I’m at the center of the tiny target audience for Nordub, an unlikely collaboration between the reggae innovators Sly & Robbie and the jazz trumpeter Nils Petter Molvaer. There can’t be more than a few thousand people who appreciate deep Jamaican dub and experimental Norwegian jazz. Yet Nordub deserves an audience beyond a handful of oddball music obsessives. The album’s colossal sonic landscape would appeal to admirers of Miles Davis’ electric bands as well as to intrepid listeners eager to hear the sound of tomorrow today.
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I reviewed a concert by Bill Frisell, Thomas Morgan and Rudy Royston at Plastic Sax.
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Proper appreciation of most Kool Keith-related projects requires being in the right frame of mind. Dr. Octagon’s Moosebumps: An Exploration Into Modern Day Horripilation is no different. Here’s the gloriously absurd “Flying Waterbeds”.
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I didn’t care for the 2014 duet album by Nels Cline and Julian Lage, but bassist Scott Colley and drummer Tom Rainey add enormous excitement to the guitarists’ Currents, Constellations release. Here’s “Imperfect 10”.
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Sarah Shook & the Disarmers’ Years is a modest alt-country album that could have been released by Bloodshot Records in 1998. RIYL: the Bottle Rockets, bottom shelf whiskey, the Meat Purveyors. Here’s “Good as Gold”.
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Dave Douglas & Joe Lovano Sound Prints combine their enormous talents on Scandal, a post-bop quintet date that I wish was just a couples notches further outside.
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Cardi B’s Invasion of Privacy rivals Migos’ Culture II as my favorite party album of 2018.
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Rafiq Bhatia’s Breaking English is a worthy progressive noise album.
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The Aruán Ortiz Trio’s Live in Zurich provides additional evidence that the pianist is a genius. RIYL: Thelonious Monk, giants hiding in plain sight, Craig Taborn.
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While Kurt Elling’s performances never fail to impress, his albums have never done much for me- until now. The adult pop effort The Questions is like a marriage of Joni Mitchell and Frank Sinatra.
(Original image at There Stands the Glass.)
