Music Reviews

Don’t let the blues get you down. In fact, sometimes, a good blues session can be an uplifting experience, perhaps even cathartic, if you like. The blues aren’t played to make us feel bad, on the contrary, they exist to remind us that we’re not alone with our troubles, and while we may not find the answers we need, sometimes misery loves company and that companionship can be very valuable especially when it comes in the form of a well-pressed piece of vinyl.Such is... Read More

In 1961, John Lee Hooker recorded "Burnin’", an album accompanied by an early version of Motown's legendary Funk Brothers band for Vee Jay Records in one session, probably four hours in length. Vee Jay was an independent label based in Chicago, owned by an African American married couple, Vivian Carter and James Bracken, which had achieved considerable success selling R&B, blues, gospel, and jazz records to Black audiences. Hooker had been recording... Read More

Olivia Jean is a jack of all trades. When a demo of Olivia Jean’s material found its way into Jack White’s hands in 2009, she relocated to Nashville and joined Third Man Records’ (founded by White) stable of artists. After carving her way as a session musician for the likes of Wanda Jackson and Karen Elson, in 2010 Olivia became the lead vocalist/guitarist/primary songwriter of the all-female garage goth band The Black Belles. The material that didn’t quite fit the... Read More

Back in 2014 when I was an undergraduate student at the Manhattan School of Music, I remember the Jazz department in a perpetual uproar over the release of the film Whiplash. It seems every Jazz musician I knew had something to say about that movie, from praise to condemnation, from astonishment at what it got right, to a laundry list of everything it got wrong (it didn’t help that supposedly the fictional “Schaefer Conservatory” was based on our own institution).... Read More

Why saxophonist Harold Vick's Blue Note debut as bandleader was also his last, isn't clear. It certainly couldn't have been because the session was a musical disappointment. Far from it! Maybe it's because the date produced an album closer to the hard charging warm up for an r&b review than what Blue Note was typically releasing in 1963. Vick had played with all here but trumpeter Blue Mitchell and all had played in or skirted the r&b... Read More

Two new LPs from Yarlung Records offer great sound and even greater performances.

Live albums aren’t always my preferred format. Sure, there are certain tracks that I’ve grown accustomed to hearing performed in the live vein, but I’m not often excited about the prospect of an album “captured” in a live setting, or of a particularly excellent live recording. I’m primarily interested in music that’s created in the studio; that’s what I consider the recording artist's ultimate canvas. However, Hungarian guitarist Gabor Szabo is one of my... Read More

ECM is arguably the most influential jazz label since the heydays of Blue Note and Impulse!. The German label recently announced Luminessence, its first ever audiophile vinyl reissue series. The two first releases, reviewed here, are Kenny Wheeler's Gnu High and Nana Vasconcelos' Saudades.

Ducks aren't an endangered species but in 2023 feedback drenched, electric guitar driven 4/4 rock music so popular in the 1970s seems to be just about over, Jack White and a few others notwithstanding. While Crazy Horse is Neil Young's best known live collaborator, the Ducks prove they are equally worthy on this adrenaline producing 3 LP live set recorded summer, 1977, Santa Cruz, California—and the sound recorded by Tim Mulligan is remarkably hi-fi... Read More

Zev Feldman's Jazz Detective label lived up to its name with the discovery of two previously unreleased and unheard since their first airing in 1979 on Dutch Radio, Chet Baker performances, released for RSD 2023 as a double LP set. Unlike many newly discovered recordings, this one's excellent sound matches the quality of the music.

As someone who’d missed the early psycho-garage days and didn’t care all that much for the “Jelly” song, I was fully unprepared for the full force of what the Flaming Lips had become when they touched down in Athens, Georgia in September of 2000. Sure, the LSD helped, but long before we were inside of its fluorescent metallic grip, it was clear that the Category-5 euphoria of their live show could not be denied. Let’s remember that at the time, they were performing as... Read More

After a failed Netflix deal to put Gorillaz cartoon band members into a full length film, Damon Albarn and illustrator Jamie Hewlett regroup under a slick pop banner to deliver album number eight with the help of mega-producer Greg Kurstin.

Upon reaching a certain age, it’s inevitable to ponder the impending end of the run, to embrace - as Warren Zevon once wryly observed - the importance of enjoying every sandwich. Unfortunately, these thoughts aren’t reserved only for card-carrying members of the octogenarian or nonagenarian membership club. The reality is that this experience of life is something that humans of all ages should appreciate, explore and enjoy. After all, one never knows how long a life... Read More

Almost no one asked for 2014’s spotty, blandly produced 'Songs Of Innocence' to be shoved into their iTunes library, and even fewer asked for a nearly three-hour compendium of mostly acoustic rerecordings from the catalog. Of course, U2’s latest project 'Songs Of Surrender,' conceived by The Edge and billed as a companion to Bono’s aforementioned book, is exactly that.

For anyone more familiar with John Barry’s 50s and 60s discography and his early scores for spy films like the James Bond series or The Ipcress File (1965), encountering his late-career work on films like Dances with Wolves (1990) and Chaplin (1992) can be a bit of surprise. Gone are the stylings of his era-defining London mod classics like “Hit and Miss” and “Beat for Beatniks”, let alone his genre-defining “James Bond Theme” (Barry's arrangement of a melody by... Read More

Cécile McLorin Salvant has reached the point in her career where she can, apparently, get away with doing whatever she wants. Dreams and Daggers and The Window solidified her status as the preeminent jazz singer of our time. Ghost Song, her debut on Nonesuch Records, cracked open all genres, covering a range enveloping Kurt Weill, Kate Bush, Harold Arlen, a 19th-century folk ballad, and a half-dozen original songs, which matched the album’s standards for wit, swing,... Read More