommended.

Paula Matthusen; Olivia Valentine
Between Systems and Grounds (cassette only)
Carrier (dist. Redeye)
No cat. no.

We’ll close out this month’s Classical section with a recording that is something of a curiosity: a cassette-only release by the electronic compositional team of Paula Matthusen and Olivia Valentine. (N.B. — Although the release is technically cassette-only, the cassette does come with a digital download code.) The music itself isn’t a curiosity, though it’s certainly interesting: to create this series of twelve compositions, Mathusen and Valentine took samples of environmentally-recorded source material from locations in Wisconsin and Georgia (insects, frogs, a lawnmower, a thunderstorm, wind, etc.) and manipulated them in real time, creating a dark and constantly-shifting array of noises that are rarely, if ever, recognizable. The result is eerie and quite beautiful.


Yonathan Avishai
Joys and Solitudes

The latest from pianist and composer Jonathan Avishai is a wonderful collection of subdued but complex and fascinating modern jazz. After opening with a slow and contemplative take on the Duke Ellington standard “Mood Indigo,” the remainder of the program is given over to very different fare: original compositions by Avishai that vary from quiet chamber jazz (“Tango,” the gorgeous jazz waltz “Shir Boker”) to rather abstract contructs that challenge the ear without assaulting it (“Joy,” “When Things Fall Apart”) and delicate contrapuntal music that sounds like the kind of jazz Bach might have written (“Lya”). All of it is very lovely in that classic “ECM jazz” way: quiet, intellectual, impressionistic.

Emmet Cohen Trio
Dirty in Detroit: Live at the Dirty Dog Jazz Café
No cat. no.
Rick’s Pick

Emmet Cohen is one of the most exciting young pianists on the New York scene right now, and his latest album as a leader finds him moving from strength to strength. It also finds him displaying serious guts: opening with Thelonious Monk’s “Teo,” and then proceeding to feature no fewer than five Fats Waller numbers during the set is a bold move, and one that Cohen pulls off with the apparent effortlessness that has already become his trademark. Everyone plays brilliantly, but the communication between Cohen and drummer Kyle Poole is particularly noteworthy throughout the album, especially on their rollicking, dynamically varied take on Cedar Walton’s “Bremond’s Blues.” The band can be cool and swinging and it can be big and romantic, sometimes making that shift within seconds, as when Cohen segues without pause from “Two Sleepy People” into “Ain’t Misbehavin’.” The live setting gives this album a particular charge of energy and emotion, and it can be confidently recommended to every library collection.

Nate Wooley
Columbia Icefield
Northern Spy (dist. Redeye)
ns 112

For this challenging and fascinating album, trumpeter and composer Nate Wooley has gathered an impressive quartet that also features steel guitarist Susan Alcorn, drummer Ryan Sawyer, and the brilliant guitarist Mary Halvorsen to create an ambitious piece of conceptual art music. The three movements of this work were written with the Columbia Icefield (the largest glacial formation in the Rocky Mountains) in mind, and with the intention of “trying to build structures that have a feeling of being really large and slightly disturbing, but also natural,” in Wooley’s words. Using a combination of live playing and electronics (the latter being used very sparely and tastefully), Wooley and his ensemble alternate between forbidding skronk, peaceful lyricism, and relatively gentle noise passages to create those large and disturbing, but also natural musical constructs, and the result may not always be easy on the ear, but it’s consistently interesting.

Ehud Asherie Trio
Wild Man Blues

There’s much to be said for pushing the boundaries of jazz, for expanding its horizons and building new musical conceptions on its old stylistic foundations. However, there is also something to be said for embracing and celebrating jazz tradition–and luckily, we don’t have to choose between them, but can encourage and foster both approaches. Pianist Ehud Asherie is solidly in the “embracing and celebrating tradition” camp, and although his style is fresh and inventive, he is standing hip-deep in the verities on his latest album as a leader. Opening with a lovely arrangement of Louis Armstrong’s “Wild Man Blues,” he proceeds to deliver a program that includes two Charlie Parker tunes, a bossa, the ballad standard “Oh, Lady Be Good,” and Dizzy Gillespie’s Afro-Cuban classic “And Then She Stopped.” Asherie and his trio swing like no one’s business, and the album is a delight from start to finish.

James Suggs
You’re Gonna Hear from Me
Arbors Jazz (dist. MVD)
ARCD 19465

Also working in a trad/straight-ahead jazz mode is trumpeter James Suggs on his debut album. Leading a quintet that features tenor man Houston Person, pianist Lafayette harris, bassist Peter Washington and drummer Lewis Nash, Suggs delivers a standards-heavy program that varies in style between cool, hard bop, and trad–from the second-line stylings of Suggs’ original “My Baby Kinda Sweet” and the slow blues of “The Ripple” (another original) to a sweetly loping mid-tempo take on Duke Ellington’s “It Shouldn’t Happen to a Dream” and the hard-swinging “Rachel’s Blues.” Suggs has a wonderfully golden, burnished tone, and the group plays together marvelously. Here’s hoping for more soon from this outstanding young talent.


George Jackson
Time and Place
No cat. no.
Rick’s Pick

The debut album from fiddler and composer George Jackson is delightfully deceptive. At first listen it sounds like an old-time project: traditional tunes played on fiddle, clawhammer banjo, guitar, mandolin, and bass. But listen again: first of all, these are all original tunes; second of all, some of them are in no meaningful sense “traditional”: check out the crooked time signatures (a hallmark of Jackson’s compositions) and weirdly sideways chord changes on “Cabin on the Cumberland,” for example, not to mention the prog-folk waltz of “Cumberland River Roll” and the modal twists and turns of “Falls Avenue.” Imagine if Tony Rice or David Grisman had come up playing old-time music rather than bluegrass, and you’ll get an idea of the general feel of this album. It’s fantastic.

Various Artists
Texas Hillbillies (4 discs)
JSP (dist. MVD)

This four-disc set is a treasure trove of previously lost or at least deeply obscure material: early recordings of Texas string bands and soloists, all originally issued on 78 rpm discs between 1922 and 1937. The restored sound is pretty impressive, especially on the later tracks (there’s only so much you can do to pretty up a 96-year-old shellac recording), but even where the sound is atrocious the music is sometimes shockingly good. Just cue up Eck Robertson’s 1922 solo recording of “Sallie Gooden,” and prepare to be amazed. Also impressive is the array of styles and band configurations on offer here: you’ll of course hear plenty of classic Texas-style fiddling, but also the odd Irish tune, early versions of later Western swing standards and rags, and cowboy songs, all played by a wide variety of ensembles and soloists. As a pure listening experience, these discs will appeal mainly to hardcore fans of the genre, but as a library purchase this set can be considered essential to any folk or country collection.

John Hartford
Backroads, Rivers & Memories: The Rare & Unreleased John Hartford
Shanon/Real Gone Music

When John Hartford died of cancer at the too-young age of 63, we lost more than just the guy who wrote “Gentle on My Mind.” We also lost one of the few true originals in the realm of country music, someone whose banjo playing was more unique than most people noticed, whose fiddling was far more technically interesting than he wanted you to notice, and whose musical personality was shaped as much by riverboats as by mountains and hollows. He was a strange combination of traditionalist, modernist, and hippy, and he was a huge influence on just about everyone. This disc brings together 16 solo demos, three live radio performances, and eight singles released by his family band the Ozark Mountain Trio. Unfortunately, the private tapes from which these recordings were mastered included no information about where and when most of the tracks were recorded, but they’re still both fascinating from a historical perspective and wonderful to hear.


Rick’s Pick

Holy cow, I love this album. I’m not exactly sure where it fits, genre-wise: it might sound like pop punk to some, but it sounds like power pop to me, minus the lush harmonies. What you get instead are undeniable melodic hooks and chord progressions that will pull your heart right out of your chest even as you’re being bludgeoned by them about the head and shoulders. No wanky guitar solos (there are some guitar solos, just no wanky ones), no fancy sonics, no samples or electronic percussion, just a crap-ton of guitar and gorgeously crafted songs. It’s hard to identify standout tracks on such a consistently brilliant record, but “2 Real” melted my heart (partly because of the brief appearance of some truly lush harmonies) and “Shelley Duvall” did too. Yeah, it’s only 29 minutes long, but this is the happiest half-hour you’ll have all year.

Crate Six Seven
Hospital (dist. Redeye)
Rick’s Pick

This is the debut full-length from the mysterious drum’n’bass producer known as Mitekiss. He’s actually been working for something like 20 years, which means he was there close to the music’s original inception as jungle back in 1990s London, and which may explain his wide-ranging style: he’s clearly seen it all, from early jump-up and amen variants to later, jazzier and more liquid genre offshoots. What he does phenomenally well here is create a balance of heavyweight grooves and soothing textures, incorporating vocals on several tracks and creating a shifting array of moods, all clustering around that 170 rpm sweet spot. This is one of the most satisfying drum’n’bass albums I’ve heard in years.

Mark Stewart and Maffia
Learning to Cope with Cowardice/The Lost Tapes (reissue; 2 discs)

After the Pop Group broke up in 1980, singer/lyricist Mark Stewart relocated from London to New York City to rethink his musical vision. He found himself simultaneously inspired by two things: the emerging American hip hop culture, and the sounds of heavy machinery on construction sites. When he returned home, he teamed up with On-U Sound founder and producer Adrian Sherwood to produce some of the rawest and most confrontational music of the post-punk period, an album that sounds no less unhinged today than it did then. For this reissue, another album’s worth of previously-unreleased material from the same period (mostly alternate takes and dub versions of songs on the original album) is appended as well, and while it will mostly appeal to completist On-U Sound fans it’s all quite interesting and, if not exactly “fun,” at least engaging.

Ancestor Boy
Concordia/K!7 (dist. Redeye)

It’s not often that an album comes across my desk that is recommended equally to fans of Missy Elliott and Meredith Monk, but in this case I get it. Honestly, listening to the debut full-length from this artist puts me as much in mind of M.I.A. as any of the others in the accompanying R.I.Y.L. list: a deceptively winsome voice weaving through beats that are by turns assaultive and restrained and atmospherics that are by turns harsh and beautiful. Every song is like music from some unidentifiable foreign culture, or maybe another planet, and yet every one is accessible once you give yourself a moment to adjust. Notice, for example, how beautiful “Daddy” is despite its deeply strange structure, and how aggressively weird “Joseph” is despite its general quietude. Highly recommended.

The Specials

Fully 40 years after ushering in the Two-Tone ska revival alongside acts like the Beat and Madness, the Specials are back — and the first couple of tracks of their new album may have you scratching your head. “Black Skin Blue Eyed Boys” is soully disco circa 1976, and “B.L.M.” is an affecting spoken-word recollection by Lynval Golding of his father’s experiences with racism and economic disappointment as a member of the “Windrusher” generation of Jamaican immigrants to England, accompanied by more disco-ish sounding music (though this time with a reggae backbeat). But then the old sound reasserts itself, and it hangs on for the rest of the album: brisk ska enriched with elements of music hall and Latin styles. As has always been the case, bassist Horace Panter contributes some of the most rich and impressive elements of this outstanding band’s music. Expect demand from aging fans.

Fabric Presents Bonobo
Fabric (dist. Forced Exposure)

Rising from the ashes of the sadly defunct Fabriclive series, this new DJ set by Bonobo inaugurates a new series for the label, which will be called Fabric Presents. This is the first DJ mix Bonobo has released in five or six years, and it finds him ranging widely over the house, techno, and breakbeat landscapes (though spending most of his time in house and techno territory) over the course of 22 tracks by the likes of Titeknots, Alex Kassian, DJ Seinfeld, Throwing Snow, and Barakas (an alias of Bonobo himself). Ten of these tracks are previously unreleased, and all demonstrate his love of complex but open textures and solid but non-aggressive beats. Very nice stuff.

Explosions in Slow Motion
n5MD (dist. Redeye)

I finally had to stop listening to this one because it was making me too depressed. That’s not a criticism, honestly: the music is strange and beautiful, consisting of four major sections separated by four brief numbered interludes titled “Ember.” The major sections are deeply mournful, consisting of slowly-moving clouds of synthesizer occasionally punctuated by very slow and very minimal beats; the “Ember” interludes consist largely of what sound like string sections that play repetitive passages that subty change over time but are partly obscured by envelopes of whitish noise. This could function as ambient music, I suppose, but the deep emotion it conveys is maybe a bit too disconcerting for that. Recommended primarily to people who aren’t already sad.


Brown Sugar
I’m in Love with a Dreadlocks: Brown Sugar and the Birth of Lovers Rock, 1977-80
Soul Jazz (dist. Redeye)

Lovers rock is a specific reggae subgenre that emerged in England during the late 1970s and early 1980s. Characterized by a smoother, poppier sound than what had prevailed during the roots-and-culture period and a gentler tone than that of the emerging dancehall style, lovers rock focused (as its name would suggest) on romantic lyrics and was most often sung by women: artists like Sandra Cross, Carroll Thompson, and Janet Kay achieved significant success in the lovers style. Less well-known is the harmony trio that recorded as Brown Sugar–one member of which, Caron Wheeler, would later go on to front the massively successful Soul II Soul; another, Carol Simms, would achieve solo success under the name Kofi. Interestingly, unlike most of their colleagues, this trio mixed things up thematically: on this collection, crooning love songs like “I’m Hurtin’” and “Confession Hurts” rub shoulders with anthems of cultural consciousness like “Black Pride” and “Dreaming of Zion”–not to mention the title track, which effectively blends both roots and lovers into a single style. This is yet another very fine piece of musical archaeology from the redoutable Soul Jazz label.

Mitra Sumara
Persian Cardinal

They claim to be “New York City’s only Farsi Funk group,” and I’m prepared to take them at their word on that. Of course, one interesting thing about being a Farsi funk group is that your definition of “funkiness” is likely to be a bit complicated by a predilection for time signatures that depart from the funky norm: the album-opening “Bemoon ta Bemoonam” sways energetically in 3/4, for example, while “Helelyos” does the same in 6/4. But that doesn’t stop things from feeling funky–it just expands your mind a bit about what “funky” means. One thing it definitely means here is plenty of horns, a generous smattering of wah-wah guitar, and keening vocals by Yvette Saatchi Perez. The songs themselves are all modern reworkings of pop and funk tunes from 1970s Iran, and the whole album is just tons of fun.

Miguel Zenón; Spektral Quartet
Yo soy la tradición
Miel Music
No cat. no.
Rick’s Pick

This album represents a three-way fusion of sorts: traditional Puerto Rican music, jazz, and classical. An eight-part suite written for saxophone and string quartet, Yo soy la tradición is–to my ears, anyway–first and foremost a carefully composed piece of art music; it includes improvised passages, but this is not primarily improvised music. Nor is it quaint folk-music-with-orchestration, although each of the pieces draws deeply and explicitly on a specific folk music tradition. Zenón’s writing for the quartet is remarkable: complex and harmonically knotty, with little in the way of explicit tonal momentum, yet never directionless and never less than fascinating. The playing is brilliant throughout. This album is a triumph.

Maurice Louca
Northern Spy (dist. Redeye)
NS 111

And while we’re talking about unlikely cross-cultural fusion experiments, consider the latest from Maurice Louca, a key figure in what must be the relatively small experimental-music scene in his native Cairo. Elephantine blends elements of Arabic melody, free jazz, and minimalist repetition, shifting and merging those elements to create alternating passages of eerie lyricism, contemplative quiet, and assaultive skronk. He draws on musicians from Egypt and also from across Europe, creating an incredibly rich tonal pallette of sounds: percussion, oud, vibraphone, reed and brass instruments, violin, and Louca’s own guitar and piano all contibute to a series of compositions that sometimes flirt with chaos but always within the constraints of a very clearly defined musical vision.

Mad Professor & Jah9
Mad Professor Meets Jah9 in the Midst of the Storm
Rick’s Pick

A couple of years ago I strongly recommended Jah9’s album 9, referring to her as “possibly the foremost exponent” right now of reggae’s roots-and-culture school. What I missed at the time was the nearly simultaneous release of a remix version of that album, radically dubbed-up by the legendary English reggae producer Mad Professor. Having been heavily influenced in his youth by the certifiably insane production style of Lee “Scratch” Perry, Mad Professor knows how to fold, spindle, and mutilate a reggae song–but wisely, he leaves some of Jah9’s considerable lyrical wisdom intact (notably the best line on the album: “A spiritual woman is the greatest threat to the status quo”). What’s left is a deep, dark, heavyweight reimagining of what was one of the two or three finest reggae releases of 2017. If you bought that one, this one makes a perfect complement to it–and if you didn’t buy that one, buy both of them now.