Nicole Mitchell and Haki Madhubuti "Liberation Narratives"

(Black Earth Music, 2017) I do not want to dishonor in any way the brilliant elders/ancestors who laid down the music during the Black Arts Movement for Last Poets and Watts Prophets and Leroi and Nikki and so many other greats to speak truth upon. But having the lionhearted, uncensored, devastating, poignant, penetrating poetry of Mr. Madhubuti paired with an ensemble led by the certified genius Nicole Mitchell feels like a genuine musical move forward rather than a revival or look back. The poet's pronouncements about the state of the world, and frequently about the South Side of Chicago where this was recorded (and where his mentor Gwendolyn Brooks lived and reflected upon), jar listeners while also offering a calm clarity about the devastating effects of white supremacy (while offering more hopeful words about the black women and young people and men he truly appreciates). These words should not be able to get better, but they are elevated here by the magnificent music. Mitchell's collaborators are so powerful (all of them, but Tomeka Reid's cello, Pharez Whitted's trumpet, and the vocals of Ugochi cut through for me) and her instincts and ideas are so rich that the fearless flautist has enabled work here to happen that I hope can get us a step higher up as we try to climb out of this abyss.

Alexis Lombre "Southside Sounds"

 (www.alexislombre.com, 2017) Alexis is one of the brightest shining lights amongst young artis in Chicago, and it is with no particular boldness nor powers of prognostication that I predict she will eventually be one of the best grown assed artists, then veteran artists, then old artists, because she is already at a high peak and keeps going higher. Playing with a brilliant team on this album the pianist delivers a set of traditional sounds that is cool, yet always feel exciting and ready for action, and her instincts are more playful and sophisticated than shouldbe possible for someone with so few years behind her. That said, this CD does not hold a candle to seeing her live just a couple years later, and I feel like a lucky millionaire being able to experience her playing so often (even remotely these days).

Billy Branch and the Sons of Blues "Blues Shock"

(Blind Pig, 2014) A lot of the blues stalwarts in Chicago play the blues for the tourists, which is fine. That helps Chicago, and tourists need music, too. And veteran hrp player/frontman/blues activist Billy Branch definitely makes tourists very happy. This album, and every time I see Billy play, make it clear that he is making the music he believes in, not filling a commercial need (that doesn't need anyone to transcend "Sweet Home Chicago").  Billy really plays the music that the people he grew up with dig. He plays music for his family, friends, and community. And he makes music for you, so make sure you hear it.

Dee Alexander "Songs My Mother Loves"

(BluJazz, 2014) When I see Dee Alexander enter a room, even if she isn't going to sing, my life gets better. Her otherworldly voice has raised my spirits and given me hope so many times that just to be reminded she exists uplifts me. An AACM member, Dee can get as far out as unknown planets, but give her standards, as on this album, and not many alive can do it as well. During this year in this world I need to be reminded of the magic of living, and of living in Chicago, where I get to hear Dee and Junius and Corey, and Ari, and Tomeka, and Miguel...all these people come here to play music! And that a higher power gave her that voice and that smile is almost too much. Please listen to this record.

Bethany Pickens "Bethany"

(Willie's Kid, 2007) Despite her heritage as Willie Pickens daughter (and her record label's name) there is no Chicago nepotism needed to appreciate Bethany Pickens incredible talent. Her piano playing is so classic that to see her at Jazz Showcase, or to listen to these fine recordings, is to enter that timeless jazz zone where you could be in any decade and the music could not be any better.

El Palmar 100% Soursop

(El Palmar) This is delicious, more sweet than sour, and according to a beautiful Jamaican woman I spoke to, the fruit will curb cancer. Most notable (other than the cancer miracle part) is that this beverage contains fruit pulp way bigger than the hole in the can, so drinking this involves sucking on an inverted can with a fair amount of lung power, plus a little tongue action. Thusly, you will not look cool drinking this in public, but it might be worth it.

Fred Sasaki's & Fred Sasaki's How to Fix You Series

(Fred Sasaki, 2012) In 2013 when Fred Sasaki, of the Poetry Foundation, sent out a notice to friends that his father had passed away after choking on food it was a sparsely and deliberately worded message that was in many ways the most powerful piece of poetry I have ever experienced. In the year before his passing Fred and his father (also Fred) created a series of illustrated pamphlets espousing the elder Sasaki's life philosophies. These were colorful, whimsical, illustrated with fun cartoons (sometimes by Fred the Younger's gifted kid) and fully functional, as who wouldn't want good advice on combing hair, washing genitals, shopping, shaving, stretching, waking up, and making friends. Honoring his father's words, sometimes perfect and sometimes not, and basking in the rough hewn poetry of Xerox zine layout, these guides are art and they are life, as they have given me a lot comfort and assistance over these years. Thank you Freds.

Thomas Comerford "II"

 

(Strange Weather, 2014) Thomas is a Chicago treasure, making grand pop too good for the scale onn which he operates (generously sharing music and organizing great experiences for music fans of all ages). Glorious 70s-assed guitar dominates this beautiful album, and there's a nice Country Rock-adjacent vibe (kinda Nesmith-sy  in melody, but with more robust but ragged vocals). II llove iit!

Steve Mackay "Sometimes Like This I Talk"

(Radon, 2010) Genuinely strange and wonderful all-over-the-place music from the saxman who put the fun in "Fun House." There's some rock n roll, some haunted house music, some cocktail jazz, and even some drone-adjacent, spare prog. The most exciting theme I hear running through this is that the late McKay was a sax soldier that could battle in any theater, leading the charge no matter the mission. Honk on in Heaven, Horn Warrior!

John Schooley 'The Man Who Rode the Mule Around the World"

 (Voodoo Rhythm, 2014) A revelation from our favorite Revelator, as the one man band adds a man to play harmonica and becomes a powerful duo sounding like a hillbilly Phil Spector orchestra playing a wall of spooky blues-grass sounds.