New York Music Daily

No New Abnormal

Category: middle eastern music

Poignant, Gorgeous, Paradigm-Shifting Iranian and Ethiopian Flavored Mashups From SoSaLa

It’s been a long time between albums as a bandleader for Iranian-American saxophonist Sohrab Saadat Ladjevardi, who records under the name SoSaLa. His 2008 album Nu World Trash was a wildly eclectic mix of Middle Eastern, dub, Ethiopiques and jazz, among other styles. The album’s underlying concept was to encourage people to get back to reality and leave the virtual one behind. There’s never been a more important time for that message, and auspiciously SoSaLa has a follow-up, wryly titled Nu World Trashed – which  hasn’t hit the web yet, although there are a few tracks up at Soundcloud – to remind us how little the paradigm has changed since then. But, damn, the world is on the brink of a seismic shift, and this guy is ready!. If jazz, psychedelia, Middle Eastern or Ethiopian music are your jams. crank this often starkly beautiful album. Fans of great Levantine reedmen from Daro Behroozi to Hafez Modirzadeh are especially encouraged to check it out.

The opening number, Welcome Nu World has brooding, gorgeously allusive tenor sax over spare, echoey electric piano from Paul Amrod and a dissociative electronic backdrop with agitated crowd noise.  The second track, Enough Is Enough is a hip-hop broadside against “vampire capitalists” and the anti-artistic contingent who are so well represented among the lockdowners. Cornel West makes a characteristically fiery cameo; the bandleader plays a poignantly melismatic, Ethopian-tinged solo.

Mystical Full Moon Hymn for Ornette Coleman is an attractively modal Ethiopian reggae shout-out to Ladjevardi’s onetime teacher and mentor. David Belmont does a spot-on recreation of a sarod, Ladjevardi loops a balmy but bracing Ethiopiques riff and kamancheh player Kaveh Haghtalab jabs and plucks in a live remake of an acid jazz number from the previous album, Sad, Sad, Sad Sake.

There are two versions of Anybody Out There?, the first a haunting trip-hop number with stately, flurrying Ethiopian-tinged sax and delicate acoustic guitar attcents from Bob Romanowski over an echoey, loopy backdrop of Rhodes electric piano and twinkling atmospherics. The second is a bitingly swirly dub miniature.

What’s What? is the album’s most hypnotic number, Ladjevardi’s elegantly incisive modal phrasing over similarly stark kamancheh from Haghtalab and a dubby background. “Fucking internet, taking our private time away,” Ladjevardi grouses.. The album’s most epic track is  My Shushtari, a shout-out to the late Iranian musical icon Mohamad Reza Shajarian, with Ladjevardi on imploring, plaintive soprano sax and David Shively rippling sepulchrally and intensely across the sonic spectrum on cimbalom. It will give you chills. The duo revisit the theme more broodingly further down the scale to close the album with the ironically titled Intro Music.

A Rare Mix of Ancient Andalucian Otherworldliness Now Available Digitally

Back in 1976, the Spanish ensemble Atrium Musicae Madrid gathered in an old church in their hometown and recorded a suite of nouba themes from Andalucia which date back as far as 1200 years. The result was a dynamic, sometimes otherworldly, sometimes wamly lilting mix of melodies that sound more Mediterranean or Iranian than they do Arabic. The original 1977 vinyl record, Al Andalus, has been newly digitized and is streaming at Spotify.

Although Andalucia in antiquity was not a democracy and far from a perfect society, it was one of the great melting pots in world history where Christians, Jews and, eventually, Muslims mingled and the arts flourished. Tragically, this goldern age of music was eventually crushed by invading Christian extremists. For that reason, much of the Andalucian nouba repertoire – a western counterpart to the Indian raga system, corresponding with specific times of day – has been destroyed. How fortunate we are have this record to remind us of what the world lost – and what our world stands to lose if the lockdowners and their needle of death are allowed to operate at warp speed with their holocaust.

Every member of the septet switches between many different instruments, in keeping with tradition. Bandleader Gregorio Paniagua plays mostly the stark kamancheh fiddle, oud and rabab lute. Ney flutist Eduardo Paniagua, often the lead instrumentalist here, plays some of the most liquid lines any high reedman ever immortalized on vinyl. Instruments as ancient as the mizmar oboe and al-urgana (an ancient keyboard instrument similar to the harmonium) get extended solos. This isn’t wild party music; introductory taqsims and solos are on the short and very concise side. Reedy, spiky, rippling textures take brief turns in the spotlight over a beat that can be slinky and boomy on one number and skeletal on the next. Listen closely and you will hear tantalizing hints of what would be happening centuries later, further into the Mediterranean and eastward from there.

The fleeting track nine, San’a Al Isbihan is the most intoxicatingly chromatic of the bunch.The most anthemic and stately theme, driven by the oud, appears right afterward. And the Arabic roots of flamenco reveal themselves in the opening riffs of the twelfth song.

A Fascinating Album of New Music From the Malta Philharmonic Orchestra’s Home Turf

One of the most consistently interesting and richly diverse albums of symphonic music released in the last couple of years is the Malta Philharmonic Orchestra’s latest recording, Contemporary Colours, a collection of new works by Maltese composers streaming at Spotify. Malta may be a relatively small place, but the country clearly has no shortage of orchestral or compositional talent. Many of these pieces reflect an edgy Arabic influence; the rest run the gamut from neoromanticism to horizontal music.

Led with striking attention to detail by maestro Sergey Smbatyan, they open with a triptych by Euchar Gravina inspired by the manufacture and then the deployment of fireworks. The first two segments are a a microtonal study in slowly rising, occasionally crushing wave motion against a recording of a brass band playing a much smaller-scale arrangement; most of the third is much more low-key.

Waiting, by Mariella Cassar-Cordina is exactly that, still horizontality from the high strings with a pensively minimalist, increasingly troubled cello solo floating overhead. Christopher Muscat’s magnificently charging, circling, hauntingly minor-key Mesogeios – a portrait of the Mediterranean – features soloist Francesco Sultana on microtonal, melismatic Maltese zummara oboe, zaqq bagpipe and flejguta flute, winding up with a ferocious, Egyptian-tinged dance.

Veronique Vella’s colorful, artfully orchestrated, Romantically tinged Fine Line has a Rimsky-Korsakov sonic expanse and triumphant bustle. Alexander Vella Gregory’s short, Tschaikovskian five-part suite Riħ (Wind) evokes everything from calm sea breezes to winter storms, via pulsing counterpoint, disquieting close harmonies, percussive drama and whispers from the strings.

The orchestra close with Albert Garzia’s Xamm (Scent), a largescale arrangement of a dance piece about a murder mystery. The orchestra have fun with all the classic Bernard Herrmann-ish tropes: sharp tritones over stillness, sudden furtive swells, chase scenes and a surprising amount of Dvorakian windswept calm. Classical music as entertainment doesn’t get any better than this in 2021. Now if we could only see this live!

Summoning the Witches with Ayelet Rose Gottlieb

We just went through a wild month of eclipses, so what could be more appropriate than an album of 13 Lunar Meditations Summoning the Witches? That’s the title of singer Ayelet Rose Gottlieb’s new moon-themed album, streaming at Bandcamp. The concept is counterintuitive: where you might typically expect calm, nocturnal, possibly mysterious themes, this is a generally playful, upbeat record.

As usual, Gottlieb’s songs here span a vast number of styles, from jazz, to art-rock, to sounds of the Middle East and the avant garde. The lyrics are in many different languages as well. With a joyous surrealism, she finds moon imagery in unexpected public places in the first number, Lotte and the Moon, set to Aram Bajakian’s hypnotically loopy, pointillistic guitar backdrop with a deviously scrambling Ivan Bamford drum solo midway through. It reminds of Carol Lipnik at her most exuberant.

The second number, Yare’ah is a spare, bouncy Israeli tune spiced with Eylem Basaldi’s spiky pizzicato violin, Bajakian’s guitar and the rhythm section: that’s Stéphane Diamantakiou on bass. Mond – “moon” in German – is a surreal cut-and-paste mashup of a blippy indie classical chorale and a spoken word piece contemplating the passing of generations.

The astrologically-themed Venus and the Moon has a balletesque pulse, a tango-inflected melody and a tiptoeing bass solo. Moon Story has sailing violin and vocalese balanced by punchy bass and starkly jangly guitar.

Wafting, Middle Eastern flavored violin takes centerstage behind Gottlieb’s spoken word and wordless vocals in Patience, a spacy soundscape. Yasmoon’s Moon, the most haunting and vividly nocturnal piece here, is also a showcase for plaintive violin and Bajakian’s acerbically rhythmic, oud-like phrasing. Dissipating Discus, the free jazz freakout afterward, is irresistibly funny: hang with it until the punchline.

A Spanish-language bass-and-vocal bendiction kicks off the album’s strongest track, Moon Over Gaza, a stark, politically-themed, guitar-fueled noir swing tune. The group follow Tsuki, the most ambient tableau on the record, with its longest and most darkly orchestral epic, Traveler Woman. Gottlieb winds it up with Desert Moon, an only slightly less expansive, slinky, latin-tinged anthem. Ages come and go, but the moon remains for us to dance in its light.

The Silkroad Ensemble Release a Haunting, Surreal New Osvaldo Golijov Epic

Over the past practically three decades, the Silkroad Ensemble have been the world’s great champions of a blend of music from south Asia, through the Arabic-speaking world and the west. Their latest album, Falling Out of Time – which hasn’t hit the web yet – comprises a single, lavish, thirteen-part tone poem by contemporary classical composer Osvaldo Golijov, which hauntingly dovetails with the group’s esthetic. It may be the most stunningly accessible orchestral work the composer has ever written. It’s certainly the most eclectic, drawing on such diverse idioms as Indian music, classical Chinese theatre, jazz balladry and sounds of the Middle East.

This is a frequently operatically-tinged work, tracing a surreal, grim narrative surrounding the death of a child. Mythical creatures and archetypes are involved. The introduction, Heart Murmur rises from a brooding, skeletal Arabic-tinged taqsim to a darkly catchy, circling ghazal-like melody over a dancing, jazz-inflected pulse and the achingly intertwining voices of singers Biella da Costa and Nora Fischer.

Night Messengers is a stark, increasingly imploring nocturnal tableau, the womens’ voices wary and enigmatic over an all-star string quartet comprising half of Brooklyn Rider – violinist Johnny Gandelsman and violist Nicholas Cords – with violinist Mazz Swift, and cellist Karen Ouzounian.

That sudden, stratospherically high harmony in the enigmatic Come Chaos is a real shock to the system: is that a voice, Wu Tong’s sheng, or a theremin? No spoilers!

Uneasy, fragmentary flickers from the strings followed by Wu Man’s pipa join to introduce the simply titled Step, rising to a harrowing intensity. The Lynchian dub interlude afterward comes as another real shock.

Shane Shanahan’s tabla and the singers’ acidic harmonies take over the hypnotic ambience as In Procession, a portrait of mass bereavement, gets underway, Kayhan Kalhor’s muted, desolate kamancheh solo at the center amid the string quartet. Troubled atmospherics waft and eventually permeate Walking, the suite’s drifting, central elegy, lowlit with echoey kamancheh, Dan Brantigan’s desolate trumpet and Shawn Conley’s spare jazz-inflected bass

An ambient lament featuring spiky pipa in contrast to Jeremy Flower’s synth foreshadows Fly, which with its aching ambience and jazz allusions mirrors the centerpiece. Go Now, the suite’s most immersive, restlessly resonant track, features a long, plaintive kamancheh intro, a similarly aching, vivid duet with the violin. Da Costa reaches for the rafters with the pipa trailing off morosely at the end.

Akeya (Where Are You) is a dissociative mashup of orchestral 1950s Miles Davis, Etta James moan and kabuki theatre, maybe. The ensemble hint at rebirth and redemption in the closing tableau, Breathe. Is the nameless dead boy at the center of the story a metaphor for the hope and joy that was stolen from us in 2020? What a piece of music for our time!

The 50 Best Albums of 2020

This is a playlist, plus a small handful of albums that can’t be heard anywhere online. You can listen to everything else here, the majority of it ad-free. It couldn’t hurt to bookmark this page.

What’s most obvious about this list is that the music rarely reflects the fascist nightmare of 2020. Most of these albums were recorded in 2019, or right before the lockdown. Although there’s been an unprecedented amount of archival live material dumped on the web in the past six months or so, only five of the picks on this list fall into that category.

The other obvious and disturbing trend is that there’s less rock music on this list than there’s ever been since this blog went live in 2011. That’s because many of the albums here – almost all of those being either jazz or classical releases – were recorded with nonprofit or government money, or by the few remaining record labels. It’s impossible to count the number of artists who relied on tour money to fund their records and were unable to put out new albums because of the lockdown.

Beryond the very top of the list, there’s no hierarchical ranking. Albums are listed in rough chronological order of when they were reviewed here, which seldom coincides with official release dates, if such dates existed. Ultimately, the big takeaway here is reason for optimism: 2020 may have been hell, but artists around the world somehow found a way to keep putting out new music.

The number one album of the year, with a bullet, is the Maria Schneider Orchestra’s Data Lords. It’s the big band composer’s darkest and most fearless album, and arguably the most relevant record released in the past year. In the end, it’s very optimistic. Everything on this vast, sweeping collection was written and recorded before the lockdown, but Schneider prophetically and mercilessly pillories and parodies the tech Nazis behind it. This comes across as the most improvisational release Schneider has ever put out, but knowing her, everything here could just as easily be composed all the way through. Her rage and satire are as venomous and funny as anything Shostakovich or the Dead Kennedys ever recorded. And after she’s done savaging the would-be architects of the New Abnormal, the album’s second disc celebrates the beauty and grandeur of nature and the real world – rather than the virtual one – with characteristic lushness and a side trip to Brazil.

The best short album of the year was The Living End, by Karla Rose. Karla Rose Moheno, of irrepressible swing trio the Tickled Pinks, may be best known for her nuanced, smoldering vocals, but it’s her similarly subtle, often haunting songwriting that sets her apart from the legions of great singers around the world. This is just a fraction of what she has in the can: if the rest of it is this good, the full-length record is going to be amazing. There’s some starry soul, a little streetwise New York rock and a rampaging southwestern gothic-tinged anthem that you will see on the best songs of the year list. Listen at Spotify

Another album that stands apart from the rest of the list is Charles Mingus @ Bremen 1964 & 1975. It’s a gargantuan triple-disc set comprising material from two concerts in Germany, each with a completely different but brilliant lineup, getting a first official release after floating around the web for years and in the cassette underground before then. On one hand, it’s completely unfair to compare the other albums here to these sizzling, epic performances by a guy who was probably the greatest bassist in the history of jazz and definitely one of the ten greatest composers of alltime. On the other, this will give you goosebumps. Listen at Spotify

Ward White – Leonard at the Audit
Witheringly funny, hyperliterate, semi-linear narratives set to catchy janglerock with sinister cinematic overtones from the king of implied menace in rock tunesmithing. Listen at Bandcamp

The Dream Syndicate – The Universe Inside
Steve Wynn’s legendary, noisy, dueling psychedelic band’s trippiest, most cinematically desolate, epicaly jam-oriented album yet. Listen at Bandcamp

Ted Hearne  – Place
A crushingly satirical, cruelly hilarious, minutely detailed exploration of how gentrification has destroyed Fort Greene, Brooklyn, with a backdrop of surreal avant garde sounds, art-rock and protest gospel music. Listen at Bandcamp

John Ellis – The Ice SIren
The brilliant jazz saxophonist takes a brilliant and unexpected plunge into the waters of noir cabaret and chilly cinematics, with a sweeping big band behind him. Listen at Spotify

High Waisted – Sick of Saying Sorry
Guitarist Jessica Louise Dye’s band makes a shift from surf rock to gorgeously bittersweet powerpop and other retro sounds. Listen at Bandcamp

Péter Szervánszky/Szekesfovarosi Orchestra –  Bartok: Violin Concerto No. 2
Like the Mingus record, this is probably an unfair addition to the list. But it’s spellbinding, and the only album the Hungarian virtuoso ever appeared on, recorded on an x-ray plate under the Nazi invasion in 1945. Listen at Spotify

Alina Ibragimova/Russian State Academic Symphony Orchestra  – Shostakovich: Violin Concertos No.1 and 2
In the year of the lockdown, these two fiercely antifascist, poignant pieces have never had more cultural resonance. Not streaming online.

Alban Gerhardt/WDR Symphony Orchestra  Shostakovich: Cello Concertos No.1 and 2
It makes sense to pair this iconic, scathingly angry, wickedly sardonic and thoughtful interpretation with the ferocity of the one above. Listen at Spotify

Gregg August  – Dialogues on Race
The powerful jazz bassist’s haunting, majestic big band explore the divide-and-conquer implications of racism and the the 1955 murder of Emmett Till with somber grace. Listen at Bandcamp

Niv Ashkenazi – Violins of Hope
The virtuoso violinist teams with pianist Matthew Graybil to celebrate obscure, poignant repertoire by composers murdered or imperiled during the Holocaust. Listen at Spotify

Balothizer – Cretan Smash
They make slashing psychedelia and thrash metal out of classic, haunting Greek revolutionary and hash-smoking anthems from the 20s and 30s. Listen at Bandcamp

The Psychedelic Furs – Made of Rain
A grimly swirling, potently lyrical return to form by one of the greatest bands who defined the new wave and goth movements of the 80s. Listen at Spotify

Steve Wynn – Solo Acoustic Vol. 1
What do you do if you’re an icon of noir-tinged, careening rock and you can’t tour like you always did until the lockdown? You reinvent those songs, many of them iconic, as equally menacing acoustic numbers. Wynn has seldom sounded so stark, or so dark.  Listen at Bandcamp

Ben de la Cour – Shadow Land
A concept album of sinister mini-movies and murder ballads from the dark Americana crooner and bandleader.Listen at Bandcamp

Ben Holmes’ Naked Lore – their debut album
The first trio record by the soulful, often haunting Balkan and klezmer trumpeter with guitarist Brad Shepik and multi-percussionist Shane Shanahan was worth the wait. Listen at Bandcamp

Sylvie Courvoisier – Free Hoops
One of the elegant pianist’s most menacing yet also one of her funniest albums with her long-running trio featuring Drew Gress on bass and Kenny Wollesen on drums. Listen at Bandcamp

Summoner – Day of Doom Live
The year’s best heavy psychedelic rock record is a cannon of doom metal riffs, searing two-guitar epics and gritty bass. Listen at Bandcamp

Morricone Youth – The Last Porno Show: Original Soundtrack
What an absolutely gorgeous, sad score, evoking the fatalism of a decaying porn theatre with echoes of Tschaikovsky, David Lynch noir and ornate 70s psychedelia. Listen at Bandcamp

King Gizzard & the Lizard Wizard – Chunky Shrapnel
An appropriately epic double live album by these anthemic, quirky, Middle Eastern-fixated Australian psychedelic road warriors. The best possible advertising for their live show: when we take our world back from the lockdowners, we can see them live again. Listen at Bandcamp

Vigen Hovsepyan – Live in Paris 2017
The impassioned Armenian guitarist/singer fronting a ferocious band with duduk player Harutyun Chkolyan and pianist Havard Enstad in front of a packed house on a barge docked along the Seine. The slashing minor-key energy is through the roof: you really feel like you’re there. Listen at Spotify

Dennis Davison – The Book of Strongman
The former Jigsaw Seen frontman’s solo debut, where he plays all the instruments, is a series of historically-informed, metaphorically bristling psychedelic janglerock narratives that scream out for the repeat button. Listen at Bandcamp

Office Culture – A Life of Crime
Seething satire and very subtle but corrosively lyrical narratives – like Margaret Atwood backed by the Human League – on the Brooklyn 80s parody band’s cruelly hilarious debut. Listen at Bandcamp

Dawn Oberg – 2020 Revision
The searingly lyrical, irrepressibly funny pianist and protest song stylist at the peak of her power, singing truth to power about racist cops killing innocent black people in San Francisco, and fascist political overreach in general. Listen at Bandcamp

Immaterial Possession – their first album
Deliciously individualistic, macabre psychedelic rock informed by but hardly limited to classic 1960s sounds, with bracing Balkan and Middle Eastern overtones. Listen at Bandcamp

Trio Tekke – Strovilos
The Greek psychedelic band look to the Middle East as much as to the first wave of Greek psych-rock bands from the 60s, and the underground hash-smoking classics of the 20s and 30s.  Listen at Bandcamp

Mahsa Vahdat  Enlighten the Night
Over an elegant, brooding piano-based band, the Iranian singer employs the words of both iconic Persian poets and contemporary lyricists to celebrates freedom and hope for the future in the face of increasingly grim odds. Listen at Spotify

Susan Alcorn – Pedernal
Resonant, dynamic, often haunting vistas by this era’s great virtuoso of jazz pedal steel and her similarly inspired quintet. Listen at Bandcamp

Lord Buffalo – Tohu Wa Bohu
Are their sprawling, hypnotic guitar jams metal, psychedelia or film music? Whatever you call it, this is one of the best albums of the year. Listen at Bandcamp

The Pocket Gods  – No Room at the (Holiday) Inn
Who would have thought a Christmas record would make this list? Actually, this is more of a protest album, a scathing, wildly multistylistic mix of pro-freedom songs to raise your spirits and give you hope. Arguably the best album ever from perennially prolific frontman Mark Christopher Lee. Listen at Spotify

Superfonicos – Suelta
The slinky Texas-Colombian band’s debut album is a mix of tropical psychedelia, cumbia, skaragga, Afrobeat and salsa jams. The band’s secret weapon? Reedy gaita flute. Listen at Soundcloud

Mehmet Polat – Quantum Leap
Haunting, high-voltage, plaintively modal Turkish and Balkan songs from the brilliant oud player and bandleader Listen at Bandcamp

Fantastic Negrito – Have You Lost Your Mind Yet?
The incredible oldschool soul album Prince wished he’d made but never did. Like Prince, this guy plays pretty much all the instruments too. Listen at Spotify

Emily Barker – A Dark Murmuration of Words
Hauntingly imagistic, tersely arranged, Americana-tinged narrative songs from this lyrical Australian songwriter and her band. Listen at Bandcamp

The Plastic Pals – It Could Be So Easy, Free and Fine
A scorchingly lyrical, deviously funny short album by these Swedish connoisseurs of the edgiest sounds to emerge from 60s American psychedelia, 70s powerpop and 80s punk/ Listen at Bandcamp

Mamie Minch – Slow Burn
Characteristically sly, slashingly lyrical, erudite original steel guitar blues from the sometimes haunting, sometimes hilarious blues guitarist/chanteuse.Listen at Bandcamp

Scott Robinson/Milford Graves/Roscoe Mitchell/Marshall Allen – Flow States A riveting improvisational quartet record, featuring the first-ever collaboration between iconic drummer/cardiac medicine pioneer Graves and AACM sax titan Mitchell, plus the Sun Ra Arkestra’s ageless Allen and Robinson as ringleader on bass sax. Not streaming online.

Duo Tandem – Guitar Duos of Kemal Belevi
Gorgeously interwoven, largely minor-key acoustic Middle Eastern music with elegant climbs, moving basslines, exchanges of roles and lead lines.Necati Emirzade is typically in the right channel, his bandmate Mark Anderson in the left. Listen at Spotify

Amanda Gardier – Flyover Country
Fiery, picturesque, midwestern gothic-tinged modal jazz from this rising star alto saxophonist and her similarly edgy crew. Listen at Spotify 

Sigurd Hole – Lys/Morke
Solo bass has rarely sounded so haunting or interesting. Maybe recording it on a deserted Norwegian island had something to with the desolately gorgeous vistas here. Listen at Bandcamp

The Icebergs – Add Vice
This is the album where frontwoman/poet Jane LeCroy’s punchy, lyrically slashing cello rock trio took their songs to the next level, as psychedelic as they are ominously cinematic. Listen at Bandcamp

Sara Serpa – Recognition
The brilliant, lustrous singer/composer confronts the genocidal legacy of European imperialism in Africa in the corrosively lyrical, lushly enveloping soundtrack to her debut film, a collage of archival footage taken in Angola under Portuguese imperialist rule in the 1960s. Listen at Bandcamp

Ran Blake/Christine Correa – When Soft Rains Fall
An angst-fueled, saturnine duo album of hauntingly reinvented standards and originals by the veteran singer and her long-running, iconic noir pianist collaborator. Not streaming online.

JD Allen – Toys/Die Dreaming
Dark, careening modal intensity from this era’s most intense tenor saxophonist/composer and his energetic, newish trio. He’s been building toward this big sort-of-comeback for a long time. Listen at youtube

Ren Harvieu – Revel in the Drama
A lavish, immaculately layered, brililantly produced trip through decades of soul, from pre-Motown sounds through the 90s from the edgy British chanteuse.  Listen at Bandcamp

Sarah Brailey/Experiential Orchestra and Chorus – Ethel Smyth: The Prison
The world premiere recording of one of this pioneering early 20th century woman composer’s most important, philosophically rich works, a somber, lavishly orchestrated, uninterrupted sixteen-part 1930 song cycle Listen at Spotify

Victoria Langford – Victoria
Swirling, stormy orchestration and religious imagery as a metaphor for interpersonal angst in the singer/multi-keyboardist’s debut album, arguably the best rock debut of 2020. Listen at Bandcamp

The Electric Mess – The Electric Mess V
Sizzling psychedelic punk and janglerock from this darkly careening, female-fronted New York band. Listen at Bandcamp

Rachelle Garniez/Erik Della Penna – An Evening in New York
Retro charm and devilish levels of detail in this New York-themed collection of originals and reinvented swing tunes from the iconic accordionist/chanteuse and the subtly slashing, brilliant Kill Henry Sugar guitarist/frontman. Listen at Spotify

Michael Hersch – I Hope We Get the Chance to Visit Soon
A chilling live concert recording of the harrowing 21st century classical composer and pianist’s suite, inspired by a dear friend whose ultimately futile struggle with cancer was not helped by experimental drugs. Listen at Bandcamp

ARC Ensemble – Chamber Works of Walter Kaufmann
A rapt, often hypnotic, starkly engaging collection of rare works by a Jewish composer who escaped the Holocaust to follow his muse and write orchestral Indian music. Listen at Spotify

How The River Ganges Flows compilation
Gripping, slaring, ancient Indian carnatic music for violin and percussion captured on 78 RPM shellac records between 1933 and 1952, newly rescued from the archives. Listen at Bandcamp

Matthew Grimm – Dumpster-Fire Days
Just to keep you listening all the way through, this is one of the most searingly lyrical albums on this list, from the charismatic, politically fearless songwriter who recorded the song that topped the Best Songs of 2013 list here and once fronted legendary Americana rockers the Hangdogs.

. Listen at Spotify

Darkly Glistening, Blissfully Tuneful Improvisation From Pianist Cat Toren’s Human Kind

Pianist Cat Toren’s new album Scintillating Beauty – streaming at Bandcamp – references a Martin Luther King quote about what the world would be like if we were able to conquer racism and achieve true equality. But the title is just as apt a description of the music. Toren has always been one of the most reliably melodic improvisers in the New York creative music scene, and her group Human Kind achieve a similarly high standard of tunefulness here. Jazz these days seldom sounds so effortlessly symphonic.

The epic opening cut is Radiance in Veils, sax player Xavier del Castillo introducing a balmy, Indian-tinged nocturnal theme immediately echoed by oudist Yoshie Fruchter, bassist Jake Leckie and drummer Matt Honor as Toren glistens and ripples spaciously in the upper registers behind them. The bandleader glides into Middle Eastern-tinged chromatics and then pounces hard as the bass and drums develop an elegant syncopation, del Castillo and Fruchter weaving a similar gravitas. Shuddering sax and torrential piano fuel a couple of big crescendos, Toren and Leckie team up for a tersely dancing passage and Fruchter pulls uneasily away from a broodingly emphatic center. The great Lebanese-born pianist Tarek Yamani comes to mind.

The lush, rapturous Middle Eastern ambience continues in Garment of Destiny, from the flourishes of Toren’s solo intro, through Fruchter’s hypnotic oud solo over reflecting-pool piano chords. Del Castillo adds nocturnal ambience and then agitation matching the murk rising behind him.

Ignus Fatuus is a moody midtempo swing number, Toren doing a more allusively chromatic take on Errol Garner, del Castillo taking his most jaggedly intense, spine-tingling solo here. Toren switches to funeral-parlor organ to open the closing diptych, Rising Phoenix, Fruchter leading the band into a reflective calm spiced with Toren’s many bells and rattles. Her switch to the piano signals an increasingly bustling return from dreamland, del Castillo a confidently bluesy light in the darkness. The second part has a bittersweet, rather stern soul-infused sway, Honor and the rest of the band finally seizing the chance to cut loose. In Toren’s view, we all make it to the mountaintop. This is one of the best and most memorable jazz albums of the year.

Frank London and Adeena Karasick’s Darkly Gorgeous New Album Salutes a Feminist Archetype

“You are bringing in the big guns, opening the sluicegates with your hyperdramatic extra sex, a swishy riff, pithy swift grifters…like a feisty zeitgeist, a forever Riviera,” poet Adeena Karasick freestyles, saluting her title character in one of the early tracks on the new album Salome: Woman of Valor, her new collaboration with iconic trumpeter Frank London., streaming at his music page. It’s a psychedelic, globally-inspired, feminist reclamation of the Salome archetype, recasting her as a fearless, indomitable, multi-faceted persona rather than uber-slut. Typically, Karasick’s intricate, wickedly playful, erudite solo spoken world interludes are spaced in between the individual songs here.

The enticement builds over an echoey wash from Shai Bachar’s electric piano, Deep Singh’s tabla and London’s lyrically pensive trumpet in the album’s first musical number, Song of Salome. As it goes on, London channels more of the acerbic, chromatic edge and meticulous melismas that have characterized his sound as one of this era’s great klezmer and Balkan brass players.

Playing with a mute, he introduces a bracing, suspenseful Ethiopian theme over a chilly, techy haze in Garden of Eros, Karasick celebrating the pleasures of the flesh amid the “cinders of avarice.” London shifts to a hypnotic mashup of Ethiopiques, qawwali and Romany psychedelia in Drown Me, exchanging terse, soulful trumpet riffs with a swirly synth as the tabla holds down the groove.

Dance of Desire has a darkly slinky trip-hop ambience, Karasick deviously referencing a half century or more worth of lyrics, from Wilson Pickett to Leonard Cohen as London’s trumpet teases the listener. Bind Me has a gorgeously brooding, contrapuntal Hasidic melody and a metaphorically loaded lyric: this Salome doesn’t like being restrained.

To introduce Johnny, Karasick sends a shout out to Jean Genet and other bad-boy figures before London’s balmy trumpet and tersely circling, uneasy piano enter the picture. Martyrology, a grisly chronicle of Jewish mystics tortured and murdered over the years, makes a chilling contrast, followed by a haunting, Middle Eastern and Indian-tinged interlude from London that brings to mind Ibrahim Maalouf.

London returns to an anthemic mix of murky Ethiopiques and woozy psychedelia in Yes I Will Yes Say Yes. He shifts to the Middle Eastern freygish mode for the undulating Dance of the Seven Veils, part klezmer, part Palestinian shamstep, featuring an imploring vocal cameo by Manu Narayan . The group return to dusky, forlorn Ethiopian ambience to wind up the record with Kiss Thy Myth. Look for this one on the best albums of 2020 list here, scheduled for the end of the year.

Yet Another Haunting, Exhilarating Album From Oud Master Mehmet Polat

Oudist Mehmet Polat hails from the Urfa region of Turkey, a hotspot for cultural cross-pollination for centuries. So it’s hardly a surprise to hear how individualistically he blends traditional Turkish sounds with Arabic, African and Andalucian music in addition to American jazz rhythms. Every year, he seems to put out a new record that always ends up on the best albums of the year page here. The latest one, The Promise – streaming at Bandcamp – will definitely be on the best of 2020 list here next month. In general, it’s Polat’s at his most upbeat and optimistic.

While Polat’s custom-made oud has a couple of extra bass strings, the electrifying opening track here, Firefighters is more of an exploration of the upper registers, peaking out with a series of incisive chords after a long build through enigmatic Balkan-tinged modes over Daniel van Huffelen’s bass and Joan Terol Amigo’s drums.

Polat builds an almost teasing, unresolved suspense in the second track, Nature Hits Back, before spiraling and then descending to the depths over percussionist Ruven Ruppik’s many textures and shifting rhythms. Pathfinder is a catchy, anthemic, dynamically vamping number over elegantly syncopated, boomy frame drum by Alper Kekeç.

Polat teams up with Sinan Arat on ney flute and Kekeç on frame drum again for Footprints, a hypnotically pulsing, mysterious, mostly one-chord jam. Then he completely flips the script with the spare, funky Permission, featuring a starkly melismatic solo from kamancheh fiddle player Elnur Mikayılov.

Polat and the opening track’s rhythm section hint that they’re going into qawwali as Swinging in Hands gets underway, but instead they go off on a bouncy West African kora-inspired tangent and end with a spacious bass solo. The undulating Fidelity to İstanbul makes a good, upbeat segue.

Guest Shwan Sulaiman contributes an expressive, dramatic vocal in Being the Voice over a scampering backdrop with echoes of North African rai music. Polat breaks out his loop and distortion pedals for Symbolizations, the most overtly psychedelic track here.

The real stunner here is Nêterseno, with haunting clarinet and defiantly populist vocals from Mikail Aslan and trebly tenbur lute by Cemil Qocgiri, picking up with a fiery flamenco groove before coming full circle. Polat plays a darkly incisive, melancholy solo over a drone in the lament Nothing Is Yours and closes with My Cultural Womb, a syncopated, edgily modal number reflecting influences from Turkey to Egypt.

Beware of Greeks Bearing Loud Guitar Amps

Balothizer are among the most recent heavy psychedelic bands to realize how delicious haunting old Greek folk tunes sound when you crank up the volume and hit the distortion pedal. The obvious comparison is New York’s own Greek Judas, who, like Batholizer, are one of the few rock acts releasing new material these days. Check out the Brooklynites’ latest single, Snakey Song, which is probably the most succinct number in their repertoire of heavy metal versions of hash-smoking and protest songs from the 1920s and 30s..

Balothizer have a whole new album, Cretan Smash, streaming at Bandcamp. The eerie Arabic-influenced chromatics and fearless pro-freedom content of music from Crete are everywhere here, starting with the epic, defiant first track, Jegaman, kicking off with a slashing cadenza from guest violinist Stratos Skarakis. Frontman Nikos Ziarkas multitracks sizzling electric lute riffs over Pav Mav’s gritty, galloping bass and Steve J. Payne’s pummeling drums as the song veers between speedmetal and a slow, relentlessly doomy sway.

The second track is Peace, a slow, grimly stomping anthem until the shreddy stampede out. You want grim? The third number, Aleppo – a bitter exile’s tale – gets reinvented as sort of Greek Motorhead, but with more of a hypnotically propulsive drive, while the fourth, Ponente Levante, a vengeful chronicle of finding nothing but trouble in the world, has an even faster, circling attack.

Foustalieris, a popular tune with a witheringly metaphorical revolutionary message, has elegantly echoey acoustic twin lutes to kick things off, then the band barrel through to a long wah-wah stoner jam. They close the record with their most epic number here, Anathema, a shoegazy slowcore tune. Watch for this on the best albums of 2020 page at the end of the year.

Greek Judas – Snakey Song