…about the album:
“Yesterday You Said Tomorrow.”
Think of it as a statement, an utterance, not the album title.
…a breathy, sometimes gasping, raspy cry that is strangely powerful, like someone in a loud club, right in your ear, giving you life-changing advice….
…a busy drummer, but somehow working as a foil to the minimalist trumpet work….
song titles… overshoot the effect of the songs… like someone blurting out the end of the joke; solos can seem impatient, especially as the obviously-political song titles seem to cry about more than the solos can suggest (yet…?)
“K.K.P.D.”– at 4:04, the trumpet sounds like a hysterical woman/ at 4:05 three snare hits/ at 4:06 a male cry from the background– the remorseful husband…? Probably not intentional, and my career is certainly distorting my perception, but nonetheless– great shit.
“The Eraser” fairly positive and laid back for this album… a bit maudlin, but overall nearly upbeat, or optimistic….
The trumpet “gasp”-like note at the end of “Angola, LA, and the 13th amendment” is great; the song itself like that sad Sunday afternoon where you accepted how people act, if given power and an excuse to use it…
“The Last Broken Heart”– heartache in a raspy horn mourn….
“American’t”/ “An unending repentance” (ending of the latter seems like filler) — somewhat meandering, going from mournful to boring (though at 3:45 cool trumpet acrobatics light up your ears like “shiny!” does to your eyes….)
Scott has described his playing as “minimalist/ progressive/roots music.” And that’s it. That’s really it. Not necessarily jazz, or pop, but saying as little as needs to be said, referring to the future with a taproot in the past.