Album Review: Hasaan Ibn Ali- Retrospect In Retirement Of Delay: The Solo Recordings

I like Adele as much as the next romance-minded person.  I’m also a day-one Snoop Dogg fan.  And the latest batch of songs from the sublime collaboration of Robert Plant and Alison Krauss thrills me.  But of all the music released on November 19, the artistic standout is Retrospect in Retirement of Delay: The Solo Recordings.

Where are the throngs of music lovers around the world singing the praises of Hasaan Ibn Ali’s excavated recordings from the rooftops?  I’m doing my part by hailing one of the most profound sonic discoveries of 2021 in this humble forum.  

Hasaan Ibn Ali sounds like Thelonious Monk’s evil twin on the 151 minutes of solo piano recorded from 1962 through 1965.  The Philadelphian vigorously advances the avant-garde implications of Monk’s innovations.  Some listeners will find the sketchy sound quality and an occasionally poorly tuned piano problematic.  The off-kilter murk and incidental chatter actually compliment the heedless gusto of Ibn Ali’s approach.  

Prior to this year, the 1965 album The Max Roach Trio featuring the Legendary Hasaan was the pianist’s only official recording.  His violent muscularity is heard to good effect on "Almost Like Me" on that date. Yet Retrospect in Retirement of Delay, along with the similarly astounding April release Metaphysics: The Lost Atlantic Album, necessitates a dramatic revision to the annals of American music.

Well, You Needn’t

Original image by There Stands the Glass.

I revere Thelonious Monk.  So why didn’t I join the rapturous chorus of giddy anticipation for Palo Alto?  The release of the live 1968 recording is widely hailed as one of the most momentous jazz events of the year.  For starters, I already own live sets by Monk’s quartet of saxophonist Charlie Rouse, bassist Larry Gales and Ben Riley.  It seemed silly to flip my lid over another session.  The pages dedicated to the unlikely high school gig are among the most interesting sections of Robin D.G. Kelley’s essential but often tedious 2009 biography of the icon.  The backstory is further explored in a podcast promoting Palo Alto that’s almost as interesting as the actual recording.  Still, any additional documentation of the singular American genius is a cause for celebration.  I suppose I’m finally singing from the same hymnbook after all.

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I provide context for We The People’s new album in my review of Misunderstood at Plastic Sax.

Million Dollar Bash

Original image by There Stands the Glass.

I’ve reluctantly recommitted to the onerous task of organizing The Museum of Dead People and Obsolete Technology, the cluttered realm also known as my unfinished basement.  Consolidating old ticket stubs into a single box is one of the more enjoyable components of my job as chief curator.  As I sifted through thousands of bits of paper, it occurred to me that I’ve spent more money on Bob Dylan than any other musician.  Between concert tickets, physical recordings and books, I’ve almost certainly laid out more than a grand on the man.

Blood on the Tracks is one of several Dylan albums I’ve owned on cassette, vinyl and compact disc.  The relentless flood of must-have sets of rarities and live recordings plays a further role in emptying my wallet, as does mandatory attendance at area appearances of Dylan’s enigmatic Never Ending Tour.  I’ve even dragged my full brood to a couple shows.  And while I own six or seven Dylan-related books, I’m relieved I’ve never been tempted to buy a t-shirt.

Dylan isn’t my only substantial investment.  Here are nine additional artists who’ve separated me from inordinate amounts of money: 

• Mary J. Blige- Old-school R&B concert tickets are crazy expensive.

• Bill Frisell- I accumulate dozens of Frisell albums the way other people collect baseball cards.

• Thelonious Monk- I bought a Monk album at cost every Friday for nine months when I worked in a music distribution warehouse.

• Charlie Parker- So many books!  So many bootlegs!

• Prince- He was omnipresent in the pre-streaming era.

• Bruce Springsteen- Dylan redux.

• George Strait- All hail King George.

• Tech N9ne- I’ve seen more performances by the Kansas City rapper than all but a few dozen Technicians.

• Bobby Watson- Two or three $20 door charges every year for more than 25 years add up.