Kamasi Washington - The Epic (2015)

Go big or go home. This sprawling work of classical jazz swings, bops, and soars for three hours on 3 CDs. Part 1 is titled "The Plan," part 2 "The Glorious Tale," and part 3 "The Historic Repetition," but I can't find an explanation or thread between the three parts (there's a few cover tunes on part 3 so maybe that fact explains the title). Washington's writing and, even more so, his arranging are on another plane. For example, the piece I'm listening to as I write these words sound like Ornette Coleman soloing over the wordless vocal choir from the end of Marvin Gaye's Mercy Mercy Me. At times, there's just so much going on here that my mind can't keep up with my ears, but I know it is quality stuff and worth the effort.

Here's some reviews - maybe these people have more of a clue than I:

• Pitchfork (8.6 rating): "It’s a large and generous canvas, with the feel of a generational intervention."
• Rolling Stone (★★★½): "To be sure, it’s a jazz album, as much about tradition as expanding it, informed by Coltranes (John and Alice), Miles Davis fusions, bebop and more; yet it’s clearly shaped by crate-digger funk and film scores, hip-hop collage and gospel."
• NPR: "It seems intentionally to overwhelm, in an immersive way; it's music to be swept up by and revisited after the wave subsides."

The album also appeared on numerous "best of 2015" lists, including Pitchfork (#10), NPR, Mashable (#22), The Guardian (#8), and Rolling Stone (#41). I tried to find a critique of the album in DownBeat magazine, but they chose not to review it. Oops.

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard Heatseekers: #6
• Billboard Independent: #18
• Billboard Jazz: #3

Tracks: Of the 6 tracks on Volume 1 - The Plan, my picks are Change of the Guard, the organ-drenched Isabelle, and the poppish final tune, The Rhythm Changes, with vocals by Patrice Quinn.

Volume 2 - The Glorious Tale also contains 6 tracks. Of those, I prefer Leroy And Lanisha, the tranquil Seven Prayers, and The Magnificent 7 (which, naturally, is in 7 and sounds a lot like Snarky Puppy).

As mentioned above, Volume 3 - The Historic Repetition includes several cover tunes: three covers, two originals. Cherokee, a standard from 1938, is re-imagined as an early '70s R&B tune - the arrangement immediately reminded me of Everybody Plays the Fool by The Main Ingredient and I enjoy it immensely. I also like the groove of the opener, Re Run Home, and the final statement, The Message (especially Thundercat's bass solo).

Personal Memory Associated with this CD: I was hipped to Washington by my friend Blake back in 2015. He mentioned the album, probably via text, I streamed a bit of it, and immediately ordered a copy.

Blog post #1500

Maria Schneider Orchestra - The Thompson Fields (2015)

"...a masterpiece of uncategorizable modern composition."

To be honest, I was only peripherally aware of Maria Schneider (mainly through Bowie's Blackstar album) when her face appeared in my mailbox in late 2016:

This album, The Thompson Fields, had been voted Album of the Year by the readers of Downbeat (it would later win the Grammy Award for Best Large Jazz Ensemble Album). Good enough for me: I immediately ordered the CD. The titular fields refer to a neighbor's farm where she grew up, in the flatlands of southwest Minnesota. Periodicals tended to use the word "pastoral" when reviewing this album because there's no other term that comes close. "Pastoral big band" may seem like a oxymoron, but ya gotta listen to understand (then go buy yourself a copy). This big band includes alto clarinet and accordion and shies away from shout choruses. If I told you Schneider once worked as Gil Evans' assistant, would that help?  The detailed liner notes, in a wonderful book presented by ArtistShare (below), are beautifully written by the composer herself interspersed with poetry and Audubon drawings.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: It's all so gorgeous, but my favorite tracks are Walking By Flashlight, the title track, Home, and Lembrança.

Personal Memory Associated with this CD: If I were to produce an autobiographical movie of my teenage years amid the rice fields on the coastal plains of Texas, I would want the soundtrack to sound like this.

Seal - 7 (2015)

Unfairly, I compare all Seal music to his second self-titled album, which was released in 1994 - a full generation ago. That release is easily his best and nothing since has measured up. This gives it the old college try and succeeds at times, but other times falls into the melodramatic trap of someone whose heart was broken (one Amazon reviewer titles his/her contribution "This Must Be How It Feels To Get Dumped By A Supermodel"). Using music as therapy - can't really blame him there. It's undeniably a Seal/Horn collaboration, but with a large number of midtempo tracks, it ends up being closer to Human Being than the 1994 release.

It was on the Billboard 200 for only one week and Metacritic didn't even bother with it - ouch. (Based on the reviews I read, my estimate for the Metacritic rating would be 60, which might be a little higher than I would rate it.) Not a terrible release by any means, but not up there with his best. Trevor Horn's production is always welcome; it's better than the songwriting here and probably ultimately saves the album from becoming Seal's worst.

Peak on the US Billboard Top 200 chart: #45

Tracks:

Top tier: Every Time I'm With You (Seal's attempt at Hey Jude?) and Life On The Dancefloor.

Vast middle tier: Daylight Saving, Padded Cell (verse is skippable but chorus is top tier), Redzone Killer, Monascow, Half A Heart, Let Yourself, and Whatever You Need (bonus track).

Skip these tracks tier: Do You Ever, The Big Love Has Died, Love, and We Found Love (bonus track).

Personal Memory Associated with this CD: None. I should probably give it more of chance and listen to it daily for about a week, but [insert your favorite excuse here].

Previously revisited for the blog:
Best 1991-2004 (2004)
IV (2003)
Human Being (1998)
Seal (1994)
Seal (1991)

Squeeze - Cradle To The Grave (2015)

I'm always up for a new Squeeze CD even though their track record lately hasn't been great. This is somewhat of a return to form for Difford & Tilbrook and I'm glad I picked it up as it's their best album since 1991's Play.

I can't put it any better than Lee Zimmerman from Blurt:

Suffice it to say those looking for an album on the order of early Squeeze classics like Argybargy or East Side Story won’t be disappointed. Packed with winsome melodies, joy and jubilation (made all the more expressive by titles like “Nirvana,” “Beautiful Game,” “Sunny” and the all too appropriate “Top of the Form”), Cradle to the Grave is a stunning example of the brilliance Difford and Tilbrook seemingly command at their fingertips.

What he said. Evidently, the music was written for a BBC series about life in the '70s, Cradle to Grave. Maybe I'll check that out and see how the songs tie into the show. My only complaint is that that the album isn't very consistent, but neither was East Side Story so what do I know?

What's with shirtless male bodybuilders on their album covers? No judgment, just asking if there's a reason or connection.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: I like the title track, Nirvana, Only 15, Top of the Form, Sunny, and Everything. Not a fan of Beautiful Game or Haywire, but even they have their moments.

Personal Memory Associated with this CD: Don't get me started. I pre-ordered the "Limited Edition" of this CD directly from the group's website. I think the edition contained bonus tracks or was autographed or both or something not really worth $25 but I was willing to pay for anyway. Two weeks later, I received this email:

What the hell? Just print up some more CDs, Matt! That's no way to treat someone who has been a fan of the group for over 30 years. I was so upset, I put the group in time-out and waited 4 months to order this regular copy. Yeah, I know I can stream/purchase files of the bonus tracks other places, but it's just not the same, is it? Especially when your blog is about CDs. Rant over. Has nothing to do with the high quality of the album itself. Carry on.

Previously revisited for the blog:
The Complete BBC Sessions (2008)
Domino (1998)
Ridiculous (1995)
Some Fantastic Place (1993)
Play (1991)
Frank (1989)
Babylon and On (1987)
Cosi Fan Tutti Frutti (1985)
Difford & Tilbrook (1984)
Singles: 45's and Under (1982)
Sweets From A Stranger (1982) and 2008 reissue
East Side Story (1981)
Argybargy (1980) - 1987 reissue and 2008 Deluxe Edition
Cool For Cats (1979)
U.K. Squeeze (1978)

Jeff Lorber Fusion - Step It Up (2015)

Lorber is one of the best instrumentalist/composer/producers in the smooth jazz game today and he brings us some good stuff in this revamped version of Jeff Lorber Fusion, which includes the Yellowjackets' Jimmy Haslip helping with bass, writing, and production duties (in the cover photo, that's Haslip on the left and Lorber on the right).

Plenty to enjoy here, but I really like how it starts off as a typical Lorber album, then slowly becomes a Yellowjackets album for the middle tracks before returning to Lorber's style for the final few tracks. Makes a strong case against shuffling. In addition to Haslip, Bob Mintzer and Robben Ford of the Yellowjackets make appearances on this album. I'm liking this version of the Fusion (not that there was anything wrong with the 1977-81 version).

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard Jazz: #9

Tracks: My favorites are Mustang, Arecibo, Deep Green, and the lead track Get Up, which hit #1 on the Billboard Smooth Jazz Songs chart, which has been a thing since June 2006 (I learned something new today). But the whole album is good from top-to-bottom; nothing to skip here. Thanks for not including any vocal tracks, Jeff.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
The Very Best of Jeff Lorber (2002)
Midnight (1998)

Mette Henriette (2015)

In a recent issue of Down Beat magazine, the following ad caught my eye.

And, no, it wasn't the picture of an attractive young Norwegian woman suggestively bound with rope that caught my eye (well, maybe it was. I plead the fifth.). Whatever it was, I was intrigued and hit the Internet for more info - yada, yada, yada - I bought the CD and here we are.

This isn't jazz, but it isn't quite classical music, either. At times it's new agey and at times it sounds like a movie soundtrack. It's on the ECM label - that's the only place it could be and that should tell you all you need to know. This 2 CD set is full of brief, plaintive tracks that's perfect on a cold, quiet night on headphones. Henriette has surrounded herself with good musicians and her close-miked playing runs the continuum from avant-garde to traditional. As you might expect on a debut release, some tracks work better than others. An acquired taste, to be sure, but I'm enjoying the journey of acquisition. As for putting a genre label on it, I can't do it. This one's getting filed under "other" over on the right.

It's unlikely this album will get an analysis on metacritic, but most of the reviews I've seen give it four out of five stars. I'm good with that.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks:

The first disc is a trio of Henriette with piano and cello. Very delicate. Atmospheric yet not ambient. I can't single out any particular track as being better than the others - this works well as a suite. The oddest duck here is track 11, A Void. I don't necessarily enjoy that track, but I recognize her efforts to push music forward.

The second disc features a larger ensemble, so the writing tends to be more focused and tuneful but the feeling remains the same while the tonal palette expands. Henriette writes beautifully for strings. The tracks Wildheart, Late à la Carte, and I are somewhat aggressive compared to the others (they remind me of Carla Bley in a way) but they provide a welcome change of pace.

To be honest, disc one will probably be heard around here more often than disc two.

Personal Memory Associated with this CD: in progress

Jeff Lynne's ELO - Alone In The Universe (2015)

At age 67, Lynne proved he can still give ELO fans what they want. The name has slightly changed, but the spaceship logo and music haven't. At first listen, I thought "meh - this is just more of the same." Then I slapped myself as I realized that more of the same is exactly what I wanted - I'm back in the late '70s again and lovin' it. Lynne returns to his familiar melodic tropes to the point where I could hum along to melodies I'd never heard before. Lyrically, too - it wouldn't be an ELO album unless song titles included words like "sun" "rain" and "night". My only complaints would be the lack of variety (we're treated to a lot of midtempo stuff), and the length; even with two bonus tracks, the album is over and done in 38 minutes. Metacritic has this album rated at 75, which seems about right to me.

Bonus points for the lenticular 3-D album cover (which, sadly, doesn't translate well to digital blog images).

I completely understand the name change: 1) Lynne needed to distance himself from Bev Bevan, who uses the name ELO Part II, and 2) just check the credits:

I prefer my ELO in the spring and summer, so I'll be putting this on the shelf for a few months before adding it to my CD rotation.

Peak on the US Billboard Top 200 chart: #23

Tracks: My picks are When I Was A Boy, When The Night Comes, All My Life, and One Step At A Time. Lately, I've been skipping the title track. The two bonus tracks are both good, one a rockabilly romp, the other recalls Roy Orbison.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
Zoom (2001)
Time (1981)
Xanadu Original Motion Picture Soundtrack (1980)
Discovery (1979)
ELO's Greatest Hits (1979)
A New World Record (1976)

Vijay Iyer Trio - Break Stuff (2015)

So I get the latest edition of Downbeat in the mail, and this is the cover:

 

This Iyer guy wins artist of the year, his trio wins group of the year, and this album comes in 7th in the poll. Not a bad haul. You have my attention. Then I was checking out a list over at NPR and this album was mentioned again. Then I see where Metacritic rates it at a very respectable 84 (which didn't factor in the 5 star review in Downbeat). Okay, now I gotta hear it.

Not disappointed. This is the trio's first release on the legendary ECM label, and they were given the usual outstanding production and creative freedom from Manfred Eicher. So it sounds great and the music is unclassifiable. It's jazz, sure, but it's not straight-ahead, or fusion, or avant garde, or neo-anything, or post-anything. Thom Jurek over at Allmusic states that this album "is modern jazz on the bleeding edge" and the fact that I like it on first listen means it must be somewhat accessible, right? I'd love to check out this trio live and see them work.

Iyer is a pianist with all kinds of awards/credentials and this has the usual trio set up with bass and drums. The trio plays off each other beautifully. Of the album's 12 tracks, 9 are Iyer originals and the remaining three are tunes by Monk, Strayhorn, and Coltrane. Get more info and hear some of the album over at the ECM website.

Peak on the US Billboard Top 200 chart:  Did not chart

Tracks:  I'm still digging in and I'm liking what I'm hearing. If I were asked to pick favorite tracks today, I'd go with Chorale, Hood, Taking Flight, and Wrens. The track simply entitled Geese is interesting to be sure, but I'm not sure if I like it or not - more listenings required.

Personal Memory Associated with this CD:  None, but I've been recommending it nonstop since I heard it.