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JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

The Best Jazz Albums of 2013

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.

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December 30, 2013 Posted by | jazz, lists, Lists - Best of 2008 etc., Music, music, concert | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 4 Comments

Bobby Avey’s New Solo Album: Dark Riveting Intensity

Bobby Avey’s new album Be Not So Long to Speak takes his game to the next level with a majesty and intensity he more than hinted at on his 2010 debut, A New Face. Since then the pianist has created Authority Melts From Me, a multimedia project exploring the slave rebellion that fueled the 18th century Haitian Revolution, and now this raw, sometimes crushingly powerful, glimmering solo album. It’s a mix of clenched-teeth articulacy and brooding pools of moonlit, swampy menace, setting an unwaveringly creepy tone. Whether you consider this jazz, or indie classical, or both, it’s a lock for one of 2013’s best albums..

Our Fortune Is Running Out of Breath, the opening track, is a brooding tone poem, murkily resonant close harmonies lowlit by eerily glittering upper-register ripples. In Ten Years has waterfalling midrange clusters interspersed with casual jackhammer pedalpoint, retreating to a resonant shadowy gleam and then back. The epic Late November, a surreal, altered boogie, rises, falls and dances, hinting at a Steve Reich-ish circularity and then retreating to dark minimalism.

A quietly elegaic, bell-like pulse underpins the somberly haunting, Satie-tinged Gravity and Stillness. As it turns out, the allusive, slightly herky-jerky P.Y.T. is a cover of a song first recorded by Michael Jackson, redone to the point of unrecognizabilty: it doesn’t seem to be an attempt to connect with the audience that likes that kind of processed cheese.  Isolation of Rain and its picturesque drizzling builds a rather morose ambience despite its rapidfire energy, the shadow of Debussy lingering in the background.

Barefoot raises the angst to judiciously spacious, dynamically-charged Satie-esque proportions, picking up with a hard-hitting acidity reminiscent of Louis Andriessen. Time Unfolding grows darker even as it leaps and bounds; the album closes with a version of Stardust that skirts the original with a characteristic resistance to opening the door and taking a few tentative steps out of the icebox. Avey’s next gig is at the Cornelia St. Cafe on March 15 at 9:30 with his quartet including Chris Speed on saxes, Thompson Kneeland on bass  and Jordan Perlson on drums.

March 2, 2013 Posted by | avant garde music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , | Leave a comment

Contemplating Travis Reuter’s Rotational Templates

Hmmm…does Rotational Templates – the title of jazz guitarist Travis Reuter’s new album – mean “basic plan for solos around the horn?” No. It’s not clear what it means, but this pretty meticulously thought-out album is a great ipod listen, and as cerebral as it is, there’s feeling along with all the ideas. It’s hard to pigeonhole, a good sign: you could call it psychedelic improvisational postbop. Reuter is a thoughtful player with a tremendous command of unexpectedly non-guitarish textures. What becomes obvious only a few minutes into this album is that he really knows how to seize the moment, but also when to let the moment go because it’s over. He’s got a good band: Jeremy Viner on tenor sax, Chris Tordini on bass, Bobby Avey taking a turn on electric piano this time out and Jason Nazary on drums.

The first track sets the stage: Viner and Tordini carry the central theme as Nazary roves and prowls, Reuter providing nebulous atmospherics via a swooshy effect. He parallels the sax and then finally comes up acidally, bouncing off the rest of the band as Avey takes a turn in the shadow position. The second cut is the first of a diptych. Residency at 20, Part 1 introduces an off-center, circular theme that Viner pokes at suspiciously, Tordini signaling an absolutely delicious, otherworldly, icily ambient guitar interlude (is that a backward masking pedal?) that eventually begins to smolder and then throw off sparks as Reuter edges his way out of the morass.

The most mathematical number here is Singular Arrays, a blippy ensemble piece featuring some sly roundabout work from Nazary and a judiciously sinuous solo from Avey imbued with his signature gravitas that gives the song some welcome muscle. When Reuter starts bobbing and weaving, the spiky thicket of notes makes it impossible to tell the guitar from the piano. Its cousin track, Flux Derivatives uses the skeletal outline of a ballad to frame resolute solos from Viner and Avey, Reuter taking his time before spiraling up and bringing up the heat. The album closes with the second part of Residency at 20, Avey left to hold this together as the drums shuffle off on their own, Reuter adding a couple of amusing quotes, with Avey rocking the boat to the point where Reuter turns it loose with an unexpected, unrestrained joy. Good ideas, good playing, five guys at the top of their game.

May 17, 2011 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , | 3 Comments

Bobby Avey Makes an Auspicious Debut

Pianist Bobby Avey’s debut album A New Face instantly elevates him into the ranks of formidable 21st century players like Vijay Iyer, Gerald Clayton, and Marc Cary. Intense, forceful and fearless, Avey has a powerful lefthand like Kenny Barron, a fondness for ominous modal excursions and a vivid sense of melody that hovers between the noir, the Romantics and Olivier Messiaen at his most otherworldly. Along with the other members of his trio, bassist Thomson Kneeland and drummer Jordan Pearlson, this album features the always estimable Dave Liebman guesting on soprano and tenor sax on four tracks. The chemistry between players matches the quality of the compositions: if there’s been a better jazz debut album this year, we haven’t heard it.

The opening track, Late November begins with a machine-gun circular motif that Avey eventually leaves to the bass and drums and hovers over with a noirish glimmer – and then takes it down to a minefield of modal incisions on the third verse. Much of this album has a bracing third-stream feel and this is a prime example. Meanwhile, throughout most of the song, Pearlson and Kneeland lock in and hammer with Avey, something they do with considerable relish throughout the album. The second cut, In Retreat is a potently evocative, bitter, brooding ballad, Liebman adding understated grey tones over Avey’s richly melodic crescendos, agitated but completely in control. Kneeland takes it out into the depths with a woundedly syncopated solo. Delusion is a study in understated chromatics and rhythmic shifts, another Kneeland solo early on its quiet highlight. The title track kicks off with a tense, macabre-tinged bass solo which Avey expands eerily – it’s a Sam Fuller film played out in the churchyard at Saint-Sulpice, Liebman playing the role of semi-friendly ghost.

After the stalker intro of Less is Less Than Half, the drums prowl around Avey’s minimalism, building to a crashing McCoy Tyner style lefthand hook that winds up in a hammering, fiery, percussive blaze. By contrast, Influence, a duo piece for piano and tenor, shifts between a golden age late 50s vibe and an uneasily unwinding, ripplingly horizontal piano soundscape. The final cuts here reach genuinely majestic heights. Insight unfolds with Avey hammering on an insistent staccato pedal note, expands to a chromatic vamp that he roams around, eventually a marvelously terse chromatic bass solo, and then it all comes together, glimmering and intense. Likewise, Time Unfolding finally throws restraint to the wind after giving Liebman the chance to rove expansively and then finally plunge into the rhythm section’s staccato syncopation before Avey and then Pearlson take it all the way up. Avey’s ceiling is pretty much as high as he want to go with it. Hope you like traveling, dude.

August 10, 2010 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment