#elkhorn

[retroscifiart]

Art by Brom 'Elkhorn' for Global Games (1997)

[oldschoolfrp]

Special characters, the good guys -- Elkhorn the Dwarf, Strongheart the Fighter, Mercion the Cleric, Peralay the Elf, Ringlerun the Magic-User, and Figgen the Halfling (A collage of characters by Tim Truman, Jeff Easley, and Larry Elmore, all linked to the D&D/AD&D toy lines, given stats in AC1: The Shady Dragon Inn by Carl Smith, TSR, 1983) The text describes Strongheart as a paladin, but that class was exclusive to AD&D rules so he is statted as a fighter for this BECMI D&D supplement.

[nebraskas]

4/26/24 Nebraska/IA Tornadoes

a continuously updated list of resources

last updated 4/27/24 at 8:13 AM CST; find how to help those affected at the bottom

All

Aid/Assistance/Reunification

If you are disabled and impacted by tornadoes, call Disability & Disaster Hotline 800-626-4959 or email hotline@disasterstrategies.org (per The Partnership for Inclusive Disaster Strategies on X)

Nebraska Humane Society can house animals that need emergency shelter. Contact Animal Control at 402-444-7800 ext. 1. (per NE Humane Society on X)

Footage

Images and videos from across the storm's path.

Bennington

Aid/Assistance/Reunification

Three Timbers Church - S 2nd and Warehouse Street, St. John's Lutheran Church - N Molly Street and Howard Lane, and City Hall - 156th Street and Warehouse Street are all locations to find assistance. (per KETV7)

Clean Up

13505 N. 216th St. in Bennington needs to keep several things in mind:

The landfill will be open 6 a.m. to 3 p.m. on Saturday.

Green debris limbs must be cut into pieces 4 feet or smaller.

Debris can be mixed.

Home appliances and hazardous materials are not accepted.

(per KETV7)

Blair

Aid/Assistance/Reunification

The Red Cross has set up a location at First Lutheran Church at 2146 Wright Street (per KETV7)

Elkhorn

Aid/Assistance/Reunification

A Facebook page where people are offering resources

Common Ground Recreation Center at 1701 Veterans Drive will serve as an overnight shelter for those affected and pets. (per KETV7)

Anyone needing relief or assistance due to the storms, St. Patrick’s at 204th and Maple Street is your go to. Do not go for unrelated reasons. (per Omaha Scanner on X)

Command Post has moved to 204th and West Maple in St Patrick’s Church parking lot. Media staging is now at the Walgreens parking lot at 202 W Maple (per OPD on X)

Currently there is a reunification center being established at Elkhorn Middle School located at 3200 N 207th street for parents. (per Douglas County 911 on X)

PETS: PetSmart Veterinary Services is at the Walgreens at 202nd and Maple in Elkhorn for pet triage and stabilizing services for animals needing care from tornado injuries. (per Brian Beech on X)

Clean Up

Pheasant Point Landfill as a debris drop-off location, closes at 3 PM today (per KETV7)

Damage

Residents who have suffered damage to their homes in today's severe weather event should call 2-1-1 or go online at http://dogis.org/211 to make a report. (per Douglas County on X)

Omaha

Aid/Assistance/Reunification

Heartland Hope Mission has two locations in west and south O that offer help. West - 15555 Industrial Road, South - 2021 U Street (per KETV7)

How to Help

NE Humane Society is taking food and litter donations at 8929 Fort Street; also accepting monetary donations. (per NE Humane Society on X)

On 4/27/24 at 7:30 AM there will be a meeting at Relevant Church 21220 Elkhorn Drive held by Rapid Response America to help with disaster relief. Bring your own PPE (gloves, long sleeved shirts, closed toed shoes) and you will have to sign a waiver. More info here.

A Facebook page where people can offer help

My City Church is partnering with other area churches to offer assistance. It's asking for volunteers to help in a variety of ways:

Meet at the Relevant center at 212th Street and West Maple Road at 7:30 a.m. Saturday. Volunteers are asked to bring chainsaws, trucks, trailers, shovels, rakes, brooms, garbage bags, etc. to help clean up

Meet at Brookside Elkhorn Campus at 9 a.m. Saturday. Volunteers need to bring necessary tools and work gloves.

(per KETV7)

[agelessphotography]

Cal, Elkhorn, Wisconsin, Danny Lyon, 1966

[doomandgloomfromthetomb]

Drew Gardner - Cygnus A

The Elkhorn boys can be tough to keep up with — for several years now, there’s been a steady stream of excellent releases for an array of labels, working in a wide variety of settings. And then there’s Drew Gardner’s killer solo work, too. Cygnus A is his latest and it is very much worth your time. Here, Drew adds mbiri and zither to his arsenal, creating a gorgeous, moody song suite. Hypnotic, minimal, beautiful — somewhere in between Laraaji and Alice Coltrane. Get into it.

[dustedmagazine]

Elkhorn — The Red Valley (VHF)

Photo by Sam Erickson

The two guitarists of Elkhorn meet up again for a bout of mesmeric drone, the sound this time more electric than pastoral but as open-ended as ever. As always, Jesse Sheppard mans the 12-string, whether acoustic or electrified, while Drew Gardner plays the six, as well as a few other instruments notably zither and vibraphone. Gardner is responsible, as well, for the pounding, grounding percussion in The Red Valley, nothing complicated but a key component of making this duo sound like a band. And finally, Jesse Sparhawk contributes lever harp and pedal steel. It’s a lush, enveloping sound, nothing minimal about it.

“Black Wind of Kayenta” runs dark and more turbulent, building ominous, western-tinged expanses in distortion blasted low-end runs. An acoustic dances atop these shadowy foundations, bending and flowering in high blues licks. I hear a sunset here, the air darkening, the clouds lit up with brilliance, a few stray rays of sunlight still on hand but not for long.

“Inside Spider Rock,” by contrast, is a prickly blossom, all pizzicato runs and trebly flourishes, aided by Sparhawk’s lever harp. This is an instrument favored by Celtic musicians for its quick, hand-manipulated tunings (as opposed to the classical harp which works with pedals), and Sparhawk makes the most of its sparkling, note-flurrying radiance, an excellent match for the ethereal overtones of 12-string.

Elkhorns roots are in blues, folk and country, though you won’t hear much of the latter until “Jackrabbit Hops” with its eerie masses of pedal steel (Sparhawk, evidently) and bent notes melting like Dali’s clocks. A jangle of bells, a slash of cymbals works as atmosphere, but not really as timekeeping. This track moves on its own schedule, stretching minutes out like taffy and snapping back in quick rhythmic bursts.

“Gray Salt Trail” is the long one, quiet reverie that sits at the intersection of blues, folk and raga, very much the neighborhood Jack Rose inhabited when not in Dr. Ragtime mode. There’s a bit of rock churn in the way that the guitars roar up, a bit more distortion and dissonance than on, say, “Cathedral et Chartres,” but the vibe is similar. The song goes on for more than nine minutes, but who’s in any hurry when the shimmer hits the shadow like this?

Jennifer Kelly

[faguscarolinensis]

Euphorbia lactea 'White Ghost' / 'White Ghost' Milk Tree at the Sarah P. Duke Gardens at Duke University in Durham, NC

[sambarsky]

156.) My Lake Elkhorn sweater. Not a famous place, but we have taken walks around Lake Elkhorn from time to time since before we were married and I always though it would make a nice sweater. #sambarsky #sambarskysweaters #sambarskyknitter #knit #knitting #knitter #art #artist #sweater #lakeelkhorn #elkhorn #columbia #columbiamd #columbiamaryland #goose #geese

[lastenline]

Finished painting Elkhorn the dwarf. He’s one of the Valor’s Call DnD set of miniatures by Galeforce Nine.

[aquariumdrunkard]

The Lagniappe Sessions :: Elkhorn

With the remarkable On The Whole Universe In All Directions, Elkhorn continues its constant state of growth and mutation. Built on a solid foundation of drums, vibraphone, and booming 12-string guitar, it charts a path from American primitive folk-isms toward galactic, psychedelic cosmic vistas. The duo’s first Lagniappe Session offered a grab bag of interpretations of songs by the Dead, Sonic Youth, and Robbie Basho, but this one devotes itself fully to just one, epic-length composition: a cover of David Crosby’s “Guinnevere,” as played by Miles Davis.

[gr1mmweeper]

this has to be the most American thing I have ever witnessed in my 27 years on this earth IRL

[brandacelynn]

Family day 'Danish Roots'

My fathers family gets together to touch our family's history.

[oooklathemok]

[chrisgordon75]

I welcomed back Ashton Solecki to discusses her role as Medora in the TV show Elkhorn and the character's complex motivations. She talks about the chemistry between the cast members and the strong bond they have. Ashton also shares her personal connection to the setting of the show, as she grew up near the real town of Medora. She highlights the importance of portraying historical characters with nuance and explores the love story between Medora and the Marquis. The conversation also touches on the power dynamics and tension between the characters in the show. In this part of the conversation, Ashton and Chris discuss the relationship between Medora and Rosie in the show Elkhorn. They speculate on why Medora takes an interest in Rosie and how their dynamic evolves throughout the season. They also talk about the challenges of filming in heavy costumes and the extreme weather conditions on set. Ashton shares her experience of understanding her character, Medora, and the growth she experienced as an actor during the filming process. In this final part of the conversation, Chris and Ashton discuss Chris's experience filming a torture scene and the challenges of becoming an overnight success in the entertainment industry. They also talk about the importance of enjoying the journey and not just focusing on the end goal. The conversation then takes a lighthearted turn as they share their impressions of various characters and discuss Ashton's upcoming projects. They end the conversation with a humorous discussion about Ashton's recent encounter with mice in her house. Takeaways The cast of Elkhorn has a strong bond and great chemistry. Portraying historical characters requires nuance and understanding. Medora and the Marquis have a complex love story. The show explores power dynamics and tension between characters. The relationship between Madora and Rosie in Elkhorn is a central theme in the show. Madora takes an interest in Rosie because she sees herself in her and wants to mentor her. Filming in heavy costumes and extreme weather conditions was challenging for the cast. Ashton gained a deeper understanding of her character, Madora, as she worked with the other actors on set. Acting is a challenging career that requires dedication and perseverance. The entertainment industry can involve challenging and uncomfortable experiences, such as filming intense scenes like torture. Becoming an overnight success often requires years of hard work and perseverance. It's important to enjoy the journey and focus on doing good work, rather than solely chasing success. Impressions can be a fun and impressive talent, but not everyone has the ability to do them. Ashton has an upcoming project called 'The Darkness Returns,' which is a supernatural horror meets psychological thriller. Ashton had a recent experience with mice in her house, which she handled with compassion and a catch-and-release approach. Chapters 00:00 Introduction and Favorite Guest 01:30 Elkhorn and the Excitement of Release 05:00 Medora's Character and Historical Context 06:33 Chemistry with Jeff Fahey and Playing Off Each Other 08:00 Medora's Role as the Money and Love Story with the Marquis 09:39 Playing a Real Person and Finding Medora's Character 11:11 The Dinner Scene and Strong Personalities 12:58 Medora's Sweet Side and Love for Family 14:06 Balancing Social Acceptability and Inner Thoughts 15:29 Tension and Power Dynamics in the Show 21:29 Challenges of Filming in Heavy Costumes and Extreme Weather 25:19 Understanding and Developing the Character of Madora 29:06 The Rewards and Challenges of an Acting Career 36:51 Navigating Challenging Scenes and the Path to Success in the Entertainment Industry 38:57 Finding Joy in the Journey and Doing Good Work 41:01 Impressions and Upcoming Projects 48:38 Dealing with Mice in the House: A Humorous Encounter

[doomandgloomfromthetomb]

Elkhorn 2023

A very busy year so far for the Elkhorn guys. Let's get caught up ... First, the duo has a new LP out on Centripetal Force — On The Whole Universe In All Directions, which features Drew Gardner on vibes throughout instead of his usual electric guitar. The change-up works magnificently. (Oh and I reviewed it in a recent issue of Uncut.)

Next, we've got some Aquarium Drunkard action: a great Transmissions episode with Gardner and 12-string-er Jesse Sheppard chatting with Jason P. Woodbury for an hour and change. And! The pair also taped a fresh Lagniappe Session for AD — just one song, but it's a doozy, an inspired re-interpretation of Miles Davis' interpretation of David Crosby's "Guinnevere." Did you get all that??

What else? Definitely head over to NYC Taper to dig into a recent Elkhorn live set taped by Kliked at Tubby's; here, Gardner and Sheppard are joined by ace drummer Ian McColm for a set of heavy/heady jams.

And definitely get Gardner's latest solo album, Flowers In Space, where the guitarist reunites with the all-star rhythm team of Andy Cush (Garcia Peoples) and Ryan Jewell (everybody) for four long and groovy explorations. Brent Sirota calls it a "slab of sympathetic magic from what amounts to a veritable dad psych supergroup." And he's right!

Finally, there's The Return, a previously unheard archival release from a Gardner group that played together in San Francisco in the 1990s. Over a quarter century old, but its spiritual jazz modes sound as fresh as ever.

[dustedmagazine]

Dusted Mid-Year 2023, Part One

Meg Baird photo by Rachael Cassells

It’s halfway through another year, and while that doesn’t seem possible, the trail of good-to-excellent releases argues otherwise. We celebrate as always by picking our favorites and then forcing them on unsuspecting colleagues. The Dusted Mid-Year Swap is almost entirely random, with assignments picked from a bowl and limited options for getting out of them. It’s also one of our most popular features, both internally and among our readers.

Although we don’t pursue consensus — and in fact, quite the opposite, we value the diversity of taste and opinion among our writers — some years we have a clear winner. Out of deference to our most dominant mid-year artist ever, we call them “this year’s Heron Oblivion.” In 2023, that’s especially appropriate since the artist that won the mid-year is also in Heron Oblivion. That’s Meg Baird, whose Furling captured the affection of a broad spectrum of writers. Yo La Tengo was the closest behind, with punkish The Drin and drone-experimental Natural Information Society also in the hunt.

But while we agree sometimes, at others we don’t, and you’ll notice that a good sprinkling of writers were not entirely on board with their assignments. That’s okay. It’s good for us to hear stuff we don’t like, too. It’s part of a balanced musical diet.

We begin with the first half of the alphabet with artists from Algiers to James Ilgenfritz represented. Check back tomorrow for the second half and the next day for our writers’ lists.

Algiers — Shook (Matador)

Shook by Algiers

Who nominated it? Andrew Forell

Did we review it? Yes, Andrew wrote, “Switching organically between punk, gospel, soul, hip hop, jazz and afro-futurism, Algiers speaks directly to a world under siege.”

Jennifer Kelly’s take:

On this tour de force, Algiers doesn’t so much blend African American musical styles as find the sinews and tendons and veins that connect them. “Everybody Shatter” alone morphs from minimalist techno beat to menacing rock to old-school hip hop shout-crossing call and response, and that’s just the opening salvo. The guests run the gamut from current hip hop phenom Billy Woods to DC punk mainstay Mark Cisneros to free-jazz sax experimenter Patrick Shiroishi, with a startlingly moving bit of poetry at the end from Glory Fires front man Lee Bains. “Comment #2” records an unnamed young woman wondering why the discourse about black America focuses so much on suffering, rather than the hope and joy and resilience that her community also manifests. Shook soaks up all elements of that multi-faceted experience, with fierce joy, unrelenting honesty and surges of pure musical exhilaration. Powerful stuff.

Arrowounds — In the Octopus Pond (Lost Tribe Sound)

In The Octopus Pond by ARROWOUNDS

Who nominated it? Tim Clarke

Did we review it? Yes, Tim wrote, “The sounds and how they’re treated go a long way towards mustering a unique, shadowy atmosphere, which is sustained throughout the album’s 45 minutes.”

Christian Carey’s take: 

Ambient’s revival has lasted longer than its initial incarnations and cast a wider net as to the music it encompasses. Releases like In the Octopus Pond by Arrowounds (Ryan Chamberlain) demonstrate why this can be all to the good. An example is the use of a repeated post-rock riff, sustained synth lines, and samples of water in “Spectral Colours of Science,” a standout. In another melange,“Phosphene Silver Abyss” pits a loping bass riff against glissando-filled distorted electric guitar and subdued keyboards. An engaging listen throughout.

Meg Baird — Furling (Drag City)

Furling by Meg Baird

Who picked it? Jennifer Kelly

Did we review it? Yes, Tim Clarke wrote, “Welcome to one of the first great records of the young year.”

Jason Bivins’ take:

I’ve actually been living with and loving this record for many months now. Baird’s got an extraordinary voice and a real knack for both songwriting and arranging. There’s a compelling argument to be made that Furling is her strongest recording. From the outset, it’s clear that this is music that is intimate and reflective and admirably uncluttered. Chords or arpeggios shine through without excess, with gentle strumming and a light touch on the snare making a nice slide for Baird’s angelic voice to glide down. Often she layers her voice, harmonizing way up there over gentle guitar, but she also sinks right in between the chords here and there. Some tracks, like “Star Hill Song,” dial into conventional song-form more than others, but there’s always a gorgeous blend of the earthy and the ethereal. Star-skirling guitars glide atop a tasty pulse, or spare piano grounding textural clouds, always focused on Baird’s somewhat breathy voice and distinctive vibrato. In all my listening, I don’t even focus too much on the lyrics, which only float up for me on occasion. I just allow myself to be hypnotized by the unpretentious beauty of this music.

Big Blood — First Aid Kit (Ba Da Bing/Feeding Tube Records)

First Aid Kit by Big Blood

Who picked it? Bryon Hayes

Did we review it? Yes, Bill Meyer said, “Their production has a steam-pressed quality, as though the background instrumental sounds had all been ironed onto the tape. Voices and drums, however, jump out of the mix, which suits the songs’ sturdy hooks.”

Ray Garraty’s take:

The opening track “In My Head” might fool you that this is a modern take on rockabilly and 1990s indie pop, something that is not easy to stomach in large quantities. But things change drastically after that, with “Haunted”, possibly the best track on the whole CD. A bit of Sparks, a bit of Kate Bush, a bit of your favorite bedroom pop band, Big Blood is a mix of all that but with a twist. First Aid Kit sounds lo-fi enough not to be too grandiose and tiring and clean enough not to fall into the category of bedroom rumblings made for a few friends. The choruses are haunting you, indeed, and stick in mind for days. It closes with a track called “Weird Road Pt. 1,” and it is a weird road for sure. Weird and just great.

BIG|BRAVE — nature morte (Thrill Jockey)

nature morte by BIG|BRAVE

Who picked it? Jonathan Shaw

Did we review it? Yes, Jonathan said, “The title of nature morte might reference death, but this music is frightfully, joyfully and overwhelmingly alive.”

Bryon Hayes’ take:

There’s heavy music that attempts to pulverize your grey matter into oblivion, and then there’s nature morte. This is music that gets under your skin with its dual guitar wall of noise and its sludgy rhythms. What’s really arresting is the intensity of Robin Wattie’s vocals, and how she transitions from a measured attack into all-out screaming almost instantaneously. I don’t usually thirst for music on the heavier end of the spectrum, but I found myself strangely attracted to this record. Images of EMA covering Nirvana’s “Endless, Nameless” kept swirling through my head as I digested the record for the first time. The maelstrom conjured by the two guitars, the pounding of the drums, and Wattie’s almost pleading vocals coalesce into a near-crystalline molasses that somehow manages to flow with enough sweetness to appeal to all manner of listener. Even if you tend to enjoy softer sounds, you should give this album a spin. 

Cellow — Ghetto Takeover (Jugg$treet)

Who picked it? Ray Garraty

Did we review it? No

Jason Bivins’ take:

An EP should be concise, a marker of method and style on the journey to completing a larger project. Or, it should whet the appetite by introducing a new voice, the promise of distinction. Cellow’s six-song, eighteen-minute slice from earlier this year is, by contrast, somehow meandering. On the final track, he proposes: “Let’s do a tape in a fucking night.” Which, apparently, is actually how this project came together. And oof, does it sound it. The production is dated and drab, the beats pedestrian, and the rhymes predictably grandiose and misanthropic in equal measure. For example, he boasts, “that’s a 2012 Benz, not a spaceship” and “I just got $200 for an 8th of Splenda.” He fat-shames women, disses Obama and otherwise romps over his “clown-ass” competitors. If only he were actually compelling as a verbal stylist. But no: after yet another “Strange Fruit” sample on “Ain’t Come to Play,” he fumbles the attempted double-time spitting. It’s embarrassingly undercooked and awkward, especially the two tracks without Rio Da Yung OG.

Elkhorn — On the Whole Universe in All Directions (Centripetal Force)

On The Whole Universe In All Directions by Elkhorn

Who nominated it? Bill Meyer

Did we review it? No.

Christian Carey’s take:

For their latest recording, On the Whole Universe in All Directions, Elkhorn (acoustic 12-string guitarist Jesse Shephard and electric guitarist/percussionist Drew Gardner) explore each principal direction of the compass (North-South-East-West) on four tracks. The vibraphone is a new addition, and the textures created by vibes and 12-string in combination on “North” and “South” are mesmerizing. Splash cymbals and alternate scales provide a (perhaps inevitable) exoticism to “East.” Correspondingly, “West” shares minimal folk inflections and a winsome melody. Elkhorn has executed a successful transformation.

Robert Forster — The Candle and the Flame (Tapete)

The Candle And The Flame by Robert Forster

Who picked it? Jennifer Kelly

Did we review it? Yes. Andrew Forell wrote, “Forster’s observational directness and simple language are always in service to the deep feeling in his songs and few better imbue the quotidian joys of domestic life and the power of memory with such poetry.”

Patrick Masterson’s take:

Not being much of an ardent Go-Betweens fan, I went into The Candle and the Flame with little expectation beyond the notion that Forster would be chronicling the relationship with his wife, who was diagnosed with and got treated for ovarian cancer around the three years these songs were conceived. What I can’t help but admire is how he throws you akimbo right away with “She’s a Fighter,” which attacks the illness directly and immediately (with the help of the whole family, even!) in a rollicking folk-punk style. Duly done and dusted, Forster turns his attention to the deeper reserves of their personal history, reminiscing about meetings in Germany and walking to school in the ‘60s and the general weathering of life in a more relaxed, fittingly contemplative manner. You can tell without knowing anymore than I did that he’s been doing this long enough that songwriting comes naturally to him by now no matter the topic — an artist with an innate gift honed over decades that shines best at its most unvarnished.

Asher Gamedze — Turbulence and Pulse (International Anthem/Mushroom Hour Half Hour)

Turbulence and Pulse by Asher Gamedze

Who picked it? Andrew Forell

Did we review it? Nope

Ian Mathers’ take:

This is a very good record that I feel like I got a few mistaken impressions of! The blurb on the Bandcamp page talks a lot about percussion in a way that made me think this was going to be more beat-centric, and then the opening almost-title track “Turbulence’s Pulse” does go in that direction, combined with a speech about the intersection of rhythms, history and politics. It kind of rules, and then the record pivots on “Wynter Time” to what sounds to my (admittedly not-super-genre-savvy) ears like a pretty straightforward jazz track. Not that Gamedze’s drumming isn’t vital to those proceedings, and it continues to be impressive throughout, but we get a lot more of that latter mode over these 80 minutes (including 20 minutes of live versions of tracks from this album, which may be catnip to real heads but to relative novice me don’t stand out enough to want both). But neither “it’s a bit long for me” or “it’s not exactly what I expected” are big complaints, and they’re more than outweighed by the quality of Gamedze’s playing and the rest of the ensemble, especially Robin Fassie on trumpet and Buddy Wells on tenor saxophone, who wound up drawing a lot of my focus. When things get moving on “Locomotion” and “Out Stepped Zim” the results are great, even if I could also love a record more directly in line with “Turbulence’s Pulse.” 

Jana Horn — The Window Is the Dream (No Quarter)

The Window Is The Dream by Jana Horn

Who recommended it? Tim Clarke

Did we review it? Yes; Tim wrote, “Horn weaves in an undeniable magic. Much like the soap bubble on the album’s cover, hold this music up to the light and it refracts a surprising array of beautiful colors.”

Jonathan Shaw’s take: The variety of wispy, delicate, singer-songwriter music that Jana Horn makes generally puts me to sleep—a fact for which I am grateful, since prolonged exposure to qualities like “wispy” and “delicate” isn’t a happy event for me. And to be sure, Horn’s mannered, near-expressionless alto—full of little gulps and breathy intonations that are simultaneously arch and bloodless—is mildly irritating. But setting those subjective responses aside, there are things to admire on The Window Is the Dream. Horn has a distinct compositional sensibility, which is affecting in direct proportion to its spareness. See the music of “Old Friend,” which skitters and halts, but maintains its sense of grace and composure. The arrangement builds some momentum, and when Horn cuts it all off, with peremptory force, it’s satisfying. Throughout the record, Horn demonstrates that musical sense for timing and mood; see especially the overlay of dissonances that emerges after the careful combinations and constructions of the opening three minutes of “In Between.” But for this listener, Horn’s singing cancels those urgencies and complexities. I get it: the contrast between her prettily blank vocals and the music’s by-turns dreamy and antsy textures will please some. But these precise, calculated gestures don’t make any magic for me.

James Ilgenfritz—#entrainments (Infrequent Seams)

#entrainments by James Ilgenfritz

Who nominated it? Christian Carey

Did we review it? No

Bill Meyer’s take:

Here’s a record that’s well within my wheelhouse, but which I had skipped over on account of there being a lot of music out there. It turns out that #entrainments deeply rewards investigation. It succeeds at being an engaging listen as well as formally creative. Bassist/composer James Ilgenfritz hasn’t just crafted some appealing melodies, he has made them part of a system of meta-responses that can be restructured on the fly. His combo, which includes drummer Gerry Hemingway, alto saxophonist Angelica Niescier and cellist Nathan Bontrager, is tuned into the multiple levels at which this music needs to work, and sounds equally persuasive realizing the cut-and-thrust of “#frontmatter,” which reminds me in a good way of old Henry Threadgill records, and the chamber combo with dissenting drums treatment of “#squarequotes.” A comprehensive review of this album would delve deep into its backstory of health travails and compositional strategizing, but since we’re keeping it brief, suffice to say that if you like your jazz sturdy, nuanced, and inclusive, #entrainments will deliver the goods, and follow them up with a bounty of bonuses.