Archive for the 2019 Grammys Category

2019 Jazz Grammys Overview: Best Jazz Instrumental Album

Posted in 2019 Grammys with tags , , , , , , , , , , , on February 9, 2019 by curtjazz

BEST JAZZ INSTRUMENTAL ALBUM

In the second of the two biggest jazz categories, we have a race between a great saxophonist who is finally earning a little recognition; two of the finest pianists working today; a respected veteran who is still getting it done and a true legend, admired and respected by all.

The nominees are:

DIAMOND CUT
Tia Fuller

The crackle from the moment her alto enters…twenty seconds into the first tune (“In the Trenches”), I had that feeling that this album was going to be a great one. Ms. Tia Fuller has been on the scene for over a decade. She has paid the bills for a while, working with Beyonce’s road band, but whenever she steps into the studio under her own name, she is an unapologetic jazz player. She hadn’t released a project in six years, prior to Diamond Cut. She has been missed. This project is different in many ways, from her previous four albums; for one thing, it is produced by the amazing Terri Lyne Carrington. For another, there’s no piano. Guitarist Adam Rogers handles the chordal duties. And, there are two different bass/drum duos, splitting the work; James Genus and Bill Stewart are one set and the other two, you may have heard of: Dave Holland and Jack DeJohnette. As for Ms. Fuller’s sound, clearly, the Berklee professor was ready to take everyone to school. She masters what she needs to be in that moment; she is at turns, gritty, soulful and even a bit on the outside. Diamond Cut is a very strong album and Ms. Fuller deserves her first Grammy nomination for it. However, this category also features someone who has been making great music since before Tia was born. Most likely, it will be his night.


LIVE IN EUROPE
Fred Hersch Trio

This Fred Hersch album has been nominated for two Grammys. The odds of Hersch winning either are fairly long, despite the fact that it is another excellent disc, from one of the finest pianists of our time. What is the problem? Part of it may be timing; Mr. Hersch seems to often run up against a hot project that has caught the attention of the jazz public and media. When this happens, other master musicians, like Hersch, get lost in the noise. Another issue may be his steady excellence. Hersch is not flashy. Even though he wrote an interesting and well received autobiography in 2017, and he has had some fascinating life issues over the past few years, he still generally, flies under the radar. Fred Hersch is so uniformly good, that he is taken for granted. He has been nominated for 14 Grammys. Hopefully, the voters will wise up soon. This year, I don’t think it will be in this category.


SEYMOUR READS THE CONSTITUTION!
Brad Mehldau Trio

The story behind this album’s title, is as interesting as it should be. Apparently, Mr. Mehldau has a dream, in which the late, Oscar winning actor, Seymour Phillip Hoffman, was reading the U.S. Constitution. The tune that Mehldau heard, accompanying Hoffman’s voice, became the inspiration for the title track. Despite the odd title, Seymour Reads the Constitution!, is the most accessible album that I’ve heard from Brad Mehldau, in quite a while. The trio swings hard through a collection of originals, standards, minor jazz classics and Beach Boys tunes (yes, you heard right), with gusto and without condescension. Like Hersch, Mehldau is double nominated for this album (his 9th, without a win, so far). It’s fine work but he’s likely to run into a “Shorter” wall here. In the Best Instrumental Solo category, however, he’s got a good shot.


STILL DREAMING
Joshua Redman, Ron Miles, Scott Colley & Brian Blade

I can’t believe that the saxophone wunderkind of the 90’s, Joshua Redman, has just turned 50. I can believe that he is still evolving and getting stronger at his craft, more than 25 years after he first floored us jazzheads with his debut album. Though he is the son of a famed avant-gardist, his early years were deeply in the tradition (as I’m sure Warner Bros. wanted it). On this latest album, which garnered his seventh nomination, he pays tribute to his dad, Dewey, and Old and New Dreams, a group that Dewey played in, from the mid 70’s through the mid 80’s. That group, which also included legends Charlie Haden and Don Cherry, itself paid homage to their mentor, the patron saint of avant-garde jazz, Ornette Coleman. Still Dreaming is excellent, start to finish – terrific compositions and it stretches the boundaries of form, without completely breaking them. It is similar to Christian McBride’s New Jawn album, also from last year. I confess that I only gave this album a passing listen upon its release, but now that I’ve returned to it, I truly dig it, a lot. Perhaps it should have been on my Best of 2018 list. However, we are talking Grammy here, folks. Redman has never won one. He is a respected veteran and his star has stretched outside of the insular jazz world at times, over the past quarter century. But, due to the presence of our next nominee, I’m afraid that his wait is likely to extend beyond this weekend.


EMANON
The Wayne Shorter Quartet

Wayne Shorter is a true musical legend. He one of the greatest jazz saxophonists and composers of our time. In addition to his work as a leader, he has been an integral part of three of the greatest groups in jazz history. He has created transcendent musical art in every decade since the early 1960s. He has been nominated for a Grammy 21 times and has, so far, won 10, including a Lifetime Achievement Award, in 2015. He is also now 85 years old. So no one would blame Wayne Shorter, if he were to simply sit back, at this point and collect all of the accolades that are due to him, no one would be upset. So what does he do? He creates a symphonic masterpiece and releases it, in an epic three CD (God only knows how many LP) set, that includes a graphic novel. These new and challenging compositions are performed by a symphony orchestra and then live, by his current working quartet! Emanon is a brilliant work of musical art (I confess that I have not yet seen the graphic novel). I hope that Mr. Shorter has more in him and keeps sharing it with us, for at least another 20 years. If, as some have said, this is his final work, then it is a towering valedictory. Will he win this Grammy? Ummm, Yeah.

As for the opinions and unscientific predictions:

Should have been nominated:

Origami Harvest – Ambrose Akinmusire; Both Directions at Once (The Lost Album) – John Coltrane; The Future is Female – Roxy Coss

Who should win: Wayne Shorter

Who will win: Wayne Shorter

I would not be disappointed to see them win: Tia Fuller

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2019 Jazz Grammys Overview: Best Jazz Vocal Album

Posted in 2019 Grammys with tags , , , , , , , , , , , on February 7, 2019 by curtjazz

BEST JAZZ VOCAL ALBUM

An eclectic group in this category, this year. It includes two past winners, who must be considered the favorites. There is also a veteran performer, a member of a legendary musical family, who is still seeking his first Grammy in a career that has spanned over half a century.

The nominees are:

MY MOOD IS YOU
Freddy Cole

Truth be told, I am rooting like mad for Freddy Cole to win this Grammy. But realistically, I don’t think that it will happen. Though he has done some very fine work over his 55-year career as a recording artist, he has, like it or not, always been in the massive shadow of his legendary older brother. At 87, this is his fourth Grammy nomination, all of them since 2000. Why don’t I think he will win, even though he is clearly a sentimental favorite? In the jazz categories, Grammy has never been that sentimental, unless you are a virtual household name (Miles; Herbie; Chick; Rollins, etc.). And Mr. Cole is undeservedly still relatively obscure, outside of the jazz world. A lot of the voters are not going to know him. Musically, My Mood is You is very good but not great. At this point, the slight gravel in his baritone voice (which in his early days, was eerily like his brother’s), has become more pronounced. He will now often talk his way around phrases that he used to glide through. Still, he gives every young jazz and pop singer a master class in phrasing and interpretation, especially on the ballads. The poignant, “I’ll Always Leave the Door a Little Open”, ranks among the top 10 recorded performances, ever. Grammy, I want you to prove me wrong and give this award to Freddy Cole.


THE QUESTIONS
Kurt Elling

Kurt Elling has been nominated for 13 Grammys, winning in this category, in 2009, for his excellent Hartman/Coltrane tribute album.  I admired his work on The Questions, an album with a reflective, pop-rock undertone, on which he reimagines tunes by Peter Gabriel, Paul Simon, Bob Dylan and Jaco Pastorius, among others. There is impressive solo work by Branford Marsalis, who also co-produced and by the rising trumpet star, Marquis Hill. Again, this was an album, that personally, I admired but didn’t love. It is very well played and earnestly delivered, but I missed Elling’s casual swing and the wry humor that he brings to most of his work. This was by design and an artist of his stature is more than entitled to move outside of the box, when he chooses. Given his past win and his strong name recognition, he has solid chance of picking up Grammy number two on Sunday. I can see only one nominee beating him out.


THE SUBJECT TONIGHT IS LOVE
Kate McGarry With Keith Ganz & Gary Versace

This Kate McGarry’s second Grammy nomination. The first was ten years ago, in this same category. I’ve been a fan of Ms. McGarry and her easy going jazz/coffeehouse sound, since reviewing her 2007 album, The Target for Jazz Inside Magazine. This album, which was recorded with the backing of Keith Ganz on guitar/bass and Gary Versace on organ/accordion is beautifully intimate, as is quite appropriate on a work that deals with love, in all of its phases and forms. There is nothing sappy about the love songs here; this is a bright and fun work. Will it win a Grammy? Probably not. Even in the jazz world, indie projects rarely win the trophy, even if they are nominated, which is very unfortunate. So I absolutely suggest that you add this project to your collection but don’t expect to see them picking up the award.


IF YOU REALLY WANT
Raul Midón With the Metropole Orkest Conducted By Vince Mendoza

On this album, his second in a row to be nominated, Raul Midón steps fully into the pop-jazz territory that was owned by the late Al Jarreau, for the last 25 years of his illustrious career. He sounds like Jarreau, phrases like him and now, he has even recorded an album with Metropole Orkest, the Dutch powerhouse aggregation, that backed Jarreau on his last Grammy winning album, in 2012. Mr. Midón and this band were made for each other. Their big brassy sound wraps around his joyous tenor, like a glove. With a little more promotional push, this album will be a huge seller in the contemporary jazz market. It is filled with infectious hooks, punchy brass and Midón’s soaring vocals and “Al Con Salsa” scatting. However, in spite of all of that, I think Raul will go home empty handed, for the second year in a row. There is too much strong and better known competition. But this cat is going to hit paydirt soon, trust and believe.


THE WINDOW
Cécile McLorin Salvant

The defending champ in this category. Every one of her major label releases has been nominated for this award and the last two of them (For One to Love and Dreams and Daggers), have gone home winners. She is one of the most popular traditional jazz singers on the scene today, she has strong name recognition, she is a prodigiously gifted vocalist and you know what else? This album is damn good. For the most part, it’s just Ms. McLorin Salvant and the piano of Sullivan Fortner, having glorious conversations. Some were recorded in the studio and some in jazz’s cathedral; the Village Vanguard. She covers everyone, from Stevie Wonder to Bessie Smith to Leonard Bernstein and beyond. But stay until the end, because McLorin Salvant and Fortner are joined by the marvelous Melissa Aldana, on tenor saxophone, for a stunning version of Jimmy Rowles’ jazz classic “The Peacocks”. Yeah. If she doesn’t make it 3 out of 4, it will be a pretty big upset.

The comments and unscientific predictions:

Should have been nominated (and I feel very strongly about it): The Genius of Eddie Jefferson – Alan Harris; Some of That Sunshine – Karrin Allyson; Unbroken – Tiffany Austin

Should Win: Cécile McLorin Salvant

Will Win: Cécile McLorin Salvant

I Will Be Thrilled if They Do Win: Freddy Cole

2019 Jazz Grammys Overview: Best Improvised Jazz Solo

Posted in 2019 Grammys with tags , , , , , , , , , , , , , on February 4, 2019 by curtjazz

We’re about a week out from the 2019 Grammys, which will be held on Sunday February 10. As is now customary, the jazz awards will be presented during the Premiere Ceremony, which is streamed live before the televised show.

As is also now relatively customary, I like to take a look at each of the jazz category nominees and make my comments and totally unscientific (but usually accurate) predictions.

Lets start with the category that is closest to Record of the Year, for jazz. “Best Improvised Jazz Solo”

The nominees are:


SOME OF THAT SUNSHINE
Regina Carter, soloist
Track from: Some Of That Sunshine (Karrin Allyson)

First off, the fact that the album that this track comes from, Karrin Allyson’s Some of That Sunshine, is not nominated for the Jazz Vocal Album Grammy, is a crime, in itself. Nevertheless, I’m happy to see it get some recognition, through violinist Regina Carter, doing her usual impeccable work in a solo as a guest on the easily swinging title track. First with a joyous pizzicato, followed by bowing, and then trading fours with a scatting Ms. Allyson in the fade-out, Ms. Carter’s work is the cherry on top a beautiful musical sundae. Due to the lack of name recognition and the fact that this is an indie production, it is not likely to take home the trophy but I would not be at all disappointed if it did.

There is no clip of Regina Carter performing “Some of That Sunshine”, but here’s a nice one of Karrin Allyson & her trio, swingin’ it at WBGO


DON’T FENCE ME IN
John Daversa, soloist
Track from: American Dreamers: Voices Of Hope, Music Of Freedom (John Daversa Big Band Featuring DACA Artists)

I love the concept of this album, on which trumpeter John Daversa’s Big Band is comprised mostly of “Dreamers” young people who came to the United States as children under DACA, and now face potential deportation as adults due the current political nonsense. That said, I don’t love this track, nor am I fond of Mr. Daversa’s performance on it. I get why this old Gene Autry tune was re-purposed for this particular album (the irony is quite rich) but the arrangement is messy and unfocused. I think this track arrived in this category on the coattails of the album, American Dreamers, which is also nominated for the Best Large Jazz Ensemble Grammy. While I wish them the best, I think that there are far more deserving nominees.

WE SEE: Fred Hersch – Soloist

Track from the album Live in Europe (Fred Hersch Trio)

Fred Hersch, is one of our generation’s finest jazz pianists. Because of this, he has earned 14 Grammy nominations, over the course of his career. Fred Hersch also happens to during a time in which cats named Corea, Hancock and Shorter, among others, are still actively working and recording. As much as we hate to admit it, in the Grammy world, your chances of winning are directly proportional to your name recognition. “We See” is a terrific performance, of the Monk classic tune, off of a very fine Hersch album, Live in Europewhich is also nominated in the Best Jazz Instrumental Album category. Without any of those name recognition giants around to suck up the oxygen and with 14 nominations to get his name into the minds of the voters, I’d say that Mr. Hersch has a legitimate shot at winning in this category. The only one potentially in his way, is our next nominee.

DE-DAH
Brad Mehldau, soloist
Track from: Seymour Reads The Constitution! (Brad Mehldau Trio)

Brad Mehldau has been on the jazz scene for over two decades, as a sideman, leader and soloist but like Fred Hersch, he has also been overshadowed by the cats with greater name recognition. Like Hersch, he also has a large number of Grammy nominations (nine), without any hardware to show for it. This nominated track was also written by a great jazz composer, albeit one who has never gotten the recognition he deserved (Elmo Hope), and the album from which the track is pulled, Seymour Reads the Constitution!, is also nominated for Best Jazz Instrumental Album. So in this tight race, I give the nod to Mehldau. It’s a longer track, which gives Mr. Mehldau more of a chance to stretch out and show his considerable skills. It also swings in an ingratiating manner, which will make it easier on the ears of a potential voter, who may be inexperienced in jazz idioms. I’m not surprised if it goes either way but I expect it to be Brad Mehldau, by a nose.

CADENAS
Miguel Zenón, soloist
Track from: Yo Soy La Tradición (Miguel Zenón Featuring Spektral Quartet)

Another of our double nominees competing in this category Mr. Zenón has been making some incredible music over the last decade, much of it celebrating his Puerto Rican heritage and a rich musical tradition, beyond the popular rhythms of salsa. On the album Yo Soy La Tradición , as well as on this selection, “Cadenas”, Zenón weaves the sound of his alto sax, into, through and around the rich colorings of the Spektral [String] Quartet. This is the most different and musically compelling of the nominated pieces, by far. There is something new to discover on each of the dozen or so times, that I have heard it. The album itself, is nominated for Best Latin Jazz Album, bringing the career total of Mr. Zenón’s nominations to seven. It would be a deserving winner in either category but sadly, I don’t think it will happen.

My unscientific comments and predictions

Should have been nominated (but wasn’t): “Females are Strong as Hell”; Roxy Coss, soloist; Track from The Future is Female; “Untitled Original 11383 (Take 1)”; John Coltrane, soloist; Track from Both Directions at Once [The Lost Album] “DPW”; Kenny Barron, soloist; Track from Concentric Circles

Should Win: Miguel Zenon

Will Win: Brad Mehldau

It would be nice if they did win: Regina Carter/Karrin Allyson

2019 Jazz Grammy Nominations

Posted in 2019 Grammys with tags , , , , , , , , , , , , , on January 12, 2019 by curtjazz

Usually I drop this list of jazz (and jazz-related) nominees, on the day of the nominations but we’re still about a month from the awards, so I figured I still had some time.

Interesting mix this year of nominees; some usual suspects and some first-timers. I will be dropping my thoughts and predictions for each category, periodically, over the next few weeks, leading up to the ceremony on Sunday, February 10.

The nominees are:

Best Improvised Jazz Solo
For an instrumental jazz solo performance. Two equal performers on one recording may be eligible as one entry. If the soloist listed appears on a recording billed to another artist, the latter’s name is in parenthesis for identification. Singles or Tracks only.

SOME OF THAT SUNSHINE
Regina Carter, soloist
Track from: Some Of That Sunshine (Karrin Allyson)

DON’T FENCE ME IN
John Daversa, soloist
Track from: American Dreamers: Voices Of Hope, Music Of Freedom (John Daversa Big Band Featuring DACA Artists)

WE SEE
Fred Hersch, soloists

DE-DAH
Brad Mehldau, soloist
Track from: Seymour Reads The Constitution! (Brad Mehldau Trio)

CADENAS
Miguel Zenón, soloist
Track from: Yo Soy La Tradición (Miguel Zenón Featuring Spektral Quartet)

Best Jazz Vocal Album

MY MOOD IS YOU
Freddy Cole

THE QUESTIONS
Kurt Elling

THE SUBJECT TONIGHT IS LOVE
Kate McGarry, Keith Ganz, Gary Versace

IF YOU REALLY WANT
Raul Midón With The Metropole Orkest Conducted By Vince Mendoza

THE WINDOW
Cécile McLorin Salvant

Best Jazz Instrumental Album

DIAMOND CUT
Tia Fuller

LIVE IN EUROPE
Fred Hersch Trio

SEYMOUR READS THE CONSTITUTION!
Brad Mehldau Trio

STILL DREAMING
Joshua Redman, Ron Miles, Scott Colley & Brian Blade

EMANON
The Wayne Shorter Quartet

Best Large Jazz Ensemble Album

ALL ABOUT THAT BASIE
The Count Basie Orchestra Directed By Scotty Barnhart

AMERICAN DREAMERS: VOICES OF HOPE, MUSIC OF FREEDOM
John Daversa Big Band Featuring DACA Artists

PRESENCE
Orrin Evans And The Captain Black Big Band

ALL CAN WORK
John Hollenbeck Large Ensemble

BAREFOOT DANCES AND OTHER VISIONS
Jim McNeely & The Frankfurt Radio Big Band

Best Latin Jazz Album
The intent of this category is to recognize recordings that represent the blending of jazz with Latin, Iberian-American, Brazilian, and Argentinian tango music.

HEART OF BRAZIL
Eddie Daniels

BACK TO THE SUNSET
Dafnis Prieto Big Band

WEST SIDE STORY REIMAGINED
Bobby Sanabria Multiverse Big Band

CINQUE
Elio Villafranca

YO SOY LA TRADICIÓN
Miguel Zenón Featuring Spektral Quartet

Best Contemporary Instrumental Album
(aka Best Contemporary Jazz Album)

THE EMANCIPATION PROCRASTINATION
Christian Scott aTunde Adjuah

STEVE GADD BAND
Steve Gadd Band

MODERN LORE
Julian Lage

LAID BLACK
Marcus Miller

PROTOCOL 4
Simon Phillips

Best Instrumental Composition
A Composer’s Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.

BLUT UND BODEN (BLOOD AND SOIL)
Terence Blanchard, composer (Terence Blanchard)

CHRYSALIS
Jeremy Kittel, composer (Kittel & Co.)

INFINITY WAR
Alan Silverstri, composer (Alan Silvestri)

MINE MISSION
John Powell & John Williams, composers (John Powell & John Williams)

THE SHAPE OF WATER
Alexandre Desplat, composer (Alexandre Desplat)

Best Arrangement, Instrumental or A Cappella
An Arranger’s Award. (Artist names appear in parentheses.) Singles or Tracks only.

BATMAN THEME (TV)
Randy Waldman & Justin Wilson, arrangers (Randy Waldman Featuring Wynton Marsalis)

CHANGE THE WORLD
Mark Kibble, arranger (Take 6)

MADRID FINALE
John Powell, arranger (John Powell)

THE SHAPE OF WATER
Alexandre Desplat, arranger (Alexandre Desplat)

STARS AND STRIPES FOREVER
John Daversa, arranger (John Daversa Big Band Featuring DACA Artists)

Best Arrangement, Instruments and Vocals
An Arranger’s Award. (Artist names appear in parentheses.) Singles or Tracks only.

IT WAS A VERY GOOD YEAR
Matt Rollings & Kristin Wilkinson, arrangers (Willie Nelson)

JOLENE
Dan Pugach & Nicole Zuraitis, arrangers (Dan Pugach)

MONA LISA
Vince Mendoza, arranger (Gregory Porter)

NIÑA
Gonzalo Grau, arranger (Magos Herrera & Brooklyn Rider)

SPIDERMAN THEME
Mark Kibble, Randy Waldman & Justin Wilson, arrangers (Randy Waldman Featuring Take 6 & Chris Potter)