She is the most exciting new artist that I have heard in Afro-Cuban music in at least a decade.
I first heard her in the fall of 2017, when her U.S. label sent me a copy of Mi Mundo, her debut album as a solo artist. I don’t know what excited me more, her passionate vocals or her mastery of multiple percussion instruments. Though the official release date of her CD was not until January 2018, I decided to, in my excitement, include Mi Mundo on my list of the Best Jazz Albums of 2017. I could have easily included it on my 2018 list as well.
A native of Cuba, Ms. Navarrete has been making her mark in her homeland, since the age of 9. She grew up in a musical home where in addition to the legends of her native island, such as Benny More, Celia Cruz and Celeste Mendoza, she was also exposed to and gravitated to the music of American jazz artists, like Nat King Cole, John Coltrane, Miles Davis, Sarah Vaughan, Cassandra Wilson and Take 6.
In 2010, Brenda won a national competition during Cuba’s prestigious Fiesta del Tambor, wining first prize in the category of Bata drums, as well as for best interpretation by a female artist. She quickly came to the attention of modern Cuban greats such as Roberto Carcasses, Joaquin Betancourt and Alain Perez, who put her right to work in their groups. In a field that is dominated by men, Ms. Brenda Navarrete has quickly set herself apart from the pack.
As for Mi Mundo, which was recorded in Havana, I will simply quote my own words from my 2017 year-end review: “I was floored from the first notes of “Baba Eleggua”, as in this young woman’s playing and vocalizing, I felt the spirits of Carlos “Patato” Valdes and Armando Peraza. Yes, she is that good. The album, which includes four of Brenda’s compositions, is deeply rooted in Afro-Cuban traditions, with a touch of modern influences, such as American R&B. Her version of “Caravan”, is a killer, as is her original, “Rumbero Como Yo”, with its multi-tracked vocal line. She demonstrates her jazz chops on “A Ochun”, with its flute driven mid-section and a call and response finish, over insistent jazz chords. There’s not a bad track here… A very impressive instrumental and vocal debut.“
Alma Records recently released a rather captivating and sensual video clip of “Mulata Linda”, one of the tracks from Mi Mundo. I also came across a wonderful clip of Ms. Brenda from the summer of 2018, as she opened the “Havana Meets Kingston” concert, at Royal Albert Hall, in London. I hope you enjoy them both.
Click on the links throughout this post to get your own copy of Mi Mundo You can also hear several tracks from the album, now in heavy rotation on CurtJazz Radio. To listen click HERE.
Our last look at 2017, covers six more fine instrumental albums; from a living legend, who just keeps getting it done; a thrilling young Cuban percussionist/vocalist; a drummer who has been setting the world on fire; a venerable jazz label, restocking for the future, and an exciting young vibraphonist, who has come of age.
The master percussionist drops a fine album of modern jazz, in a totally acoustic setting. The first thing that caught my attention was the pacing; though it is far from languid, it never feels rushed. It is Guiliana’s album but he leads, while never overpowering his sidemen, as will sometimes happen on drummer albums. The revelation for me, is the fine tenor work of Jason Rigby, a powerful player, who to these ears, sounds like frequent Guiliana collaborator Donny McCaslin, filtered through Stan Getz. There are a couple of strong Morrisey penned tracks (“Mayor of Rotterdam” is my fave), another with a swinging, melodic hook, that I have been unable to get out of my head (“Big Rig Jones”) and a David Bowie tune (“Where are We Now”), in a beautiful and fitting tribute to the late legend, who employed Guiliana as the drummer on his last two albums. Call me a dinosaur, if you must but as much as I appreciate Mr. Guiliana’s electronic, beat based work, I love his group in this situation.
I’m going to stop mentioning Ahmad Jamal’s age, when I speak of his artistry because it is irrelevant. It is not necessary to make any allowances, as he plays circles around some of the so called top cats, who are less than half his age. He has been inspiring jazz musicians for the past seven decades; his ideas and his energy are still fresh and when he hits the pocket, with his regular sidemen; James Cammack (bass), Herlin Riley (drums) and Manolo Badrena (percussion), you know where a lot of these young pianists who claim to be hip-hop influenced, really got their groove from. On this disc, he pays tribute to the French port city, with three different and equally compelling, versions of the title track: an instrumental; a spoken word, featuring French rapper Abd al Malik and a haunting French/English vocal version, by Mina Agossi. “Autumn Leaves” is given a bright Jamal treatment, which rides high on Badrena’s percussion and a quick quote from “Stolen Moments”. There’s also the funkiest version of “…Motherless Child” that I’ve ever heard. All I can say is, Mr. Jamal, keep on doing what you do, for as long as you want to do it!
I must admit that I made a small error with this album. When I first heard it, I was so impressed with Brenda Navarrete’s skill as a percussionist, that I categorized it as an instrumental album, even though every track includes Ms. Navarrete’s vocals. Now that I taken the time to listen to her singing, I realize that in addition to being one of the best young Afro-Cuban percussionists, that I have heard in many years, she is also an impressive vocalist. Mi Mundo is Ms. Navarrete’s debut album as a leader. It was released digitally, in September, though the CD version will not be out until January 2018. Regardless, I was floored from the first notes of “Baba Eleggua”, as in this young woman’s playing and vocalizing, I felt the spirits of Carlos “Patato” Valdes and Armando Peraza. Yes, she is that good. The album, which includes four of Brenda’s compositions, is deeply rooted in Afro-Cuban traditions, with a touch of modern influences, such as American R&B. Her version of “Caravan”, is a killer, as is her original, “Rumbero Como Yo”, with its multi-tracked vocal line. She demonstrates her jazz chops on “A Ochun”, with its flute driven mid-section and a call and response finish, over insistent jazz chords. There’s not a bad track here. My only minor quibble, is the album’s length (a scant 37 minutes). A very impressive instrumental and vocal debut. I pray that stupid politics, will not keep Brenda Navarrete, from being heard by a wider audience.
Six of the best young musicians in jazz today, come together to form a supergroup, in celebration of the 75th Anniversary of arguably, the greatest record label in jazz history, Blue Note Records. Those expecting to hear these young cats rehash the old Blue Note catalog of “hits”, are going to be sorely disappointed. The two-disc set consists mostly of original compositions by these young lions. The music has energy, imperfections and thrills. And it also has a future. It is the sound of great musicians, who have respect for where they have come from but who are trying to create something new, relevant and deeply personal. They are, in the words of the group’s keyboardist/co-producer, Robert Glasper, “Making our own history now”. There are a couple of nods to the label’s storied past, in the appearance of two living legends, Herbie Hancock and Wayne Shorter, on a new (and different) version of Shorter’s “Masqualero”. There is also a thrilling, almost 18-minute-long, version of Shorter’s classic “Witch Hunt”, with the core sextet getting to find out where that great old vehicle, will take them. It takes them to a blazing tenor statement by Marcus Strickland and after a slow start, a terrific trumpet solo by Ambrose Akinmusire. As long as minds can remain open and younger cats like these, can keep finding vehicles for their creativity, the music and this label, will have a bright future.
The latest in a series of fine albums from this veteran guitarist, takes him out of the soul jazz bag that he has been in for a number of years and back into straight ahead territory. It’s his best album in at least a decade. Click HERE to read our full album review.
This up and coming young vibraphonist reaches his potential with this excellent date, inspired, in part, by Joe Henderson’s Blue Note classic, Mode for Joe. Click HERE to read our full album review.
And that’s a wrap for 2017.A reminder of the instrumental albums, on our first half of the year list:
Tracks from all of these albums can be heard on CurtJazz Radio, our new 24/7 Jazz Radio station, on the new Live365.com. Click HERE to listen, it’s free.
Much new music to hear in 2018. Let’s enjoy it together!
Among the first six of the eleven albums and one EP, on our second half of 2017 “Best Of” list: We have one of the great big bands in contemporary jazz, another one that may grab that title, one day; another striking work from an artist who for me, represents jazz’s bright future; and a another interesting concept album, from an artist who never seems to run out of fresh ideas.
Perhaps in emulation of one of his musical heroes, James Brown, bassist Christian McBride has become the hardest working man in jazz. In addition to his killer trio, his small group (Inside Straight), his popular show on Sirius/XM and his appearances as an unofficial ambassador of jazz, Mr. McBride has returned, with his big band, for the first time in six years. And he has returned with a funky vengeance, as Bringin’ It, smokes, from the first notes of the hot, Brown-influenced “Gettin’ to It”, to the last notes of the Steve Davis flag waver, “Optimism”. McBride demonstrates that he has developed into a first-rate large ensemble chart writer, as he arranged nine of the albums eleven tracks and I didn’t hear a false note or a cliché, in any of them. Bringin’ Itis a breath of fresh air, in an often moribund genre. I just hope we don’t have to wait another six years for the next album.
Take six cats, from different parts of the U.S., who are all first-rate composers, arrangers, educators and (of course) musicians; bring them together every few years, in the studio, to kick around some ideas; shake well and you’ve got musical fire. That is Unhinged Sextet; the best little straight-ahead group that you’ve probably never heard of. Their second album, Don’t Blink, picks up where their first, Clarity, left off, except it swings harder and the writing is stronger; those two things alone, put it on my best of list. There are no frills and no stars, just boss level musicians, at the top of their game and playing solid post-bop jazz. Strong solos that are never too long and a good mix of uptempo and ballads. More, please! Now if we could just get them out of the damn studio and on the live stage.
Wynton and the JALCO drop their second outstanding album of the year. Where the first featured one pianist in tribute to the music of another, this one features several great pianists, of all ages, in tribute to the magnificence of the instrument itself. Click HERE to read our full review.
Saxophonist Kamasi Washington’s follow-up to his stunning debut album, Epic, is a lot shorter but every bit as good. Click HERE to read our full review.
There are very few jazz artists working today, who could successfully pull off the marriage of the Prairie Americana of the poetry of Carl Sandburg and the spare rhythms of modern jazz. Percussion master Matt Wilson proves that he is up to the task. He shares a common Illinois background with the great poet and a distant familial relationship, by marriage. He is also a longtime admirer and student of Sandburg, so Mr. Wilson has a personal attachment to the words and he and his group of regular cohorts, create musical bed that fit like a glove. What is ultra-hip is the appearance of some of the biggest jazz artists of today, such as Christian McBride, John Scofield, Joe Lovano, Rufus Reid, Bill Frisell and Carla Bley; not on their instruments but as readers of the words of Sandburg. This is a set that is jazzy, edgy, folksy, spare, lush, humorous and introspective – just like the poetry of the man himself.
One of the great, sleeper discs of 2017. Released on the small AAM label, this terrific date by the veteran Brazilian pianist was easy to miss and I almost did. What a shame that would have been. For I’ve heard Latin/Brazilian interpretations of the great Wayne Shorter’s music many times before but this is the most natural experience of them all. Mr. Adolfo and company have taken Shorter’s music to Rio; trusting their musicianship and the quality of the original material to carry the day. At the keyboard, Mr. Adolfo touch has always reminded me of a Brazilian version of Ahmad Jamal – soulful and swinging but with an overarching lightness of touch. And like Jamal, Adolfo has only gotten better with age. The tunes here come from IMO, Mr. Shorter’s most fertile compositional period, his years with Blue Note. And there are stimulating interpretations of Shorter classics, such as “Footprints”, “Black Nile”, “Speak No Evil” and “E.S.P.”. It is a very personal, very beautiful and very enjoyable, tribute.
The next post will include looks at our final six top instrumental albums of 2017. You can hear tracks from these albums and more, on the new CurtJazz Radio, on Live365.com
I posted my “Best of; Pt. 2”, list a couple of weeks ago, fully expecting to follow quickly with comments on each of the albums. This vicious strain of the flu that is out this season, had other ideas. The last thing I will say about Flu 2017/18, is I haven’t had any bug knock me out like that in at least 20 years. It’s real, it’s quick, and it’s strong; so please take care of yourselves.
Now back to the Music – The five best jazz vocal albums that I heard during the last half of 2017, in alpha order by album title:
Another brilliant work from this vocal master, Code Noir (which takes its title from the infamous French colonial slave laws) is a lush and dreamily soulful album. Don’t let the ethereal qualities lull you into a false sense of relaxation, lest you miss some of the most poignant lyrical messages of Ms. Lundy’s career. The marvelous Patrice Rushen is on the keys, reminding those who may have forgotten, that she is far more than just “Forget Me Nots”. The underrated Jeff Parker plays some dynamite guitar. Listen once (or twice) for the lyrics, then let yourself get lost inside of the marvelous instrument that is Ms. Lundy’s voice. There’s not another one like it today in jazz.
I must keep reminding myself that she is not yet 30 years old. But that’s a frightening statement because it’s also a reminder that, as good as she is, Cecile McLorin Salvant, has still not yet reached her pinnacle. This is her first live album (mostly recorded at the legendary Village Vanguard), a two-disc set and there’s not a dud in the bunch. She is wondrously accomplished, self-assured, captivating and funny and often, she is all of these things, at once. I also loved the fact that there are very few tired old warhorses; Ms. Salvant mines the songbooks of Bob Dorough, Langston Hughes, (a hilariously raunchy) Bessie Smith, and the quirky, tongue in cheek sides of Broadway scores. And she makes them all her own. I will also no longer compare her, even favorably, to some of her legendary forbearers, for Cecile McLorin Salvant, has arrived, on her own terms.
I would love this album, if only for the fact that it once and for all, reclaims Allen Toussaint’s wonderful “Southern Nights” from that crude and misguided megahit Glen Campbell version, after forty years. But there’s so much more here. On her own work, Ms. Wright consistently delivers a beautiful and deeply personal amalgam of jazz, gospel and bluesy folk music. I’ve been listening intently since her impressive 2003 debut, Salt and she has never been better than she is on Grace. It is a starkly beautiful and majestic work of art, with songs by artists as diverse as Ray Charles, Bob Dylan and Sister Rosetta Tharpe. If you love the sacred or the secular, you will be completely filled with Grace.
There were higher profile vocal tributes to the great “King” Cole in 2017 but none were better than this surprising effort from the up and coming Canadian baritone. Ori Dagan keeps proceedings fresh by using his customary sense of humor and by adding 5 of his own compositions, most of which are quite good. In fact, a couple fit in so well, that I assumed that they were quirky, novelty rarities from the King Cole Trio’s heyday, until I read the liner notes. Mr. Dagan also wisely avoids anything that would even approach a perceived impersonation of one of the great voices and stylists of the 20th Century. So, what do we get? We have one of the unique talents of contemporary jazz singing, bringing us his interpretation of some tunes closely and not-so-closely associated with the legend. I like what he was going for, and overall, I loved how it turned out. Plus, he’s got the estimable Sheila Jordan, guesting on a delightful take of “Straighten Up and Fly Right”. Even a Cole fan like me, couldn’t ask for much more.
This album by this husky-voiced vocalist has the most interesting backstory of any on this list: In 1989, Kellye recorded Standards in Gray, her debut album, for Justice Records, a small Houston area label (I loved many of their releases). It received good press and sold relatively well. However, when Justice fell on hard times, the album went out of print. In 2015, 25 years after Standards in Gray’s release, Ms. Gray gained ownership rights to her album. She decided to crowd-fund and produce a live concert/album, in tribute to the original album, including new recordings of some of the tracks on Standards… The result is the terrific Rendering, a 2 CD set, that includes the new live recordings and a copy of the first album.
Ms. Gray had escaped my notice, until this package arrived at my door. Suffice to say, I am very impressed. While Standards in Gray, is a portrait of a young, big voiced singer, with loads of promise, Rendering, shows us that in the ensuing 25 years, Kellye Gray has made the transition from earnest singer to jazz vocalist. That wonderful instrument of hers has developed nuance and a certain bit of inimitability. She has learned her way around and through a song; which makes the live album, very compelling and worthy of multiple listens. The arrangements are first rate, as are her sidemen, including the late drummer Sebastian Whittaker, who played on the first date and poignantly, in one of his last recordings, on the live album as well. If your new to Ms. Gray (like me), my advice is to start with these two albums and work your way back. There’s a lot of fine music there.
And those are my five vocal favorites for the 2nd half of 2017.
A reminder, these were my selections for the 1st half of the year:
There are good and bad things about writing a mid-year “Best of” list, as I did last July: It cuts down your work at year’s end but it also makes it harder to pare that year end list down to a precious few, especially in a year like this, that was filled with great jazz albums, especially on the instrumental side.
Enough of my whining. Here now, is a list of my favorite albums, released in 2017, that I first heard between July and December. As with the previous list, I’ve split them into instrumental and vocals. They are listed in alphabetical order, by album title, not in order of preference. Because all of these living jazz artists would appreciate your support, clicking on the album title will take you to a place where you can purchase the album, with delivery in some cases, before Christmas.
Tracks from all of these albums will be featured, starting on Wednesday, December 27, as we celebrate the Year in Jazz, on CurtJazz Radio, as it returns to the new Live365.com. We are on the air now, with our JazzMas Party (Holiday Jazz), until then. Click HERE to listen. It’s free.
In my book, veteran guitar master Dave Stryker has been on a hot streak of late. The former Jack McDuff and Stanley Turrentine sideman has released a new project in each of the last four years on his own Strikezone label and each has been better than its predecessor. His latest, Strykin’ Ahead, continues that trend.
While Stryker has always been a strong performer in any setting, I’ve personally grown quite fond of the guitar/organ/vibes/drums configuration that he has used on his two “Eight Track” albums as well as on this one. I first fell in love with that sound when I first heard Grant Green’s Street of Dreams, and Big John Patton’s Let ‘Em Roll, some three decades ago. For me, there’s something about this type of quartet sound that’s relaxing, yet energizing.
Set free from the conceptual moorings of the Eight Track and Turrentine tribute dates, Mr. Stryker and his regular cohorts, Jared Gold on organ, McClenty Hunter on drums and vibraphonist Steve Nelson, deliver an eclectic and consistently interesting mix of jazz favorites and Stryker originals. It may sound like a cliché, but there was truly not a bad track on the disc. They hit the ground running with “Shadowboxing”, a hard-charging, Stryker-penned minor blues, and they don’t look back. Stryker’s strong compositional skills are a revelation to me, since I’ve only really become familiar with his work as a leader, over the last five years. “New You”, is a bright and infectious tune, based on the changes of “There Will Never Be Another You”, highlighted by hard swinging solos by Stryker, Nelson and Gold. “Blues Down Deep”, is exactly what the title implies – 100% blues grease, with Stryker holding a séance with the spirits of a pair of Kings (B.B. and Albert), while Gold testifies on the B3. It was the blues, but it made me feel good.
The high points of the cover tunes were a bouncy “Joy Spring”, where I not only appreciated Stryker’s guitar but also Gold’s fine work on the pedals, as he kept a compelling bass line. Nelson is on point on this number as well as throughout the rest of the disc. He is truly a pro’s pro and he is a welcome addition to Stryker’s group. Billy Strayhorn’s “Passion Flower”, gets a nice reworking as a light bossa, with Nelson’s vibes as the star. “Who Can I Turn To”, was a most pleasant surprise. I’ve never cared much for the tune, perhaps owing to the many overwrought vocal versions that I’ve endured over the years. This group turns it into a lovely jazz waltz, with very tasty solos from all involved, especially the leader. Perhaps I’ll give the song another chance.
Strykin’ Ahead is Dave Stryker’s 28th album as a leader and my personal favorite, so far. If you’re unfamiliar with his work, it’s a good place to start. It’s one of the best jazz albums of 2017.
Rating: 5 out of 5 Stars – One of the best Jazz albums of 2017
Cellist Akua Dixon has collaborated with musical greats of numerous genres, from classical to Broadway; from R&B to, of course, jazz. Whatever the idiom, she brings a gorgeous tone and an unfailing sense of lyricism, to the music. On Akua’s Dance, her third project as a leader in the last six years, she plays a baritone violin, which is basically an over-sized cello. The full and present sound of the instrument, along with her hard swinging backing trio, including the welcome addition of guitarists Freddie Bryant and Russell Malone, make this her best solo album, by far. She covers all bases, from fun jazz (“Dizzy’s Smile”), to an irresistible cover of Sade’s “Sweetest Taboo”, to a compelling, worldly-wise vocal on Abbey Lincoln’s “Throw It Away”. This album doesn’t sound like anything else on this list and that’s a great thing.
Portland, OR based Trumpeter/Composer/Educator Farnell Newton is one of the hardest working cats in the music business. Over the last few years, he has released a couple of very strong contemporary jazz projects (Class is Now in Session; Ready to Roll) and a fascinating collection of impromptu improvisations (10 Minute Trumpet Jams). On Back to Earthhe has come home, with his first straight-ahead album in over a decade. And it is pure dynamite. Newton shows off his powerful chops and his flawless sense of swing, in a set of inventive originals, such as the soulful “Gazillionaire” and impressive covers, like a take on Freddie Hubbard’s classic “Arietas”, that does the legend proud. I’ve enjoyed all of Mr. Newton’s work over the years but I know that I will be reaching for Back to Earth, long after the end of 2017.
Like Farnell Newton, saxophonist Chris Greene’s star shines mostly on a regional basis, in this case, it’s Chicago. Regardless of his address, the dude just keeps dropping first-rate projects, that make me wish I lived closer to Chi-town, or that he toured more often. Boundary Issues, is an enjoyable set, that is very accessible but not at all patronizing. Mr. Greene’s saxophone is as rich and inventive as always and I have to give special props to Steve Corley for his next-level drum work. Most memorable track: a Silver meets Marley version of “Nica’s Dream”.
Steve Nelson is one of the three best jazz vibraphonists alive today. But you may not have heard of him because he drops projects under his own name about as often as we experience a solar eclipse. He has spent most of his career elevating the works of others but when he steps out in front, it is an unequivocally special event. His latest album, a quartet date, is no exception. It’s a swinging mix of standards and originals, many of them composed by his friend and frequent musical partner, the late, great pianist, Mulgrew Miller. Brothers Under the Sun, is an elegant, swinging, good time from beginning to end; an exquisite musical statement and a subtle but fitting tribute to a giant who left us too soon.
I love the concept of this album as much as I do the music. Saxophonist Bobby Watson, has created a tribute to a number of influential African Americans; some who are well known, such as Sammy Davis, Jr. and Butterfly McQueen; and a few others, such as Bass Reeves and Major Taylor, who sent even me scrambling to Google more about them. But Made in America is not a dry history lesson; it is a living, energetic, creative and unapologetically jazzy appreciation of those who paved the way, sometimes at great cost. It’s also quite evocative, as Watson has dropped in smile inducing references, such as quoting “Wild Blue Yonder”, in the Wendell Pruitt tribute (“Aviator”) and Lewis Nash “tapping” out the rhythm on “G.O.A.T.” (for Sammy Davis, Jr.). This project succeeds on all levels. Kudos to Mr. Watson and all involved.
John Lewis, the pianist and guiding light of the Modern Jazz Quartet, passed away over 16 years ago. For many, their knowledge of him begins and ends with the MJQ. However, John Lewis was one of the great jazz composers of his time and one of the most affecting blues pianists that I’ve ever heard. The biggest surprise is that it has taken so long for there to be a full-scale, recorded tribute to his music. Perhaps, it’s because only Wynton and the JLCO could do it right. The most pleasant surprise for me, is the stellar work of Jon Batiste on piano. I knew of Mr. Batiste and I knew he had an impressive musical pedigree but, through no one’s fault but mine, I’d mostly heard him in his day job, as musical director for The Late Show with Stephen Colbert. Mr. Batiste, who is just 30, is a fantastic pianist, who embodies Lewis’ elegant swing, while adding a few of his own touches. The JLCO and Mr. Marsalis are of course, at the top of their game, the arrangements are inventive and the Lewis compositions selected, from “Django”, to “Two Bass Hit”, to “Spanish Steps”, are his absolute finest. As prolific as Mr. Lewis was, there is definitely need for a Volume 2 (and 3, for that matter). Let’s hope someone hears me.
This disc appeals to me for so many reasons: First, it’s by Carol Morgan a trumpet player whose picture is in the dictionary under the phrase “criminally obscure”. Second, her front line partner is tenor saxophonist, Joel Frahm, who is next to Ms. Morgan in the aforementioned “photo”. Third, the music is fabulous. Nothing fancy, no big stars or pyrotechnics – it’s just four real pros, (Martin Wind – bass and Matt Wilson – drums, a couple of stellar musicians, round out the quartet – no piano), playing like it was the 2 am set in a small, smoky club. No frills, just damn good music. There are standards of the jazz canon (“Strollin'”, “Night in Tunisia”, “On a Misty Night”), given fresh life. There are also a couple of fine originals from Ms. Morgan’s and Mr. Frahm (“Night”, “Song for Mom”, respectively) that are very worthy additions. As of now, this set is only available via Ms. Morgan’s website (www.carolmorganmusic.com). It’s worth the trip because, while you’re there you might want to sample some of her other fine work.
Christian Sands first came on the jazz scene 15 years ago as a child prodigy who displayed flashes of brilliance that predicted a very bright future. Now at 27, with a number of high profile gigs under his belt, including his current spot as Christian McBride’s pianist of choice; Mr. Sands has dropped, Reach, his first major label album. Suffice to say those early predictions were accurate. His virtuosity on the keys has matured to the point where his runs are truly substantial. His most impressive area of growth is as a composer. Sands wrote 8 of the album’s 10 songs, including impressive tributes to two of his influences; Chick Corea and Bud Powell. He has also composed a killer Latin track (“Oyeme!”) and a head nodding hip-hop groove (“Gangstalude”) . Additionally, there is an ominous, seven minute deconstruction of “Use Me”, the Bill Withers classic, featuring some killer jazz-rock guitar from Gilad Hekselman. Reach is a fine announcement of arrival from this young veteran.
The greatest living bandleader in Latin Jazz has just turned 80 and he shows no signs of slowing down. As befitting someone who has been a major musical figure for six decades, the list of heavy hitters who join him for the celebration is impressive – Joe Locke is on vibes, Pretty Purdie, on the drums, Ronnie Cuber and Donald Harrison are two of the saxophonists, Marcus Miller, on bass and the list goes on. Sometimes, having so many guest stars can lead to confusion but that’s not the case here as Sabiduria is the strongest and most appropriately eclectic musical statement that I’ve heard from Mr. Palmieri in at least 15 years. There are tracks rich with history and some that explore new ground. And we’ve also got Locke and violinist Alfredo de la Fe, trading hot solos on “La Cancha”. Happy Birthday to “The Sun of Latin Music”. From the looks of things, he’s going to shine for quite a while more.
Another awesome octogenarian, Louis Hayes makes his Blue Note Records debut, as a leader, with this gorgeous, swinging tribute to his old boss Horace Silver. Thankfully, Mr. Hayes is experienced enough to not do a note for note regurgitation of the Silver classics, which are still fresh in most jazz fan’s minds and readily available. Instead, Serenade for Horacemanages to capture the joyous spirit of Silver, while still making these tunes, some of which are over 60 years old, sound as if they were fresh compositions. A lot of this is due to the out in front presence of Steve Nelson on the vibes. Apart from his early work with Milt Jackson, Silver rarely worked with a vibraphonist, so Nelson leading the way on many of the tracks is invigorating. Gregory Porter drops by to sing his own new lyric on “Song for My Father”. Even if you own the Silver recording of all of these tunes, this disc is worth your while.
Hell. Frickin’. Yeah!!! This is not a full album but a four song EP with an album’s worth of badass playing, as the legendary king of Afrobeat, Tony Allen, pays tribute to another percussion monster, the great Art Blakey. I love almost everything about this project – the song selection (“Moanin'”; “Night in Tunisia”; “Politely” and “Drum Thunder Suite”); the fresh sound of all of these familiar Blakey classics, when filtered through an Afrobeat lens; the cool, Buhaina-esque cover photo of Mr. Allen; the fact that the whole disc is begging to be sampled into a hot, hip-hop groove. So what don’t I love? It’s only four songs. It was just enough to make me want more. More Tony Allen and more Afrobeat Blakey, please!
And that’s our halftime show. A great first half of the year in jazz. I’ve got a stack of CDs staring at me on my desk and even more album downloads in the computer waiting to be reviewed and shared with y’all. Gonna be a busy but rewarding rest of the year. More to come, soon. If you missed the complete list, see it HERE
Taking a closer look at my five favorite vocal projects, so far, in 2017:
Dance of Time – Eliane Elias (Concord) – It’s still hard to believe that in her early years on the American jazz scene, Eliane Elias was known strictly as a pianist. I liken her at this point to a Brazilian Diana Krall – she is still a first rate pianist but her vocal gifts, especially in her native Portuguese, have at this point, overshadowed her keyboard skills. On her latest album, she pays tribute to 100 years of samba. It is a sheer delight, with guest spots by Toquinho, Mike Manieri, ex-husband Randy Brecker, Mark Kibble and many others. Dance of Time is a true celebration and a great place to start for those introducing themselves to Ms. Elias’ work.
Nightintales – China Moses (MPS) – The daughter of legendary jazz vocalist Dee Dee Bridgewater, Ms. Moses has been on the scene now, for a few years. On Nightintales, she nails down a perfect mix of modern R&B and passionate soul-jazz. The sound is like nothing else on the scene today and that’s precisely what makes it irresistible. The angular, hypnotic “Running” and raw soul of “Hungover”, make this album worthwhile, all by themselves. But there’s much more here and all of it needs to be experienced.
Petite Afrique – Somi (OKeh/Sony Masterworks) Somi, the American vocalist, of Rwandan and Ugandan heritage, has gotten better with each successive release. I thought she had reached her peak with 2014’s impressive The Lagos Music Salon.Petite Afrique, however, feels even more personal and is more captivating than the previous project. Named for the section of Harlem around 116th Street, which is home to a gorgeous mosaic of African immigrants, the music captures, the rhythms, the passion, the joy, the fears and the frustrations of that community, in some cases, simultaneously. With top flight co-production by Keith Witty and the brilliant trumpeter Etienne Charles, this is an album that you’ll remember long after the final note.
A Social Call – Jazzmeia Horn (Prestige) I was first exposed to this amazing young vocalist when I decided, without previewing, to drop her version of Betty Carter’s “Tight”, into my radio show one night. The hair on my arms stood at attention, my mouth fell open and by the time she begins to trade fours with the saxophonist a third of the way in, I was an unabashed fan. I then listened to the rest of the album on the way home from the studio and by the time I got to my front door, I was on a jazz high. Ms. Horn brings us a little Betty, a little Sarah, a little Ella, a little gospel and a whole lot of herself on this stunning debut project. Jazzmeia won the right to record this project as a prize for winning the 2015 Monk Vocal Competition. I’ve taken issue with the Monk judges in the past but not this time. They got it 100% right.
What Time Is It? – Giacomo Gates (Savant) I was first introduced to Mr. Gates around 20 years ago, at one of the earliest incarnations of the Litchfield Jazz Festival. His set was ridiculously truncated, due to curfew rules and a previous artist running overtime. Giacomo expressed mild annoyance, which greatly displeased the festival organizers. But I dug what little I heard and vowed to keep up with this “regular guy”, baritone, with loads of charm, who exuded the cool soulfulness of Mark Murphy. Gates has released a number of very fine albums over the years and his latest is another in the series. It’s a nice mix of jazz standards, originals and a few surprises (such as “Silhouettes”, the ’50’s pop classic). Now in his sixties, Mr. Gates still doesn’t get the attention, even within our insular jazz world, that I think he deserves. If you haven’t heard him before, What Time Is It?, is a great place to start.
I haven’t heard everything released so far this year and I’m sure that there will be more to come over the next few months. I can’t wait to be back with more in December.
Up next – a closer look at my favorite instrumental albums, so far.
I’ve been away from regular blogging for a minute. Through my show, I’ve gotten to hear a lot of first rate new projects during the first half of the year. So what better way to return to regular posts than to give recognition to the finest discs that I’ve heard so far this year. The list includes five vocal and ten instrumental albums (and one EP), listed in alphabetical order. The next two posts will be closer looks at the albums, including video clips.
RT @HowieRose: I’m sure there are hurdles that would need to be cleared, but if the WBC could be moved to November, a player suffering an 8… 1 week ago
Our last look at 2017, covers six more fine instrumental albums; from a living legend, who just keeps getting it done; a thrilling young Cuban percussionist/vocalist; a drummer who has been setting the world on fire; a venerable jazz label, restocking for the future, and an exciting young vibraphonist, who has come of age.
Among the first six of the eleven albums and one EP, on our second half of 2017 “Best Of” list: We have one of the great big bands in contemporary jazz, another one that may grab that title, one day; another striking work from an artist who for me, represents jazz’s bright future; and a another interesting concept album, from an artist who never seems to run out of fresh ideas.
There are good and bad things about writing a mid-year “Best of” list, as I did last July: It cuts down your work at year’s end but it also makes it harder to pare that year end list down to a precious few, especially in a year like this, that was filled with great jazz albums, especially on the instrumental side.
In my book, veteran guitar master 
I’ve been away from regular blogging for a minute. Through my show, I’ve gotten to hear a lot of first rate new projects during the first half of the year. So what better way to return to regular posts than to give recognition to the finest discs that I’ve heard so far this year. The list includes five vocal and ten instrumental albums (and one EP), listed in alphabetical order. The next two posts will be closer looks at the albums, including video clips.
Curt's Jazz Cafe 