Announced on the last day of Black History Month, Solange Knowles’ fourth studio album, When I Get Home, surprise released at midnight as a digital drop and experimental short film. A method originally pioneered by her sister, mega-superstar Beyoncé, many other artists have since adopted the technique of the ‘surprise drop,’ eschewing the popular single. But Solange elevates it to high art with Home, a thought-provoking concept album that’s as much video installation and interactive performance piece as music. [Read more…]
Adventures In Abstract Sound: The Music Of Eric Dolphy
Musical Prophet: The Expanded New York Studio Sessions (1963)
on Resonance Records
The music collected on Eric Dolphy’s Musical Prophet: The Expanded New York Studio Sessions (1963) is so unyielding and so open, it’s hard to accept the musician would be dead in just under a year. After rejoining former band leader Charles Mingus for a tour of Europe, Dolphy died from diabetic shock on June 29th1964. Having suffered stinging criticism back home in the United States, the musician hoped to leave the disparagement behind and become a musical ex-pat. Unaware he had diabetes, Dolphy slipped into a coma and expired in a Berlin hospital. He was 36 years old. Equally skilled across three instruments — flute, bass clarinet and alto saxophone — Dolphy put out eight albums as a leader in his lifetime. More than 22 others were released after his demise. Most recent among those posthumous releases, Musical Prophet is perhaps the most remarkable, as it includes among its three discs nine previously unissued tracks, making a complete album of unheard music. [Read more…]
Xiu Xiu’s Girl With Basket of Fruit
on Polyvinyl
Reviewed by John Payne
This all by way of passing comment on the challenging Xiu Xiu, never an easy thing to do. A couple of years ago I talked to the band’s main male Jamie Stewart. He was forthcoming and amenable, not a difficult artiste, and he talked about what he does with a seriousness that I liked very much. He thinks he’s a cranky, pretentious arsehole, but I don’t. Anyway, I do think it’s interesting that Stewart’s openly human persona doesn’t always reconcile with the often sonically and lyrically traumatized music he makes. There is some backstory: He told me about his father, a drug addict who died by suicide. It’s hard for me now to not project a lot of liteweight pop psychology upon Stewart’s musical madness. Like, a-ha [Read more…]
Playing the Truth: Charles Mingus’s Jazz in Detroit/ Strata Concert Gallery/ 46 Selden
on BBE
In January of 1979, two extraordinary losses occurred in Mexico. 56 sperm whales beached themselves on the country’s coast line. Reportedly on the same day, fabled jazz composer and bassist Charles Mingus died of heart failure related to ALS (Lou Gehrig’s disease). He was 56. Mingus had gone to Mexico in the late stages of his disease to seek alternative treatment. He was cremated and his ashes were poured into the Ganges, the sacred river that runs through India and Bangladesh. The whales were also burned, their ashes disposed in a dump. [Read more…]
Thelonious Monk, Not Yet At The End
Mønk
on Gearbox Records
Reviewed by Henry Cherry
Jazz pianist and composer Thelonious Monk loved Laurel and Hardy, and playing Yahtzee with his wife Nellie, and ping pong. He once played 60 consecutive games of pong against John Coltrane, Monk winning all but one. He also lost his cabaret card (a license to play in New York clubs) for a time after being busted holding fellow pianist Bud Powell’s stash of heroin. An English Hungarian Baroness devoted her life to his patronage, even leaving her children behind, upon first hearing Monk’s music. His playing with Dizzy Gillespie, Charlie Parker and Kenny Clarke birthed Bebop, the complex rhythmic stew that changed the face of jazz. Monk’s life is sort of the quintessential American experience — filled with innovation, the impact of racism, even marked by a climactic third act when he clawed his way back to the top of the heap. [Read more…]
Expansive New Work From The Necks: Body
How to better classify an improvisational unit such as the Necks? Since the Australian trio perform their music on instruments associated with jazz — acoustic piano, double bass and drums — they tease us with whether or not they ought to be aligned with the severely rule-bound world of jazz at all. Whatever the case, it is hugely satisfying to hear the group’s lack of reverence for the form’s many hallowed conventions. With a healthy, punky boredom about all that, the Necks poke all ye olde shopworn swinging jazz a certifiably new bumhole. [Read more…]
Yoko Ono’s Incomparable Warzone
A sort of a disclaimer here: I’ve known Yoko Ono for many years, or at least had the pleasure of interviewing her several times, as I have her son Sean. I like both of them very much. I’ve checked them out on different levels, tried to cut through any of the potential typical self-self-self-hyping showbiz bullshit or what have you, and they passed the tests with flying colors. They are real people, with good hearts and minds. (You’ll just have to trust me on that.) Thus my understanding of and sympathy for Yoko Ono colors my critical soul a little bit, I don’t mind saying it. I want to approve and feel enthusiasm about her music; this means I’m open to it. And I do feel that Ono’s latest and, one hopes, not final record,Warzone — a collection of 13 songs from her past work, spanning 1970-2009 — is the best album of her career. It is deep, and moving, unlike anything I’ve heard in a long time, and perhaps never have heard before. [Read more…]
Jon Hassell’s Listening to Pictures (Pentimento Volume 1)
One perhaps unusual compliment we ought to pay to Jon Hassell’s new Listening to Pictures (Pentimento Volume 1) is that, like all of his music, one grows impatient having to write about it while listening to it. This music — which I want to never end when I put it on — is too seductive to be looking at a computer screen while trying to come to terms with its intriguing charms. [Read more…]
Wajatta’s Wickedly Funky (And Fun!) Casual High Technology
on Comedy Dynamics
Reviewed by John Payne
As a way of potentially creating something genuinely new, or at least surprising, the time-honored but perhaps neglected artistic scheme of melding or juxtaposing multiple dissimilar aesthetic beliefs or conceptual visions in order to birth a third entity, independent of its parents’ genetics, might be the best way to describe the resonant thrills encoded within the grooves of Wajatta’s debut album. [Read more…]
Kendrick Lamar’s DAMN. And The Pulitzer
Kendrick Lamar recently made history as the first non-jazz, non-classical music artist to win the Pulitzer Prize for music, for 2017’s DAMN. Immediately it was a polarizing move. Many felt it promptly elevated Lamar’s status to “Greatest Of All Time,” catapulting him into a cohort that includes the likes of Nas and Jay-Z. Some questioned the authenticity of the win; was it a consolation prize of sorts, after Kendrick lost the 2017 album of the year Grammy and also best rap album of the year several times in the past? In a similar vein, was it an attempt to appease the #OscarsSoWhite set by giving the award to a Black hip-hop artist, the first ever. Was it also an appeal to hip-hop loving youth (as hip-hop recently surpassed rock ‘n’ roll – another Black American creation – as the most listened to genre in the United States), many of whom had no idea there even was a Pulitzer Prize for music? Or was it a well-deserved award given to a deserving artist, one of the most critically acclaimed of the last decade (so acclaimed, in fact, that some argue that DAMN. isn’t even Lamar’s best album to date, wondering why the award didn’t go to 2015’sTo Pimp A Butterfly instead)? [Read more…]
Bookends: The Doors’ Debut
Ready To Love
Jay-Z’s 4:44
Reviewed by Seren Sensei
One line on 4:44, the 13th solo album by rapper Jay-Z, implores listeners to “Stop me when I stop telling the truth.” If that’s the case, you can’t stop this album for its entire 34 minutes. Featuring some of his most introspective and lyrical wordplay since 2007’s American Gangster, 4:44 is essentially a comeback record after a series of projects that were commercially successful but weren’t particularly critically well-received by reviewers or fans. It finds the 47-year-old drug dealer-turned-rapper-turned-multi-millionaire businessman at a crossroads of sorts, reflecting on his choices thus far and laying out the motivations for the directions he’s going in next; each of the ten tracks weave the musings of the man Shawn Carter against the rap mogul Jay-Z and back again. [Read more…]
Cracked Actor To Cracked Actor
Cracked Actor (Live, Los Angeles ’74)
Sweet Thing/Candidate (Live, Los Angeles ’74)
In honor and in celebration of Cracked Actor, the new live release from David Bowie’s infamously depraved yet musically stellar ’74 tour (the new album narrows in on one evening, his September 5th show at Los Angeles’ Universal Amphitheater, which I had the blearied pleasure of attending!), Riot Material scratched up a BBC documentary from that same tour, titled Cracked Actor: A Film About David Bowie. The 1975 film, viewable below, is directed by Alan Yentob: [Read more…]
A Tribe Manifesto and Masterwork of the Moment
We got it from Here... Thank You 4 Your service Reviewed by C von Hassett
A Tribe Called Quest just dropped their first album in 18 years, and it couldn’t have come at a better time. Released mere days after the Great Debacle of 2016, We got it from Here… Thank You 4 Your service is remarkably, if not thrillingly present tense. Wholly animate in both sound and vision, it is a record that is also uniquely relevant — as much for being in essential response to the angst and rancor of the day as it is for inspiring, as good art tends to do, a requisite spark that might yet ignite conscientious action in the days and months ahead.
Theirs, with this exceptional release, is the resounding shot of this new cycle, and it is one which heralds little quarter. Straight-in they reject a presidential promise that unblushingly assures “all you Black folks, you must go / all you Mexicans, you must go / all you poor folks, you must go / Muslims and gays…” The vitriol, borne high on foul national sentiments, amounts to a kind-of maniacal voodoo, to use their image, and they counter the venom with their own dream serum of living in a world inclusive of all, one without division “no matter the skin tone, culture or time zone.” We are long on a grim horizon from there, but in the storm that is surely in approach, “young leaders will rise / in the eyes of despair and adversity.”
Whatever Will Be