Robert Christgau: Dean of American Rock Critics

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Consumer Guide by Review Date: 2012-07-10


Clams Casino: Clams Casino (Tri Angle, 2011) Too atmospheric? naturalistic? programmatic? somewhere in there ("Gorilla," "Waterfalls") ***

Cut Chemist: Sound of the Police (A Stable Sound/Soul Kitchen, 2010) Veteran L.A. DJ keys two 20-minute soul mixes to Ethiopian beats, which soon prove the main attraction ("East Side") ***

The Dirty Dozen Brass Band: Twenty Dozen (Savoy Jazz, 2012) Greatest practitioners on record of America's premier you-had-to-be-there music ("Dirty Old Man," "We Gon' Roll) **

Paolo Fresu & Omar Sosa: Alma (Otá, 2012) Intelligent easy-listening fusion from flugelhorn-loving Italian trumpeter, studio-loving Cuban pianist, and parttime-loving Brazilian cellist ("Alma," "Under African Skies") **

Jazz Punks: Smashups (Foam @ the Mouth, 2012) A trip when jazz heads interlock with rock hooks, workmanlike post-bop when they improvise, give the drummer some throughout ("Heavyfoot," "Clash-Up") ***

Fernando Otero: Vital (World Village, 2010) Argentinian pianist thinks classical but feels tango, only then his mind wins ("Danza," "Globalizacion") *

Sao Paulo Underground: Três Cabeças Loucuras (Cuneiform, 2011) Post-rock cornetist gets up with three Brazilian co-conspirators, two of them percussionists ("Just Lovin'," "Rio Negro") ***

Supreme Cuts: Whispers in the Dark (Dovecote, 2012) Chicago duo claim house, hip-hop, and avant influences for their ambient, which is indeed less austere than ambient ordinaire ("Belly," "Val Venus") **

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