Rec. 30-31 October 2018. It’s an ambitious proposition and it’s not that everyone’s not knocking Trump. The mood is post-bop, with an augmented Messengers feel, the writing compact and the execution consistently rewarding. Peter Vacher, Roscoe Mitchell (as, ss), Famoudou Don Moye (d, perc), Hugh Ragin, Fred Berry (t), Jaribu Shahid, Junius Paul, Silvia Bolognesi (b), plus guests incl. With Yuja Wang, Julie Andrews, Common, Katy Perry and an orchestra playing in an empty Hollywood Bowl, the L.A. Phil delivers a gala like none before. Her very DNA combines both jazz and country heritages. Free-improv-meets-serialism it may be, but these three constantly unveil their diverse but devoted jazz roots. There’s no sterility here, and no sense of anything being curtailed. We count down the best albums of 2019, from Lana Del Rey's 'Norman Fucking Rockwell!' But Finding Gabriel revolves around the human ‘voice’: whether sampled, spoken usually by Mehldau, or as wordless vocal, in which the chorus effect is haunting, ethereal but also from a lighter, easy-listening background, informed by Metheny and Bacharach. Though electro-jazz drummer Mark Guiliana powers the set, Finding Gabriel isn’t Mark II Mehliana, their retro-to-future synth-driven duo of 2014’s Taming the Dragon. The Branford Marsalis Quartet (left to right: Marsalis, Justin Faulkner, Eric Revis, and Joey Calderazzo) made the best jazz album of 2019, according to JazzTimes‘ critics. 8. 3. Steve Lehman, “The People I Love” (Pi Recordings)There may be no tidier way to encapsulate the far-reaching approach of this saxophonist than in considering this album’s selection of covers, which treats music from Jeff “Tain” Watts, Kurt Rosenwinkel and Autechre with the same sense of reverence and adventure. The pair are particularly fine Monk masters, notably on the title-track; unlike so many they don’t play up the ‘quirkiness’, but revel in the damn fine tune: Frisell even squeezes in a rock’n’roll flavour which would’ve had Monk doing one of his little dances. But Mehldau tackles it from an interesting alternative perspective, honed from several years absorbing religious texts. Fox News cancels Lou Dobbs’ show; pro-Trump host not expected to be back on air. Then again the AEC motto, ‘Great black music: ancient to future’, has never been better applied than here, where the grand coalition of generations, disciplines and cultures is thrilling. ‘Pitter Patter’ has echoes of Chick Corea’s Return to Forever, but with none of the pyrotechnics, while the farewell ballad ‘Homegrown’ flickers out with a melancholic earworm worthy of EST. 0208 677 0012, © MA Music, Leisure & Travel Ltd Mehldau, who plays all instruments including drums and vocal on the track, instead offers a comforting musical salvation. Amy Sherman-Palladino grew up in the Valley obsessively listening to “Tapestry.” When she needed a theme song for “Gilmore Girls,” she had one song in mind. Fabian Almazan Trio, “This Land Abounds With Life” (Biophilia)A longtime collaborator with Terence Blanchard, this Cuban-born jazz pianist evokes the natural splendor of his home country with occasional field recordings of birdcalls, distant orchestras and spoken word (most vividly on “Songs of the Forgotten”). The Oracle was one of a slew of jazz-adjacent 2019 albums that utilized voices without really touching on anything resembling conventional jazz singing. Roberts’ ability to treat such demanding, multi-layered material with a clear focus is a testament to the strength of her original vision and skill as a narrator. Peter Quinn, ➜ Read our Gwilym Simcock interview: “I want to have an emotional experience when I listen to music. With 10 points awarded to No.1 and one point awarded to No.10 in each writer’s chart – we’ve done the maths so you can just enjoy the music! As this duo session’s title implies, the warm acoustic of the studio in Lugano in which it was recorded is an active participant too. THE BEST 30 JAZZ ALBUMS OF 2019. Harrison’s ‘Float, Flitter, Flutter’ allows Collins to show his Hubbard-like inclinations and Gillard to solo affectingly, the hauntingly, hymn-like ‘Look Ahead’ written by Collins for his son quite sublime. Classic indeed: but nary a note of nostalgia. ) 2021 (photo: Eric Ryan Anderson) We calculated our top 40 new releases and top 10 historical/reissue recordings of 2019 based on year-end lists by our writers. Producer Toussaint adds his sinuous tenor to two tracks. 2019. Dec 05, 2019 5:45 AM. With new ideas continuing to burst at the seams connecting genres and artists, jazz enjoyed a fertile, far-reaching renaissance in 2019. After a five-year absence from the studio, following his last records for the Intuition label, and now aged 84, would Abdullah Ibrahim’s new venture with Gearbox Records match up to the high standards that he set years ago with this band of African and (mainly) American musicians? But on ‘Barbara’, dedicated to Barbara Thompson’s ongoing creativity despite her chronic illness, there are jazz rock themes, a playing with tempo and rhythms that echo yet develop Thompson’s work over the decades. A slow cook of a release, its roots deep in a 2015 concert piece commissioned by Tomorrow’s Warriors with support from PRS Women Make Music, Polyhymnia is a celebratory paean to the brave, the gentle, those that won’t back down. As the subtitle makes clear this is a celebration of a grand milestone for the Art Ensemble of Chicago. March 2017-October 2018. Such longevity leads to the production of remarkable thematic projects. Kevin Le Gendre, Brad Mehldau (p, OB-6 Polyphonic syn, Therevox, Moog little Phatty syn, v, d, celeste, mellotron, B-3, perc), Mark Guiliana (d, el d), Becca Stevens, Gabriel Kahane, Kurt Elling (v), Ambrose Akinmusire (t), Michael Thomas (fl, as), Charles Pillow (ss, as, bcl), Joel Frahm (ts), Chris Cheek (ts, bs), Sara Caswell (vn), Lois Martin (vla, d, glock, prog), Noah Hoffeld (clo) and Aaron Nevezie (Korg Kaoss pad). (Peter and Maria Hoey / For The Times) By Chris Barton. (A part of the French band Phoenix finds all the right grooves for ‘On the Rocks’. It’s an object lesson in how an established group can dig deeper into musical and emotional resources than many a short-lived ensemble, however starry the personnel. ... David Torn’s on-and-off discography for the eclectic German imprint ECM goes back some 35 years, with his 1984 solo album Best Laid Plans setting the stage for a fairly lengthy career in music and film. 4. Best Jazz of 2019 Brilliance accommodates any form — and, as these albums show, sometimes lightning lands in a bottle. to DaBaby's 'Baby on Baby.' Here, on his first album as a leader, Cross delivers a standout showcase for his often-overlooked instrument, rumbling through elements of New Orleans funk, soul-jazz and Afrobeat with the help of two more essential U.K. figures in saxophonist Nubya Garcia and drummer Moses Boyd. Ibrahim sits out much of this track – just as he might do on stage – but he comes back in exactly where it matters, ushering back the scalar head arrangement. An album that unfailingly touches the heart and lifts the soul. MATANA ROBERTS COIN COIN CHAPTER FOUR: MEMPHIS. Other surprises abound: bet you don’t see ‘Men of Harlech’ coming on the Suffragette-inspired ‘Deeds Not Words,’ or the brass spikes that crunch against the Mardi Gras piano rolls of ‘Ruby Bridges’. Poet Xana adds transcendent tower-block dreams in which, “my heart bursts out of my chest like a rocket/As I gather stars in my pocket”. Harmony in music, harmony of the soul, harmony in community: Frisell evokes it all on his Blue Note debut. With her core quintet, in which guitarist-fiddler Hannah Marcus stands out, being joined by an array of guests that also includes four vocalists, the music, in lesser hands, could easily have become overblown if not diffuse. helped give hip-hop a visual presence, dies at 59. As the 78-year-old Chick Corea reminded UK audiences at this summer’s Love Supreme festival, wear and tear doesn’t touch the relish, grace and inventiveness with which he has performed in a multiplicity of styles all his life. As with those projects, Rymden also takes its cue more from rock than jazz, even though it retains a jazz sensibility. The Best Jazz Albums of 2019. She’s backed by a band that at various points includes turntablist Val Jeanty, guitarist Nels Cline, bassist Esperanza Spalding (heard only as a vocalist) and drummer Terri Lynn Carrington, who provides a steady yet supple anchor to a record that’s as unpredictable as it is approachable. But the secret weapon here may be pianist Carmen Staaf, whose flickering excursions provide a bright counterweight to the album’s sweeping melodic drive. Dec. 11, 2019 … Tomeka Reid Quartet, from left: Tomeka Reid, Tomas Fujiwara, Mary Halvorson and Jason Roebke. You’re not alone. St. Judes Church, The Best Jazz of 2019 ... Our list of the best for 2019 ripples with variety and diversity. This is a quietly intimate dialogue of course, but almost everything in it glows. The best jazz albums on vinyl is deserving of its own gallery but here's one album you don't see as often. Here’s the latest on second-dose vaccine appointments in L.A. County. London-based singer, violinist and pianist Alice Zawadzki gifts us a second album both tender in spirit and defiantly anti-genre, hooking her all-embracing vision to a questing musical curiosity and the freedom inherent in jazz. On the closing title-track Mehldau’s speaking voice asks the Archangel Gabriel for a sign, a way out of the bedlam. Nor is this all Frisell: ‘Red River Valley’ is done a capella; some treatments are straightahead, and are the more emotionally direct for that: ‘God’s Wing’ed Horse’ is breathtakingly beautiful, while others, like the climactic ‘Where Have All the Flowers Gone’ is re-visioned deep, dead and blue, with no escape from the minimalist chording. If a performer was the focus of a major feature, it’s likely their album wasn’t reviewed, and accounts for its omission from the list below. Ricky Powell, a quintessential New Yorker whose point-and-shoot photos of the Beastie Boys and Run-D.M.C. Chicago Tribune | Dec 03, 2019 at 8:00 AM . Jazz seemed to be all over the place this year — and that was a blessing. 10. L.A. County has updated its guidance again. Her grandparents hosted the Korn’s A Krackin’ radio show which meant the Carter family or Chet Atkins could be found chilling and strumming in the family front room. 9. Come to hear a celebration of a timeless, genre-defying legacy that has shaped many of the musicians listed here (and elsewhere); stay to hear that legacy in vibrant motion. The 10 Best Jazz Albums of 2019 by Jeff Terich. (photo: Eric Ryan Anderson) There are almost motionless reveries for Crispell and Castaldi, a ghostly, tone-bending passage for solo gongs, and a headlong free-jazz charge for a finale. Photo illustration by Slate. The band, featuring jazz vocalist Tierney Sutton, has been together for twenty plus years. Duke Ellington’s ‘Azalea’ is a standard-song stroll sprung off Yonathan Avishai’s inventive comping, Abdullah Ibrahim’s ‘Kofifi Blue’ gets some Armstrong-like end-note shakes, while ‘Sir Duke’ has its famous melody burnished with an almost baroque courtliness. So he avoids facile problem-solving or jumping on knee-jerk political bandwagons. Calling Rymden a Scandi-jazz ‘supergroup’ might not be very useful, but neither is it overstating the pivotal role these three musicians had in reshaping Nordic jazz from the mid-1990s. Zawadzki’s violin-playing is flowing, fluttering, generous, but it’s her jazz-honed vocals that really impress, free-falling through ‘God’s Children’, a song she wrote after working in the refugee camps of Calais, and finding new depth and resonance in the Spanish and Italian lyrics of ‘Es Verdad’ and ‘O Mio Amore’. 2019’s best funk albums are here! One t… November 2018. On this 2-CD release (one studio set and one live) revered founder, multi-reedist and composer Roscoe Mitchell and his trusty co-leader, drummer-percussionist Famoudou Don Moye, are joined by a brilliant cast of guests that provides the adequate resources to build an intricate, kaleidoscopic orchestral work that is a logical, coherent outgrowth of the original small group with its vast array of instruments. Maybe Trilogy 2 is for Chick Corea completists, but it’s premier-league spontaneous music-making for all that. 2018. 1. Naturally, it helps to have Petra Haden on board. But you can bet he’ll be telling a story. Jazzwise Magazine, Subscribe now to see all of our writers' Top 10s as well as the full Reissues/Archive Top 20 and all of our seasonal subscription offers by visiting, Branford Marsalis, (ss, ts), Joey Calderazzo (p), Eric Revis (b) and Justin Faulkner (d). Nicole Mitchell (f, piccolo, b f), Tomeka Reid (c), Dudu Kouaté, Enoch Williams, Tito Sompa (perc), Moor Mother, Christina Wheeler (v, poetry) and Stephen Rush (cond). Rec. Here we take a look at 10 favorite jazz vocals albums in 2019 that stood out: Tierney Sutton Band – ScreenPlay. Rec. Grant Green. Best jazz albums of 2019: A year rife with invention and resistance Best jazz albums of 2019. Neither are we, so to prep for The Weeknd’s Super Bowl halftime show, we offer this ranked list of every song from his new best-of. Rec. 7. If you want an album that can make you dance and think, explore and exult, sing and sigh then look no further than Polyhymnia. How a Southern Californian punk rock song became an Orange County hockey anthem. As well as singularly beautiful versions of the Ivan Lins classic, ‘Love Dance’, vibist Joe Locke’s Bobby Hutcherson tribute ‘A Little More Each Day’ and the Gordon Jenkins/Johnny Mercer standard, ‘P.S I Love You’, there are deeply swinging takes on Curtis Lewis’s ‘The Great City’ and Roc Hillman’s ‘Come Runnin’ (Martin’s own homages to Shirley Horn and Lena Horne respectively), there are stellar re-imaginings of Joni Mitchell’s ‘You Dream Flat Tires’, Michael Franks’ ‘Rainy Night in Tokyo’, plus John Surman and Karin Krog’s enchantingly folk-like ‘Cherry Tree Song’. The Best Albums of 2019 Plus the best songs. TWELVE JAZZ GUITAR ALBUMS YOU SHOULD HEAR. The players contribute an original each, the other seven tracks visit jazz sources from Coltrane and Ellington to Ornette, Stevie Wonder’s ‘Sir Duke’, and Israeli composer Alexander Argov’s pretty lullaby ‘Shir Eres’ – so this is a set rooted in orthodox song-forms, but the imaginativeness of the playing transforms them all. Review: Dudamel’s bittersweet L.A. Phil gala delivers star power and most moving moments. The 50th anniversary of one of the seminal groups to have emerged from post-war America is a timely reminder of its epic journey of daring experimentation and collaboration. The rebirth of cool has seen a massive spike in young jazz audiences, with Spotify revealing that 40% of jazz listening is done by people under 30.This is all thanks to the daring, urgent, and often politically minded genius of the artists below. If this isn’t a candidate for record of the year from many reviewers, I’ll be very surprised. It’s quite scary at times, and that’s what Worlds Collide is about”, Bill Frisell (g), Luke Bergman (g, b), Hank Roberts (clo, v) and Petra Haden (v). Perhaps most impressively, Croker has also edited performances so that the 10 tracks make a running time under 45 minutes – one side of a trusty C-90 – so the material is well paced towards the climactic closer ‘Understand Yourself’, which has an imperious, strikingly conscious vocal from Jamaican reggae sensation Chronixx. All the virtuosity of a formidable transatlantic horn and rhythm section comprising Jason Palmer, Rez Abassi, John O’Gallagher, George Crowley and John Escreet, among others, is well channelled into music that, often in odd meters, maintains a distinct quality of dance. There is a similarly intelligent blend of soulful melodies and hard-edged rhythms, finessed by the engineering of Bob Power, who worked with Hargrove’s star collaborators, Erykah Badu and D’Angelo. The heads-playing is occasionally a little ragged (though in an Ornette/Cherry good way), but this is a meeting of hearts and minds. When Roberts confides that “memory is a most unusual thing”, she is really homing in on the heart and soul of the project, and it is to her credit that the complexity of the subject matter has been matched by the intricacy of the composing and arranging. And then dad Charlie of course, who sung on that show as a nipper, went on to become an iconic figure in jazz. Clockwise from … What binds all of the music together is Simcock’s fulsome tone, clarity of line and the way in which his seemingly effortless pianism carves out hugely satisfying harmonic journeys. Rec. John Patitucci, Soul of the Bass (self-released) Release date: April 5. As exemplified on the fine opening track, ‘Another London’, Janisch’s band also fashions ear-catching textures by drawing on vocabulary that may have been once decried but could be creeping back into fashion, such as the string-like synthesizer pads of late 1970s/80s fusion. July 6, 2020 | by Rusty Aceves. November 2018. The Weeknd says he “wouldn’t bet on” seeing any guests during his Super Bowl LV halftime show Sunday. The process for getting a COVID-19 vaccine varies county to county. This is more about composition and Mehldau’s analogue synth sounds, which this time largely take on a more understated, ambient role. On this, Lance Bryant catches exactly the timing and phrasing of the South African masters, and turns in a really outstanding performance on tenor saxophone, genuinely, as Ibrahim puts it, ‘singing a song’. It’s grounded, harks back to the tradition, looks forward to new ideas, yet has a confident perfection that is extremely rare. Experimental; Jazz; by: Daniel Felsenthal; January 19 2021. In real terms, that means bursts of thought-provoking, contemporary spoken word and additional tonal density through the rumble and gurgle of percussion ignited by Senegalese djembe drummer Dudu Kouaté, who brings a fiercely sustained drive to the rhythm section. Photos by … ‘Conversation Among The Ruins’ (written by Calderazzo) has not only a dazzling piano solo but some delicately poised playing from Marsalis on soprano that isn’t afraid to explore beauty and melodic richness. Nick Hasted, ➜ Read our Cassie Kinoshi interview: 'I feel like, in Britain, we don’t like to acknowledge the problems we have', Michael Janisch (b, el b), George Crowley (ts), John O’Gallagher (as), Jason Palmer (t), Rez Abassi (g), John Escreet (p, ky), Andrew Bain and Clarence Penn (d). His three solo improvisations offer a very different level of emotional depth, being introvert and involving. There’s a contrast with the slightly otherworldly ‘Tuang Guru’, where Jackson (who played cello on ‘Jabula’) resumes his regular place on bass and underpins the movement of this work from the back catalogue with nimble rapid-fire bass-lines. John Fordham, Bugge Wesseltoft (p, ky), Dan Berglund (b) and Magnus Öström (d). Both the trumpeter Ambrose Akinmusire and underrated tenorist Joel Frahm make their mark with superb solo cameos, the latter’s charged up with fiery menace. AllMusic has assembled our Best of 2019. But, as an early admirer of Bud Powell and Bill Evans, Corea has regularly returned to trio line-ups, and this one (with bass maestro Christian McBride and drummer Brian Blade) deservedly brought him two Grammys in 2014 for the first of its Trilogy sessions. This is a gorgeous set – another delicate exploration of brass tonality, restrained improv eloquence and quiet empathy from the New York-based Israeli trumpeter Avishai Cohen and his long-time piano partner Yonathan Avishai – the latter also an inspired foil for Cohen’s lyricism and flawless control on the trumpeter’s recent ECM triumphs, Into The Silence, and Cross My Palm With Silver. Another year of great music is in the books. Jenny Scheinman & Allison Miller, “Parlour Game” (Royal Potato Family)A spinoff of Miller’s hard-hitting Boom Tic Boom project, this quartet works a rich seam connecting jazz and Americana led by Sheinman’s dynamic violin and Miller, who in recent years has cemented her reputation as one of the most vital drummers in jazz. Here are the 25 best contemporary jazz albums of the 2010s. The music, as well as the struggle, continues. The heart of the album is in the ballad playing. Recommended to you based on your activity and what's popular • Feedback This is an album that will entice you to get on the dance floor but also pushes a surprising emotional depth. Kevin Le Gendre, Alice Zawadzki (v, vn, p, ky), Fred Thomas (p, d, ky, perc, clo, db), Rob Luft (g), Misha Mullov-Abbado (db), Hyelim Kim (taegum), Simmy Singh (vn), Laura Senior, Lucy Nolan (vla) and Peggy Nolan (clo). Rec. In these recordings, familiar instruments extended their capacity for taking listeners to unexpected places while providing a timeless reminder that the boldest creative expression sounds like freedom — and, as such, resistance. Lacking the obvious thematic baggage elsewhere, that tune floats free into its own atmosphere. French rocker Thomas Mars and his band go way back with Sofia Coppola. Olivia Rodrigo sings ‘Drivers License’ live for first time. The Branford Marsalis Quartet (left to right: Marsalis, Justin Faulkner, Eric Revis, and Joey Calderazzo) made the best jazz album of 2019, according to JazzTimes‘ critics. If your back catalogue with Ekaya includes such essential albums as The Mountain and Water From An Ancient Well, then the excellence of your own work makes you a hard act to follow. I want it to move me”. Stop signs! Herne Hill, While a grand scale of ideas has become one of AEC’s signes particuliers the group also excels on folk-like laments, such as the popular ‘Odwalla’, the reprise of which is as affecting as ever. Though Cassie Kinoshi is fully aware of 1960s American civil rights suites such as her alto icon Jackie McLean’s It’s Time!, they didn’t directly influence this debut, with its distinctly British roots and concerns. That outgoing mood is sustained in Monk’s ‘Skippy’ with Guyton’s piccolo making the running. Delivering a feverish mix of jazz, gospel and hip-hop that at various points evokes Pharaoh Sanders and Public Enemy, Locks clearly has his eye on the future but in harnessing a swirling sound of uplift and activism has created an album that feels engineered for this moment. date not stated. The ensemble instrumental palette is an eclectic one, and the soundscape is agitated and ominous in places but for the most part is dream-like, kaleidoscopic, and a bit trippy. Rec. A cornucopia of delights. But Kinoshi’s debut bursts with often achieved ambition, and time is on her side. This follow-up to Simcock’s Mercury Prize-shortlisted 2011 ACT debut, the brilliant Good Days At Schloss Elmau, was penned primarily on the road while the pianist was touring the world as part of the Pat Metheny Quartet. If you played this spaciously exploratory album without investigating its origins, you might disrespectfully ponder if Joe Lovano had moved into sound-of-silence ECM territory as an audience-building variant on his more familiar avant-bop and world-musical agendas. Wesseltoft is really at home here, creatively shifting around sci-fi like synth-centred soundscapes, tastefully funky Fender Rhodes and meditative acoustic piano. With star names, newcomers and a few jazz legends, our end-of-year Top 20s demonstrate peak creativity levels among contemporary artists, as well as archival aces aplenty. Great swaths of this music still swing like Count … May 28-30 2018. And within its catchy, funky setting, this track manages to combine moments of improvisational freedom, perfectly demonstrating why this is one of the most compelling live bands on the planet. John Fordham. Featuring new lyrics by Imogen Ryall to an Andy Bey scat solo, the title-track, ‘Believin’ It’, crystallises all of Martin’s outstanding qualities: infallible pocket, dazzling technique, lustrous timbre and phrasing to die for. Moreover, he is in the producer’s chair and his programming and effects bring additional nuance to the mix, filtering and thinning out a vocal to make it a touch more wistful, or drawing a sensual digital muffle over some of the synthesizer parts. Worthily dull it’s not. We’ll all tip our hat to that: but what’s the music like? 2018. December 11, 2019 Comparing the year in jazz to that of 2018 is a little like comparing this year in metal. Diatom Ribbons, by Kris Davis (center) was selected as the No. Kevin Le Gendre, ➜ Read our Michael Janisch interview: “People have become so tribal, which is what humans do anyway. This is Frisell in his purest, Johnny Smith mode: a tone to die for and a collaborator in Morgan who is mindful of each and every Frisellian twist, turn and harmonic finesse. The programming is well thought through, with a sumptuously romantic ‘Save The Last Dance For Me’, followed by the freest cut of the set, a gnarly but not alienating ‘Mumbo Jumbo’, before we revel in the dramatics of ‘You Only Live Twice’ and a melancholic but life-affirming ‘Lush Life’. Ten original, wildly different tunes are buoyed by a band of young London Turks including guitarist Rob Luft and double-bassist Misha Mullov-Abbado, who play, tease and solo their way through the likes of the eponymous opener, in which Zawadzki’s clarion voice tells of regeneration and rebirth; a bittersweet, time-bending ballad, ‘Keeper’, and a long psychedelic instrumental suitably titled ‘Twisty Moon’.