The Bad Plus Give

Falling somewhere between Medeski, Martin & Wood, Ben Folds Five, and the Oscar Peterson Trio, power jazz trio the Bad Plus deliver more idiosyncratic instrumentals on their sophomore effort, Give. Featuring bassist Reid Anderson, drummer David King, and pianist Ethan Iverson, the Bad Plus follow a similar creative path as on their debut, These Are the Vistas, by interspersing original compositions with covers of popular rock tunes. This time around the Pixies' "Velouria" is turned into a kind of Sergei Rachmaninov does funk jazz number while Black Sabbath's "Iron Man" sounds something like a Claude Debussy arrangement of "In-A-Gadda-Da-Vida." Otherwise, the trio evinces free jazz with Ornette Coleman's "Street Woman," and does a bombastic impersonation of Vince Guaraldi on the original "Layin' a Strip for the Higher-Self State Line"…

Nick Cave finally gives the dedicated fans what they've desired for years (and have probably amassed in various guises in shoddy bootlegs): an official career-spanning cataloging of the various Bad Seeds odds and ends on three CDs. There are 56 tracks compiled here…

Following on from the successful An Idiot Prayer live album and livestream event released this year, Nick Cave releases B-Sides and Rarities: Part I and Part 2. B-Sides and Rarities: Part 2 was compiled by Nick Cave and Warren Ellis and features 27 tracks. It includes tracks from Dig, Lazarus, Dig!!! in 2006 to 2019s Ghosteen and 19 rare and unreleased tracks including first recordings of ‘Skeleton Tree’, ‘Girl in Amber’, ‘Bright Horses’ and ‘Waiting for You’.

After 25 years, constant traveling, nine albums, and various solo projects, Saffire are calling it quits with one last tour and Havin' the Last Word, a collection of new tunes, covers of favorites, and songs that define their dissolution. It sounds as though it's a happy-sad decision, gratified for all the success and love accrued from their fans, but pleased for future blues via other partnerships and collaborations that can now be achieved individually. Though all will pursue solo careers – Ann Rabson is already firmly established – it is this magical and timeless combination of spirit, focused same-page concept, and great musicianship that has served Saffire very well far beyond most bands. This final effort showcases individual vocal tracks, as if the group members are already preparing for going out on their own, as there's very little group harmonizing. Individual efforts notwithstanding, the group still convenes musically on common ground, especially when Rabson plays piano, Gaye Adegbalola jams on the slide guitar or harmonica, and Andra Faye offers her musings on fiddle, mandolin, or upright bass.