Robert Baird

In 2010, the funky-eclectic New Orleans band Galactic—known today as much for being the owners of the city's storied Tipitina's club as for their music—cut their song "Heart of Steel" with singer Irma Thomas for their album, Ya-Ka-May. The band noticed that Thomas soon included the same tune in the sets that she played with her band. In 2022, Galactic decided to revisit the Thomas connection and came up with the idea of collaborating with her on an entire album of new music.

My Morning Jacket: Is; Mike Farris: The Sound of Muscle Shoals; Jason Isbell: Foxes in the Snow; Sam Fender: People Watching; Drew And Ellie Holcomb: Memory Bank; Japanese Breakfast: For Melancholy Brunettes (& Sad Women).

The why behind most artist-owned labels tends to be a thicket of motivations. They have more adventurous tastes. They are more artist friendly. They are anxious to be the ones in charge of the money for a change. For jazz trumpeter Charles Tolliver, co-founder of the record label Strata-East, the motivation was a combination of all these factors and more.

During a break in the hectic schedule that preceded the April 2025 release of 32 reissues from the famed Strata-East catalog—including the work of Charlie Rouse, Pharoah Sanders, and Cecil McBee—I caught up with Tolliver and his son Ched, who's now in charge of the label's rebirth.

Staying up on what's new in music ain't easy these days, in a world short on new record stores and long on websites, social media blather, and celebrity. Asked what he listens to when he's not writing music, fast-talking septuagenarian Ray Mason exudes a teenager's eager urgency.

"I keep my ears open. I've been listening to new stuff by people I have been following for years like Nick Lowe and The Straitjackets, Rodney Crowell, Kathleen Edwards, and Lucinda Williams. And then Craig Finn. I don't own any Hold Steady albums, but I love his last two solo albums. He has a new one coming out that [Adam] Granduciel from War on Drugs produced. And The Beths of course, Expert in a Dying Field. I remember hearing [The dB's] Pete Holsapple raving about that on the web and I went, I've gotta get that album!"

Joe Henderson: Multiple
Milestone/Craft CR 00845 (LP). 1973/2025. Orrin Keepnews, prod.; Elvin Campbell, Al Vanderbilt, engs.
Performance ****½
Sonics ****½

The essence of jazz is supposed to be the free-flowing exploration of ideas and expressions. Yet hardcore fans of the music have the unnerving habit of supporting and denigrating the work of the same player from record to record. Artistic growth is often seen as a negative. Even devoted fans might not follow an artist who veers off into a stylistic direction they abhor. The classic example is Miles Davis, who went through several artistic reinventions during his long career. Many of those who love Kind of Blue recoil from Dark Magus, On the Corner, or You're Under Arrest. So-called fusion—adding influences from rock and/or funk—is most often the villain in these judgments.

After starting out as a hard-bop devotee in the early 1960s, with such classic Blue Note sessions as Page One, Our Thing, and Inner Urge, Joe Henderson grew curious about funk, about adding it to his jazz mix. In 1973, on Orrin Keepnews's Milestone label (now owned by the Concord Music Group), Henderson cut Multiple, one of the highlights of his discography.

Discovering music as it is being recorded—singer Holly Cole seeks that kind of spontaneity on her recordings including her latest, Dark Moon on Rumpus Room/UMG Records. As she put it, she wanted this record with her longtime quartet to capture "the moment when the light turns on for us."

"On Dark Moon, you hear the essence of when we discover a song," she said during a recent interview. "We had very brief rehearsals, and then went in and recorded. I had a lot of faith in this band, and that's why I cherry-picked them. They know me, they know I'm a minimalist, and we were able to arrange in the studio. Some of the tracks are first takes. The more complex the arrangement, the longer it took. They are all three, four takes at the most. People have to be hard listeners in this band, or it will fail. That's the case on Temptation, and that's on this record."

Humble Pie: Smokin'
Analogue Productions APP 168 (LP). 1972/2024. The Pie, prods.; Alan O'Duffy, Keith Harwood, Kevin Gray, engs.
Performance ****
Sonics ****½

The ultimate indication that an audiophile reissue is worth paying for lies in its resale value on the secondary markets, especially eBay and Discogs. If there are lots of copies for sale that are open and played, it's usually a sign that folks are disappointed. On the other hand, if a reissue title—and this covers Analogue Productions' 2009 reissue of Humble Pie's Smokin'—routinely fetches upwards of $100 on the secondary market (and sealed copies above $200), it means, first, that the pressing has probably sold out (a good sign) and, second, that it's probably worth the lucre.

In October 2024, AP repressed its much-sought-after 180gm reissue of Smokin', mastered by Kevin Gray from a ½" flat-tape copy of the original master tape. As this review was being written, copies were still available. It comes packaged in a Stoughton Printing tip-on jacket. It's a high-quality product all around.