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JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

The 20 Best Jazz Albums of 2017

The single most riveting jazz album, and arguably the most important album of the year in any style of music was Fukushima, by the Satoko Fujii Orchestra New York. A narrative of personal terror rather than a depiction of the horrific events of March 11, 2011, its tension is relentless. Fujii, who conducts the orchestra, alternates several harrowing themes within ominous cloudbanks of improvisation, poignantly lyrical solos and segments which shift from stately and elegaic to withering, chattering satire. That’s the bandleader’s response to the greed-fueled attempts to cover up the disaster. As Fukushima reactor number three continues to leak its deadly contents into the Pacific, it’s a shock that more artists haven’t addressed the ongoing environmental crisis. As Fujii succinctly said after leading the group in the world premiere of the suite in 2016, it’s not over.

Whittling this list down to another nineteen albums out of the hundreds of releases that deserve to be credited here was almost painful. It makes no sense to try to rank them: if an album’s good enough to make this list, you ought to hear it.

Ran Blake & Dominique Eade – Town & Country
Protest jazz, icy Messiaenic miniatures, reinvented standards and luminous nocturnes from the noir piano icon and his brilliant longtime singer collaborator. Listen at Spotify 

Amir ElSaffar’s Rivers of Sound – Not Two
The paradigm-shifting trumpeter/santoorist/singer’s latest large-ensemble recording, blending elements of Middle Eastern, Indian music and jazz is an album for our time: turbulent, restless and packed with poignant solos from a global lineup. Listen at New Amsterdam Records 

Anouar Brahem – Blue Maqams
The oudist teams up with bassist Dave Holland, drummer Jack DeJohnette and pianist Django Bates for some of the year’s most haunting themes, drawing evenly from the Middle East, the tropics and the west. Listen at Spotify 

JD Allen – Radio Flyer
This era’s preeminent tenor saxophonist/composer expands on his usual terse, three-to-four-minute “jukebox jazz,” biting irony and ironic humor by bringing guitarist Liberty Ellman in to join the longtime ace rhythm section of bassist Gregg August and drummer Rudy Royston. Listen to a little bit at Soundcloud 

The Mary Halvorson Octet – Away with You
The world’s foremost under-forty jazz guitarist has never written more plaintively, or more amusingly. Even more caustic sarcasm than Allen, not quite as many jokes as Mostly Other People Do the Killing (see below). Haunting pedal steel ace Susan Alcorn is the not-so-secret weapon here. Listen at Bandcamp 

Vijay Iyer – Far From Over
Like Allen, Iyer beefs up his sound, in this case bolstering his trio with bassist Stephan Crump and drummer Tyshawn Sorey by adding cornetist Graham Haynes, Steve Lehman on alto sax and Mark Shim on tenor. Fearlessly political, constantly uneasy, bustling with urban noir tableaux, a requiem and smoking bhangra jazz. Listen at Spotify 

Greg Lewis – The Breathe Suite
The organist best known for reinventing Monk tunes dedicates each track on this often shattering, sometimes acidic collection to black men murdered by police. Angst, horror and slashing solos from guitarists Marc Ribot or Ron Jackson take centerstage as the bandleader builds relentless ambience. There’s never been an organ jazz record anything like this. Listen at Spotify 

Doug Wieselman‘s Trio S – Somewhere Glimmer
The multi-reedman (who also plays banjo here, more than competently) joins forces with drummer Kenny Wollesen and cellist Jane Scarpantoni for broodingly cinematic themes on a smaller scale than his legendary, carnivalesque Kamikaze Ground Crew have typically tackled. Listen at Bandcamp 

Guy Mintus – A Home In Between
With his long-running trio, bassist Tamir Shmerling and drummer Philippe Lemm, the pensive, incisive Israeli-born pianist cascades through dark cinematic tableaux with moody Middle Eastern and angst-fueled neoromantic interludes. This is one restless album. Listen at Spotify 

Shahin Novrasli – Emanation
Eerily rustling, acerbically modal postbop and more Middle Eastern-flavored themes from the Azeri pianist (an Ahmad Jamal protege) with bassist James Cammack and drummer André Ceccarelli plus Georgian percussionist Irakli Koiava. Violinst Didier Lockwood proves perfect for this uneasy project. Listen at Spotify 

The Jihye Lee Orchestra – April Wind
The singer/composer makes some serious waves with her first big band recording, a lustrously blustery, suspensefully cinematic, dynamic suite inspired by a ferry disaster off the Korean coast. Listen at her music page 

Bill Frisell and Thomas Morgan – Small Town
The iconically  lyrical guitarist and his sympatico bassist bandmate intimately reinvent bluegrass, Lee Konitz, Paul Motian and some Frisell standbys in a return to the format he first recorded with thirty-five years ago. Listen at Spotify 

Tomas Fujiwara – Triple Double
Two horns (Taylor Ho Bynum on cornet and Ralph Alessi on trumpet), two guitars (Mary Halvorson and Brandon Seabrook) and two drummers, Gerald Cleaver holding down the second chair through variations, and frequent sparring, over one bitingly catchy theme after another. Drummers always lead the best bands, don’t they? Listen at Bandcamp  

Josh Green & the Cyborg Orchestra  – Telepathy & Bop
Composer/conductor Green ambitiously makes his debut with an irrepressibly theatrical, sometimes vaudevillian, lavishly cinematic big band album that rivals Esquivel for outside-the-box creativity and bizarro orchestration. One of the funnest and most irreverent albums of the year. Listen at Spotify 

Sam Bardfeld – The Great Enthusiasms
In this fearlessly political collection, the violinist takes each of the song titles from speeches by Richard Nixon. Pianist Kris Davis and drummer Michael Sarin join in the rich irony, bristling with energy. If Thelonious Monk had been a violinist, he would have made this record. Listen at Bandcamp 

Chuck Owen & the Jazz Surge – Whispers on the Wind
The follow-up to the composer/conductor’s titanically gripping, picturesque River Runs suite isn’t quite as intense, but it’s just as dark, inspired by Larry McMurtry, Stephen King and Cormac McCarthy. Unorthodox instrumentation to rival Darcy James Argue; twisted cowboy themes; southwestern gothic; brassy solar flares and the most counterintuitive, smart jazz guitar solo of the year: that’s LaRue Nickelson on acoustic. Listen at Spotify 

Fabian Almazan – Alcanza
The Cuban-born pianist has done some memorable work with strings and orchestration; here, the Shostakovich-inspired bandleader fully realizes that epic vision, with Camila Meza centerstage on vocals and guitar. Plaintive ballads, vertigo-inducing overlays, glistening melodicism that’s equal parts latin and classical, and a grandeur unmatched by any other album this year. Listen at Spotify 

Rudresh Mahanthappa & the Indo-Pak Coalition – Agrima
The alto saxophonist’s wind-tunnel control and technique are as breathtaking as always. The themes are more distinctly Indian, and darker, and more ambitious. Guitarist Rez Abbasi takes his tunefulness to new levels. And let’s not stop with the music: let’s say the hell with imperialist historical smog and unite India with Pakistan. Listen a little at Soundcloud

Jen Shyu – Song of Silver Geese
The esteemed singer and multi-instrumentalist peppers this surreal, envelopingly lush nocturnal suite with moon lute and piano, mingling with strings and vibraphonist Chris Dingman’s Jade Tongue ensemble. Singing in Timorese, Korean, Chinese and other languages, she gives voice to individuals real and mythical impacted by or lost to tragedy.  Listen at Pi Recordings

Mostly Other People Do the Killing  – Loafer’s Hollow
Packed with both inside jokes and irresistibly cartoonish humor, the world’s funniest jazz group give the gasface to Count Basie and his innumerable imitators in 30s style swing. They can spot a cliche a mile away and never miss their target. Satire doesn’t any broader, more spot-on or more hilarious than this. Listen at Spotify 

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December 30, 2017 Posted by | jazz, lists, Music, music, concert | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Daniel Smith Takes the Bassoon Where It Wasn’t Designed to Go

Have you ever considered how weird it is that the bassoon is used so seldomly in both rock and jazz? The baritone sax has a similar timbre, and it’s pretty standard in funk and soul music and was in rock too, at least in the early years. Roy Wood famously used a bassoon in the Move and then ELO, and you’ll occasionally find a chamber pop band that employs a wind section in place of strings. But this magnificently cool instrument, with its unmistakably woody resonance, is just as rare if not more so in the jazz world. Daniel Smith is sort of the Charlie Parker of the bassoon, so how would it sound if he played blues on the thing? Pretty much like how he does his jazz gig. His latest album Smokin’ Hot Bassoon Blues is a follow-up of sorts to his 2010 album Blue Bassoon, a mix of bluesy tunes from the jazz catalog. In the case of this new one – streaming at Spotify – the songs date mostly from the 50s and 60s.

While Smith is the bandleader, he doesn’t hog the spotlight – although it’s easy to wish for more of him on this album. Technically speaking, he’s known for expanding his instrument’s range, sometimes with a tenor sax-like squawk, sometimes with a biting, ambered tone that the makers of the Arp synthesizer might have been trying to imitate back in the early 70s.

The album opens with Oscar Peterson’s Night Train, the bassoon more clustering and jazz-oriented than you would expect from a straight-up blues session, paired off against Efrat Shapira’s lively violin; a little later, Ron Jackson’s guitar goes in the same direction over the straight-up rhythm section of bassist Michael O’Brien and drummer Vincent Ector. The best songs here are the ones that Smith totally reinvents. Alongside Shapira’s acidic, acerbic violin, Smith’s take of Charles Mingus’ Better Get Hit in Your Soul gives it a rustic 20s hot jazz feel, right from where the whole band careens into it together. Once again in tandem with the violin, the bassoon adds a rustically haunting quality to Horace Silver’s latin noir piece Senor Blues. And they reimagine Duke Ellington’s C Jam Blues as a Jimmy Smith-style organ shuffle fueled by Greg Lewis’ fireworks on the keys and pedals.

The soul songs are also excellent. On Ray Charles’ What’d I Say, Smith’s sputtery lines perfectly capture its gruff appeal even before Frank Senior’s vocals enter the picture, with a scampering piano solo, and a latin tinge to the rhythm courtesy of percussionist Neil Clarke. Another Charles hit, Halleljah I Love Her So is surprisingly laid-back, with a tasty, shivery bowed bass solo. They also do an emphatic version of Moanin’, the Etta James hit. And the Nat Adderley groove Hummin’ has Smith mimicking the tremoloing sound of an electric guitar at the bottom of its range – then he goes in a more funky direction.

The rest of the album includes a purist take of Jimmy Smith’s Back at the Chicken Shack, a showcase for Lewis’ lickety-split lines; a swinging version of Sonny Rollins’ Blue Seven; a violin-fueled run through the latin blues of Joe Henderson’s Mamacita; and the most straight-up blues number here, Phil Woods’ Eddie’s Blues, which ironically was never sung by the guy it was written for – jazz vocal great Eddie Jefferson – because it doesn’t have lyrics. Throughout the album, Smith pushes the envelope in terms of both how much register and how much of a variety of tones the bassoon can produce. May he be a big influence on the next generation of players.

July 2, 2014 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , | 4 Comments