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Article: Radio & Podcasts

Better Than Ya Think

Read "Better Than Ya Think" reviewed by Patrick Burnette


Ron Carter is one of the most recorded bassists in the world and anchored the second of Miles Davis' “great quintets" so he ain't no slouch. His leader work, however, isn't always given the respect it deserves. Exactly how much respect, you ask? Just sit down and listen to the bastards sift out that question as ...

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Article: Radio & Podcasts

Mikey Likes It!

Read "Mikey Likes It!" reviewed by Patrick Burnette


Some people accuse critics of being subjective, but when discussing music there's always one Platonic fact you can point to above and beyond the shifting tides of fashion and trend: does Mikey like it? In this case, yes, yes he does. He likes all four of this episode's albums. Pat, on the other hand? Still a ...

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Article: Radio & Podcasts

A Tribute to Someone

Read "A Tribute to Someone" reviewed by Patrick Burnette


Sometimes “tribute" can be a dirty word in jazz—a sign a project's only justification is a well-known name—a warning that reverence may have trumped inspiration on a record. But it doesn't have to be that way. This episode, the Bastards look at four 2022 releases that each celebrate a towering figure from jazz's past without getting ...

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Article: Radio & Podcasts

Who's Your Wadaddy?

Read "Who's Your Wadaddy?" reviewed by Patrick Burnette


From time to time the bastards do a show devoted to one artist, and this time, happenstance leads us to feted and prolific “out" trumpeter Wadada Leo Smith. His career stretches back to the seventies and he's worked with a murderer's row of avant-garde musicians, but we're focusing on more recent work with him as a ...

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Article: Radio & Podcasts

Summer Tree Ain't No Summer Breeze

Read "Summer Tree Ain't No Summer Breeze" reviewed by Patrick Burnette


It's the shock of the new as the boys take on three 2022 releases that stretch our heads in various directions, including a solo guitar outing, a visit to a mythical cave, and a trumpet excursion that goes to even stranger places. After that, a chill-out album from Blue Note is a welcome change of pace ...

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Article: Radio & Podcasts

21 to 40

Read "21 to 40" reviewed by Patrick Burnette


Two fifty is as good an artificial milestone as any, so the boys decide it's time for a GOAT episode. First they wrestle a top-twenty artist list into shape, arguing that there's so much consensus out there little work remains to be done and still taking an hour doing it. Then it's on to the tricky ...

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Article: Radio & Podcasts

Duck, You Plucker!

Read "Duck, You Plucker!" reviewed by Patrick Burnette


It's an episode years in the making when Mike is finally able to track down guitarist, composer, and raconteur Duck Baker. We discovered Duck through his solo recording of Herbie Nichols' tunes, but Mike finds out that Duck has collaborated with such luminaries as John Zorn, Roswell Rudd, and Eugene Chadbourne while keeping up a stream ...

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Article: Album Review

Elan Mehler: There Is A Dance

Read "There Is A Dance" reviewed by Patrick Burnette


David Bowie's album The Rise And Fall of Ziggy Stardust And The Spiders From Mars (RCA, 1972) includes instructions on the back: “To Be Played At Maximum Volume." Had pianist Elan Mehler's new trio effort, There is a Dance, followed suit, the slogan would be something like “To Be Played Only on Rainy Afternoons." There is ...

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Article: Radio & Podcasts

Avant Hard

Read "Avant Hard" reviewed by Patrick Burnette


Mike drags Pat out of his blanket fort for close encounters with a couple heavy hitters of the avant-garde, a Chicago legend who doesn't believe in intonation, and a tribute to that legend that gets celestial from time to time. In pop matters Mike talks about a little known jazz short film from the fifties and ...

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Article: Radio & Podcasts

CTI: A Guilty Pleasure Special

Read "CTI:  A Guilty Pleasure Special" reviewed by Patrick Burnette


Mike's busy in Europe so Pat goes solo with a look at controversial jazz label CTI. A lynchpin of the early seventies, record buyers loved the artwork, high production values and impeccable musicianship, but hard-core jazzbos and critics were suspicious that owner Creed Taylor was putting too much sugar into the mixes, not to mention those ...


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