Music Week (9:2)

A few select reviews from week 2 of month 9 (September)

I figure September is the only breathing room I’m going to get before the Jazz Critics Poll wipes out the end of my year, so I should figure some things out, and get some work done. First on my list of things to figure out was making one more stab at outlining my political book (aka, Something Weird). So I spent a couple days on that, then I remembered I should post something on Notes on Everyday Life, so I knocked out three quick posts: two on 2025 A-listed obscurities (Non-Jazz and Jazz), and one for the 9/11 quarter-century observation. Good thing I got the latter done a day ahead, as I’m already sick of “never forget” today. Forget, already. Especially the bit about being victimized, given that you’ve already forgotten the decades that led up to the blowback, and the quarter-century of arrogance, murder, and mayhem that everyone from Bush to Trump have since wrought.

I’ve done no serious work on Loose Tabs since my August 27, but every time I look at one of my news sources, I want to scream. There’s so much to write about. And so many people writing about it all: many good, some not so good. I’ll spare you that for now.

Two notes on the music below. One is that I decided early on not to include anything that isn’t out yet. I try to keep my promos in a queue sorted by release date, but they can get mixed up, and I can get mixed up. I wound up reviewing three unreleased A-list albums this week. They’re not below, but they will be on the full Music Week when it comes out shortly (probably tomorrow). If they were merely one week out, I might simply hold them back, but they are scheduled 2-3 weeks out, I don’t want to hold them that long. They are:

• The Kris Davis Trio: Lost in Geneva (4166) [09-25] A−

• Jason Kao Hwang/Human Rites Trio: Second Life (Flying Panda Music) [10-01] A−

• Bill Scorzari: Sidereal Days (Day 2) (self-released) [09-25] A

The other note is that I’ve only barely started to sort my way through Brad Luen‘s Seventies List. I seriously doubted I could learn anything about 1970s music from someone who didn’t live through the period, but Luen does a better job covering world music, US/UK rock/pop, and jazz than any critic I can think of. So while nearly all of his US/UK albums were familiar to me, his world picks often caught me by surprise. The first two I checked out, from Brazil, are below. More homework to follow.

◆ ◆ ◆

Nicki Adams and Michael Eaton Featuring Francisco Mela: Arrival (2024 [2026], J-man): Pianist, from Arizona, based in Brooklyn, has a previous duo album with Patrick Adams (trumpet, probably related), and a couple albums with saxophonist Eaton (tenor/soprano). Modern postbop, originals by Adams (2) and Eaton (3), with covers of Cole Porter, Andrew Hill, Wayne Shorter, and Thom Yorke. The drummer just makes the others sound better. B+(***)

Towa Bird: Gentleman (2026, Interscope): British singer-songwriter Victoria Vergara-Bird, born in Hong Kong (parents British and Filipino), grew up in Thailand and London, second album. Mostly upbeat dance numbers, as it should be, but even the pace changers sneak up on you. Discogs had this on 2025, which had me wondering how such a major label album could have escaped notice, but other sources say 2026, and the artist website is promising to ship vinyl in September. A−

Ray Wylie Hubbard: Reel 2 Reel 4 Real (2026, Soundly Music): Country singer-songwriter, from Oklahoma but gravitating toward Texas (not Nashville), had a band in the 1970s called the Cowboy Twinkies. I never paid him much heed until he co-wrote a song for Hayes Carll’s 2008 album, then liked it enough to cover it on his 2010 album — the first one that caught my ear, but they’ve been all aces since. A−

Rapsody: God Gotta Afro & Gold Hoops (2026, We Each Other/Roc Nation): Rapper Marianna Evans, from North Carolina, fifth album since 2012, 43 now, moving boldly into a new phase of life. Extended meditations on blackness, the African group Karabo Ya Morena powering some cuts, another tune with George Clinton expressing “Love to Sun Ra.” Pretty deep. A−

Trevor Watts/John Edwards/Tollef Østvang: In the Know (2024 [2026], Motvind): Alto/soprano saxophonist, one of the founders of the British avant-garde (Spontaneous Music Ensemble, Amalgam, LJCO), which made him just shy of 85 when this was recorded: one 37:21 improv, with bass and drums. He’s in terrific form here. A−
[Bandcamp]

Charlie Worsham: Once Upon a Second Time Around (2026, ONErpm): Country singer-songwriter, self-described Marty Stuart disciple, from Mississippi to Berklee to Nashville, third album, after two 2013-17 Warners albums. Since then, he’s been a journeyman guitarist, but seems to have picked up some tricks, and considerable trad feel. B+(***)

Sittin’ With Blaze: A Tribute to Blaze Foley (2026, Lost Art): Texas country legend (1949-89), released few singles and a so-so album in 1984, but since his death numerous scraps have come out, as well as tributes — Gurf Morlix’s Blaze Foley’s 113th Wet Dream (2011) is probably the best. This batch of pretty good songs from the mid-1970s appeared in 2010. They get new singers with better voices here, including Lucinda Williams, John Moreland, Lucy Dacus, Phosphorescent, and others I’m less familiar with. B+(***)
[Bandcamp]

Cátia De França: 20 Palavras Ao Redor Do Sol (1979, Epic): Brazilian singer-songwriter, from Paraiba in the Northeast, first album, of eight through 2024. Rhythm is strong, bits of accordion and violin add a distinctive texture. Number 77 on Brad Luen’s 77 favorite albums of the seventies, where most of what I missed is Brazilian (like the following). A−

Novos Baianos: Acabou Chorare (1972, Som Livre): Brazilian group, from Salvador — Bahia, in the northeast, home of forró, although experts say “samba rock” or “tropicalia.” Second album (of 8 from 1970-78), tabbed by Rolling Stone Brasil in 2007 as tops among the “100 greatest Brazilian music records.” Not much I’ve heard (or remember) on that list, but this is not just nice but pretty great. A−

Queen Herawin: Metamorphosis (2015, Matic Entertainment): New York rapper Peridot Smith, cover identifies her as “of the Juggaknots,” a group with siblings Paul Smith (Breeze Brewin) and Kevin Smith (Buddy Slim) that released two albums (1996, 2006). Runs noisy, but as one song points out, “there’s a method to this madness.” Her 2025 album, Awaken the Sleeping Giant, made my 2025 A-list. This is less polished, but could break through. B+(***)
[Bandcamp]