Narrowing down the best jazz albums of the year to a couple dozen or so is a cruel task: it’s safe to say that there have been hundred of good ones issued this year. This is an attempt to assemble the creme de la creme of this year’s crop in one easily digestible package: apologies to the many, many artists whose excellent releases aren’t included here.
Darcy James Argue’s Secret Society– Brooklyn Babylon
The esteemed big band composer’s latest thematic opus is an important album in New York history, a very uneasy suite of variations illustrating a city in constant flux, often changing for the worse. Cruelly sardonic jackhanmmer rhythms and mechanically industrial circular vamps juxtapose with a resonant angst that peaks at the end. Balkan and circus flourishes, unorthodox instrumentation and quirky, often plaintive miniatures are interspersed amid the relentless pulse. It captures a moment already gone forever, maybe for good.
The Claudia Quintet – September
Drummer/bandleader John Hollenbeck’s attempt to “rework and transform the traumatic residue” of 9/11 resulted in an emotionally charged inner dialogue and a highly improvised, persistently uneasy, enigmatically enveloping series of themes, each assigned a date from that fateful September. The eleventh is not one of them. Nebulous and opaque, it vividly evokes the stunned, bereaved moment that preceded an outpouring of both wrath and goodwill among the city’s citizens. Maybe Hollenbeck can tackle that moment next.
Sexmob – Cinema Circus & Spaghetti (Sexmob Plays Fellini: The Music of Nino Rota)
Trumpeter Steven Bernstein’s irrepressible quartet finds the inner noir in Rota’s vintage Fellini film scores and magnifies it with charactistic ambitiousness and eclecticism. Creeping slinky dirges sit side by side with deep dub interludes, carnivalesque, cinematic and occasionally showing the group’s punk jazz roots. A rousing follow-up of sorts to Hal Wilner’s cult favorite 1981 Amarcord Nino Rota album.
Chuck Owen & the Jazz Surge – River Runs
This “concerto for jazz guitar and saxophone” portrays some of the wild rivers of the American south and west in all their fearsome glory, an entire ecosystem with its messy, sometimes awe-inspiring, sometimes opaque, frequently frightening detail. Like Darcy James Argue, Owen delights in unorthodox instruments and voicings, terror just lurking beneath the whitecaps on several of these lush, ambitious numbers.
Ibrahim Maalouf – Wind
This homage to Miles Davis’ soundtrack to Ascenseur Pour L’Echafaud. follows the architecture of the Miles record, but not sequentially. The Miles record is drenched in reverb, added post-production; trumpeter Maalouf’s production is as airy and sometimes arid as the old French silent film, for which this serves as a score, would seem to suggest. Overall, the effect of both albums is the same, an unrelenting angst foreshadowing imminent doom despite all distractions to the contrary. Together and separately, both are classics of the noir pantheon, this one with frequent latin tinges amid the gloom.
Michel Sajrawy– Arabop
Romany-flavored Middle Eastern jazz from the Palestinian guitarist and his inspired, polyglot Palestinian-Israeli band, a vividly powerful mix of Middle Eastern and Balkan-tinged romps along with a handful of haunting longer-scale numbers. Sajrawy plays microtonally and very artfully on a standard-issue Strat through an envelope pedal for the blippy tone so common in guitar jazz from east of the Danube – pulsing staccato grooves alternate with intense levantine sax interludes.
Pete Rodriguez – Caminando Con Papi
Salsa themes taken to the highest level of jazz. Trumpeter Rodriguez – son of legendary salsa crooner Pete “El Conde” Rodriguez – fires off some of the year’s most spine-tingling and incisive solos with striking terseness and attention to melodic trajectory throughout this surprisingly eclectic collection. Gritty modalities underpin a relentlessly intensity and Rodriguez’ wickedly precise flights and volleys; pianist Luis Perdomo is an equal part of the fireworks.
Bill Frisell – Big Sur
A quintet jazz suite of sorts commissioned by the Monterey Jazz Festival, it’s the iconic guitarist in high spirits, throughout a mix of Lynchian allusions, some surf rock, a Neil Young homage, strolling C&W and a Britfolk theme, with plenty of characteristic grit and ambiguity beneath its windswept surface.
Wadada Leo Smith – Occupy the World
This double-disc collection of towering epics picks up where the trumpeter’s magnum opus from last year, Ten Freedom Summers, left off. 21-piece Finnish ensemble Tumo get to judiciously explore and revel in Smith’s gusty new large-ensemble pieces, a mix of airily expansive, spacious, and majestically intense themes, with Smith’s signature social awareness.
Leif Arntzen – Continuous Break
It was a good year for trumpeters, wasn’t it? On his latest quintet release, one of New York’s most distinctive voices on that horn takes a page out of the vintage Miles Davis book: throw the band a few riffs and have them create songs on the spot. Tuneful and diverse to the extreme, it’s got standards, a tone poem, a gritty minor-key soul groove (which may be the album’s best track) and hotwired improvisation recorded completely live in the studio.
The Monika Roscher Big Band – Failure in Wonderland
The guitarist and her German ensemble stalk their way surrealistically through carnivalesque themes that often border on the macabre, with elements of noir cabaret, horror film music and psychedelic rock as well as big band jazz. Nothing is off limits to Roscher: vocoder trip-hop, gothic cinematics, savage tremolopicking, Gil Evans-esque swells and colors and fire-and-brimstone art-rock sonics.
Fernando Otero – Romance
Some might call this indie classical or even nuevo tango, but the Argentine-born pianist’s sonata transcends genre. It’s a series of themes and variations split between instruments, interchanging between time signatures, interwoven like a secret code. Inspired by Argentine writer and clarinetist Julio Cortázar’s novel Hopscotch, it invites the listener to decide on a “modular” sequence of tracks, perhaps a wry nod to the reality of how listeners work in the iphone era. Taken in sequence, just for starters, this is a harrowing ride.
Hee Hawk – s/t
The most stunning debut in recent months blends the pastoral with the noir: imagine Bill Frisell scoring a Roman Polanski film. Bandleader/pianist Adam Lipsky’s compositions embrace Americana as well as Romany and film music, often luridly. A torchy stripper blues, hints of the Balkans, Ethiopia, and noir soundtrack atmosphere mix with irrepressible oldtimey swing and a creepy, shivery bolero.
Amir ElSaffar – Alchemy
The paradigm-shifting trumpeter continues to push the envelope with Middle Eastern themes, melodies and technique while also employing western classical architecture. This is a sonata of sorts, two central themes with many variations. ElSaffar’s quintet deftly and fascinatingly allude to (and sometimes leap headfirst) into otherworldly microtonal modes throughout a series of sometimes stately, sometimes exuberant, hard-swinging explorations.
The Mary Halvorson Septet – Illusionary Sea
Lush but biting, the guitarist maintains a lustrous majesty livened with cold mechanical satire and an intricate, incessantly fascinating counterpoint. While Halvorson sometimes bares her fangs with terse, evilly squirrelly cadenzas, she’s not usually centerstage: she leaves that to the constantly shifting, rich interchange of harmonies.
Mostly Other People Do the Killing – Red Hot
The quartet – expanded to a septet with Brandon Seabrook’s banjo, Ron Stabinsky’s piano and David Taylor’s bass trombone – burn through their most caustic yet accessible album to date. With 20s hot jazz trending hard with the one-percenters, it became obvious that the time was right for the Spinal Tap of jazz to give the genre a vigorous twist to put it out of its misery. MOPDtK claim not to be satirical, but this could be their most aggressive, and wildly successful, spoof yet. What will these guys come up with next?
Jussi Reijonen – Un
A still, spacious, slowly unwinding masterpiece from the Finnish oudist/guitarist and his quartet. Original night-sky themes and a classic Coltrane cover feature lithely intertwining levantine grooves, bittersweetly Egyptian-flavored motifs and Utar Artun’s eerily twinkling chromatic piano.
Bobby Avey – Be Not So Long to Speak
The most Lennie Tristano-influenced album in recent months is this crushingly powerful, glimmering solo piano album. It’s a mix of clenched-teeth articulacy and brooding pools of moonlit, swampy menace, setting an unwaveringly creepy tone throughout brooding tone poems with jackhammer pedalpoint, hints of Erik Satie and Louis Andriessen.
Kenny Garrett – Pushing the World Away
Garrett gets back to what he does best on this mostly-quartet session packed with several latin-tinged grooves plus those menacing modal vamps that this era’s preeminent alto saxophonist loves so much and plays with such an instantly recognizable intensity.
Rudresh Mahanthappa – Gamak
The alto saxophonist expands his singular vernacular with this hard-hitting, rhythmic effort. With a stilletto precision, flurries of postbop liven both the bhangra interludes and sunnier, more pastoral pieces here; guitarist Dave Fiuczynski supplies his signature apprehensive, intense microtonal edge, sometimes veering off toward raw metalfunk.
Dave Douglas – Time Travel
This one doesn’t have Aiofe O’Donovan’s vocals, but Douglas’ translucent tunesmithing doesn’t miss them. The fine-tuned chemistry and interplay between trumpeter Douglas and Jon Irabagon on tenor sax, Linda Oh on bass, Rudy Royston on drums and Matt Mitchell on piano showcases one of the most instantly recognizable working bands of recent years, through anthemic arcs, alternately cumulo-nimbus and cirrus ambience, a slide-step stroll and Mad Men-era grooves.
The Asuka Kakitani Jazz Orchestra – Bloom
Luminous, lush and symphonic in a Maria Schneider vein, the colors at play on this subtly rhythmic, constantly shapeshifting album tend to be bright, summery and vibrant. Translucent motifs shift through the arrangements with an unlikely nimble, assured, fleet-footedness for such majestic music. Sara Serpa’s haunting vocalese is the icing on the cake.
Marc Cary – For the Love of Abbey
Cary was Abbey Lincoln’s pianist and music director through the end of her career, and draws on that gig with a loving but also fierce intensity that does her justice. This highly improvised solo collection of Lincoln songs is stormy and ferociously articulate, like the singer herself. It’s cantabile, elegant and regal but also feral, with a shattering final salute.
Fred Hersch and Julian Lage – Free Flying
This tightly choreographed, swinging performance from pianist Hersch and guitarist Lage is so seamless and tightly fluid that it’s often impossible keep track of who’s playing what. A concert recording from the Kitano from earlier this year, it’s a series of Hersch homages to influences from across the spectrum, with a frequent Brazilian flair – and a throwback to Hersch’s indelible duo album with Bill Frisell about thirteen years ago.
Brian Carpenter’s Ghost Train Orchestra – Book of Rhapsodies
Something of a return to noir form for the trumpeter/bandleader, parsing innovative early third-stream compositions, some with a cinematic or cartoonish tinge, from some familiar and more obscure names from the 30s and 40s: Raymond Scott, Charlie Shavers, Louis Singer and Reginald Foresythe.
John Funkhouser – Still
This trio performance from the third-stream pianist/tunesmith alternates moody and rhythmic tunesmithing, murky dirges and lyrical third-stream glimmer. Brooding latinisms, a gloomy version of House of the Rising Sun and a pitch-black raga-inflected title track make this one of the year’s catchiest, hummable yet darkest releases.
Steve Coleman and Five Elements – Functional Arrythmias
On which the alto saxophonist pays homage to iconic drummer/polymath Milford Graves with a characteristically vivid, bouncily naturalistic series of illustrations of anatomical phenomena. Long, circular rhythmic patterns anchor tight counterpoint between the horns, bass and drums. Riffs are simple, direct and memorable as expected; funk beats morph through tricky time signatures, and nobody wastes notes.
And a shout out to Dan Willis & Velvet Gentlemen’s scary Satie Project Volume 2 album, as well as to Bryan & the Aardvarks, for their glimmering, nocturnal debut, Heroes of Make Believe. Both came out last year but missed the 2012 best-of list here. Since either of those albums could easily top this one, it would be remiss not to mention them here.
To anyone who might be cynical about music in New York: you don’t get out enough. Last night at the Tenri Cultural Center in the West Village, Ensemble Mise-En played a richly eclectic, entertaining and often transcendent program including two world premieres and a US premiere which should have happened long ago. This adventurous, relatively young (average age: guessing mid-20s), mixed winds/strings/percussion ensemble put together a program that puts to shame most of the bills taking place in the high fifties and mid sixties in this town most days of the week.
The evening started on an auspicous note with Irish composer Karen Power’s Cold or Hot Bean Slurper for chamber orchestra with guest conductor Mark Loria out in front of the ensemble, where he would remain for the second piece as well. One might see the title and think Chinatown noodles: au contraire, this brought a richly dynamic sense of fun, vivid timbral contrasts and a long, apprehensive upward arc to music that put a lively spin on the spectral sounds coming out of IRCAM in the mid-80s.
Eric Lyon‘s sarcastic punk classical suite Noise Variations for chamber orchestra was next on the bill. The title was sarcastic as well. It actually wasn’t particularly noisy – rather, the ensemble brought an often cruelly sardonic feast of close harmonies and parodies of classical tropes, from a twisted spoof of Beethoven’s Diabelli variations, to a LOL-suspenseful Waiting for Godot To Play the Next Motif interlude, to a coldly and richly satisfying faux-heroic overture that wound up the piece on an high note – or a low note, depending on your perspective. Either way, it was great fun.
They gave Danish composer Hans Abrahamasen’s Walden Variations a playful, suspensefully bucolic treatment, again mining the space between agitation, or just plain motion, for all the suspense and potential laughs it was worth, throughout this otherwise vividly verdant, subtly rising and falling tone poem.
The concert ended up on a riveting, Shostakovian note with South Korean composer Isang Yun’s 1988 Distanzen for Wind Quintet and String Quintet, a New York premiere. Yun spent prison time after being nabbed by the South Korean gestapo for his 1967 jaunt to the north of the country, and the horror of his experiences resonated throughout the uneasy, often chililng, semi-horizontal work. Ali Jones’ raw, fiery cello intro, Nicholas Walls’ surrealistically echoing, ominously sostenuto horn and the potently moody insistence of Ben Thomas’ bass propelled this haunting, brilliant work to a lush swell that hit a shiveringly agitated swell before a chilly, ethereally calm, not altogether safe conclusion. All in all, it was a triumphant performance including but not limited to ensemble members flutist Domenica Fossati, oboeist Stuart Breczinski, clarinetists Diego Vasquez and Jinju Yeo, alto saxophonist Kevin Baldwin, bassoonist Jack Chan, horn player Nathaniel Center, trimbonist Tyler Vahldick, pianist Dorothy Chan, subtle percussionist Clara Warnaaar, violinists Sabina Trojosjan and Hanjal Plvnick, violist Sam Kelder and maestro Moon Young Ha, confident, inspired and understatedly intense on the podium. Brilliant programs like this are all over the place in New York, but you have to look for them. Ensemble Mise-En plays their next show on May 2 at 8 PM at the Cell Theatre in Chelsea with music by Bent Sørensen, Erik Lund, Louis Karchin and Moon Young Ha.
Assembling a year-end list that’s going to get a lot of traffic demands a certain degree of responsibility: to be paying attention, and to be keeping an eye on what’s lurking in the shadows because that’s usually where the action is. Gil Evans knew that, and that’s why he’s on this one.
As pretty much everybody knows, the final Dave Brubeck Quartet live show surfaced this year, as did the earliest known Wes Montgomery recordings, a tasty couple of rare Bill Evans live sets and a big box set of previously unreleased Mingus. The reason why they’re not on this list is because they’re on everybody else’s…and because they’re easy picks. This is an attempt to be a little more adventurous, to cast a wider net, to help spread the word about current artists whose work is every bit as transcendent. Obviously, there are going to be glaring omissions here: even the most rabid jazz advocate can only digest a few hundred albums a year at the most. And much as Henry Threadgill’s Tomorrow Sunny/The Revelry, Spp and the historic Sam Rivers Trio’s Reunion: Live in New York are phenomenal albums, they both fell off the list since each has received plenty of praise elsewhere.
1. Wadada Leo Smith – Ten Freedom Summers
The trumpeter/bandleader’s massive four-cd box set is his magnum opus, as historically important as it is sonically rich, harrowing, cinematic and eclectic, anchored in the blues and gospel and taking flight pretty much everywhere else. Some will say that the string-driven sections of this restless Civil Rights Movement epic are classical music, and they’re probably right: Smith is just as formidable and powerful a composer in that idiom as he is in jazz. With a huge cast of characters, most notably pianist Anthony Davis and drummer Pheeroan AkLaff. This Cuneiform release gets the top spot for 2012.
2. Centennial: Newly Discovered Works of Gil Evans
Conductor/arranger Ryan Truesdell, a leading Evans scholar, unearthed and then recorded ten of the iconic composer’s most obscure big band works and arrangements for the first time, with the blessing of the composer’s family and an inspired cast of players. In a way, to fail to put this lush noir masterpiece at the top of the list is ridiculous, considering how emotionally intense, luminous, haunting and resonant this music is. As with Smith’s album, a huge lineup turns in a chilling performance, including possibly career-defining moments from drummer Lewis Nash, pianist Frank Kimbrough and especially vibraphonist Joe Locke. Truesdell heads up the Gil Evans Project, who put this out.
3. Hafez Modirzadeh – Post-Chromodal Out!
The most radical, paradigm-shifting and sonically intriguing album of the year was the Persian-American saxophonist’s latest adventure in microtonal music. Blue notes have defined jazz from the beginning, but this album is blue flames: and to be hubristic, here’s to the argument that this album is Vijay Iyer’s greatest shining moment so far, as he revels in a piano tuned in three-quarter tones to mimic the tetrachords of the music of Iran. An adventurous cast delivers overtone-fueled, sometimes gamelanesque mystery and menace through two suites, one by Modirzadeh, one by saxophonist Jim Norton. With Amir ElSaffar on trumpet, Ken Filiano on bass, Royal Hartigan on drums, Danongan Kalanduyan on kulintang, Faraz Minooei on santoor and Timothy Volpicella on guitar. Pi Records get credit for this one.
4. Ran Blake & Sara Serpa – Aurora
The second collaboration from the iconic noir pianist and the eclectic singer/composer is every bit as intense and otheworldly as their 2010 collaboration, Camera Obscura, and considerably more diverse. This one’s taken mostly from a concert in Serpa’s native Portugal, a mix of classics, brilliant obscurities, icy/lurid cinematic themes and a riveting a-cappella take of Strange Fruit. It’s out on Clean Feed.
5. David Fiuczynski – Planet Microjam
A stunningly diverse set by the pioneering microtonal guitarist, joining forces with Evan Marien on bass, Evgeny Lebedev on piano, David Radley on violin, Takeru Yamazaki on keyboards and a rotating cast of drummers including Kenwood Dennard, Jovol Bell, Jack DeJohnette and Club D’Elf’s Eric Kerr. Alternately otherworldly, wryly sardonic, ferocious and utterly Lynchian, Fiuczynski reinvents Beethoven as well as exploring Asian, Middle Eastern and Indian themes. It’s out from Rare Noise.
6. Neil Welch – Sleeper
The Seattle saxophonist leads a chamber jazz ensemble with Ivan Arteaga on alto and soprano saxes, Jesse Canterbury on bass clarinet, Vincent LaBelle on trombone and David Balatero and Natalie Hall on cellos through a chilling narrative suite about the murder of an Iraqi general, Abdel Hamed Mowhoush, tortured to death in American custody. Shostakovian ambience gives way to a cinematic trajectory laced with sarcasm and terrifying allusiveness. A triumph for Seattle’s Table and Chairs Music.
7. The Fab Trio – History of Jazz in Reverse
The late violin titan Billy Bang with bassist Joe Fonda and drummer Barry Altschul in a deep and casually riveting 2005 session, improvising a gospel-drenched Bea Rivers elegy, an Asian-tinged Don Cherry homage, a salsa vamp and chillingly chromatic funk and swing. Tum Records happily saw fit to pull this one out of the archives.
8. Giacomo Merega – Watch the Walls
The bassist is joined by his Dollshot saxophonist bandmate Noah Kaplan plus Marco Cappelli on guitar, Mauro Pagani on violin and Anthony Coleman on piano for a chillingly sepulchral series of improvisations that range from whispery, to atmospheric, to quietly horrific, to funereal: a bleak black-and-white film noir for the ears. Free jazz doesn’t get any better than this. It’s out on Underwolf Records.
9. Gregg August – Four By Six
The eclectic bassist from JD Allen’s trio (and the Brooklyn Philharmonic) writes intense, pulsing pan-latin themes, often with a brooding Gil Evans luminosity. This one mixes quartet and sextet pieces, with Sam Newsome on soprano sax, Luis Perdomo on piano and E.J. Strickland or Rudy Royston on drums,Yosvany Terry on alto sax, John Bailey on trumpet and JD Allen on tenor sax.
10. Orrin Evans – Flip the Script
Glistening with gritty melody, wit, plaintiveness and unease, this is the pianist’s most straightforward and impactful small-group release to date (to distinguish it from his work with the mighty Captain Black Big Band), a trio session with bassist Ben Wolfe and drummer Donald Edwards. Phantasmagorical blues, chromatic soul and a haunting reinvention of the old disco hit The Sound of Philadelphia are highlights of this Posi-Tone release.
11. The Fred Hersch Trio – Alive at the Vanguard
The pianist’s third live album at this mecca is a charm, like the other two, a lavish and gorgeously melodic double-disc set culled from his February, 2012 stand there with bassist John Hebert and drummer Eric McPherson Mostly slow-to-midtempo with lots nocturnes, interplay, a Paul Motian homage, and happily plenty of Hersch’s lyrical originals. It’s out on Palmetto.
12. Brian Charette – Music for Organ Sextette
Organ jazz doesn’t get any more interesting or cutting-edge than this richly arranged, characteristically witty, high-energy session with Charette on the B3 along with John Ellis taking a turn on bass clarinet, Jay Collins on flute, Joel Frahm on tenor, Mike DiRubbo on alto and Jochen Rueckert on drums. Eclectic themes – a reggae trope gone to extremes, a baroque fugue, jaggedly Messiaenic funk and gospel grooves – make a launching pad for witty repartee.
13. Tia Fuller – Angelic Warrior
The saxophonist shows off her sizzilng postbop chops on both soprano and alto sax on a fiery mix of mostly original compositions with a warm camaderie among the band: Shamie Royston on piano, Rudy Royston on drums, Mimi Jones on bass, John Patitucci playing single-note guitar-style leads on piccolo bass, Shirazette Tinnin on percussion. Terri Lyne Carrington on drums on three tracks, and Dianne Reeves adding an aptly misty vocal on Body and Soul It’s a Mack Avenue release.
14. Guy Klucevsek – The Multiple Personality Reunion Tour
The irrepressible accordionist teams up with members of novoya polka stars Brave Combo for this playful, brightly entertaining, characteristically devious romp through waltzes, cinematic themes, and reinventions of Erik Satie. With Marcus Rojas on tuba, Jo Lawry on vocals, John Hollenbeck on drums, Dave Douglas on trumpet, Brandon Seabrook on guitar, Steve Elson on tenor sax and many others. It’s out on Innova.
15. Old Time Musketry – Different Times
On their auspicious debut, multi-reedman Adam Schneit and multi-keyboardist JP Schlegelmilch lead this quartet with bassist Phil Rowan and drummer Max Goldman through a moody yet rhythmically intense mix of wintry, pensive, Americana-tinged themes in the same vein as the best work of Bill Frisell or Jeremy Udden.
16. Endemic Ensemble – Lunar
For some reason, Seattle has put out a ton of good music this year and this is yet another example, a tuneful mix of swing, droll minatures and a darkly majestic clave tune, all with bright and distinct horn charts. With Steve Messick on bass, Ken French on drums, David Franklin on piano, Matso Limtiaco on baritoine saxes amd Travis Ranney on saxes
17. The Danny Fox Trio – The One Constant
We may have lost Brubeck, but lyrical third-stream composition is in good hands with guys like pianist Danny Fox, gritting his teeth here with bassist Chris van Voorst van Beest and drummer Max Goldman throughout this edgy, bitingly vivid, occasionally sardonic set of mood pieces and cruelly amusing narratives
18. Slumgum – Quardboard Flavored Fiber
Rainy-day improvisation, noirish third-stream themes, latin and funk interludes, Sam Fuller-style cinematic themes for a new century and playful satire from this fearless LA quartet: Rory Cowal on piano, Joe Armstrong on tenor sax, Dave Tranchina on bass and Trevor Anderies on drums.
19. Catherine Russell – Strictly Romancin’
Guitarist Matt Munisteri is the svengali behind this historically rich, expansive, soulful Louis Armstrong homage from the chanteuse whose multi-instrumentalist dad played with Satchmo for many years. With Mark Shane on piano, Lee Hudson on bass, Mark McClean on drums; Joey Barbato on accordion; Jon-Erik Kellso on trumpet; John Allred on trombone, and Dan Block and Andy Farber on reeds. From Harmonia Mundi.
20. Juhani Aaltonen and Heikki Sarmanto – Conversations
Two old lions of Nordic jazz, Finnish tenor saxophonist Juhani Aaltonen and pianist Heikki Sarmanto trade on and off lush, nocturnal modal themes throughout this lavish, casually vivid double-disc set. Notes linger and are never wasted, the two take their time and leave a mark that’s either warmly resonant or broodingly ominous. A Tum Records release.
21. Bass X3 – Transatlantic
For anyone who might think that this is a joke, or a novelty record – Chris Dahlgren and Clayton Thomas’ basses blending with Gebhard Ullmann’s bass clarinet – you have to hear it. For fans of low tonalities, it’s sonic bliss, the centerpiece being a roughly 45-minute drone improvisation broken up into three parts, spiced with playfully ghostly embellishments amidst brooding desolation and hypnotic, suspenseful rumbles. A Leo Records release.
Still getting back on track, our 1000 best albums of all time countdown continues all the way to #1. Saturday’s album was #459:
The Jazz Combo From I Want to Live
Noir jazz doesn’t get any more lurid, or any better, than this smoldering, haunted 1958 session featuring variations on Johnny Mandel’s theme from the docudrama about executed convict Barbara Graham, the last woman to die in the gas chamber at San Quentin, who may well have been innocent. The band, led by Gerry Mulligan and featuring Shelly Manne on piano, Art Farmer on trumpet and Bud Shank on alto sax, is first-rate. The album actually starts with the downright sexy, tiptoeing Black Nightgown before the brooding, doomed main title theme; the suspenseful Night Watch; the jaunty San Francisco nightclub scene where all the accomplices think they’ll get away with murder (they didn’t); the offhandedly wrenching, pleading Barbara’s Theme and a cruelly ironic Life’s a Funny Thing to end it. Here’s a random torrent via Groove Depository. Big shout-out to Nellie McKay for inspiring this pick – and for writing her own musical about this sad chapter in American “justice.”
Slowly getting back on track, our 1000 best albums of all time countdown continues all the way to #1. Friday’s album was #460:
The Million Dollar Quartet
As portrayed in the film Walk the Line, Elvis, Carl Perkins, Johnny Cash and Jerry Lee Lewis were all drinking buddies who’d frequently hang out and jam. This informal 1956 acoustic session was assuredly never intended for release, although it might have been an attempt to get some decent quality demos down, considering who was involved (some sources say that Cash wasn’t, since he doesn’t sing on it). Other uncredited Sun Records session guys may have been in on it as well. Obviously fueled by a little hooch and who knows what else, the low-key confidence of this band, whoever all of them were, is irresistible. Most of the songs clock in at less than a minute, among them Elvis’s Don’t Be Cruel and Reconsider Baby, Jerry Lee’s Rip It Up and a bunch of gospel numbers. While it’s a little incongruous to hear Jerry Lee Lewis on a Chuck Berry song, it just goes to show you never can tell who’s cross-pollinating with whom. Here’s a random torrent.
As we usually do every day – but didn’t do over the previous very, very lost weekend – our 1000 best albums of all time countdown continues all the way to #1. Thursday’s album was #461:
Rasputina – Oh Perilous World
The original cello rockers, Rasputina have been putting out great albums for almost 20 years, frontwoman Melora Creager backed by an increasingly shifting cast of characters. This is her finest hour, from 2007: she’s always been a great lyricist as well as a composer, but she really took it to the next level with these torrentially metaphorical songs that deliver a very subtle but absolutely brutal critique of the Bush regime’s reign of terror and the paranoia they spread in the wake of 9/11. All this takes place against a backdrop of global warming (1816 the Year Without a Summer), basic human rights taking a beating (Choose Me for a Champion), and anthrax scares engineered from inside the government (Incident in a Medical Clinic). Only in Draconian Crackdown does she let down her guard and blast the traitors of 9/11 for their cowardice. Otherwise, the journey from Child Soldier Rebellion to Bring Back the Egg Unbroken to Old Yellowcake (weapons of mass destruction – get it?) is a treacherous and grotesquely graphic one, and Creager leaves no stone unturned. A courageous and mighty blow for democracy whose time may not have come yet. Here’s a random torrent.
As we usually do every day, our 1000 best albums of all time countdown continues all the way to #1. Wednesday’s album is #462:
Jazz on a Summer’s Day
This is a case where you really should get the movie: the visuals of this 1960 documentary of the 1958 Monterey Jazz Festival are fascinating and often hilarious. It’s best known for Anita O’Day, stoned out of her mind, wailing her way through Sweet Georgia Brown and Tea for Two with a great horn player’s imagination and virtuosity. That’s just the juiciest moment; there’s also a young, ducktailed Chuck Berry doing the splits on Sweet Little Sixteen; Dinah Washington making All of Me sound fresh and fun; Gerry Mulligan and his band; and cameos by George Shearing, Thelonious Monk, Big Maybelle, Chico Hamilton, a lot of Louis Armstrong and a real lot of Mahalia Jackson at her peak doing spirituals and a final stirring benediction. Some of you may scoff at how mainstream this is…until you hear what this crew does with a lot of standard fare. The random torrent here is for the movie rather than the stand-alone soundtrack.
As we usually do every day, our 1000 best albums of all time countdown continues all the way to #1. Tuesday’s album is #463:
The Shivvers – Lost Hits From Milwaukee’s First Family Of Powerpop 1979-82
Every day, there seems to be yet another rediscovery of a great band from decades ago that never “made it,” at least in the old mass-media sense. And more and more frequently,it’s becoming clear that those “unknown” bands were usually way better than what was on the radio at the time. This 2006 reissue includes most of this extraordinary group’s studio recordings as well as a surprisingly snarling, intense live set. In the studio, keyboardist/frontwoman Jill Kossoris’ vocals were quirky and detached, notably on the closest thing they had to a radio hit, the chirpy but cynical anticonformist anthem Teenline. But live, she was a powerhouse, most notably on the second version of You’re So Sure here, which sounds like the early Go Go’s. There’s also No Substitute, like the Raspberries with a girl singer; the scurrying new wavey/Beatlesque Please Stand By; the rich, ELO-inflected Remember Tonight; the punchy garage pop of My Association (“There’s a place I can go where I don’t have to be an outcast”); the George Harrison-esque Hold On; the absolutely gorgeous Life Without You; the Orbisonesque Nashville noir of It Hurts Too Much and Blue in Heaven, their offhandedly attempt at a big artsy (6 minute) synth/guitar anthem…sung by a dead girl! The whole thing is streaming at yucky myspace; here’s a random torrent.
As we usually do every day, our 1000 best albums of all time countdown continues all the way to #1. Monday’s album was #464:
Gerry Mulligan – The Concert Jazz Band at Newport 1960
This one of those recordings that went unreleased for decades, most likely because the sonics aren’t quite up to cd quality. But in the age of the mp3, it’s not as if most people can tell the difference. And the versatile, nonconformist baritone saxophonist/composer’s big band is absolutely smoking, snaking their way up Kai Winding’s Broadway, taking the Theme from I Want to Live deep into noir territory, going Out of This World and then to gypsyland with Manoir de Mes Reves. They go swinging into the blues with the Johnny Hodges homage Carrots for Rabbit, then expansive versions of Sweet and Slow, I’m Gonna Go Fishin’ and go out on a high note with Blueport. There are also a couple of bonus tracks from European shows around the same time. Here’s a random torrent via Moha Offbeat.