Floating Points & Pharaoh Sanders – Promises. This unusual collaboration has been almost universally hailed as a late-career masterpiece for Sanders, the one-time terror of the 60s avant-garde who has mellowed into something like elder-statesman status (see reviews in the New Yorker, Pitchfork, and the New York Times). Richard Williams’ review calls it less challenging than some earlier jazz-meets-ambient work, such as the great John Tchicai With Strings, which is fair enough. But it’s still strikingly lovely.
Morwell Unlimited – Dub Me. Somehow this didn’t grab when I first listened to it a decade or so ago–whoops, mistake. Perhaps that’s because it’s quieter and more pared-down than an a lot of dub. In fact it is a masterpiece of minimalism, one of King Tubby’s finest efforts. I picked this up back when the Blood & Fire reggae reissue label was still going strong and its CDs were still in circulation; it’s harder to find now (the link is to Deezer).
Sonic Youth – Simon Werner a Disparu. These instrumental jams are the last studio recordings Sonic Youth made before they broke up in 2011. They were my favorite band back when I was a Young Alternative Dude, and the chime of their detuned guitars can still bring a smile to my face. There’s nothing too groundbreaking here, but if you like the spacey bits of other SY albums then this will also be enjoyable.
Stan Getz – Captain Marvel. Chick Corea, may he rest in peace, played electric piano on this 1972 date, and his fusion-y Return To Forever band made up with the rest of the sidemen. But the resulting sound bears little resemblance to other offspring of Miles Davis’ electric period: it’s a rare example of electric jazz without rock gestures, just that gorgeous Getz tone throughout.
Edgard Varèse – “Density 21.5.” Originally composed in 1936, this solo flute piece has had a strange afterlife as a symbol of the potential for cross-pollination between jazz and classical music. A copy of the score with a signed dedication from the composer was found among Eric Dolphy’s papers in the Library of Congress, and Dolphy reportedly performed it at a 1962 concert. Among the many losses from Dolphy’s tragic early death in 1964 is the fact that we will never hear his take on it. The original 1950 recording of the piece is spooky, but actually does not sound too radical compared to the vocalized sounds Dolphy would develop in his own flute playing.