Good ‘Noise’ From Wynonna, New Snarky Puppy & More
Wynonna & The Big Noise: Wynonna & The Big Noise (Curb) Can’t say I approached this album with major expectations of any kind, to be honest, for this is Wynonna Judd, first heard performing with her mom in 1983 or so, when Country was Country, Rock was Rock, and that was effectively that. And while one could easily make the case that a decade later sounding like the Eagles was pretty much what pop country was—and still is—about, take a look at this new Wynonna album. Her first full studio set of new stuff in almost 15 years, this is very much a rock album with blues overtones, most obviously reminiscent of Bonnie Raitt in her prime, with a cracking band in the Big Noise (led by her husband, drummer Cactus Moser) and an array of guests including Susan Tedeschi, Derek Trucks, Jason Isbell, and Timothy B. Schmitt, among others. One hears this and thinks of Bonnaroo, of players devoted to musicianship rather than celebrity and country radio play, and one is amazed at the overall quality on display, and the sheer listenability of all 12 songs. It all begs to be seen performed live, and it may well be the very first Judd-related album in a significant number of rock ‘n’ roll collections. Excellent work.
Snarky Puppy: Family Dinner – Volume Two (Ground Up) In theory this is one of the biggest jazz bands in the country, at least in terms of sales charts and designated genre, but calling this massive batch of cluster-fusing “jazz” is sheer laziness. There’s just about everything here, from rock to soul to folk to EDM to a surplus of international guests who all together might be considered “world” musicians—but, crucially, it all sounds like one spotless collection of intricate musics performed by just one very skilled, albeit extended, band. If you’re wondering, Volume One of Family Dinner won a Grammy a while back, and it’s likely this new one will meet a similar reception. Guests include David Crosby, Becca Stevens, Ivan Neville, Terence Blanchard, Charlie Hunter, Laura Mvula, Salif Keita and too many others to list; the overall package includes both a CD and DVD; a portion of the profits will be donated to New Orleans charity Roots Of Music; and if you’re thinking this is too much of a good thing, you’re wrong. After hearing it once, you’ll want to play it again. It’s that kind of thing.
John Cale: Music For A New Society (Domino) A very welcome reissue of John Cale’s “difficult” masterwork—which, considering the range of music he has produced even prior to his membership in the pioneering Velvet Underground—is really saying something. Released in 1982 and ostensibly representing Cale in his “pop” mode (meaning not the minimalism of the Terry Riley collaboration Church Of Anthrax, nor the classical orientation of follow-up The Academy In Peril), this was mostly emotional heavy-going; the arrangements were creative but often very spare, the lyrics likewise very dark, and the overall vibe, in short, intense. But contained within are two songs any Cale fan knows well—“Close Watch” and “Chinese Envoy”—and many more that have played a significant role in career. Featuring additional outtakes and more, the set was remastered by Cale himself and sounds wonderful. Also included: M:FANS, Cale’s present-day “reworking” of the original album, juiced-up, altered, more emotionally aggressive, and a fascinating re-approach to some very personal, meaningful music. A classic, back once more.
Lizzy Mercier Descloux: Mambo Nassau, Zulu Rock, One For The Soul, and Suspense (all Light In The Attic) Had someone told me 30 years ago that the collected works of colorful, charming and aggressively off-kilter French vocalist Lizzy Mercier Descloux would be given the kind of deluxe reissue treatment currently provided by the Light In The Attic label, I would have said…hey, great! For these are all excellent records, originally released between 1979 and 1988 and each sounding little like the one that preceded it. You will hear an exotic array of musicians (with names you’ve likely seen on the back of albums released on the Island label long ago) recording in Jamaica, Rio De Janeiro, South Africa–and above it all is the vocalist’s interesting mix of French, English, and who knows what other languages, and covers like “My Funny Valentine” proudly sitting next to unforgettable tracks like “Women Don’t Like Me,” that give this music its profound character. Production is crisp and contemporary sounding throughout; Mambo Nassau in particular features a bass/guitar instrumental backing that now sounds like an odd mix of Beefheart and Can, but strikingly contemporary. As reissue projects go, this was one very good idea. More info here.
Dion: New York Is My Home (Instant) How striking that someone as respected and long-lived as Dion DiMucci—the man has been making records since the late ‘50s—still sounds as vibrant and young as he does. He simply does not age. And that principle also applies to most of the fine songs here. Some have already heard his title-track collaboration with Paul Simon, and it’s surprisingly good: Simon’s post-Garfunkel career has taken him away from singing much harmony, and he’s very good in that role. There is rock, there is blues, and there’s a very welcome contemporary feel to this set—expertly produced by Jimmy Vivino—that makes it one of Dion’s best in a long time. And it has been a long, long time, so good for him.
Pete Astor: Spilt Milk (Slumberland) Very happy to see this return from distinguished Brit musician (and apparent college lecturer) Pete Astor–once a fixture of the Creation Records roster via the Loft and the Weather Prophets, later human behind The Wisdom Of Harry on Matador Records, and much more very good, if not financially lucrative, stuff. This new record is quite nice: excellent songwriting, a diverse lot of tunes, and with “Mr. Music” a pronounced vocal similarity to ‘mid-‘70s Ray Davies I’ve never noticed before. Astor’s got a rich catalog, so if Spilt Milk sends some new-found fans back to hear the rest of it, everyone’s a winner.
The Record Company: Give It Back To You (Concord) A rockin’, blues-based trio so defiant of current norms they gave themselves a name that would stop any search engine cold? You got it! Handicap or no, there’s nothing deliberately obscure about the debut album of this L.A.-based band, which for some reason evokes that same East Coast rock circuit that once brought us George Thorogood and a significant percentage of the Rounder Records ‘70s rock roster, but in 2016 sounds surprisingly fresh and soulful. It’s good, the songs are catchy–and hearing it all performed live at a club, a beer in each hand, might make it even better.
Avishai Cohen: Into The Silence (ECM) An excellent label debut for Israeli trumpeter Avishai Cohen, whose inspired, tasteful use of mute can’t help but recall prime Miles Davis at times—but whose playing is looking very much ahead. Heard here with pianist Yonathan Avishai, tenor saxophonist Bill McHenry, bassist Eric Revis and drummer Nasheet Waits, Cohen has crafted a moody, expansive set that at times seems both understated and restrained but is always expressive and never less than beautiful. Recommended.
