Stars Like Grains of Sand

Derek Bailey Solo Guitar ★★★½ Bailey on Incus, the golden years some might argue. I think so far that's living up to my expectation. Bailey always seems a bit jarring for new listeners, not as much as someone like Evan Parker, but any horn is more likely to attract the attention of the listener. Bailey's improvisations are more intricate, it's like a very detailed maze that requires practice and time to fully figure out. Bailey was an innovator and inspiration to many other guitarists and improvisers and here you can get a glimpse into his earlier stages in becoming that legend. While this isn't my preferred setting for Bailey, I think he creates some stunning improvisational moments and performs the three other "standards" quite well.  I think it's due to the electric guitar, I've always been a bigger admirer of his acoustic playing and the style that with it. I'd perhaps venture to say it's my favorite album from him on ele...

Townes Van Zandt Our Mother the Mountain ★★★ My first toe dip into Townes Van Zandt, a folk / almost bluesy Texas musician who seems to be a little mainstream almost on this record. As in he takes full advantage of every musical trope of the era, that era being the late 60s to 70s. The large unnecessary backing band and strings really feels cheap and emotionless at points. Not to say that Van Zandt's songwriting ability was hindered by that fact, it's just that a more organic and smaller acoustic setting would be able to present his songs in a more upfront and intimate manner that is lost on this album. Minus a few songs that is. I'm sure at the time, adding a lushness through excessive instrumentation would sound pretty professional and impressive to the average listener. But time changes things. For example, on the opening track "Be Here to Love Me", Van Zandt's lyrics are funny and comforting but when coupled with the flute and tambourine, th...

Steve Reid Rhythmatism ★★★ Steve Reid's second release as a bandleader takes him into the funk realm more than his previous outing. Drummers as bandleaders can be really quite amazing, commanding and encouraging to the rest of the players. Some of those leaders include Art Blakey, Max Roach, and Ralph Peterson. They are more than just their drumming; they're represented by the flavor and intensity that everyone pours in. Or the drum leaders can be fairly average, and just allow each player to go their own way and see what the results are. Reid leans more towards this style of leadership and the results are mostly mixed. I don't think one style is better than the other, but for me personally, I really enjoy the cohesiveness and power that seems to come with the more authoritative leaders. But Reid focuses more on his own playing and making it as funky and rhythmically diverse as possible in this environment.  There's not only a definite sense of funk, ...

박지하 [Park Jiha]  Communion ★★★ A unique and contemporary dive into the world of Korean music as well as minimalism. My experience with Korean folk music, or the folk music of any East Asian culture, is fairly limited. So I could not tell you how this compares to a more traditional setting or recording. The use of traditional Korean instruments such as a mouth organ and hammered dulcimer make this an organic and warm listen. Much of which is densely layered and filled with sweetness in between each of those layers, like a simple but flavorful and honey sweet cake. It’s also impressive and brave to an album of this nature as it stands quite alone in all of the genres it touches, with no companion pieces or prior albums to lean on. And that attribute helps elevate the music into something that seems culturally and personally important to Park but also any listener. I was fairly surprised when I discovered there was no electronic manipulation or additions pushed into th...

Mal Waldron With Eric Dolphy And Booker Ervin The Quest ★★ ★ ★ Dolphy has this way of entering my mind and ears that not many other saxophonists have. Coltrane doesn't even give me this chilling feeling as often. A mix of euphoria and pure aural joy comes to mind when Dolphy begins to blow, he becomes this burrowing worm that quickly moves from ear canal to brain stem. I am surprised I haven't heard more acclaim regarding this album; it's very rarely, if ever, mentioned as one of Dolphy's great recordings. Even if he's a sideman, Dolphy stands out as an individual and leader in more ways than one. Not to forget that this is the album of the playful Mal Waldron who shines as well. Booker Ervin proves himself on this too, if he hasn't already with other sessions. This album is a bit unique in that it has Ron Carter on cello and Joe Benjamin on bass, something I'm not sure that I've encountered on a jazz album in a long time.  Starting of...