Tag: Marcy Mays

Once again – as befits my favorite cultural season – a lot of writing for other outlets, so I’m racing to get this one done and out before New York this week. But also as befitting my favorite season in general, so much great work. A little more meditative maybe but also some hard partying tracks. Hope you’re all doing well, whether you inherently love fall as much as I do or not. Love to anyone who takes the time to listen to and/or reads these.

https://tidal.com/browse/playlist/94d5c558-a938-471d-a46a-1bb7945a4eed

• Beth Orton, “Arms Around a Memory” – I was one of the many people who got my head split open by Beth Orton’s Trailer Park when I was 16 and every record through Sugaring Season blew me away, with 2002’s Jim O’Rourke-produced Comfort of Strangers as a personal high water mark. Her new one, Weather Alive, after a six-year wait, brings me back to the best parts of all of those records while stirring in new colors. This track, with a combination of English (including drummer Tom Skinner who knocked my face in this spring playing with Sons of Kemet) and NYC (bassist Shazad Ismaily who shows up here with so much regularity I should send him something, Antibalas’s Stuart Bogie on sax, Winged Victory for the Sullen’s Dustin O’Halloran, and guitarist Greg McMurray whose guitar is a key voice of the current chamber music scene) band centered around Orton’s piano and voice, became an immediate front runner in a record I have a hard time picking favorites from. The subtle, insistent rhythms and repetition and the expansiveness of the synths, backing vocals, and reeds feel like walking through streets you know almost too well, while Orton’s murmured vocal wrestles with ghosts and finds exactly the place to put that memory in a way I still struggle with more often than not. For me, this feels like walking through New York in the morning – helped by the specific reference in the first verse and the Johnny Thunders nod in the title – but I know it works just as well for those memories in the long shadows of London or Kansas City. “And I got to questioning my credibility like you’re the reliable witness to what I feel, though I can still taste the sweetness of what we had, and there’s no one will kiss me as deep as you know you have. Once that I saw how to see all of your love was looking back at me, it was hard not to fulfill the prophecy we could have been.”
• Afghan Whigs, “Domino and Jimmy” – The new Afghan Whigs record is still sinking in for me; it’s a slower build than the last few post-reunion albums. But I loved this expansive, cracked ballad immediately, and not just because it reunites them with my pal and Scrawl co-leader Marcy Mays, reviving her character from “My Curse” and putting her in direct dialogue with the male half, voiced, of course, by Dulli. It’s a prime example of their rocket ride to the bottom songs, land they plow better than anyone else I can think of, giving glory to people in their worst moments. “You are lost in sight and lost inside my head. You seem to insinuate that I leave. I know it’s been a while. But, baby, if you were waiting for me, we’re going out in style.”
• Terri Lyne Carrington, “Circling” – One of the great drummers, composers, and bandleaders of our time, Terri Lyne Carrington, turned her attention to a much-needed project to start redressing the place of women in the jazz composition canon with her editing of The New Standards Vol. 1, 100 pieces by women and including many of the best composers working now. This beautiful Gretchen Parlato song augments Carrington’s killer core group of rhythm section mates Kris Davis on piano and Linda May Han Oh on bass, Nicholas Payton on trumpet, and Matthew Stevens on guitar (who co-produces with Carrington), with guitarist Julian Lage, vocalist Michael Mayo, and percussionist Negah Santos – someone please correct me if I’ve gotten the vocalist wrong, I tried to piece this together from partial credits I could find googling. The warm, swirling melody and the perfect empathy of the group – Carrington’s cymbals on the verses, cutting through the dancing guitars, Davis’ piano at precisely the right moments; Payton’s trumpet solo that feels like liquid light – made this an immediate standout on another record that has so many highlights for me, and a song that hit me at a moment I really needed it. “Stop wishing on so many stars above. All that you’ve done has come from wanting love. What if we met at some other place in time? There’d still be rain. There’d still be sun to shine. Your happiness to give away is so much more than all the games they play. So be done.”
• Garbage Greek, “Bad Habit” – I can’t believe I haven’t put something from this record – one of my favorites of the year and one of my favorite Columbus rock records in a very long time – on a previous playlist. I’ve long liked Garbage Greek, the harder garage project of guitarist/lead vocalist Lee Mason and bassist/vocalist Patrick Koch when schedules stopped their previous (also great) band Comrade Question, but hearing it stripped to a three-piece from five, those two with powerhouse drummer Jason Winner, occasionally augmented live (and on this record) with percussion and backing vocals from Adam Scoppa after the pandemic, shot up to favorite band status. And that added potency is distilled into their finest record, Quality Garbage, which is everything I want from garage rock: muscular hooks, grooves that work as well for a dance party as a fist fight, lyrics that stick but aren’t showy. This song hit me early, but there isn’t a bad track to be found. “I have a nasty habit of forgiving you.”
• Black Thought and Danger Mouse, featuring Michael Kiwanuka, “Aquamarine” – Roots frontman Black Thought stretches in different directions on Cheat Codes, a stunning collaborative record with producer Danger Mouse. This track, featuring Michael Kiwanuka on the hook, combines dusty samples with gleaming synths and chopped guitar stings as the perfect backdrop for his laid back, layered rhymes. “Trying to find soul again, but my thoughts corrupt the vials and contaminate the console again. It’s a shame, but I cannot complain though I am not the same.”
• Cory Branan featuring Brian Fallon and Jason Isbell, “When In Rome, When in Memphis” – Memphis Americana singer-songwriter Branan was the first small club show I saw in Columbus after getting vaccinated, and it was a wake-up call to just how good his songs are and his rich coffee after a long night voice just seems to get stronger and more interesting. His new record When I Go I Ghost is a similar reminder of the power of his work, full of interesting arrangements and, while it’s early in my listening, the equal of instant classics The No-Hit Wonder and Adios. This single, with Fallon and Isbell lending backing vocals, is a classic on-the-road rocker with a huge riff and big drums, but wrapped in a little more abstraction, leaning into the mystery that the genre tends to strip out.
• Danielle Ponder, “Only The Lonely” – My first trip to Nelsonville Music Festival in many years had some frustrations, but it did my heart good to see how much so many of my dearest friends loved it, and it had a few sets that blew me away, including my first exposure to the torchy R&B of Danielle Ponder. Seeing her create such a degree of intimacy in a huge field from the main stage, then digging into her records, has me dying to see her in a club. The crisp crack of the drums under a phantom smoke choir and suspended electric piano chords underpins a vocal as rich and potent as any of the great soul singers of history. “There’s a truth in the dark. It’s gonna break you down, so steel your heart. ‘You don’t love me, you just lonely,’ that’s what my mind say. Your daddy left you guilty, that’s what you don’t see.”
• The McCrary Sisters featuring Allen McCrary, “Run On” – I’m a sucker for classic gospel quartet music and I’ve been a big fan of the McCrary Sisters for about a decade; I think I came to them through their connections to the Fairfield Four. Coming on the heels of the sad news of Deborah McCrary’s passing, they released this stormy version of the gospel standard “Run On” I heard on one of my Grandmother’s records but snapped into my attention on the Blind Boys of Alabama 2001 record Spirit of the Century. The McCrarys give us a definitive version of a song done so well by so many.
• Dr. John featuring Aaron Neville and Katie Pruitt, “End of the Line” – Dr. John’s posthumous album Things Happen That Way also features moving versions of “Old Time Religion” featuring Willie Nelson, “Funny How Time Slips Away,” and the Cowboy Jack Clement-penned title track, but I kept coming back to this laid-back swinging take on the Traveling Wilburys song, with fellow New Orleans icon Aaron Neville and Nashville singer Katie Pruitt. Wreathed in second-line horns like smoke, with subtle church-steeped grooves from the great drummer Herlin Riley (powering the best of the post-“Tain” Watts era of Wynton Marsalis) and Jon Cleary’s B3. Hearing those three voices come together on “I’m satisfied” touches me every single time.
• Tedeschi Trucks Band, “Soul Sweet Song” – Sometimes the undeniably strong Tedeschi Trucks Band gets a little too jammy for me – hearing this as I was playing with the order of the playlist, Anne said, “What are you some kind of a hippie?” – but there’s a warmth and a love for the world their best work has that resonates with me and this is a prime example of them firing on all cylinders. Band members Gabe Dixon and Mike Mattison wrote this in tribute to the late multi-instrumentalist Kofi Burbridge and Susan Tedeschi gives it a vocal like a bonfire, the only sign of life for miles, in the darkness, the promise of warmth and the sun rising again. “In the memory of your melody, when the dawn breaks out, the birds all sing. And I feel your rhythm moving me, ’cause your soul’s sweet song’s still singing.”
• Late Night Cardigan, “B-Movie” – I hear a similar play of sunlight and shadow to the previous couple of tracks on this tune by Memphis four-piece Late Night Cardigan from their terrific record Life is Bleak and It’s My Cheat Day. Vocalist Kacee Russell sells the loneliness of trying to make someone suddenly being gone make sense, as her and Stephen Turner’s guitars intertwine over the crunching rhythm section of Jesse Mansfield and Zach Mitchell’s steadily turning up the flames.
• Rich Ruth, “Desensitization and Reprocessing” – For me, this centerpiece of Rich Ruth’s (Nashville musician Michael Ruth) simultaneously mournful and majestic record I Survived, It’s Over is one of the keystones of instrumental music as a way of processing trauma, especially of processing the pandemic we’re still in but I don’t want to make it sound like therapy. The compositional rigor, the delicate layering, the building to fiery free jazz horns and clicking back into the more placid textures of synth and pedal steel, all make it a piece that can stand up to whatever previous associations a listener brings to it.
• Madison Cunningham, “My Rebellion” – I was a fan of Madison Cunningham’s work on Chris Thile’s Live From Here but never caught one of her own records until this year’s spectacular Revealer. This song’s staccato, repetitive pattern on Cunningham’s guitar ties it to the previous songs as it brings up the emotional intensity and forward motion of the playlist with a supple vocal that takes the melody into surprising places and leaves the lyrics rattling in the listener’s skull. “What is wrong? Have you forgot I’m not a stranger? You’re lead-footed and headstrong and the quiet turns me into a rambler.”
• Sick Thoughts, “Someone I Can Talk To” – I’ve been a fan of New Orleans Sick Thoughts since first seeing them a number of years ago in Memphis when they were kind of the ur-Gonerfest band, punchy rhythm section in the intense undertow of frontman Drew Owen’s powerful presence and energy. But their new record Heaven is No Fun, and the drop-to-my-knees reminder of everything I love about rock and roll set Anne and I got to see at this year’s Gonerfest took them to another level, the songs are sharper, taking the ear candy riffs that would be tossed off on a bridge on earlier records and allowed to develop into whole songs. A heaping dose of Thin Lizzy in a stew of classic ’77 punk and early ’00s garage but done as well as anyone’s doing it, with more hooks in that scene than anything I’ve heard since Gentleman Jesse’s Leaving Atlanta. My rock record for the end of summer and my favorite record loaded in the barrel for next summer. “Well, there are sometimes that I don’t know where I am. And there are some things that I’ll never understand. There must be someone I can talk to about this. I never realized how much friendship can be missed. But it’s no good now, there’s no one but we two. And I’m alone in the city with you.”
• Laura Benitez and the Heartache, “Let the Chips Fall” – San Francisco’s Laura Benitez and her crack band crafted one of my favorite sets of classic Bakersfield country/rockabilly in a while with California Centuries. Dave Zirbel’s pedal steel stands out on this track amid a tight rhythm section and Benitez’s clipped, punky vocal on the verses and soaring notes on the choruses. “It took me too many years to start to be brave, and I gotta move now while there’s still a part of me that’s left to save. I know that failing ain’t worse than doing nothing at all, so let the dice roll and let the chips fall.”
• Snakehips featuring Tinashe, “Who’s Gonna Love You Tonight” – British electronic duo Snakehips reteam with one of my favorite current R&B singers, Tinashe, on this slinky sun-drenched beckoning/indictment rising to a powerful gospel-seared climax. “Who’s gonna tell you that you ain’t just high? Show you that you love this life.”
• Makaya McCraven, “This Place, That Place” – I’ve been a fan of Makaya McCraven since the very first time I heard him – drawn to that first record because my old friend Tony Barba played on a track or two. And that fandom increased exponentially when I finally saw him life; he merges the repetitive, cell-based constructions of hip-hop, electronic dance music, and modern composition with the strengths of classic free jazz, a nimbleness on his kit, and a Mingus-esque talent for bringing out exactly the strengths of his players. When I interviewed him earlier this year to preview a (stunning) Wexner Center show Anne and I took her Mom to, he talked about the upcoming record, and how great it was that each of the labels he’d worked with recently, free jazz standard bearers International Anthem, British electronic stars XL, and legendary new music label Nonesuch, were teaming up to release In These Times. Hearing it, that almost feels like a metaphor. This record takes everything he’s learned and worked with up to now, especially in the larger band shows like the mind-blowing Webster Hall hit I saw at Winter Jazz Fest a few years ago and ties it all together while also moving forward. Brandee Younger’s harp is a key component of this track, tying the strings together with the horns and Joel Ross’ vibraphone.
• Julian Lage, “Let Every Room Sing” – Julian Lage’s View With a Room reunites him with the crackling, empathetic rhythm section bassist Jorge Roeder, who I’ve been a fan of since hearing him with trombonist Ryan Keberle’s Catharsis, and Bad Plus/Happy Apple founder Dave King on drums, and adds the additional element of guitarist Bill Frisell who also has an extensive history with King. Their two lines snake and crack around one another in a way that always is surprising and invigorating. There’s enough crunchy noise on this Lage original to remind old heads of Frisell’s early work but without forsaking the Americana leanings and gorgeous melodies of both their more recent outings.
• Nikki Lane, “Live/Love” – I was a fan of Nikki Lane’s songs and voice the second I heard All or Nothin’, and each record has deepened and broadened that appreciation, but Denim & Diamonds feels like the purest distillation of her magic yet. Whether it’s extra time on the songs, an affinity for Josh Homme’s sympathetic production – he also plays piano, percussion, and mellotron on this track – that works as well on gentle, west coast lopes like this one as the stomping dance numbers, or just a magic confluence of a number of factors, this is one of the most addictive albums I’ve sank into all year.
• Ice Spice, “Munch (Feelin’ U)” – This Bronx-based rapper’s breakthrough single was all over this summer and coming to it a little late made me very nostalgic for the days I would have heard this in a club or coming out of a car rolling down the street. In less than two minutes, with a creeping track by Riot, it’s a perfect shot in the arm of low-key and well-earned braggadocio. “Sayin’ you love me but what do that mean? Pretty as fuck, and he like that I’m mean.”
• Snarky Puppy, “Honiara” – Instrumental jazz-funk band Snarky Puppy returned this year with Empire Central, continuing the snarling crime-movie jazz tendency I loved so much on Culcha Vulcha (and the barn-burning live set Andrew Patton and I caught on that tour) but, true to form, bringing in elements from their various side projects and never staying still for too long. The woozy horns and bursting-at-the-seams production keep any part of this from getting too tidy, too clean, and it’s deep enough for the listeners but it’ll get a party out of their chairs.
• Dmo!, “Save Your Soul” – I found this through one of my favorite local musicians, writer-keyboardist Brandon “BJazz” Scott who co-wrote and co-produced this with Aaron Hardin. I got to know BJazz’s work through his accompanying Talisha Holmes on some of her best thorny R&B and Hardin has a resume including Raheem DeVaughn and Eric Roberson, and this smooth and smoky cry into the darkness is squarely in both of those sweet spots. I couldn’t find much about the singer here but believe I’ll be checking for him going forward.
• Madi Task, “Quitter” – A newer (or at least newer to me) Columbus singer-songwriter, with some similar gospel tendencies in the piano line and the way she leans way back behind the beat and the lunges at it. It’s raw and vibrant, powerful and a little unformed. “I fill up my cup but it tastes mediocre. The conversations are relying on me. There’s nothing to sip on and nothing to say; I’ll save my wit for a better day. Can’t take the silence? Go back to sleep, ’cause I don’t owe you a goddam thing.”
• My Idea, “Cry Mfer” – I loved Palberta so I’m obviously interested in whatever else Lily Konigsberg is working on, and this collaboration with Nate Amos didn’t disappoint. The repetition and mix of warmth and chill groove feels like a cold breeze walking through a city and her voice cuts through it like streetlight daggers. “In all my life, I can hardly say I’ve been a light-caster. Found that talking to God was a lot faster.”
• Courtney Marie Andrews, “These Are The Good Old Days” – The shimmering, mysterious keyboard riff that opens this track sets the tone of questioning memory even while the memory’s happening, interrogating motives, and is a magic springboard (along with other subtle touches on the arrangment: an acid trail guitar, brushed drums) for her candle-in-the-dark vocals in this standout from Andrews’ Loose Future album. “People like me think feelings are facts; falling in love gives us a heart attack.”
• John Thayer featuring Tara Shupe, “I Couldn’t Find It In the Dark” – John Thayer from the SF band Monkey Lizards made a perfect slightly-bent Americana record with The Hottest Record Of The Year and this song, collaborating with Tara Shupe as co-writer and playing mandolin, piano, and bass along with adding magnetic harmony vocals to Thayer’s holy quaver and guitar and Brian Surano’s subtle, sauntering drums. “I been up every trail, down every road. I’d ask anyone, wherever I would go. Look for it in their faces, and I could see a spark. But I couldn’t find it in the dark.”
• James Brandon Lewis Quartet, “Molecular” – Saxophonist James Brandon Lewis is killing it lately, from tracks with artists like Moor Mother, William Parker, and Alan Braufman, to one of the greatest contemporary jazz masterpieces Jesup Wagon. I was already sorry I hadn’t gotten to see him live yet, but this new live record with his stunning quartet MSM Molecular Systematic Music – Live rubs salt in that wound. Perfect, empathetic group playing with the insanely tight but never airless rhythm section of Brad Jones and Chad Taylor alongside pianist Aruán Ortiz who fully redirects gravity with that solo about four minutes in, playing killer compositions.
• Wayne Shorter, Terri Lyne Carrington, Leo Genovese, Esperanza Spalding, “Endangered Species” – One of the great saxophone players of the 20th century, Wayne Shorter has never rested on his laurels or stopped searching, stopped question. This crack quartet of drummer Terri Lyne Carrington, bassist/vocalist Esperanza Spalding, and pianist Leo Genovese (who all get front-of-record billing), tear into this Shorter composition originally heard on his oft-maligned ’80s record Atlantis with a fire that can make any of us who couldn’t hear past the shiny textures of that record feel like an idiot (I may be projecting). Every piece of this – recorded live at the Detroit Jazz Festival – is perfection.
• The Paranoid Style, “Steve Cropper Plays Femme Fatale” – I was extremely late to this killer indie pop band from DC led by Elizabeth Nelson and Timothy Bracy, but John Wendland’s playing songs from For Executive Meeting including this one won me over. This jumble of images tying Memphis and New York, the past and the present together, over jangling, barbed guitars, makes my heart sing. “In the final estimation, in the final accounting, God have mercy on the man who believes what he’s been doubting. God have mercy on the man who sees her walking down the street. Before you start you know you are already beat.”
• Giuda, “Medley (Get it over / Space Walk / Watch Your Step)” – One of my favorite contemporary pub-rock examples, this Italian band picks up where Slade left off and Dave Wallingford and I still talk about that one perfect time they came through Ace of Cups. While I’m still hungry for their next visit, Giuda’s raging Live at Punk Rock Raduno captures some of that power and the vibrating enthusiasm of a band and crowd playing one of the first shows after lockdown.
• Off!, “Free LSD” – Anne turned me onto Off! in the days of their first EPs, drawn from her love of Burning Brides (another band I wouldn’t know without her) from which guitarist Dimitri Coates came, uniting with Black Flag/Circle Jerks singer Keith Morris, and new rhythm section of Autry Fulbright II (from …And You Will Know Us By The Trail of Dead) and Justin Brown (if the Discogs is to be believed, the same drummer who blew me away on Flying Lotus, Gerald Clayton, and Ambrose Akinmusire records). This is another slab of powerful, surging rock.
• Cam’ron and A-Trak, “All I Really Wanted” – Even hearing about this collaboration with Dipset founder Cam’ron and downtown DJ A-Trak made the nostalgia molecules in my blood boil. Cam’ron’s mainstream rap hits were the soundtrack of my immediately-post-college years and around that time I started working at Chase and friends there said, “You need to check out the Diplomats double CD.” Around that time, A-Trak was getting a lot of buzz as a club DJ leading to touring with Kanye West and then founding Fool’s Gold records and exploding. This reunion doesn’t try to reinvent the wheel but is a magic example of how that music made so many of us feel, and still does. “By the time I turned thirty, I completed my bucket list. I don’t take threats likely, careful who you’re fucking with; dying’ll make you way more famous than your publicist.”
• EST Gee, “Bow And Say Grace” – This standout track from Louisville rapper EST Gee’s debut full length I Never Felt Nun pairs a smooth rumble of a vocal delivery with a menacing, almost gothic beat that reminds me of the more underground stuff I was listening to around the time I first got into the music I mentioned in the previous blurb. “Roll over, play dead, wreck for the ‘gram – some of they other tricks. I sit back and watch all the rumors they be running with. All who been involved won’t call it off but it’ll never quit. Broke my Granny’s heart, she say her boy done let the devil in.”
• Mary Bragg, “The Lonely Persistence of Time” – Singer-songwriter Mary Bragg drills down into an existential loneliness on her self-titled fourth record and it’s exactly the record I want in my headphones as I walk through streets covered in wet leaves. Soulful and sumptuous, with her voice and guitar perfectly set up by the rhythm section of Jordan Perlson (who also killed me on Becca Stevens and Joel Harrison’s records) and Ryan Madora, and Rich Hinman’s electric and steel guitars (who’s enhanced great records by everyone from Amythyst Kiah to Sara Watkins to k.d. lang). “It’s a quarter to you as I wait for the blue. How do you find another love that defies and colors the lonely persistence of time? I wanna know. Don’t you wanna know?”
• Angelica Sanchez Trio, “Before Sleep / The Sleeping Lady and the Giant that Watches Over Her” – Talk about a record that punched me in the gut, especially by artists I already loved. Sanchez is one of the most consistently inventive pianists working in and expanding the jazz tradition and this record, Sparkle Beings pairs her with the astonishing rhythm section of Michael Formanek on bass and Billy Hart on drums, to attack a series of surprising selections from the canon and make them wholly their own. Here, Sanchez wrote an interlude to lead into the Duke Ellington classic for the record closer and, together, they capture the majesty, power, and delicateness of the original while shining powerful new light through it.
• Redman/Mehldau/McBride/Blade, “Ship to Shore” – Anybody within 5-10 years of my age with even a passing interest in jazz got turned around by the quartet of tenor saxophonist Joshua Redman, pianist Brad Mehldau, bassist Christian McBride, and drummer Brian Blade. Those records blew my mind in High School and I can only imagine the punch they would have packed for someone seeing that band live. I still check for each of their records 25 years later – the first time Anne and I took her Mom to New York, maybe my favorite memory was taking her to see Redman at the Vanguard. I’m happy to report that the second reunion album, LongGone maybe even improves on Round Again. This sumptuous slow blues is everything I’m looking for from a certain kind of jazz and, like the last few, I think these three tracks in conjunction form kind of a prayer for a new day. Thank you all for reading this; I love you.