Esperanza Spalding - Radio Music Society 2012

Esperanza Spalding's fourth album, Radio Music Society (a companion piece to Chamber Music Society in name only) is one of enormous ambition -- polished production, sophisticated, busy charts, and classy songwriting -- that consciously juxtaposes neo-soul and adult-oriented jazz-tinged pop. It employs a stellar cast, largely of jazz musicians, to pull it off. She produced the set, with help from Q-Tip on a couple of numbers, and wrote all but two songs here: a cover of "I Can't Help It" (a Michael Jackson cover written by Stevie Wonder) and Wayne Shorter's "Endangered Species." There are truckloads of players, including three different all-star drummers in Terri Lyne Carrington, Jack DeJohnette, and Billy Hart, saxophonist Joe Lovano, and guitarists Jef Lee Johnson and Lionel Loueke on "Black Gold" (which also contains his vocals and an appearance by the Savannah Children's Choir). Though Ms. Spaldingtakes most lead vocals, there are also duet appearances from Lalah Hathaway and Algebra Blessett. Backing vocalists include Gretchen Parlato (who also anchors a chorus on several tunes) and Leni Stern. The American Music Program horn section appears on three cuts. The highlights here include "Crowned & Kissed" (a Q-Tip co-production) with its rubbery bassline, contrapuntal horns, Leo Genovese's artful pianism, and Carrington's impeccable sense of swing that bridges funk, neo-soul, jazz, and hip-hop. "Radio Song" contains layered interpolated rhythms (again courtesy of Carrington), sparkling Rhodes piano, syncopated horns and backing chorus, Spalding's alto croon, and a taut, popping bassline. Lovano's saxophone adds a truly elegant and graceful dimension to "I Can't Help It." The charts on Shorter's tune (with lyrics by Spalding) illuminate what may have been the composer's intent all along -- and nod at Pastorius-era Weather Report simultaneously. DeJohnette's funky subtlety drives the knotty fingerpop of "Let Her," and Hart's trademark, shimmering cymbal work on "Hold on Me" complements Spalding's sultry vocal in retro bluesy pop -- it's one of only a couple of places on the record where she plays acoustic bass. While Radio Music Society may play better to younger pop audiences than more die-hard jazzheads, this program is so diverse and well executed -- despite a little overreaching -- it's anybody's guess. AMG. 

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Charles Bradley - No Time For Dreaming 2011

On first spin, most listeners won't be able to tell that gutsy soul singer Charles Bradley's Daptone debut wasn't recorded in the late '60s and dusted off for release in early 2011. Subsequent plays reveal subtleties in production and instrumentation that might tip off some, but for the rest, this is a remarkable reproduction of the sound of classic Southern soul. Its combination of Stax and Muscle Shoals grease and grit are captured in what can only be called "the Daptone sound." Horns, percussion, background vocals, vibraphone, and rhythm guitar form a cozy, often sizzling blanket that Bradley wraps himself in. His grainy, lived-in vocals are straight out of the James Brown/Wilson Pickettschool; comfortable with both the gospel yearning of slower ballads but ready to make the leap to shouting, searing intensity without warning. The yin-yang between Bradley and his players would be impressive even if the material wasn't as top-shelf as these dozen songs are. All three working in tandem yield a perfect storm of an R&B album, one with clear antecedents to the genre's roots with new songs that are as powerful and moving as tunes from the music's classic era. The band even gets its own showcase on the instrumental, Latin-tinged "Since Our Last Goodbye," perhaps an unusual inclusion on a vocalist's album, but one that strengthens the connection between the backing group and its singer. Bradley has had a tough life, knocking around for years as a lounge act doing covers until the Daptone folks came calling with fresh material and their patented production. That history is evident in every note he sings; pleading, begging, and testifying with a style that few contemporary vocalists can muster without lapsing into parody. Lyrically the material is a mix of the socio-political ("The World Is Going Up in Flames," "Golden Rule"), heartbroken romance ("I Believe in Your Love," "Heartaches and Pain"), and the joys of true love ("Lovin' You Baby"). Some tunes are more personal, especially "No Time for Dreaming" where he's telling himself to get serious about his career, and in "Why Is It So Hard," as he delivers a capsule history of his life-long difficulties. Even if the concepts appear shopworn, the music and performances are vibrant and alive with arrangements that are innovative yet informed by their roots. Retro-soul aficionados who claim they don't make ‘em like they used to will obviously be thrilled with this, but even contemporary R&B fans can't help but be moved by the emotion and passion evident in every note of this riveting set. AMG.

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Fast 'n' Bulbous - Pork Chop Blue Around the Rind 2005

At first glance, Beefheart without Beefheart would appear to be a risky proposition. After all, the Captain's vaunted three-octave rasp/howl and his surrealist nonsense lyrics were always the main attraction, and his tyrannical control of bandmembers and arrangements was legendary. The music itself often seemed fragmented and skeletal, designed only as a backdrop for Beefheart's rants. Nonetheless, Don Van Vliet (aka Captain Beefheart) was much more than a neo-beat poet with musical accompaniment. In his head were not just words but also melodies and jagged, funky rhythms that he worked hard to communicate to his musicians. In turn, he empowered his groups to take the music in new directions and participate in the creative process, if only because he couldn't read music himself and often described what he was hearing in vague, metaphorical terms. So it turns out (and, this CD is prime evidence) that when you take Beefheart away from Beefheart, you can still come up with something rather special. Credit for the success of this venture goes to guitarist Gary Lucas and especially to alto saxophonist and arranger Phillip Johnston. Aside from his fearless eclecticism and technical expertise, Lucas has the advantage of having been a member of one of Beefheart's last working bands. He understands Beefheart's sound and his logic; Lucas' spiky, warped slide guitar is a strong link to the original songs, most of which featured the work of two guitarists in tandem. However, Johnstonis the real genius of this session, essentially writing charts for a horn section (trumpet, trombone, baritone, and his own alto) plus the wildly improvising Lucas and a rhythm section of Richard Dworkin on drums and Jesse Krakow on bass. Johnston smoothes out the stuttering Beefheart pulse, giving the music a basic blues-rock feel and sometimes, more weirdly, the sound of a crazed college marching band (e.g., "Abba Zaba"). Others pieces, such as "Kandy Korn" and "Suction Prints," even project a bit of a New Orleans second-line strut, with contrapuntal interaction and hints of primitive funk or even Dixieland. Most of the 13 pieces on the CD are three to seven minutes long, but all participants have the opportunity to contribute brief but blistering solos. Joe Fiedler, on trombone, takes particular advantage of his opportunities. Remarkably, these instrumentals hold onto Beefheart's obsessive strangeness, which is really the best tribute that Lucas, Johnston, and the rest of the Fast 'n' Bulbous crew could have given him. This CD is ragged but right, all the way. AMG.

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Acoustic Syndicate - Rooftop Garden 2013

North Carolina's Acoustic Syndicate consists of vocalist/banjo player Bryon McMurry, vocalist/percussionist Fitz McMurry, vocalist/guitarist Steve McMurry, guitarist Roger Padgett, bassist Jay Sanders and flautist Gaines Post. The group formed in 1992 and released two albums regionally, including 1998's Tributaries; their self-titled album received national release in 1999. Their third release, Crazy Little Life, followed a year later. AMG.

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Blueground Undergrass - Barnyard Gone Wrong 1998

Another band on the long list profoundly influenced by the work of Col. Bruce Hampton, Blueground Undergrassreleased two albums of progressive jam band bluegrass in the late '90s, fronted by their founder and banjo player Rev. Jeff Mosier.

The principle antecedent to Blueground Undergrass was the long-running combo Good Medicine, which featured Mosier along with future Undergrass members Edward Hunter (fiddle) and Mosiers brother Johnny (guitar). The band, which existed for over 20 years, played a typically wide variety of gigs in and around their native Georgia.

Simultaneously, for many years, the Mosier brothers hosted an influential Americana-tinged radio show, where both came into contact with many of the luminaries of the bluegrass circuit. In the late '80s, through folksinger Elise Witt, Mosier met Col. Bruce Hampton. Soon, Mosier was playing with Hampton in an early version of the Aquarium Rescue Unit. Though his stint with the group was relatively brief, it provided a model of an eclectic, electric bluegrass band.

After an on-tour residency with Phish in 1994 and guest appearances with southern jam-rockers Widespread Panic, Mosier decided to focus his musical vision. Though he had been leading myriad local groups, he pulled togetherBlueground Undergrass as his new primary outlet. Calling on friends and picking partners from the local music scene, Blueground Undergrass began to accumulate gigs.

Following the recording of Live at the Variety Playhouse 7.10.99 for the Phoenix Presents label, Bynum left the band, replaced by Joseph Patrick Moore, a solid bassist who had done tons of session work as well as recording two instrumental discs of his own. The band continued to tour the jam band circuit.With the addition of drummer Michael Grando, the band achieved a progressive bluegrass sound in the spirit of pioneers Newgrass Revival, soon releasing Barnyard Gone Wrong in 1998. The feel was upbeat and funky. With the addition of a rock rhythm section (completed by electric bassist Mark Bynum), the group could allow Mosier's Earl Scruggs-derived clawhammer picking to build momentum for the band while being afforded the opportunity to lay back on top of a steady beat and introduce other influences. AMG.

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JJ Grey & Mofro - Brighter Days 2011

If you've ever seen JJ Grey & Mofro, you have an idea of what to expect from this concert-length DVD and accompanying 78-minute CD. That said, since this gig, recorded in January at Atlanta's Variety Playhouse, was pre-planned with the end result being Brighter Days, maybe you don't. For starters, there's the band. For this engagement,Mofro was a sextet that included saxophonist Art Edmaiston, trumpeter Dennis Marion, organist and pianist Anthony Farrell, drummer Anthony Cole, electric and lap steel guitarist Andrew Trube, and bassist Todd Smallie. The concert footage is broken up with documentary footage of Grey -- who hails from the swamps of Florida -- telling stories (he's brilliant at it) and offering his observations on music, life, and various and sundry thoughts. The DVD gig contains three more songs than the CD. Musically, Mofro is excellent here. The way Grey and band combine their loosely played (not sloppy) roots meld of Southern R&B, country, blues, gospel, and muddy pop has a way of gaining in intensity, whether they are playing vintage tunes or newer ones; it's instictive, not something you can rehearse. Grey's voice is much grittier live than on records, it is a catalyst for the band to build upon and they do so whenever presented with the opportunity. The Brighter Days film was by Spookie Daly. The multi-camera concert footage is spontaneous, capturing the band in full-on, sweat-streaked glory, feeding off the crowd and passing good vibes back to them. The audio CD doesn't come off quite as well. Perhaps it's the lack of between-song banter, or that seeing a band play numerous choruses of a particular tune translates better in visual rather than the aural mediums. That said, certain tracks on the CD do stick out: "War," with its burning guitar work and squealing horns, the shambolic dance strut of "Orange Blossoms," and the long, gospelized blues righteousness of "The Sun Is Shining Down." While this one is for the fans, hearing the three aformentioned tracks would make a believer out of virtually anyone. Sold at an attractive price point, this set is pretty much irresisitible for fans. AMG.

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V.A. - The Journey Is Long: The Jeffrey Lee Pierce Sessions Project 2012

Jeffrey Lee Pierce died aged 37 in 1996, a textbook rock casualty to excessive drink and drugs. At least the music he left behind burns: his albums with The Gun Club and their scorched-earth white-boy blues broke open territory that Pixies and The White Stripes (among others) would go on to explore, and solo album Wildweed was disarmingly romantic. He’s still being celebrated – for the art and not the self-destruction, one hopes. Whether he’d have forged an enduring career like that of peer Nick Cave is debatable, but the best Gun Club fusillades – single Fire of Love, album The Las Vegas Story – delivered much and promised more.
Pierce, born in LA but something of an Anglophile, carved a persona from goth, glam and roots to roar and charm. As Blondie’s US fan club president, he was as influenced by pop and punk as by Robert Johnson or The Doors, so his songs could be melodic, anarchic, or both. This second in a planned trilogy of not-exactly-tribute albums demonstrates as much (2009’s We Are Only Riders led the way). What it is not is a bunch of covers (though there are a couple of those.) Later-years collaborator Cypress Grove found a batch of Jeffrey’s cassette demos and works-in-progress in his loft, and a group of former colleagues, friends and admirers have effectively coloured these sketches in, bringing them to strange fruition. (Proceeds go to charity.)
The credits have Pierce playing guitar on some, nothing on others, but his stamp is loud and clear on the gutsy flair of From Death to Texas (performed by Steve Wynn) or the keening tug of The Breaking Hands (which is interpreted here twice, first by Mark Lanegan and Isobel Campbell and then by the dream pairing of Nick Cave and Deborah Harry, who are joined by Mick Harvey and Chris Stein). Cave also sings City in Pain, this album’s opener, all restrained aggression and controlled desire. Harvey depicts an eerie-lovely St. Mark’s Place, while Barry Adamson, Lydia Lunch and The Jim Jones Revue are also committed believers, fanning the still-smouldering ashes of a legend that yet grows.

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Inara George - Accidental Experimental 2009

When she isn't exploring the intersection between jazz, tropicalia, and indie pop with the Bird and the Bee, vocalistInara George enjoys a solo career as a talented singer/songwriter. At a young age, she was surrounded by the music of her father (Little Feat's Lowell George) and his illustrious peers -- Jackson Browne, Terry Allen, and Van Dyke Parks -- yet George never intended to follow in her late father's footsteps. Rather, theater was her forte, and George's younger years were spent performing Shakespeare in her native Topanga Canyon, a community in the Santa Monica mountains. She later relocated to Boston to study acting in the classical theater tradition.

While visiting home one summer, George and several high-school friends launched a band named Lode. To their surprise, the bandmates landed a deal with Geffen Records and released an EP, 1996's Legs & Arms. Before the decade's end, George joined Bryon Atkinson to form Merrick, an indie rock duo that released two albums before disbanding in 2002. Three years later, George struck out on her own by issuing her solo debut on Everloving Records. All Rise was produced by Michael Andrews (Donnie Darko, Freaks and Geeks) and feauterd musical contributions from Greg Kurstin, with whom George shared a mutual appreciation for old jazz standards and 1960s tropicalia tunes. The two formed the Bird and the Bee and released a self-titled album in 2006, followed by several EPs. While preparing for the duo's second full-length release, George also found time to return to her own project, teaming up with veteran producer (and family friend) Van Dyke Parks for 2008's An Invitation. AMG

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Eddie Roberts & The Fire Eaters - Burn! 2011

2011 album from the British Jazz musician & New Mastersounds guitarist Eddie Roberts. Eddie joined forces with The Sweet Vandals' rhythm section, adding Chip Wickham's (Nightmares On Wax, Rae & Christian, The Pharcyde) world-class flute and Taz Modi's funktastic organ from Leeds/UK. The album includs a good number of Eddie Roberts originals as well as their versions of classic acid jazz & soul tunes like "I Believe In Miracles", the "Lope Song" or "Latona". Listen for yourself and travel way back to the times when jazz had soul and there was freedom in the rhythm.

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Dennis Gonzalez - Hymn For The Perfect Heart Of A Pearl 1991

This year's Dennis Gonzalez group goes by the moniker "Band of Sorcerers," and may be a little lighter on AACM/avant-jazz name-power, but it can't stop Hymn for the Perfect Heart of a Pearl from being a really strong disc. The rhythm section strongly backs Carlos Ward's tart opening alto solo to the first movement of the six-part title suite. Bassist Paul Rogers is very busy, but it's a good busy that largely avoids the too-frenetic (even when he's strumming behind Tim Green's stately tenor sax) and his strong solo provides a nice re-entry to the melody colored by spare horn commentaries. Rogers' busy-ness should be a problem on "Astonishing Emptiness," but it doesn't get in the way of the deep spirit mojo at work, with the lovely three-horn harmonies built around Green's simple vibrato spine, and drummer Louis Moholo brushes and rattles around like he does to excellent effect most of the time. "Hymn for Louis Moholo" has a decided South African tinge -- hardly surprising since Gonzalez has explored that feel before, the drummer hails from there and Ward is in the midst of a lengthy tenure as Abdullah Ibrahim's chief horn soloist. It's a 180 degree emotion switch to celebration, with a tart Ward solo kicking things off as Rogers locks down into the buoyant anchor riff, and Green gleefully takes off from foundation. It ends with the horns going off on some playful round action that reminds you of the distance from South African jazz marabi to mbqanga -- or from Ibrahim toMahlathini if you prefer -- ain't that far. "Peculiar Stillness at Noon" phase-shifts the emotions again with its arco bass and muted harmonies drifting into abstraction behind beacon of clarity solos by Green and Gonzalez as the rhythm section takes it outside and back to peace. But what are the two tracks featuring Canadian pianist Paul Plimley doing here? He's a great musician, but neither the collective improvisation "Angels of the Bop Apocalypse," (great title) withGonzalez going into very Miles-mode (as he often does here), or Plimley's original "Parachute One," with its studied, extended left-hand ostinato melody line, fit the program the quintet has been putting down.

They're certainly no bridge to "Hymn for Lionel Batiste-De Lawd's Train," when the quintet comes roaring back in on a pretty serious train groove with a jaunty, bopping head. It turns on to the outside tracks pretty quick, but works around to an almost koto-like pastoral resolution in Rogers' solo before Gonzalez' train whistle brings the train back roaring around the bend. Maybe Gonzalez just got greedy (or too generous) by putting the Plimley tracks on -- they're both really good but just belong in a different context. Hymn for the Perfect Heart of a Pearl is one of the best discs the Dallas trumpeter has released during a very fertile period for him. Don't let the absence of better-known musician names make you overlook it -- Green and Rogers remain unfamiliar to many, but both impress the listener as players to watch out for. AMG.

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Hadouk Trio - Baldamore 2007

France's Hadouk Trio channeled musical elements from across the globe to create a uniquely mystical and evocative sound somewhere between jazz and world pop. The Hadouk Trio was led by Paris-born multi-instrumentalist Didier Malherbe, previously known for co-founding with Soft Machine alum Daevid Allen the famed psych-prog outfit Gong.Malherbe remained with Gong for close to a decade, shepherding the band through myriad personnel and creative changes before exiting in 1978. Throughout his travels Malherbe collected exotic instruments from the far corners of the earth, and after a series of short-lived experimental rock ensembles and a 1980 solo jazz-rock LP, Bloom, in 1994 he embraced world music by forming Hadouk with multi-instrumentalist Loy Ehrlich, a specialist in the hajouj, the African three-stringed bass that, along with the Armenian double-reed instrument the doudouk, gave the project its name. Mahlerbe and Ehrlich initially recorded and toured as a duo, issuing their self-titled debut LP in 1999. With the follow-up, Shamanimal, their ranks swelled to a trio with the addition of American percussionist Steve Shehan, a veteran with stints behind Bob Dylan and Paul Simon on his résumé. Hadouk Now followed in 2002, and two years later The Hadouk Trio issued its first concert LP, Live at Fip. The 2006 release Utopies includes three songs featuring the American trumpeter Jon Hassell. AMG.

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