jazz
Guy Oddy
Shabaka Hutchings is a busy man. Not only does he head up the calypso-reggae-hip-hop-jazz mash-up that is Sons of Kemet, there’s also The Comet is Coming and Shabaka and the Ancestors, and plenty else that we don’t hear about, no doubt. His various ensembles aren’t just occasional outings either, and since Sons of Kemet’s exquisite Your Queen is a Reptile album from three years ago, there’s been albums and stand-alone singles from both the other groups. This means that there’s plenty of change afoot and anyone expecting a re-tread of the Mercury-nominated Your Queen is a Reptile on their new Read more ...
Kieron Tyler
Speaking to America’s Hit Parader magazine in August 1967, Frank Zappa said “If you want to learn how to play guitar, listen to Wes Montgomery.” The article was titled My Favorite Records and the head Mother was being featured shortly after the release of Absolutely Free, the second Mothers Of Invention album. Montgomery was in good company. Zappa also namechecked Bartok, Pierre Boulez, conductor Robert Craft, Stockhausen, Stravinsky, Cecil Taylor and Anton Webern. No pop was mentioned.At this point, Montgomery had just released the A Day In The Life album on A&M. It featured covers of Read more ...
Nick Hasted
Charles Lloyd is too graciously, fully alive to set in iconic aspic, his latest golden era still in mid-flow aged 82, when his surviving sax peers, Sonny Rollins and Wayne Shorter, can no longer blow. The worlds he’s passed through beyond jazz indicate his broad curiosity and importance. Lloyd knew Elvis when he was a truck-driver, dropped in on Dylan and The Band’s basement sessions, played with Howlin’ Wolf and the Beach Boys. He was on Fillmore rock bills before Miles, breaking down jazz’s walls.This third album with his occasional, Americana-leaning outfit the Marvels accordingly Read more ...
Joe Muggs
Theartsdesk is a labour of love. Bloody-mindedly run as a co-operative of journalists from the beginning, our obsession with maintaining a daily-updated platform for good culture writing has caused a good few grey and lost hairs over the years. But it has also been rewarding – and looking back over the 10 years of Disc of the Day reviews has been a good chance to remind ourselves of that. One thing in particular that drew me into the collective when it was founded, and has kept me going throughout, was the understanding that artistic forms would be treated with equal respect and Read more ...
theartsdesk
On Valentine’s Day 2011 Disc of the Day album reviews sprang into being, and has been solidly reviewing five albums a week ever since. Out of the many thousands, which ones did we rate the most? To mark 10 years since its inception, 12 of theartsdesk’s music writers mark the occasion by choosing an Album of the Decade. They appear in alphabetical order by writer.Alt-J – An Awesome Wave – by Russ CoffeyThe early 2010s was a period when UK rock music slowly lost its swagger. The harsh economic climate meant songwriters increasingly forgot about the good times; instead, they turned their minds Read more ...
Thomas H. Green
Ten years ago yesterday, on Monday 14th February 2011, one of theartsdesk’s writers, Joe Muggs, reviewed an album called Paranormale Aktivitat, by an outfit called Zwischenwelt. It was the first ever Disc of the Day, a new slot inserted into theartsdesk’s front page design, where it still resides today. By the end of the year, we’d introduced the now-obligatory stars-out-of-five system, keeping in the swim with other reviewing media. Since then, Disc of the Day has covered approximately 2600 albums and, before COVID, when the tube trains were running, it gave me great pleasure to see those Read more ...
Kieron Tyler
Arrival Of The New Elders is unlike anything Norwegian trio Elephant9 have done before. Previously, their jazz-prog mélange was as full-on as it could be. Attacking, hard and heavy. Now, a previously unfamiliar pensiveness has been revealed.While Elephant9’s sixth studio album still sounds like keyboard player Ståle Storløkken, bassist Nikolai Eilertse and drummer Torstein Lofthus, there’s a more measured, clearly less improvised approach. Tempi are slower and the interplay between the players is easier to discern. There’s a new space too. Storløkken plays more electric piano than before, Read more ...
Kieron Tyler
Two of the four CDs in this set are of a live performance taped on 16 April 1964. The other pair of discs were recorded on 9 July 1975. Each show issued on Charles Mingus @ Bremen 1964 & 1975 was captured by the north German regional broadcaster Radio Bremen. There was an audience of 220 at the earlier show, 440 at the later.While each performance runs to just short of two hours, the contrasts between them are not limited to representing different periods in the career of double bassist/pianist Charles Mingus. The compositions played are unique to each show, and there's a different Read more ...
peter.quinn
One of the great ironies of 2020 was that, in a year in which the importance of music – as escape, as release, as comforter – was amplified like no other, vast swathes of musicians saw their livelihoods disappear overnight.A far-reaching commentary on the unending cycle of human greed and corruption, couched in music of Ellingtonian richness, Wynton Marsalis’s The Ever Fonky Lowdown was the latest in a line of hard-hitting socio-political works from the acclaimed trumpeter and composer which includes Black Codes (1985), Blood on the Fields (1996) and From the Plantation to the Penitentiary ( Read more ...
Kieron Tyler
In 2020, one archive release exerted a more forceful presence than any other. Live At Goose Lake August 8th 1970 caught The Stooges as they promoted their second album Fun House. The source was a previously unknown, professionally recorded tape documenting the whole album as it was played live, in its running order. Iggy Pop and the band were hard yet sloppy, tight yet rough, always blazing. Wonderful – and a reminder that musical surprises still crop up.While contemplating what’s been covered in this column over the last year, the feeling that archive releases can shift perceptions rises to Read more ...
Sebastian Scotney
This year of all years – surely – we need music which takes us to better, happier places. And the new album from Norwegian-born saxophonist/composer Marius Neset does that. It also gives us a bit more hindsight and context as to what his two previous albums involving large ensembles were all about. One can now see more clearly that the 500+ pages of dense orchestral scoring that he painstakingly wrote for his quintet and the London Sinfonietta in Snowmelt and Viaduct were his ‘années de galère’ as a composer.Tributes (ACT) is not simple music by any means, and yet there is a complete sense of Read more ...
Thomas H. Green
I’ll leave it to others, better placed, to unpack 2020’s gruelling impact on so many. But one of its side effects was the elevation, alongside food and television, of recorded music. It became a salve, a focus, a locus of social media blather about what was getting us through. Lockdown ears were lifted by a heady gumbo of new discoveries and old favourites. Certainly, my best-of-year lists are overfull. There’s nothing I'm taking a punt on; it’s all lived stuff, revelled in.100% Yes, the third album from London jazz-punk-funk unit Melt Yourself Down, from its title onwards, musters an Read more ...