@@@ Blinker and Moses: After the Machine Settles (Gearbox, 2022) I got to both of today’s listens via the All Music notable release email from last week. With apocalyptic titles like Active-Multiple-Fetish-Overlord and some electronic production elements/sounds this is set to not be a standard jazz banger. It is slotted as crossover jazz and I’m not sure what that means and I’m not being a bitch about it, I really don’t know. For me, I guess it all comes down to the ratio of horn playing and jazz sounds to electronic/ambient sounds. Right now it’s a splash of jazz in a sea of ambient music, there was an intro that had a jazz feel, ooh now we’re back with a live, roomy drum sound and a sax player but I expect that to fade back into the drones we had before. Unfortunately I could use some more interesting improv out of the drummer and the sax player but I do like the attempt to reconcile these musical palettes. Lemme peep a coupla other tracks. It’s pretty much the same formula but I dig the playing a bit more. So respect for the effort, there’s a passage here where a sax figure is loop and destroyed and I really dig that but the other attempts to integrate the the manipulation of electronic music with the spontaneity of jazz don’t work as well.
@@@ Charlie Gabriel: I’m Confessin’ (Sub Pop, 2022) I don’t know if there’s been a glitch in the matrix but it’s more than a bit weird to see a New Orleans jazz record out on the Sub Pop imprint. From the looks of the video below and the feel of this track (track 3 on the record) this is chill New Orleans jazz, down in tempo and super smooth production. Don’t love the guitar tone but I’m enjoying the clarinet playing. Well the vocals, that’s super old school and you can’t fuck with that. There are not a lot of vocals to be had here and a lot of clarinet shredding which is cool. It’s more of a vibe enjoyment as I dig that he’s out there at age 89 doin his thing, you gotta give it up for that.