Author Archives: Joseph Neff

Formed in New York City by four North Carolinians, The dB’s, consisting of singer-guitarist-songwriters Chris Stamey and Peter Holsapple, bassist Gene Holder, and drummer Will Rigby, set a high standard for power pop in the 1980s. In so doing they helped to set the template for the decade’s college rock upsurge. Their excellent debut Stands for DeciBels sees reissue June 14 via Propeller Sound Recordings. Amazingly, this remastered edition is the first time the set has been released on vinyl in the United States.

That The dB’s couldn’t get a US record deal until Like This, their third LP, was released in 1984 by Bearsville, is considered by many to be a stumper. Scratching noggins, the question is posed: how could a band this catchy, energetic, and resistant to cliché be ignored in the land that nurtured them, and not once but twice, as their sophomore album Repercussion (also released in 1981 by Albion) was also an import only affair in the USA (notably, prior to the release of Like This, Chris Stamey had exited the dB’s).

It’s pretty clear in retrospect that by 1981 The dB’s were moving rapidly in a direction opposite from prevailing trends in their home country (and to a lesser extent, the UK and Europe). It’s been said that the 1960s didn’t definitively become the ’60s until The Beatles made their international splash (others have dated it to the emergence of The Beach Boys). The point where the ’70s are firmly established is hazier, but it did take a few years. In the ’80s, the change came hard and fast.

By 1981 punk had been firmly rejected in commercial terms. Disco had made its exit. New wave was slowly developing into synth pop. Hard rock sounded different. R&B sounded different. And the changes were coming so fast that throwback tendencies had sprung up, a few even commercially successful. But if intrinsically rooted in power pop (Stamey having played with Alex Chilton in NYC in 1977 and with Mitch Easter in The Sneakers), The dB’s were forward thinking rather than retro minded.

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With his new album Next Year’s Ghost, Zachary Cale has solidified his position amongst the top rank of contemporary singer-songwriters. Taking shape during the COVID pandemic, the record also illuminates Cale’s versatility, as it shifts the instrumental focus to keyboards for the first time. Offering consistently robust songs and finding the composer in strong voice, the set is available now on vinyl and digital through ORG Music.

Learning that Zachary Cale essentially taught himself how to play piano during the COVID shutdown, and then, after he’d sharpened his abilities and (assumedly) raised his confidence, wrote the eight songs that shape Next Year’s Ghost, makes an already considerable achievement doubly impressive. A couple blind listens to the record left no inkling that Cale was a recent learner of the keys; instead, he sounded like he’d been adept for years and had simply chosen to complete his most recent batch of songs with the instrument.

Piano appealingly deepens the aura of the singer-songwriter that has long enveloped Cale’s work. Opener “Heart of Tin” leaves the impression of an artist who sat at the bench and formulated the melody across hours, days and weeks; Turns out, as Cale learned play, initially just engaging in a therapeutic act during a highly stressful time to be alive, patient song construction is exactly what happened.

Cale’s fundamental strength is songwriting, but his extensive discography thrives on how those compositions are realized; mid-way through “Heart of Tin,” the accompanying musicians shift into full-band gear, a long-established maneuver that avoids sounding stale through the inspired execution. Along with Cale, the core band features Shahzad Ismaily (Marc Ribot’s Ceramic Dog) on bass, Korg, Arp and mellotron, Uriah Theriault (Okkervil River) on electric guitar, and Jeremy Gustin (Woodsy Pride) on drums and percussion.

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In March of 1958 producer and Prestige Records owner Bob Weinstock organized a session with two up-and-comers in a very fertile scene. Kenny Burrell & John Coltrane was the result, pairing one of the most consistent guitarists in Modern Jazz with the now long renowned tenor saxophonist. It took over five years for those recordings to hit the retail racks via the Prestige subsidiary New Jazz, but the contents have been reissued numerous times since, reinforcing the high level of play. The latest edition is set to arrive June 7 on 180 gram vinyl in a tip-on jacket mastered form the original tapes as part of Craft Recordings’ ongoing Original Jazz Classics series.

Kenny Burrell & John Coltrane is certainly a notable album. While Coltrane had played with guitarists before, this set is the only studio album to feature him leading (in this instance, co-leading) a band with that instrument (Wes Montgomery did join Coltrane’s sextet featuring Eric Dolphy for some West Coat live dates in 1961, even playing the Monterey Jazz Festival, but any tapes of those performances have yet to surface).

That this album sat in the vaults for half a decade will understandably lead some to assume it’s a lesser recording, but Weinstock had amassed quite a bit of Coltrane studio material while he had him under contract, sessions methodically issued as the saxophonist’s star continued to rise, often with Coltrane posthumously designated as leader.

To expand a bit, Coltrane and Burrell do play together in a sextet for three tracks on The Cats, a 1957 recording released in ’59. Issued as a leaderless date (sometimes credited to the Prestige All Stars), it sure sounds like it was conceived as a Tommy Flanagan session; the other two tracks feature the pianist in trio with bassist Doug Watkins and drummer Louis Hayes (trumpeter Idrees Sulieman completes the sextet).

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With the release of Power Vibe, NYC-based improvisor, composer, bandleader, and collaborator Steph Richards has guided a striking combination of vigorous abstraction, innovative strategies, and warm melodicism. Trumpet and flugelhorn are her instruments, and joining Richards on the album’s six pieces are Joshua White on piano, Stomu Takeishi on upright bass and electric bass guitar, Gerald Cleaver on drums, and Max Jaffe on sensory electronics and for one track, drums. Accomplished and ambitious, the record is out now on vinyl, compact disc, and digital through Northern Spy.

Having played with such august names as Roscoe Mitchell, the Kronos Quartet, Yoko Ono, Anthony Braxton, Henry Threadgill, Muhal Richard Abrams, John Zorn, Laurie Anderson, and Vinny Golia, Steph Richards is a versatile heavy hitter, exactly the sort of player who gets the call to assist high profile figures in the “pop” sphere; for Richards, these artists include David Byrne and St. Vincent.

Contemporary musicians with whom Richards has collaborated include Jason Moran, Kenny Wolleson, Ravi Coltrane, Mary Halvorson, Tom Rainey, Tomeka Reid, Jean Cook, Taylor Ho Bynum, Nicole Mitchell, Tomas Fujiwara, Ingrid Laubrock, Ken Filiano, and Nate Wooley. Additionally, she is a founding member of the ensemble Asphalt Orchestra (an offshoot of Bang on a Can).

Power Vibe is her fifth full-length record following Fullmoon (Relative Pitch, 2018), Take the Neon Lights (Birdwatcher, 2019), Supersense (Northern Spy, 2020), and Zephyr (Relative Pitch, 2021), this last set documenting Richards in duo with pianist Joshua White, who returns for Power Vibe. Notably, Richards began recording Zephyr while she was six-and-a-half months pregnant, a reality that illuminates her dedication carrying over into tenacity.

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In the labyrinthine realms of jazz, Sun Ra remains an icon of freedom and progress. With his ensemble the Arkestra, in smaller group recordings and solo, the pianist, composer, and bandleader’s discography is vast. Anybody looking for an introduction to the man on freshly released vinyl or compact disc should grab a copy of Sun Ra at the Showcase: Live in Chicago (1976–1977), which is available now through the set’s producer Zev Feldman’s Jazz Detective label, Deep Digs Music, and Elemental Music. And happy birthday to Arkestra horn man Marshall Allen, who will celebrate his 100th arrival day on May 25.

Upon first exposure to free jazz, some folks are immediately drawn to its expressiveness like a moth to a brightly burning bulb. But more frequently, those who don’t just as quickly reject the style (in one of its myriad manifestations) outright are curious and cautious in their subsequent interactions with the music; they often consult liner notes, reference books, and record store experts in an attempt to get a handle on what they’ve just heard.

Of course, the recording and the artist(s) providing the introduction are crucial to this scenario. Simply put, Sun Ra was one of free jazz’s gateway artists. In an interview excerpt included in the booklet for this set, the great pianist Dave Burrell makes this observation, and as Burrell witnessed the Arkestra in concert at NYC’s Slugs’ Saloon in the 1960s, the comment is based in experience and is particularly astute.

Sun Ra’s Afrofuturism and its performance aspects certainly intensified the gateway pull of the man and his band, but it also related to how the music could encompass old-school swing and bop, get tender with a ballad, invigorate a show tune, and integrate elements of the blues. In an era where a segment of the jazz scene was controversially going electric, Sun Ra was adding synthesizers to his instrumental arsenal. That early Rolling Stone Sun Ra cover is indicative of his crossover appeal.

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The release of archival material by the Stockton, CA-based outfit Torn Boys is yet another fine discovery from the fertile underground of the 1980s. 1983 offers selections from the year in which the band burned brief but bright. There’s vinyl in three colors (black, white, and green) and a compact disc available now through Independent Project Records, with all formats accompanied by a bonus DVD that contains newly shot videos for four of the album’s tracks.

The start of the Torn Boys resides in performances by school chums Jeffrey Clark and Kelly Foley, the pair singing and playing acoustic guitars at parties, clubs and cafés, where they reportedly rotated covers of Television, the Velvets, and “Mack the Knife” with their own material. The brief fragment “And Now” on 1983, credited as being live from the Blackwater Café, might be evidence of these beginnings.

To commence with strong (if not lofty) ambitions but in such a scaled back manner, just two guys with acoustic guitars, is indicative of the era and their locale; in the 1980s, outside of the cities with major music scenes, upstart musicians did what they could to get heard. Clark and Foley corralling drum machine programmer-synth player Duncan Atkinson and guitarist Grant-Lee Phillips so quickly into their scheme underscores that they were on the right creative track.

In the short span of their existence Torn Boys landed a radio performance on the student-run college station of the University of California at Davis); two songs from that KDVS show, “Mystery” and “Mack the Knife” are included here (sadly no recordings of Velvets or Television tunes seem to have survived). An additional KDVS number, “Fountain of Blood,” is found on the compilation Source: The Independent Project Records Collection; a different version of this song is included on 1983.

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Celebrating Taj Mahal on his 82nd birthday. —Ed.

Taj Mahal’s been at it for longer than some of us (myself included) have been alive, and he doesn’t show any signs of slowing down. He’s got an extensive rack of recordings under his belt, with his self-titled ’68 debut being the most sensible place to begin. Whether a person chooses to scoop up one or more of his albums, elects to soak up what he’s putting down in the live setting, or lets it all hang out and does both, the result will certainly be a highly enlightening good time.

There isn’t really another musician quite like Henry St. Clair Fredericks, the man known to the world by his stage and recording moniker Taj Mahal. While an almost ludicrous number of players have explored the bottomless well of inspiration that is the blues, few have engaged with the form in such a complex, multifaceted manner while remaining so naturally accessible to listeners from different generations and varied backgrounds.

As a farmer and graduate of the University of Massachusetts, where he majored in agriculture and also studied ethnomusicology, he’s emblematic of the once common but increasingly rare phenomenon of individuals well-versed in both the fruits of physical, land-based toil and the rewards of intellectual pursuit. And as a musician, it could perhaps be summed up that Taj Mahal was just substantially more curious than the majority of those touched by the blues impulse, recognizing in the music a connection to a much wider global experience.

While most of his cohorts tapped into one or two streams of the blues; say the early acoustic “country” style and the later electric form it directly inspired, or the grit and fire of ‘50s R&B and the attempts at sophisticating it for a wider audience that developed afterward, Taj interacted with a much broader spectrum and fused it all with distinct but stylistically compatible genres. As his career has progressed he’s incorporated the music of Africa, the Caribbean, and the South Pacific into his vast thing; in fact, after moving to Hawaii in the ‘80s he began hanging socially with local players, a circumstance that resulted in the formation of The Hula Blues Band.

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The productivity of Motown Records endures as a highpoint in 20th Century music, an achievement that endures right up to the present. Long playing records are a superb point of entry into this bountiful garden of aural delights, and beginning this month Elemental Music kicks off the Motown Sound Collection, a thoughtfully assembled series that will reissue over two dozen Motown albums monthly throughout 2024 and into next year from a wide range of celebrated acts. The first two LPs, The Supremes’ We Remember Sam Cooke and The Temptations’ Wish It Would Rain and are available now.

There would seem to be little argument that Motown Records’ crucial format was the 45rpm single. For over two decades, Barry Gordy’s organization was an unstoppable hit machine (indeed, Hitsville, USA), and singles delivered a steady stream of material to the radio stations where the hitmaking process was extended, inspiring listeners young and old to bring those songs into their homes for repeat play.

If the hit single was Motown’s bread and butter, full length albums were a further validation of success. It’s to Gordy’s credit that he didn’t simply choose to dump hit singles and their flipsides onto LPs as an afterthought. Taking a considered and occasionally thematic approach to album assemblage secured Motown as a prestige enterprise in an era where youth music was still undervalued as largely disposable. The label’s LPs were regularly crossover hits themselves.

Recorded and released in 1965, We Remember Sam Cooke is the fifth album by The Supremes and the third in a trio of themed albums, following The Supremes Sing Country, Western and Pop, and A Bit of Liverpool. Those prior entries have their moments (and a reissue of the Brit Invasion set is on the horizon from Elemental), but the Cooke tribute connects as the most natural fit for the vocal group’s talents.

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Since debuting on his own in the late ’90s, singer-songwriter Tim Easton has released a slew of records and played countless shows all over the globe. Currently in the midst of an extensive tour, his latest album Find Your Way is out May 17 on LP, CD, and digital through Black Mesa Records. It’s a robust set of blues-tinged, country-infused folky Americana that finds Easton in strong voice across ten solid songs.

Prior to releasing his first solo album Special 20 in 1998 (reissued in 2023 by Black Mesa on LP and CD), Tim Easton was part of the Haynes Boys, a Columbus, OH-based Americana outfit that released a pair of 45s and a CDEP spanning back to 1993 plus one self-titled full-length in ’96 (reissued on LP by Re-Vinyl Records in 2015). Haynes was also in Kosher Spears, and fronting the Freelan Barons, he recorded Beat the Band in 2011.

In tandem with Evan Phillips (of The Whipsaws) and Leeroy Stagger (of an extensive solo discography), Easton is also part of the contemporary folk aggregation Easton Stagger Phillips, the trio having cut two albums, One for the Ditch in 2008 and Resolution Road in 2013, both for Blue Rose Records (the Rebeltone label handled the vinyl for Resolution Road).

But now a dozen albums deep, Easton is best known as a solo artist. His latest, produced by Stagger and recorded in Victoria, British Columbia with an all-Canadian backing band that includes Geoff Hicks, Jeremy Holmes, Jeanne Tolmie, Ryland Moranz, and Tyler Lieb, opens with the title track’s strummed acoustic, double bass and snare foundation, soaring pedal steel, a hint of Dylan in Easton’s vocal, and brief injections of fiddle.

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On May 17, the Craft Recordings Contemporary Records Acoustic Sounds series continues with an 180 gram pressing of For Real! by pianist-composer-bandleader-survivor Hampton Hawes. A superb mix of original material and standards, the LP’s six songs undeniably extend from bebop and yet are wholly in tune with their year of origin 1958, as an unperturbed West Coast ambience deepens the vibes. Cut from the original master tapes by Bernie Grundman and released in a tip-on sleeve, the set has never looked or sounded better.

Saxophonists are notorious thunder stealers, so it’s unsurprising that most of the records Hampton Hawes cut as a leader are trio sessions. His first three, all released by Contemporary in 1955–‘56, are trios with bassist Red Mitchell and drummer Chuck Thompson. These are The Hampton Hawes Trio, This Is Hampton Hawes, and Everybody Likes Hampton Hawes.

But the man did branch out a bit, following up the above albums with three more for Contemporary from a quartet that featured Mitchell, drummer Buzz Freeman and guitarist Jim Hall, all titled All Night Session!. The contents of those LPs, essentially studio jam sessions, were recorded in 1956 but not released until ’58 as three separate volumes that shared the same photograph of a suave and smiling Hawes.

Adding Hall broadened the sound with little risk of the pianist being overshadowed. Another quartet record, Four!, was recorded and released in 1958, this one replacing Hall with guitarist Barney Kessel and Freeman with drummer Shelly Manne. If lacking the loose spontaneity of the recordings with Hall, Four! benefits from a killer band as Hawes was entering his prime.

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Celebrating Stevie Wonder, born on this day in 1950. —Ed.

The racks are loaded with reissues from key Motown singer-songwriter and multi-instrumentalist Stevie Wonder, the contents covering three phases in his long career. Live at the Regal Theater, Chicago, June 1962 offers his breakout third album under a new title; it’s out now on vinyl through the Jambalaya label. Fulfillingness’ First Finale, which landed amid his improbably fertile ’70s run, and Hotter Than July, a transitional 1980 album cut before Wonder maxed out his creative console’s commercial dial, are available on LP via Motown.

Stevie Wonder’s biography makes a good case for the rewards of patience in artist development, though that’s also a complicated situation; signed to Motown’s Tamla imprint at age 11, Barry Gordy’s company had to take basic human development into consideration. That Wonder wasn’t cast aside as an also-ran after the commercially tepid performance of his first two LPs is credit to the value Motown placed on the people as well as profits.

Wonder has been blind since shortly after birth, a fact making the label’s deliberate attempts to connect him to the sightless soul powerhouse Ray Charles seem more than a little brazen in retrospect; his first recording, the startlingly average Tribute to Uncle Ray, and the much better all-instrumental follow-up The Jazz Soul of Little Stevie were both released in 1962 but in reverse order; both inform his commercial breakthrough, ’63’s Recorded Live: The 12 Year Old Genius, renamed by Jambalaya as Live at the Regal Theater with the “Little” removed from Wonder’s moniker.

The LP begins with the Motortown Revue’s MC hyperbolically stating that Wonder is “considered as being the genius of our time.” The boldness of the claim’s not really a surprise in the context of the era; what’s more unusual is the energy and flair on display in “Fingertips,” this concert performance of The Jazz Soul of Little Stevie’s opener delivering a smash hit (simultaneous pop and R&B #1s) when split into two parts on 45.

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Australia’s Mick Harvey is a long-hauler who first hit the scene in the late ’70s with The Boys Next Door, a band he formed with Nick Cave. Harvey’s subsequent work in The Birthday Party, Cave’s Bad Seeds, and Crime & the City Solution is well documented, as is his solo work; Five Ways to Say Goodbye is his latest album, available May 10 on LP, CD, and digital through Mute Records. It’s a well-considered combination of original material and covers, most of them from fellow Aussies. Through vigorous execution and sheer consistency, it’s highly recommended.

Five Ways to Say Goodbye as the latest in a series of albums from Mick Harvey that combine original compositions with covers, an undertaking that’s spanned nearly two decades. The prior entries are One Man’s Treasure (2005), Two of Diamonds (2007), Three Sisters – Live at Bush Hall (2008), and Four (Acts of Love) (2013).

Harvey has also recorded four albums dedicated wholly to interpretations of songs by Serge Gainsbourg; they are Intoxicated Man (1995), Pink Elephants (1997), Delirium Tremens (2016), and Intoxicated Women (2017). More recently, has completed two collaborations, The Fall and Rise of Edgar Bourchier and the Horrors of War with Christopher Richard Barker (2018) and Phantasmagoria in Blue with Amanda Acevedo (2023). There’s also the soundtrack album Waves of Anzac/The Journey (2020), with the second of its two scores recorded with The Letter String Quartet.

In Harvey’s solo discography, Sketches from the Book of the Dead (2011) sticks out, as it’s the only one that consists entirely of original compositions (of a non-soundtrack nature). As an inspired continuation of the originals and interpretations approach, Five Ways to Say Goodbye is inspired, opening with one of Harvey’s own, “Heaven’s Gate,” the song full-bodied, calm but intense, and through a foundation of baroque strings, uncommonly gorgeous.

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Oakland, CA’s Lunchbox has been at it for almost 30 years, a long time for a band to stick together; the outfit’s sturdy foundation is indie pop power couple Donna McKean and Tim Brown as they welcome assorted helpers. Pop and Circumstance is their latest full-length, released by Slumberland on LP, CD, and digital May 10, and the title is apropos. Bright with horns and keyboards and loaded with jangle and a bit of fuzz, the album’s catchy rippers draw from bubblegum and mod and the inextinguishable spirit of C86. In short, it’s a grand time.

As part of the 1990s indie pop wave, Lunchbox was prolific with a batch of singles across the decade’s second half, plus an eponymous full-length debut in ’96 and a follow-up The Magic of Sound in ’99. Progress continued in the new century but at a slower pace. That Pop and Circumstance is Lunchbox’s second LP for Slumberland extends a relationship borne from shared longevity and purpose.

Continuing to sharpen and broaden their sound, McKean and Brown dish their songs with youthful punk energy and a psych-pop edge that suggests the early days of Elephant 6. The jangle naturally recalls ’80s indie pop, but it’s delivered with panache that reinforces the ’60s root, a connection that is strengthened through the addition of trumpets and keys.

Opener “Dinner for Two” bursts forth with zest, suggesting that Rob Schneider, prior to recording Fun Trick Noisemaker, became smitten with the work of The Wrecking Crew, and in particular the more sunshiny Los Angeles-based productions that featured those session ringers. It’s over in under two minutes, rolling right into the hard-driving pogo-paced feedback-laced pop gush of “I’m Yours, You’re Mine”; this one spreads out to the “classic” single length of three and a half minutes.

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Fans of jazz piano and Art Tatum in particular have reason to rejoice, as Jewels in the Treasure Box: The 1953 Chicago Blue Note Jazz Club Recordings offers 39 previously unreleased performances from Tatum’s trio with guitarist Everett Barksdale and bassist Slam Stewart. Recorded by the Blue Note Jazz Club’s proprietor Frank Holzfeind, this set is a major discovery that deepens a persistently undervalued side of the pianist’s artistry. Collected on three LPs for Record Store Day by Resonance Records, this exquisitely detailed Zev Feldman production is available now on three compact discs and digitally on Bandcamp.

Born in 1909, Art Tatum’s style evolved from stride piano as exemplified by Fats Waller, James P. Johnson, Willie “The Lion” Smith, and Luckey Roberts. Importantly, he was also impacted by the innovations of his contemporary Earl “Fatha” Hines. When assessing the key influences on Modern Jazz piano, Hines and Tatum hover at the top of the list.

The Smithsonian Collection Of Classic Jazz includes two selections by Tatum, both featuring him solo. As a student of stride, Tatum was a technical powerhouse with great stamina who thrived without accompaniment. Lennie Tristano was once quoted as saying that Tatum and Hines were the only two pianists who could deliver jazz’s essential swing while playing alone, and solo is the mode for which Tatum remains most celebrated.

Indeed, even during a trio engagement such as this one, captured by Holzfeind on August 16–28, 1953, Tatum acquiesced to play a few tracks solo; at the Blue Note, it was “Humoresque,” “Begin the Beguine,” “Someone to Watch Over Me,” and “Elegy,” all revealing him in solid form. It’s notable that the cuts on the Smithsonian collection were recorded in 1949 for Capitol (“Willow Weep for Me”) and in ’56 at a private party (“Too Marvelous for Words”). Interestingly, one of Tatum’s signature solo tunes, “Tea for Two” is tackled on Jewels in the Treasure Box by the trio.

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Living Waters is the fifth full-length record from E, a band with members based in Boston, MA (Thalia Zedek, guitar-bass, and Ernie Kim, drums) and Boulder, CO (Jason Sanford, guitar, electronic devices). The sound is piledriver heavy and the playing spring-action adept, qualities appropriate for this power trio cut from the cloth of noise rock. 35 years ago, E would’ve fit right in on the Touch and Go Records’ roster, but in 2024 their latest is pressed onto vinyl by the Czech label Silver Rocket. Domestically, it’s self-released via Bandcamp, available now.

The heavyweight punch of E’s sound is impressive given that this is Kim’s full-length debut with the band, replacing Gavin McCarthy. On opener “(Fully) Remote” the sound is pummeling yet elastic, precise without faltering into the overly tight. There is strength through unity; Sanford sings lead with a sense of calm while Zedek wails the choruses, and their combined guitars reach far beyond the standard noise rock approach.

For this album, Zedek has added an extra pickup to her guitar and is running it through a separate pedal chain and octave shifter plugged into a bass amp. This effectively allows her to add guitar and bass to E’s scheme at the same time (rather than multi-tracking one of the two later, which lacks spontaneity). Additionally, Sanford continues to be a wiz with electronic devices in service of harnessing guitar distortion and has redesigned his monosequencer, an apparatus (now all-analog) that triggers bass pulses through a stomp box (leaning again into spontaneity).

Sanford’s guitar is also one he built himself, described as a steel-guitar, though he straps it on like a standard electric, dishing out slide scorch that, as said, lands firmly in the noise rock realm; there are no nods to the blues tradition here. Sanford is heard loud and clear in “(Fully) Remote,” but neither Kim nor Zedek take a back seat role as the band fully clicks.

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