Every day our 1000 best albums of all time countdown continues, all the way to #1. Friday’s album is #760:
Jaguares – Bajo El Azul de Tu Misterio
Jaguares is what Caifanes – the most popular Mexican rock band of the 80s and 90s – became when frontman/guitarist Saul Hernandez wanted to go in an artsier direction. It was a trajectory that Caifanes had followed steadily, shifting from trebly, Cure-inspired pop-rock anthems to a darker, slower, hallucinatory vibe. This double album from 2000 – one disc recorded live, one in the studio – captures both sides of his songwriting. The live stuff swirls, stalks and roars, all the way through the pensive, hypnotic Las Ratas No Tienen Alas (slang for “And pigs can fly”), De Noche Todos los Gatos son Pardos ((At Night All Cats Are Grey) and the harsh Amarrate a una Escoba y Vuela Lejos (Get on a Broom and Fly Away), the riff-rocking Quisiera Ser Alcohol (I’d Like to Be Alcohol) and the big singalong hits Dime Jaguar (Tell Me Jaguar) and No Dejes Que (Don’t Let…). The studio album sounds like the Church with a string section. The high point is the lushly gorgeous Fin (The End); there’s also the funky, atmospherically trip-hop tune Parapadea; the hypnotic piano-driven Deterrite (Melt), the blazing 2/4 stomper Tu Reino (Your Kingdom) and the symphonic sweep of No Me Culpes (Don’t Blame Me). Although way, way smarter than U2 and trippier than Midnight Oil, fans of those bands will probably enjoy this. Spanish not required. Here’s a random torrent.
Here we are back in Babylon, where the mayor only wants the streets free of snow in the white neighborhoods: and guess where we are. Anybody feel like shoveling? In the meantime, as we do every day, our 1000 best albums of all time countdown continues as it does every day, all the way to #1. Thursday’s album is #761:
Jim & Jennie & the Pinetops – One More in the Cabin
By the time this Brooklyn/Pennsylvania bluegrass band (formerly the Pine Barons) put out this album, their third, in 2002, they’d honed their period-perfect oldtime sound to a high lonesome wail, in the process helping to jumpstart an already nascent New York country music scene. Unlike so many other bluegrass traditionalists, Jim Krewson and Jennie Benford write their own songs, and they hit hard: these folks are throwbacks to a harsh, bucolic era, which they hardly romanticize. Poverty and unwanted pregnancy (the title track’s theme) are just as likely to make an appearance in their songs as lost love and homesickness. This isn’t polished music – although it is extremely well-played – and its spirit has a lot more in common with punk rock than it does with jam bands. Maybe for that reason, Neko Case got them to back her on a live album, and they quickly outgrew the small club scene that they’d played so ecstatically and memorably for years. The fourteen mostly upbeat tracks here are packed with inspired picking and fiddling; google it for a torrent if you’re short on cash (the band would understand). If you’re not, we highly recommend the independent band’s smartly-produced cd for party music, for waking up and getting out of the house and for long road trips.
This one makes a good segue with today’s album by David J. London duo Cult with No Name’s fourth album, Adrenalin, came out on Halloween on Trakwerx. With its deadpan, brooding vocals and goth-tinged keyboard melodies, it’s the best one yet from the self-styled “post punk electronica balladeers.” Once the Williamsburg crowd hears the 80s new wave pop of Breathing – an blippy, ambient track that wouldn’t have been out of place in the Stranglers post-1985 catalog – every “celebrity dj” will want to remix it into unrecognizability. The rest of the album is a lot more substantial (legendary Clash associate and punk/reggae dj Don Letts is a fan). It opens with a long, pensive solo piano intro punctuated by the occasional echoey synth splash, similar to the Walkabouts’ recent work. The sardonic title track sets lo-fi 80s synth-goth to a trip-hop drum loop like early Dead Can Dance: “I’m not addicted to love, I’m addicted to pain…”
Macabre piano rivulets and vocals build to a majestic orchestral sweep on the next track, reminding of Blonde Redhead at their most goth, followed by the icy, accusatory piano ballad The Way You’re Looking at Me. The felicitously titled Youlogy blends watery acoustic guitar and eerily airy synth washes – it could be a more overtly goth Bobby Vacant, a vivid portrayal of the struggle to express grief with any degree of eloquence. It’s quite a contrast with the irresisibly funny, blippy goth spoof The All Dead Burlesque Show: “So teasing, but don’t tell me it’s art…don’t think it’s all about good taste, and I don’t care about your eight-inch waist.”
The rest of the album eclectically mines various 80s dark rock veins: the understated, noir cabaret bounce of Gone; the lush, echoey guitar ballad 7 and its mirror image, -7, a sad, cinematic piano soundscape, and the clip-clop downtempo pop of Make a List. The album ends with a wallop with Generation That’s, a majestic, bitterly poetic slap at the expectation that one should fit into one generation or another, the implication here being that for those of us who will never fit in, it’s a long, lonely road. Like every Trakwerx album, this one is elegantly packaged, in this case in a lustrous, metallic blue-grey cardboard sleeve that blends austere Factory Records minimalism with playful, retro 60-style, Doorsy embellishments.
Every day, our 1000 best albums of all time countdown continues as it does every day, all the way to #1. Tuesday’s album is #763:
David J – Urban Urbane
No disrespect to Peter Murphy or Daniel Ash, but the member of Bauhaus who would go on to do the greatest things was bass player David J. Over a prolific solo career that spans more than 25 years, his diverse catalog spans the worlds of noir cabaret, catchy Britpop, lush art-rock, austere minimalism and Americana: literally everything he’s recorded is worth owning, even his silly, sarcastic cover of Madonna’s What It Feels Like for a Girl. This one, his 1992 major label debut, pretty much sank without a trace outside of his cult following: we picked it because it’s his most diverse effort. Jazz Butcher guitarist Max Eiger delivers some of his most memorable work throughout it, particularly on the bitterly ecstatic Bouquets, Wreaths and Laurels. The songwriter’s powerfully lyrical side is also represented by the snarling, sardonic Tinseltown (where “your biggest dream is made small”), the surreal Pilgrims, Martyrs and Saints and Hoagy Carmichael Never Went to New Orleans. The goth songs here are classics: the macabre Smashed Princess and Ten Little Beauty Queens, and the S&M-gone-wrong tale Candy on the Cross. There’s also the surprisingly funky opening track, Some Big City; the hypnotic, Velvets-inflected Man of Influential Taste, Space Cowboy and Serial Killer Blues. Here’s a random torrent.
This is the list we like best for so many reasons. When we founded this blog in 2007, live music was our raison d’etre, and after all that time it’s still the biggest part of the picture here. While along with just about everyone else, our 100 Best Albums of 2010 and 100 Best Songs of 2010 lists have strayed further and further from what the corporate media and their imitators consider the “mainstream,” this is still our most personal list. As the year blusters to a close, between all of us here, we’ve seen around 250 concerts – the equivalent of maybe 25% of the shows on a single night here in New York. And the ones we saw are vastly outnumbered by the ones we wanted to see but didn’t. The Undead Jazz Festival, where all the cheesy Bleecker Street clubs suddenly became home to a horde of jazz legends and legends-to-be? We were out of town. We also missed this year’s Gypsy Tabor Festival way out in Gerritsen Beach, choosing to spend that weekend a little closer to home covering punk rock on the Lower East, latin music at Lincoln Center and oldschool soul in Williamsburg. We worked hard to cast a wide net for all the amazing shows that happened this year. But there’s no way this list could be anything close to definitive. Instead, consider this a sounding, a snapshot of some of the year’s best moments in live music, if not all of them. Because it’s impossible to rank these shows in any kind of order, they’re listed chronologically:
The Disclaimers at Spike Hill, 1/2/10 – that such a potently good band, with two charismatic frontwomen and so many catchy, dynamic soul-rock songs, could be so ignored by the rest of the New York media and blogs speaks for itself. On one of the coldest nights of the year, they turned in one of the hottests sets.
Jenifer Jackson at Banjo Jim’s, 1/21/10 – on a welcome if temporary stay from her native Austin, the incomparably eclectic, warmly cerebral tunesmith assembled a killer trio band and ripped joyously through a diverse set of Beatlesque pop, Americana and soul songs from throughout her career.
Gyan Riley and Chicha Libre at Merkin Concert Hall, 2/4/10 – Terry Riley’s guitarist kid opened with ambient, sometimes macabre soundscapes, followed by the world’s most entertaining retro 70s Peruvian surf band synching up amusingly and plaintively with two Charlie Chaplin films. Silent movie music has never been so fun or so psychedelic.
The New York Scandia String Symphony at Victor Borge Hall, 2/11/10 – the Scandia’s mission is to expose American audiences to obscure classical music from Scandinavia, a cause which is right up our alley. On a bitter, raw winter evening, their chamber orchestra sold out the house and turned in a frenetically intense version of Anders Koppel’s new Concerto Piccolo featuring hotshot accordionist Bjarke Mogensen, a deviously entertaining version of Frank Foerster’s Suite for Scandinavian Folk Tunes, and more obscure but equally enlightening pieces.
Masters of Persian Music at the Skirball Center, 2/18/10 – Kayhan Kalhor, Hossein Alizadeh and their ensemble improvised their way through an often wrenchingly powerful, climactic show that went on for almost three hours.
The Greenwich Village Orchestra playing Prokofiev and Shostakovich, 2/21/10 – like the Scandia, this well-loved yet underexposed ensemble plays some of the best classical concerts in New York, year after year. This was typical: a playful obscurity by Rienhold Gliere, and subtle, intuitive, deeply felt versions of Prokofiev’s First Violin Concerto along with Shostakovich’s dread-filled Fifth Symphony.
Charles Evans and Neil Shah at the Hudson View Lounge, 2/28/10 – February was a great month for us for some reason. Way uptown, baritone saxophonist Evans and pianist Shah turned in a relentlessly haunting, powerful duo performance of brooding, defly improvisational third-stream jazz.
AE at the Delancey, 3/8/10 – pronounced “ash,” Eva Salina Primack and Aurelia Shrenker’s innovative duo vocal project interpolates Balkan folk music with traditional Appalachian songs, creating all kinds of unexpectedly powerful connections between two seemingly disparate styles. They went in and found every bit of longing, intensity and exquisite joy hidden away in the songs’ austere harmonies and secret corners.
Electric Junkyard Gamelan at Barbes, 3/20/10 – most psychedelic show of the year, bar none. Terry Dame’s hypnotic group play homemade instruments made out of old dryer racks, rubber bands of all sizes, trash cans and more – in a marathon show that went almost two hours, they moved from gamelan trip-hop to rap to mesmerizing funk.
Peter Pierce, Erica Smith, Rebecca Turner, Paula Carino, the Larch, Solar Punch, Brute Force, Tom Warnick & the World’s Fair, the John Sharples Band, the Nopar King and Out of Order at the Full Moon Resort in Big Indian, NY, 4/10/10 – this one’s the ringer on the list. We actually listed a total of 21 concerts on this page because even though this one was outside of New York City, it’s as good a choice as any for best show of the year, anywhere. In order of appearance: janglerock; haunting solo acoustic Americana; country soul; more janglerock; lyrical retro new wave; jamband music; a theatrical 60s survivor and writer of novelty songs; a catchy, charismatic noir rocker; a band that specializes in obscure rock covers; soul/funk, and an amazing all-female noiserock/punk trio to wind up twelve hours of music. And that was just one night of the festival.
Rev. Billy & the Life After Shopping Gospel Choir at Highline Ballroom, 4/18/10 – an ecstatic, socially conscious 25-piece choir, soul band and a hilarious frontman who puts his life on the line every time out protesting attacks on our liberty. This time out the cause was to preserve mountaintop ecosystems, and the people around them, in the wake of ecologically dangerous stripmining.
The Big Small Beast: Spottiswoode, Barbez, Little Annie and Paul Wallfisch, Bee & Flower and Botanica at the Orensanz Center, 5/21/10 – this was Small Beast taken to its logical extreme. In the weeks before he abandoned this town for Dortmund, Germany, Botanica frontman Paul Wallfisch – creator of the Monday night Small Beast dark rock night at the Delancey – assembled the best dark rock night of the year with a mini-set from lyrical rocker Spottiswoode, followed by amazingly intricate gypsy-tinged instrumentals, Little Annie’s hilarious poignancy, and smoldering, intense sets from Bee & Flower and his own band.
The Grneta Duo+ at Bechstein Hall, 5/27/10 – Balkan clarinet titans Vasko Dukovski and Ismail Lumanovski joined with adrenalinista pianist Alexandra Joan for a gripping, fascinating performance of Bartok, Sarasate, Mohammed Fairouz and a clarinet duel that stunned the crowd.
The Brooklyn What at Trash, 5/28/10 – New York’s most charismatically entertaining rock band, whose monthly Saturday show here is a must-see, roared through a characteristically snarling, snidely funny set of mostly new material – followed by Tri-State Conspiracy, the popular, noirish ska band whose first few minutes were amazing. Too bad we had to leave and take a drunk person home at that point.
The New Collisions at Arlene’s, 7/1/10 – Boston’s best rock band unveiled a darker, more powerpop side, segueing into one killer song after another just a couple of months prior to releasing their stupendously good second album, The Optimist.
Martin Bisi, Humanwine and Marissa Nadler at Union Pool, 7/2/10 – darkly psychedelic bandleader Bisi spun a swirling, hypnotic, roaring set, followed by Humanwine’s savagely tuneful attack on post-9/11 paranoia and then Nadler’s pensively captivating solo acoustic atmospherics.
Maynard & the Musties, Me Before You, the Dixons and the Newton Gang at Urban Meadow in Red Hook, 7/10/10 – the one Brooklyn County Fair show we managed to catch this year was outdoors, the sky over the waterfront a venomous black. We lasted through a spirited attempt by the opening band to overcome some technical difficulties, followed by rousing bluegrass from Me Before You, the twangy, period-perfect 1964 Bakersfield songwriting and playing of the Dixons and the ferocious paisley underground Americana rock of the Newton Gang before the rains hit and everybody who stayed had to go indoors to the Jalopy to see Alana Amram & the Rough Gems and others.
The Universal Thump at Barbes, 7/16/10 – amazingly eclectic pianist Greta Gertler and her new chamber pop band, accompanied by a string quartet, played a lushly gorgeous set of unpredictable, richly tuneful art-rock.
Etran Finatawa, los Straitjackets and the Asylum Street Spankers at Lincoln Center, 8/1/10 – bad segues, great show, a perfect way to slowly return to reality from the previous night’s overindulgence. Niger’s premier desert blues band, the world’s most popular second-generation surf rockers and then the incomparably funny, oldtimey Spankers – playing what everybody thought would be their final New York concert – made it a Sunday to remember.
Elvis Costello at the Greene Space, 11/1/10 – as far as NYC shows went, this was the best one we saw, no question – along with maybe 150-200 other people, max. Backed by his most recent band the Sugarcanes, Costello fielded questions from interviewer Leonard Lopate with a gleeful defiance and played a ferociously lyrical, assaultively catchy set of songs from his latest classic album, National Ransom
Zikrayat, Raquy & the Cavemen and Copal at Drom, 11/4/10 – slinky, plaintive Levantine anthems and Mohammed Abdel Wahab classics from Egyptian film music revivalists Zikrayat, amazingly original, potent Turkish-flavored rock and percussion music from Raquy & the Cavemen and then Copal’s trance-inducing string band dancefloor grooves.
Every day, our 1000 best albums of all time countdown continues as it does every day, all the way to #1. Monday’s album is #764:
Culture – Two Sevens Clash
On a day like today, in the northeastern United States anyway, we need an album like this one, warm and summery. This one will help you pretend you’re in Jamaica instead of dis year Babylon, yeah mon! Ironically, this is a concept album about the apocalypse. 7/7/77 in Jamaica was a day of dread, especially for Rastas – a lot of people thought the day of judgment was at hand, and its anthem was this album’s blithely ominous title track. The rest of it is some of the best roots reggae ever recorded, frontman Joseph Hill’s defiant back-to-Africa and sufferah’s ballads pulsing along on the beat of Sly Dunbar’s drums and Robbie Shakespeare’s fat bass, with soaring harmonies, chirpy keyboards and pinging guitars: psychedelic pop, Jamdown style. The downbeat stuff – See Dem a Come, I’m Alone in the Wilderness and Pirate Days – is every bit as memorable and catchy as the triumphant songs: Get Ready to Ride the Lion to Zion, Black Starliner Must Come, Natty Dread Taking Over, Calling Rastafari and I’m Not Ashamed. Culture would continue to tour and record (although Hill’s first-rate songs suffered more and more from cheesy production as the years went on) until his death in 2006. His son Kenyatta Hill now leads a revamped version of the band. Here’s a random torrent.
Since it was impossible to whittle this down to the original 50 we were shooting for, we went for 100 – so much for the canard that the album is dead. As with last year’s list, everything here is in pretty random order. Is Paula Carino’s wounded, lyrical janglerock (#1) any “better” than Bobby Avey’s intense piano jazz (#100)? Who cares? It’s all good. If you want single tracks, here’s our 100 Best Songs of 2010 list.
1. Paula Carino – Open on Sunday
This one tops the list this year because every single song on this moody, pensive, wickedly lyrical janglerock album is good – not a single miss here. It’s been a long time coming. As a lyricist and tunesmith, Carino ranks with Elvis Costello and Richard Thompson, a great wit, fearless nonconformist and unaffectedly compelling singer.
2. Ran Blake and Sara Serpa – Camera Obscura
Serpa, a sometimes chillingly intense third-stream composer and singer, is a protegee of Blake, the preeminent noir jazz pianist of the last fifty years. Their collaboration is fascinatingly unpredictable: when it comes to longing and angst, they don’t disappoint.
3. Norden Bombsight – Pinto
Intense and often unhinged, the Brooklyn band’s darkly psychedelic art-rock blends 70s orchestrated rock influences with macabre goth tinges and the occasional Americana theme. Frontwoman/keyboardist/electric mandolinist Rachael Bell’s savage wail brings the intensity to redline.
4. Sarah Manning – Dandelion Clock
Haunting, intensely lyrical, sometimes anguished jazz concept album – about the fleeting nature of time – from this brilliant alto saxophonist/composer and her quartet with Art Hirahara, Linda Oh and Kyle Struve.
5. The NYFA Collection
A massive five-cd box set that aims to be a definitive history of edgy avant garde music and jazz in New York that succeeds amazingly well: it’s the new music equivalent of the Harry Smith albums. Too many artists here to list: see our review from November.
6. Redhooker – Vespers
Hypnotic, ambient soundscapes and pensive avant-chamber instrumentals from Stephen Griesgraber’s marvelously shapeshifting new music ensemble.
7. The Roots of Chicha 2 anthology
It’s the Rosetta Stone of classic psychedelic Peruvian cumbia-rock from the 70s and 80s, a wildly entertaining blend of instrumentals, dance songs, twangy guitar and rhythms from just about everywhere south of the border.
8. The Tivoli Trio’s first album
Jazz pianist Frank Carlberg’s phantasmagorical, carnivalesque, often macabre trio project.
9. Las Rubias del Norte – Ziguala
Surreal, otherworldly and mysterious with gorgeous harmonies and a global mix of songs with latin, Bollywood and Mexican influences, it’s the Brooklyn band’s best album – in a lot of ways, it’s the great album Chicha Libre didn’t put out this year, plus vocals.
10. The Snow – I Die Every Night
Intense, smartly lyrical, alternately lush and sensuous art-rock and chamber pop from Pierre de Gaillande and Hilary Downes’ eclectic New York band.
11. The New Collisions – The Optimist
The Boston new wavers’ dark, brilliantly lyrical shift into straight-ahead powerpop.
13. Botanica – Who You Are
This era’s foremost art-rock band’s most diverse and ultimately most optimistic album, but where frontman/keyboardist Paul Wallfisch went further toward psychedelia and soul, guitarist John Andrews picked up with an ominous, reverb-drenched, Beatlesque roar.
14. Bad Reputation: Pierre de Gaillande Sings Georges Brassens
The first full-length English-language album of songs by legendary French songwriter Brassens is as potent and obscenely hilarious as his own work.
15. Thomas Simon – Moncao
Another album of swirling cinematic soundscapes, these with more of a guitar-driven, apocalyptic goth menace.
16. The Larch – Larix Americana
Finally, the classic album these Brooklyn new wave throwbacks always hinted they had in them: an especially tuneful, gleefully sung, ferociously lyrical and funny one.
17. The Jack Grace Band – Drinking Songs for Lovers
A country concept album that needed to be written, and it’s a good thing this wry honkytonk baritone crooner and his oldschool 60s-style band were the ones to do it. Drinks for breakfast; birthday drinking; drinking at the racetrack, and drunk parents are just some of the topics covered on this crazed, hilarious album. There should be a Jack Grace Band drinking game.
18. Bassam Saba – Wonderful Land
A tribute to the multi-instrumentalist composer’s native Lebanon, it’s a characteristically lush, diverse album with influences that range from classic Egyptian anthems to western baroque composition.
19. Elvis Costello – National Ransom
This is the one album on this list that we didn’t review, because we figured you already knew about it. No? It’s a double album with his most recent band, Americana rockers The Sugarcanes, and it’s one of the best things he’s ever done.
20. The Marc Cary Focus Trio – Live 2009
Dark, magisterial, hypnotic and haunting, it captures one of the most powerfully melodic, interesting jazz pianists of this era at the top of his game.
22. Cousin Silas – Canaveral Dreams
Yorkshire’s most evocative soundscape composer offers an often terrifyingly allusive collection of electroacoustic tableaux here; his latest one Adrift Off the Isles of Langerhans promises to be just as good.
23. Tris McCall – Let the Night Fall
Richly lyrical, uneasy New Jersey-themed concept album by the Overlord keyboardist: a vivid, understatedly angst-driven portrayal of stripmall hell by someone who’s lived it.
24. Ben Syversen’s Cracked Vessel’s first album
The highly sought-after Balkan trumpeter also leads this scorching, assaultive, aggressive trumpet-and-guitar noiserock/avant jazz band – it’s a wild ride.
25. Katzenjammer – Le Pop
Edgy, biting, satirical noir cabaret and new wave-inflected accordion rock from this wildly popular all-female Norwegian quartet.
26. Natacha Atlas – Mounqaliba
A biting, haunting, richly melodic look at the state of the world, another classic-style Levantine art-song masterpiece by one of this era’s most socially aware artists.
27. Under Byen – Alt Er Tabt
Stark, intense, moody chamber-rock from this ethereal Danish band.
28. Ted Hearne – Katrina Ballads
Sort of like the Dead Kennedys for chamber orchestra. It’s a cerebral, brutally honest, often brutally funny depiction of the early days of the Hurricane Katrina disaster, with songs incorporating art-rock, avant-garde chamber music and jazz.
30. Patricia Vonne – Worth It
The Texas Americana rock chanteuse’s most diverse album blends anthemic, characteristically lyrical janglerock with a brooding southwestern gothic vibe.
31. My Education – Sunrise
Bracingly ambient, reverb-drenched guitar soundscapes in a Mogwai vein from this excellent Texas post-rock crew.
32. Gaida – Levantine Indulgence
Slinky ballads and instrumentals drawing on Syrian, Lebanese and Egyptian influences by the New York-based chanteuse and her excellent group.
33. Liz Tormes – Limelight
Smoldering, venomous, lyrical Nashville gothic songwriting by the New York noir songwriter with a great band behind her. If revenge songs are your thing, nobody writes them better than Liz Tormes.
34. Little Annie and Paul Wallfisch – Genderful
The noir cabaret legend and her reliable cohort, Botanica frontman Wallfisch team up for a characteristically haunting yet often very funny album, their best together.
35. Fernando Otero – Vital
Intense, dark solo piano compositions from the eclectic Argentinian composer.
36. Brooklyn Rider – Dominant Curve
The adventurous string quartet’s tribute to Debussy, including his string quartet along with pieces by Colin Jacobsen, Kojiro Umezaki, Dmitry Yanov-Yanovsky and Justin Messina.
37. Avi Fox-Rosen – Welcome to the Show
Smart, sardonically timely concept album for the new depression by the eclectic Brooklyn guitarist/songwriter and his funky, artsy, Steely Dan-ish band.
38. Either/Orchestra – Mood Music for Time Travellers
Witty, virtuosically cinematic Ethiopian-flavored big band jazz, the playful large ensemble’s first album in close to a decade.
39. The Rough Guide to Arabic Lounge compilation
An eclectic mix of cutting-edge pop, classical and cabaret from around the Middle East…but no lounge music.
40. Bobtown’s first album
With their lush, beautiful four-part harmonies, stark, clever melodies that blend old time chain gang songs, bluegrass and blues and macabre sensibility, Bobtown established themselves as one of the most original bands in Americana.
41. The Mingus Big Band – Live at Jazz Standard
Allowing this album on this list is just plain unfair. It’s an ecstatic New Year’s Eve show by some of New York’s best jazz players, a wall-to-wall collection of Mingus classics, mostly from the late 50s Mingus Mingus Mingus era.
42. Newspeak – Sweet Light Crude
Potent and politically aware third-stream music that matches Lynchian ambience to depressed Michigan autoland and covers Missy Mazzoli with a vivid, hypnotic swirl.
43. The Universal Thump – First Spout
Art-rock composer/pianist Greta Gertler’s irrepressible, unpredictable sensibility has never been more potent or tunefully in effect than she is here – and the album isn’t even done yet.
44. Annabouboula – Immortal Water
Slinky, psychedelic Greek rock with Greek, Turkish, reggae and trip-hop music.
45. Krista Detor – Chocolate Paper Suites
Some lists consider this a 2009 release (to be fair, we’ve snuck a few others from late in that year onto this list – hey, a good album is a good album). Either way, it’s a torrent of pensive lyrics delivered with Detor’s eerie calm and eclectic sense of melody.
46. Ninth House – 11 Cemetery & Western Classics
Eleven years after they began, who would have thought that New York-based Nashville gothic rockers’ best album would come out in 2010, after a flurry of lineup changes and stylistic shifts? It may be their loudest and most intense one yet.
47. Klezwoods’ first album
Ostensibly this is klezmer, but violinist Joe Kessler’s big band plays music from every corner of the former Ottoman Empire, with wit and intensity.
48. Khaira Arby – Timbuktu Tarab
An innovative, fearlessly feminist mix of desert blues, art-rock, afrobeat and psychedelia by the pioneering Malian desert blues diva.
49. Vieux Farka Toure – Live
About time the Malian guitar god (Ali Farka Toure’s oldest kid) made a live album – it’s sort of like an African Albert Collins record, all chilly sonics and lightning riffage but no wasted notes, just raw adrenaline.
50. Robin Aigner – Bandito
Aigner gets props for her sultry, soaring vocals, but she’s also a tremendously witty songwriter with a smart sense of history, a love for sly innuendo and purist taste in Americana and oldtimey songwriting.
51. John Sheppard: Media Vita – Stile Antico
A mammoth collection of otherworldly, death-obsessed Renaissance vocal works by the hardworking, wildly popular self-directed UK choral group.
52. Tarbaby – An End to Fear
One of the most unbelievably tuneful jazz albums of the year – and a powerfully socially aware one too. Pianist Orrin Evans is on the hook for a lot of this, along with
bassist Eric Revis, drummer Nasheet Waits plus the estimable JD Allen on tenor. They cover the Bad Brains and give a shout-out to the Jena Six.
53. Brass Menazeri – Vranjski San
Fiery Balkan brass dance tunes and anthems from this Bay Area crew.
54. Changing Modes – Here
Artsy, smartly lyrical somewhat retro 80s rock that ranges from snarling punk to creepy, goth-tinged songs: if this album came out 25 years ago, it would be regarded as a cult classic today.
55. Kasey Anderson – Nowhere Nights
Snarling, Steve Earle-style lyrical Americana rock. Anderson’s forthcoming 2011 album Heart of a Dog goes in an even harder-rocking direction.
56. Abaji – Origine Orients
The multi-instrumentalist and instrument inventor’s latest eclectic collection draws on Middle Eastern, Greek, and gypsy music as well as Americana.
57. Marianne Dissard – Paris One Takes
A brilliant way to build a fan base: edgy,world-weary, amusingly lyrical French rocker Dissard offers this one as a free download. It’s one of the funnest albums of the year – even if you don’t speak French.
58. Copal – Into the Shadow Garden
Slinky, hypnotic, original Middle Eastern and gypsy-tinged violin-and-cello world music dancefloor vamps from the most original groove band on the planet.
59. The Spy from Cairo – Secretly Famous
Hypnotic, psychedelic dub-flavored Middle Eastern instrumentals, many with a trip-hop feel.
60. El Pueblo – Isla
Warmly hypnotic and psychedelic, this has to be the most diverse roots reggae album released in awhile – the Brooklyn band have more dubwise styles than you can count.
61. The One and Nines’ first album
Sultry oldschool Memphis style soul from these New Jersey revivalists: what Sharon Jones did for Harlem, these guys (and their fearless frontwoman Vera Sousa) are doing for a more southern soul sound.
62. Bassekou Kouyate & Ngoni Ba – I Speak Fula
Hypnotic, diverse anthems and ballads from the Malian lute virtuoso and his desert blues-style band.
63. Fishtank Ensemble – Woman in Sin
Raucous original gypsy music taken to the next level with jazz and Middle Eastern influences, with a frontwoman whose vocal wail and theremin are hard to tell apart.
64. Benjamin Herman – Hypochristmastreefuzz (More Mengelberg)
Don’t let the silly title scare you away – this wild, psychedelic, surfy jazz album covers some of famous Dutch jazz composer Misha Mengelberg’s most memorable tracks.
65. The Rough Guide to Desert Blues anthology
At the risk of giving you too many of these, it was a good year for the Rough Guides: this has all the usual suspects (Etran Finatawa, Ali Farka Toure and Tinariwen) but also a ton of obscure brilliant cuts by Marien Hassan, Tartit, Malouma and Tamikrest.
66. The Sometime Boys – Any Day Now
The debut of the acoustic Americana side project by the brain trust from artsy, powerful rockers System Noise is funky, virtuosic and tuneful with some of frontwoman Sarah Mucho’s most compelling vocals ever.
67. Mostly Other People Do the Killing – Forty Fort
A clever, often hilarious whirlwind of postbop quotes and japes from these self-styled “bebop terrorists,” with some of the funniest liner notes ever courtesy of nonagenarian jazz know-it-all “Leonardo Featherweight.”
68. The Dither Guitar Quartet’s first album
Swirling psychedelic avant garde dreampop instrumentals by five cutting-edge composers: layers and layers and layers of screaming, atmospheric, reverb-toned menace and whisper.
69. The Cookers – Warriors
Deliciously tuneful, inspired 1960s style postbop jazz from a bunch of vets: Billy Harper, Craig Handy, Cecil McBee, George Cables, Billy Hart, Eddie Henderson and David Weiss.
70. The Debutante Hour – The Birth and Death of Meaning
Quirky, fun, harmonically beautiful oldtimey sounds with cleverly amusing lyrics from this sultry all-female Brooklyn trio.
71. Mark Sinnis – The Night’s Last Tomorrow
Arguably the finest and most diverse effort to date from the ominous baritone frontman of Nashville gothic rockers Ninth House, ranging from noir cabaret to dark blues to country. He’s the guy that Voltaire ripped off.
72. Bryan and the Haggards – Pretend It’s the End of the World
Outsider or mostly outside jazz guys (Bryan Murray, Jon Irabagon, Jon Lundbom, Moppa Elliott, Danny Fischer) cover Merle Haggard. As absurd and cruelly funny as you would expect.
73. The City Champs – The Set-Up
Like a more diverse, cinematic, noir Booker T & the MGs, the Memphis organ instrumental trio offer a psychedelic yet danceable collection of grooves.
75. Black 47 – Bankers and Gangsters
Larry Kirwan never runs out of ideas, never gets stale. We ranked these Irish-American legends’ 2008 album Iraq as that year’s best; this depression-themed one is just as tuneful, wittily perceptive and anthemic.
76. Ken Fowser & Behn Gillece – Little Echo
Torchy, period-perfect late 50s style vibraphone jazz. It ought to be the soundtrack for Mad Men’s next few seasons, if the show lasts that long. Unselfconsciously sexy stuff.
77. The Pre-War Ponies – Introducing the Pre-War Ponies
Daria Grace, their frontwoman and baritone uke player, is one of the most casually compelling, sultry voices in oldtimey and Americana music. This is her charming, unselfconsciously romantic 20s/30s project where she covers all kinds of great obscure period pieces.
78. Gato Libre – Shiro
Quietly tuneful Japanese gypsy jazz-flavored tunes from pianist Satoko Fujii’s obscure accordion project – like one of those great bands that only plays Barbes once every couple of months.
79. Thunderball – 12 Mile High
Spinning with layers of dub-inspired keys, guitars and effects, their cinematic instrumentals are trippy beyond belief, and funny too.
80. Comic Wow – Music for Mysteries of Mind Space and Time
We’re sticking all the psychedelic stuff here for lack of a better place to put it. Some of this you might call dubstep, some is cinematic, some is funky, some is disco. Either way it’s insanely layered, insanely good stoner music.
81. The Smiles and Frowns’ first album
Period-perfect: these guys sound like they stepped out of a Top of the Pops performance alongside the Pretty Things and Electric Prunes, 1968. Whatever they’re smoking out in Arizona where this band is from seems to be working just fine.
82. Jeremy Messersmith – The Reluctant Graveyard
File this under psychedelic pop, with a goth touch – it’s nothing if not original. Clever lyricist, solid powerpop tunes, a 60s fascination that’s not cheesy – he saved that for his Star Wars song.
83. Flugente – Flugente 2
A guy after our own heart: the once-and-future Blam frontman hates gentrification, despises yuppies and trendoids and has the lyrical chops to give his somewhat Leonard Cohen-esque acoustic rants an original, witheringly funny edge.
84. Jim Guttmann – Bessarabian Breakdown
Joyously and often darkly eclectic klezmer themes and dances from the Klezmer Conservatory Band’s bassist.
85. Very Be Careful – Escape Room
We don’t usually pay attention to bloggers who can’t write, but one of them actually complained about how loud the accordion on these wild LA cumbia punks’ album is. Reason enough for us to put it on the list.
86. The Ellen Rowe Quartet – Wishing Well
Lush, plaintive, beautifully lyrical jazz from the pianist/composer and her inspired band including several memorable Ingrid Jensen cameos.
87. The Whispering Tree – Go Call the Captain
These folks really love 6/8 time, and it works for them, through an uncommonly smart mix of uneasy acoustic Nashville gothic and Appalachian-tinged ballads.
88. Razia – Zebu Nation
Eclectic rock, Afrobeat, jazz-tinged ballads and Mediterranean-style songwriting from the Malagasy chanteuse and her band.
89. Phil Sargent – A New Day
We love albums like this, that transcend boundaries and push the envelope. Guitarist Sargent, backed by a rhythm section and Aubrey Johnson supplying vocalese, runs from motorway ambience to roaring metal/art-rock and pensive jazz instrumentals.
90. Bern & the Brights – Swing Shift Maisies
Lush yet austere: art-rock with indie production values, but which actually enhance the violin-fueled bite of the surprisingly complex, counterintuitive songs.
91. Jacam Manricks – Trigonometry
Bad title, great album. The alto saxophonist’s previous album was all about lush, gorgeous charts and tunes; this one’s about great playing – with more of those tunes, albeit somewhat more stripped down.
92. Alma Afrobeat Ensemble – Toubab Soul
This is one of the most amazingly melodic, memorable albums of the year even though most of these instrumentals are basically one-chord jams! Lush, hypnotic, often fiery Ethiopian-influenced grooves from this smart Barcelona-based group.
93. Jay Banerjee – “Ban-er-jee,” Just Like It’s Spelled
Like a lo-fi Byrds, the impresario behind NYC’s best rock event, Hipster Demolition Night airs out his bag of catchy, retro 60s Rickenbacker 12-string janglerock licks and savagely satirical lyrics.
94. Debo Band – Flamingoh (Pink Bird Dawn)
The Boston-based Ethiopian dance band’s debut ep – a deliriously fun live recording made on tour in Africa – would be further up this list if it was longer. Which it will be soon – watch this space.
95. Spanglish Fly – Latin Soul y Bugalú
Their debut ep is a throwback to Spanish Harlem circa 1965 or 1966, a blend of oldschool retro soul and oldschool retro salsa – think Joe Cuba but with better production values. Plus you can dance to this like crazy.
96. Jason Robinson and Anthony Davis – Cerulean Landscape
This is about as bluesy as Shostakovich, but it’s gorgeously melodic, with all kinds of interplay between the adventurous, eclectic saxophonist (who stays within himself pretty much here) and the glimmering third-stream piano titan.
97. Denis Matsuev/Valery Gergiev/Mariinsky Orchestra – Rachmaninov Piano Concerto No.3./Rhapsody on a Theme of Paganini
How do you resist putting a recording this robust of two of the iconic late Romantic masterpieces on a Best Albums list? Answer: you don’t.
98. Magnifico – Magnification
Stagy, wry, tongue-in-cheek, sometimes over-the-top Balkan dancefloor madness. He satirizes dumb American culture, and fascist Balkan dictator types, and gets away with it because everybody loves it and it’s so psychedelically tuneful.
99. The Joel Yennior Trio – Big City Circus
Either/Orchestra’s trombone guy’s alternately retro and rather chillingly noir small-combo debut – check out the righteously wrathful suite Justice Lost.
100. The Bobby Avey Trio – A New Face
On one level, it kills us to put such a great album – magisterial, frequently murky modal jazz piano from one of the best up-and-coming players out there – at #100. Then again, a lot of people scroll all the way to the bottom. And he doesn’t need the press from us anyway.
We usually don’t do pleasant and pretty. That’s not to imply that pleasant, attractive music is necessarily any less entertaining or intelligent than the troubled, melancholic stuff we gravitate toward, both as a matter of personal taste and because of this site’s ultimate agenda. Since it’s a lot easier to get exposure for pleasant, accessible music than for darker material that tends to scare people off, that’s where we come in. But once in awhile something comes over the transom here that’s so disarmingly fun that it’s impossible to resist: the Steve Hudson Chamber Ensemble’s new Galactic Diamonds album is a prime example. It’s a good-naturedly eclectic mix of third-stream jazz with a catchy, quirky pop edge, similar to the more western side of Skye Steele’s adventurous solo work. Hudson plays piano, joined by fellow multistylists Zach Brock on violin, Jody Redhage on cello and vocals and Martin Urbach on drums and percussion.
The opening track sets the tone for the rest of the album, a playful hybrid tango/jazz waltz with inspired, conversational interplay between the instruments, the highlight being a jaunty, ragtimey, Stuff Smith-style violin solo. Redhage is basically the bass player here, delivering an undulating groove most notable on the circular Afrobeat-tinged Speak Out and the vivacious, Jean Luc Ponty-esque title track, where she supplies soulful vocalese as well. Often the piano and violin join on rustic, wistful Americana themes, whether the aptly titled Keep It Simple, the gently expansive ballad PG which eventually morphs into a tricky, moody Brubeck-style theme, or Wanderin’, a memorable, nocturnal waltz. Hudson intersperses clever allusions and quotes from the Fab Four on the lyrical Song for John Lennon, joined by a soaring Brock toward the end. He also plays melodica on the tricky bolero Para, and Wurlitzer on the self-explanatory, Herbie Hancock-ish Funky Hobbit. The album winds up with its most ambitious piece, Mingus Moon, a long, shapeshifting, latin-inflected piece with a rich web of intermingled contributions from all the instruments. Hudson gets around: he’ll be at Chamber Music America in New York next month, then in Alaska where in May, with saxophonist Claire Daly, he’ll be premiering a work dedicated to explorer Mary Joyce.
Every day, our 1000 best albums of all time countdown continues as it does every day, all the way to #1. Sunday’s album is #765:
Songs by Tom Lehrer
“What I like to do is to take some of the songs that we know and presumably love [pause for audience snickering] and get them when they’re down, and kick them.” From the time he debuted with this 1953 independently released, lo-fi solo piano album, Tom Lehrer understood that 90% of humor is based on cruelty. The prototypical funny guy with the piano was still at Harvard when he pressed a few dozen copies for his friends and classmates who’d seen his shtick in the student lounge. If he came out with this kind of stuff today, no doubt he’d have billions of youtube hits. Hostile, sarcastic and fearless, his satire is spot-on and strikingly timeless, despite the fact that it relies exclusively on innuendo and is therefore G-rated. One by one, he skewers dumb college football songs (Fight Fiercely, Harvard); hillbilly music (I Wanna Go Back to Dixie); cowboy songs (The Wild West Is Where I Want to Be); ghoulish Irish ballads; Stephen Foster-style schmaltz (My Home Town); and Strauss waltzes (The Weiner Schnitzel Waltz). He also includes an early stoner anthem (The Old Dope Peddler), a klezmer parody (Lobachevsky) that does double duty as a satire of academia, I Hold Your Hand in Mine (which predates the Addams Family) and When You Are Old and Grey, a snide and equally ghoulish sendup of old people. While it doesn’t have the Vatican Rag, I Got It from Agnes, Pollution or Poisoning Pigeons in the Park, it’s the most consistently excellent Lehrer collection out there. If you like this stuff you’ll also probably like his 1959 live album An Evening Wasted with Tom Lehrer. He retired from music early in the 1960s and went on to a slightly less acclaimed but ostensibly just as rewarding career as a Harvard math professor. Here’s a random torrent.
Here’s the latest lineup for the absurdly excellent extravaganza formerly known as the Undead Jazz Festival, which we would like to call Operation Take Back Bleecker Street. A weekend pass is $35, which if you see a lot of these groups probably translates to less than a dollar per artist.
Friday January 7th
(Le) Poisson Rouge
6:15pm – The Respect Sextet
Eli Asher, trumpet, toys / James Hirschfeld, trombone, toys / Malcolm Kirby, bass / Ted Poor, drums / Josh Rutner, reeds, radio, toys / Red Wierenga, piano, keyboard, accordion
7:15pm – Anat Cohen Quartet with Jason Lindner
Anat Cohen, clarinet, tenor saxophone / Jason Lindner, piano / TBA, bass / TBA, drums
8:15pm – JD Allen VISIONFUGITIVE! Conducted by Lawrence D. “Butch” Morris
Butch Morris, conducts / JD Allen, tenor / Gregg August, bass /Danny Sedownick, percussion / Dezron Douglas, bass / Rudy Royston, drums / Jeremy “Bean” Clemons, drums /
Stacy Dillard, soprano / Logan Richardson, alto / Duane Eubanks, trumpet / Ben Waltzer, piano / Bryan Carrott, vibes
9:15pm – Chico Hamilton
Chico Hamilton, drums / Paul Ramsey, bass / Nick Demopoulos, guitar / Evan Schwam, flute, alto & tenor saxes / Mayu Saeki, flute / Jeremy Carlstedt, percussion
6:00pm – Mike Pride’s From Bacteria To Boys
Darius Jones, alto saxophone / Peter Bitenc, bass / Alexis Marcelo, piano / Mike Pride, drums
7:00pm – Shane Endsley & The Music Band
Shane Endsley, trumpet / Matt Brewer, bass / Ted Poor, drums / TBA, piano
8:00pm – Jacob Garchik Trio
Jacob Garchik, trombone / Jacob Sacks, piano / Dan Weiss, drums
9:00pm – Jen Shyu & Jade Tongue
Jen Shyu, vocals, Rhodes, moon lute, dance / David Binney, alto sax / John Hebert, bass / Dan Weiss, drums
10:00pm – Charles Gayle Trio
Charles Gayle, sax / Larry Roland, bass / Michael TA Thompson, drums
11:00pm – Chris Lightcap’s Bigmouth
Chris Lightcap, bass / Gerald Cleaver, drums / Tony Malaby, tenor sax / Bill McHenry, tenor sax 12:00am – Jason Lindner’s NOW vs. NOW
Jason Lindner, electronics, piano / Mark Gulliana, drums / Panagiotis Andreou, bass
1:00am – Chris Speed’s YeahNO
Chris Speed, saxophone / Skuli Sverrisson, bass / Jim Black, drums
2:00am – Dan Tepfer Trio
Dan Tepfer, piano / Thomas Morgan, bass / Ted Poor, drums
6:30pm – Amina Figarova
Amina Figarova, piano / Bart Platteau, flutes / Marc Mommaas, tenorsax / Ernie Hammes, trumpet / Jay Anderson, bass / Chris ‘Buckshot” Strik, drums
7:30pm – Eric Legnini featuring Krystle Warren
Eric Legnini, piano / Krystal Warren, vocals, guitar
8:30pm – Nguyen Le
Nguyen Le, guitar / Chris Jennings, acoustic bass / Mark Guiliana, drums
9:30pm – Proverb Trio featuring Dafnis Prieto, Kokayi & Jason Lindner
Dafnis Prieto, drums / Kokayi, vocals, poetry / Jason Lindner, keyboards
10:30pm – Source w/Abdoulaye Diabaté
Abdoulaye “Djoss” Diabate, guitar, vocal, percussion / Sylvain Leroux, flute, sax / Bailo Bah Fula, flute / Emi Yabuno, piano, keyboards / Mamadou Ba, bass / Sean Dixon, drums
11:30pm – Matana Roberts
Matana Roberts, Sax – solo
12:30am – Aaron Goldberg Trio
Aaron Goldberg, piano / Matt Penman, bass / Eric Harland, drums
1:30am – Marcus Strickland Quartet
Marcus Strickland, soprano & tenor saxophones / David Bryant, piano / Ben Williams, bass / E.J. Strickland, drums
2:30am – Shimrit Shoshan Trio
Shimrit Shoshan, piano / Ben Street, bass / Eric McPherson, drums
Saturday January 8th
(Le) Poisson Rouge
6:15pm – Vernon Reid’s Artificial Afrika
Vernon Reid, guitar / Akim Funk Buddha, vocals / Leon Lamont, DJ, percussion
7:15pm – Tia Fuller
Tia Fuller, saxophones / Shamie Royston, piano / Mimi Jones, bass /Rudy Royston, drums
8:15pm – Don Byron’s New Gospel Quintet with special guest, Geri Allen
Don Byron, clarinet, tenor saxophone, background vocal / DK Dyson, vocal / Geri Allen, piano / Brad Jones, bass, background vocals / Pheeroan akLaff, drums
9:15pm – Charlie Hunter
Charlie Hunter, 7 string guitar / Eric Kalb, drums / Michael R. Williams, bass, trumpet
10:15pm – Nels Cline’s Stained Radiance
Nels Cline, guitar / Norton Wisdom, paint, canvas
11:15pm – Steve Coleman & Five Elements
Steve Coleman, sax / Jonathan Finlayson, trumpet / Miles Okazaki, guitar / David Virelles, piano / Marcus Gilmore, bass / Jen Shyu, vocals
12:15am – RedCred with John Medeski, Chris Speed, Ben Perowsky
Chris Speed, saxophone / John Medeski, keyboards / Ben Perowsky, drums
1:15am – Jacob Fred Jazz Odyssey
Brian Hass, piano / Josh Raymer, drums / Chris Coombs, lap steele guitar / Jeff Harshbarger, double bass
2:15am – Ben Perowsky’s Moodswing Orchestra with TK Wonder
Ben Perowsky, drums, bells, sincussion, voice / Glenn Patscha, electric/acoustic piano, comb, voice / Markus Miller, turntables, electronics, dial tones / Oren Bloedow, bass, voice /
Marcus Rojas, tuba, voice / Doug Weiselman, clarinet, bass clarinet, wooden flute / Steven Bernstein, trumpet / Pamelia Kurstin, theremin / Jennifer Charles, voice / Miho Hatori, voice /
Elyas Khan, voice / Joan Wasser, voice / Bebel Gilberto, voice / TK Wonder, voice
6:00pm – Kirk Knuffke Quartet
Kirk Knuffke, trumpet / Brian Drye, trombone / Mark Helias, bass / Jeff Davis, drums
7:00pm – Bad Touch
Loren Stillman, alto saxophone / Nate Radley, guitar / Gary Versace, organ / Ted Poor, drums
8:00pm – Andrew D’Angelo’s AGOGIC
Andrew D’Angelo, alto sax, bass clarinet, electronics, composition / Cuong Vu, trumpet, electronics, compositions / Luke Bergman, electric bass / Evan Woodle, drums, compositions
9:00pm – James Carney Group
James Carney, piano / Tony Malaby, tenor sax / Chris Lightcap, bass / Mark Ferber, drums / Josh Roseman, trombone / Ralph Alessi, trumpet / Peter Epstein, sax
10:00pm – Donny McCaslin Trio with Uri Caine
Donny McCaslin, sax / Uri Caine, piano
11:00pm – Water Surgeons
Josh Roseman, trombone, bass, electronics, tenor / Jacob Garchik, trombone, accordion, soprano / Curtis “CURHA” Hasselbring trombone, guitar, bari /
Barney “Chas Degaulle” McAll, keyboards, samples
12:00am – Miles Okazaki / Damion Reid / Guillaume Perret
Miles Okazaki, guitar / Damion Reid, drums / Guillaume Perret, sax
1:00am – Aethereal Base – 3rd Eye
Nasheet Waits, drums / Abraham Burton, sax / Eric Mcpherson, drums
2:00am – Talibam!
Matt Mottel, keys / Kevin Shea, drums
6:30pm – Jacky Terrasson
Jacky Terrasson, piano / Ben Williams, bass / Jamire Williams, drums
7:30pm – Sofia Rei Koutsovitis
Sofia Rei Koutsovitis, vocals / Eric Kurimski, guitar / Jorge Roeder, bass / Yayo Serka, drums / Samuel Torres, percussion
8:30pm – Tineke Postema
Tineke Postema, sax / Marc van Roon, piano / Frans van der Hoeven, bass / Martijn Vink, drums
9:30pm – Juan-Carlos Formell & Johnny’s Dream Club
10:30pm – Mariani
11:30pm – Carmen Souza
Carmen Souza, voice, wurlitzer, acoustic guitar / Theo Pas’cal, bass, double bass / Dado Pasqualini, percussion / Victor Zamora or Jonathan Idiagbonya, acoustic piano / Tiago Santos, guitar
12:30am – Sameer Gupta’s Namaskar
Sameer Gupta, drumset, tabla / Neel Murgai, sitar / Theo Hill, piano, keyboards / Rashaan Carter, acoustic bass / Trina Basu, viola / Amali Premawardanan, cello
1:30am – Jean-Michel Pilc / Francois Moutin / Ari Hoenig
Jean Michel Pilc, piano / Francois Moutin, bass / Ari Hoenig, drums
2:30am – The Inbetweens
Mike Gamble, guitar / Noah Jarrett, bass / Conor Elmes, drums
7:15pm – (U)nity
Amaury Acosta, drums / Axel Tosca Laugart, piano / Michael Valeanu, guitar / Christopher Smith, bass
8:15pm – Captain Black Big Band conducted by Orrin Evans
Orrin Evans, piano / Luques Curtis, bass / Donald Edwards, drums / Saxophones: Victor North, Chelsea Baratz, Mark Allen, Todd Bashore, Darryl Yokley / Trombones: Ernest Staurt,
Frank Lacy, Brent White / Trumpets: Tatum Greenblat, Leon Jordan Jr, Walter White, Duane Eubanks
9:15pm – Igmar Thomas & The Cypher
Igmar Thomas, trumpet / Justin Brown, drums / Ben Williams, bass / TBA, keys
10:15pm – Curtis Brothers Quartet featuring Giovanni Almonte
Zaccai Curtis, piano / Luques Curtis, bass / Richie Barshay, drums / Reinaldo De Jesus, congas / John Davis, drums / Joel Gonzalez, trumpet / Philip Dizack, trumpet / Zach Lucas, alto sax /
Louis Fouche, alto sax / Frank Kozyra, tenor sax
11:15pm – Derrick Hodge
Derrick Hodge, bass / Keyon Harrold, trumpet / Travis Sayles, piano / Chris Dave, drums
12:15am – Maurice Brown Effect
Maurice Brown, trumpet / Derek Douget, sax / Chris Rob, piano / Solomon Dorsey, bass / Joe Blaxx, drums
1:15am – Robert Glasper
Robert Glasper, piano / Chris Dave, drums / Derrick Hodge, bass / Casey Benjamin, vocoder, alto sax
2:15am – Kenneth Whalem Quartet
Kenneth Whalum, tenor sax / Justin Brown, drums / Ben Williams, bass / Lawrence Fields, keys
3:15am – Kendrick Scott
Kendrick Scott, drums / Mike Moreno, guitar / John Ellis, sax / Taylor Eigsti, piano / Joe Sanders, bass
The Bitter End
5:45pm – Gregory Porter
6:45pm – Jamie Baum Septet
Jamie Baum, flutes / Taylor Haskins, trumpet / Doug Yates, alto sax, bass clarinet / Brad Shepik, guitar / George Colligan, piano / Johannes Weidenmueller, bass / Jeff Hirshfield, drums
7:45pm – MILK & JADE by Dana Leong
Dana Leong, cello, trombone, laptop / iLLspokiNN, vocals / Lex Sadler, electric bass / Yoni Halevy, drums
8:45pm – Dayna Kurtz
Dayna Kurtz, voice, guitar / Dave Richards, upright bass / Peter Vitalone, piano, organ / Dan Reiser, drums
9:45pm – Doug Wamble
Doug Wamble, guitar, vocals / Adrian Harpham, drums / Derek Nievergelt, bass
10:45pm – Nomo
Elliot Bergman, saxophone, electric kalimba / Erik Hall, guitar, nu-tones, drums / Quin Kirchner, drums, percussion / Dan Bennett, baritone saxophone / Justin Walter, trumpet, percussion /
Jamie Register, bass
11:45pm – Amir ElSaffar
Amir ElSaffar, trumpet, santour vocal / Rudresh Mahanthappa, alto saxophone / Carlo DeRosa, bass / Zafer Tawil, oud, percussion / Nasheet Waits, drums
12:45am – Underground Horns
Welf Dorr, alto sax / Mike Irwin, trumpet / Kevin Moehringer, trombone / Nate Rawls, tuba / Kevin Raczka, drums / Okai Fleurimont, percussion / Satoru Ohashi, trumpet /
Andreas Brade, drums / Ibanda Ruhumbika, tuba
1:45am – Noah Preminger Group
Noah Preminger, saxophone / Frank Kimbrough, piano / John Hébert, bass / Matt Wilson, drums
2:45am – TBA