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My Favorite Jazz Albums of the Year: 30 for ’20 (Part 1 of 3)

Posted in Best Jazz Albums of 2020, CD Reviews with tags , , , , , , , , , , , , , , , , on December 26, 2020 by curtjazz

Man, this has been one strange year! (Insert your own “no kidding”, or some variant, here)

Though I was fortunate enough to host a Zoom-based jazz talk show (Conversations with Curtis), thanks to JazzArts Charlotte, I heard less live music, this year than at any time, since my teens. I also somehow managed to hear less recorded music than any year, in recent memory. I feel less comfortable than ever declaring this list to be a “Best Of”, because there is so much out there that I’m still catching up with. So, let’s just say that these are my favorites of what I did hear. These are the albums that I went back to listen to, more than twice, the ones that stayed on the CurtJazz Radio playlist for more than just a few weeks.

There are thirty albums that I want to share with you. To keep the posts to a reasonable size, I have divided them into three groups of ten. For the sake of brevity, I will try not to write more than three sentences about any one album.

Here are the first ten of my favorite 2020 releases, in alphabetical order, by artist name:

  • J.D. Allen: Toys/Die Dreaming (Savant)
    • Allen releases about one album per year and he also makes about one trip a year to my “Best Of” list. On this enigmatically titled album, Allen continues his searing, powerful explorations guiding his tenor sax through a recommended set of mostly original tunes. It’s insistent, compelling, and absolutely first rate.
  • John Beasley: MONKestra Plays Beasley (Mack Avenue)
    • The first two outings of pianist/composer/arranger John Beasley’s large ensemble, ostensibly dedicated to the music of Thelonious Monk, made me a respectful admirer. This third volume, which adds compositions by Duke Ellington, Charlie Parker, and Beasley himself to those of Sphere, has made me a full-fledged fan. This set swings harder and takes the energy to the next level and every track is on point. A classic.
  • Lakecia Benjamin: Pursuance: The Coltranes (Ropeadope)
    • For me, this is Lakecia Benjamin’s coming of age album. Her previous albums have hinted at her potential but missed the mark in some way or another. Merging Ms. Benjamin’s millennial energy, creativity, and her wellspring of new ideas, with the canon of John and Alice Coltrane, has given these classics a fresh start that we didn’t realize that they needed, until now.
  • Peter Bernstein: What Comes Next (Smoke Sessions)
    • Peter Bernstein is one of the best and most reliable guitarists working in the world of jazz today. Be it as a first-call sideman or as a leader, Bernstein is a consistent arbiter of taste, intelligence, and swing. On What Comes Next, Mr. Bernstein, once again, does not disappoint, bringing us an outstanding set of first-rate performances.
  • Stanley Cowell: Live at Keystone Korner Baltimore (SteepleChase)
    • Stanley Cowell, who was a composer, educator, record-label executive, in addition to being one of the most creative and innovative pianists, in the world of jazz, died on December 18. His work, as a sideman with The Heath Brothers, Charles Tolliver, Max Roach and as a leader, will ensure that legions of jazz fans will continue to talk of and discover his work, for years to come. I’m unsure of whether Live at the Keystone Corner Baltimore, is Mr. Cowell’s final recording. If so, he went out on a triumph. Rest in Power, sir.
  • Wayne Escoffery: The Humble Warrior (Smoke Sessions)
    • I’ve come to expect a certain high-level of artistry from Wayne Escoffery’s recordings. The Humble Warrior is on my “best of” list because he has shown me something completely different in his song selection. Bringing Benjamin Britten’s choral work Missa Brevis in D, into the jazz realm, complete with a dense and challenging arrangement, is one of the most impressive things, from an artistic perspective, that I’ve heard all year.
  • John Fedchock NY Sextet: Into the Shadows (Summit)
    • Though trombonist John Fedchock is one of the best big-band arrangers in the business, I believe that in his small groups, such as this one, is where he really shines. In his small groups, there is a lightness and an attention to detail that his larger charts sometimes miss. His total reinvention of “Star Eyes”, is the standout on the album and one of the best versions of that old warhorse that I’ve ever heard.
  • Champian Fulton: Birdsong (Self-Release)
    • Champian teased the release of this album, when she guested on “Conversations with Curtis”, last spring. The album was not released until August. It was worth the wait. Champian Fulton has grown into one of the finest pianist/vocalists in jazz today. She is a consummate interpreter of a lyric and though she clearly has been influenced by several the greats, she sounds like no one, but herself. Did I also mention that her piano playing can swing you into bad health? This tribute to Bird, flies high.
  • Nubya Garcia: Source (Concord)
    • Nubya Garcia has been building to this moment for a few years now, with two well received and exciting Eps, before Source, her first full length album was released this year. If you’re familiar with her EPs, what is here will not be surprising. The 28-year-old British saxophonist has a sound that is influenced by the soulful ancestors, like Henderson and Turrentine, but rooted in the nascent London jazz scene of today. Downbeat has named Ms. Garcia, one of the 25 performers that could shape jazz for decades…I certainly hope that they’re right.
  • Connie Han: Iron Starlet (Mack Avenue)
    • I was unfamiliar with the work of this 24-year-old piano prodigy, until last January, when she was the victim of some vicious and sexist written attacks by a respected online jazz publication (which later claimed that they were hacked). This made me curious enough to explore her music for myself. I found her work to be surprisingly good. She knows her jazz vernacular, she is a strong soloist, who leaves plenty of room for her sidemen and she is a fine composer. Iron Starlet, her second album as a leader, stands favorably alongside of much of the released work of Ms. Han’s contemporaries and her elders, in 2020. Those who criticize her for reasons that have nothing to do with her music, ought to be ashamed of themselves.

There you have the first ten of my “30 for ’20”. And yes, I did break my three sentence rule, when it was absolutely necessary. I’ve included a Spotify playlist, below, with a track from each of the albums discussed in this article, to give y’all a taste. We will release two more posts, with 11 – 20 and 21 – 30, on the list, on successive days. Thoughts and opinions are welcome, as always, in the comments.

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Album Reviews – A Sack Full of Sax

Posted in CD Reviews, curtjazz radio, Uncategorized, Who's New in Jazz with tags , , , , , , on March 11, 2019 by curtjazz

Our first review post of the year, features four new albums from veteran saxophonists who should all, be better known than they are. Start to right that wrong, by picking up these projects, which are all recommended.

Chris Greene Quartet – Playspace (Single Malt)

The native of Evanston, IL has spent most of his career close to home, which means the Chicago jazz scene. Readers of this blog are aware of my fondness for his sound, indicated by multiple appearances of Mr. Greene’s albums on my year end “Best of” lists. On his twelfth album as a leader, Greene gives us more of what his best qualities – that full bodied, gritty, tenor attack and a surprisingly rich tone, when he switches to soprano.  Playspace finds Greene and the CGQ in a deeper soul jazz vein than usual, and I loved every minute of it. “The Crossover Appeal/Uno Mas”, locks into the pocket and doesn’t let go, with Marc Piane’s electric bass setting the stage and Greene getting into a sweaty sax duel with guest star Marquel Jordan. A Latin reading of Wayne Shorter’s “Speak No Evil”, is surprisingly effective, with drummer Steve Corley taking center stage with a relentless groove and a killer solo. “Blues for Dr. Fear”, which appeared in a studio version, on 2017’s Boundary Issues, is back and funkier than ever, with Damian Espinosa’s cool keys weaving around Greene’s tough tenor. Playspace is another winning album from one of the true working groups in jazz today. Looks like we’re not going to get them out of the Windy City, y’all, so we’ll have to make the trip there, to experience in person, what we hear on this disc.

Nick Hempton – Night Owl (Triple Distilled)

Nick Hempton, who has called New York home since 2004, announces his intention from the first notes of this album. This a truly greasy session, influenced by the organ dates led by Stanley Turrentine, Lou Donaldson, Sonny Stitt and so many of their brethren, in the dives and after-hours clubs of the Big Apple, since the 50’s. He has assembled the perfect cast for the date: Peter Bernstein on guitar, Kyle Kohler on organ, and Fukushi Tainaka on drums. These cats have all logged many hours, backing up similar dates and they inspire Mr. Hempton to lay down the most soulful playing that I’ve ever heard from him. Most of the tracks are Hempton originals but they perfectly capture that long-ago vibe. Mr. Hempton switches between the alto and the tenor without missing a beat and is equally effective on each horn. The standout tracks are the Latin-tinged “I Remember Milady’s”, with Hempton getting a nice assist from Bernstein; “After You’ve Gone”, with Hempton’s alto, recalling ‘Sweet Lou’, during his Blue Note heyday and Koehler evincing a Big John Patton influence; and the nasty title track, which sounds like a lost track from one of those classic Jimmy Smith; Stanley Turrentine; Kenny Burrell dates. Buy this album, pour a glass of your favorite libation and put on your best “funky face”, because Night Owl is the real deal. 

Ralph Moore – Three Score (WJ3)

Hard to believe but it’s true. Three Score is Ralph Moore’s first album as a leader in nearly 25 years. He hadn’t left the scene during that time; Moore spent the better part of the last twenty years, on the West Coast, playing in Jay Leno’s Tonight Show band. He also was a sideman for Oscar Peterson, Roy Hargrove, Ray Brown, Tom Harrell and many other jazz greats; so, he was here; he just wasn’t leading any dates. He has returned with a stellar album, on the best boutique label in jazz – Willie Jones III’s WJ3. Joined by Eric Reed on piano, Gerald Cannon on bass and Jones on drums, Mr. Moore’s sound, which for me, always landed in the niche between John Coltrane and Joe Henderson, is as captivating as ever. The band of top tier pros doesn’t miss a beat and the compositions, mostly by Moore and Reed, are uniformly excellent. If you’re going to skip around, you must first check out “Another Time”, a Reed original, which opens the proceedings and throws down the hard bop gauntlet; the infectious, toe tapping (and too brief) “Donny” and the reflective title track, which features Mr. Moore’s finest solo on the date. But don’t sleep on the rest of the disc because it’s all choice. Ralph Moore is back, y’all and Three Score is one of the best albums that I’ve heard so far, in 2019.

Justin Robinson – At First Light (WJ3)

Justin Robinson spent most of the last 15 years, alongside the late, great Roy Hargrove on some of the trumpet master’s finest live shows and recordings. His work with Hargrove, often overshadowed the impressive music that Mr. Robinson released as a leader. At First Light, is his first album in five years and his second for WJ3 Records. He is backed by a solid group of young cats, that he has worked with over the years, with Hargrove and in other settings; Sharp Radway on piano, Ameen Saleem on bass and Jeremy Clemons on drums. Mr. Robinson lists Jackie McLean among his influences and it shows in his sound, as do elements of Bobby Watson. His tone is in your face and hard swinging. Robinson composed six of the project’s eight tunes and there are many standouts: “Lamentations for R and D” starts with a mournful, wandering theme, which leads unexpectedly to a light bossa beat, while Robinson, sticks with the mood that he set in the opening. It’s compelling, and Radway and Clemons are especially good here. The beautiful “Love Thy Father”, allows Robinson to fully access his melodic side. There’s also “Cool Blues”, the Charlie Parker classic, that seems to be a rite of passage for alto players. Mr. Robinson’s take is a very good one, true to the structure of Bird but adding his own flourishes during his solos. It is Parker meets JMac meets Robinson and I liked it a lot. At First Light is another fine release from WJ3 Records. We don’t hear from them often but when we do, it’s consistently first-rate.

There’s a lot more that’s new and good out there, to tell you about. We’ll be dropping more reviews shortly. In the meantime, you can hear tracks from these albums and more on CurtJazz Radio, on Live 365. We’re always on and always FREE.

Until then, the jazz (and BAM) continues…

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Jazz Clip of the Day: Sasha Masakowski

Posted in Best Jazz Albums of 2018, CD Reviews, Unsung Women of Jazz, Video Vault with tags , , , , on January 13, 2019 by curtjazz

I’ve been fortunate to work with this delightful and gifted young vocalist, a number of times, over the past few years, as she has been a frequent guest/headliner at jazz events, produced by the Jazz Arts Initiative (the organization I am associated with), here in Charlotte.

My musical introduction to Ms. Masakowski, came through her Wishes album, in 2011. I loved the eclectic feel of the disc; the fact that it included tracks penned by Brazilian stalwart Baden Powell, Ellis Marsalis (the Marsalis family patriarch, and one of Sasha’s teachers) and renowned guitarist/educator Steve Masakowski (Sasha’s dad), as well as her own, contemporary based work.

In 2018, Sasha released Art Market, a captivating, eclectic set, that creates a perfect blend of her New Orleans roots, her jazz education and the downtown, electronic New York scene that also has a considerable affect on Sasha’s artistry. I loved what I heard. I loved it so much, that Art Market is on my list as one of the Best Jazz Albums of 2018.

I’ve learned that I am not alone in my appreciation of Ms. Masakowski’s artistry. In 2015, Vanity Fair, listed her as one of the top young jazz musicians on the scene. And already in 2019, Paste Magazine has tabbed Sasha as one of the 12 New Jazz Artists to Watch, in this year.

As an introduction to Sasha, I’ve included two clips, that will show you two of her multiple facets: the enjoyable, official video for “Sister”, one of her compositions included on Art Market and her performance of Marcos Valle’s Brazilian classic “Summer Samba (So Nice)”.

Of course, you can hear “Sister” and several other tracks from Art Market, in regular rotation on CurtJazz Radio, throughout January of 2019. Click HERE to listen now.

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Jazz Clip of the Day – Christian McBride’s New Jawn

Posted in Best Jazz Albums of 2018, CD Reviews, Video Vault with tags , , , , , , on January 9, 2019 by curtjazz

Okay everyone. I have figured out a way to get me posting more often.

There are a lot of terrific performance clips, EPKs and in this day and age, video clips that jazz artists produce, support of their work. They can often get lost in the glut of YouTube content.

What I will start doing, is posting at least one a day, when there is nothing else that I want to blog about, in long form. Hopefully something will connect with you and cause to seek out an unfamiliar artist, or at least brighten your day, with something from an old friend.

Our first will be from one of the albums on our Best Jazz of 2018 List; bassist Christian McBride’s New Jawn. Though still in his 40’s Mr. McBride has been a major part of the jazz scene for almost 30 years. He has performed and/or recorded with virtually every major figure in the jazz world, since 1989. He has also compiled an impressive array of recordings as a leader; heading groups from duos to big bands. He is also consistently willing to stretch himself and record in aggregations that seek out new ground.

“New Jawn”, is no exception, as it is the first album as a leader (other than his duet album), that McBride has made, without a chordal instrument, such as piano or guitar. Musicians often find this type of group allows a certain amount of freedom, as they are not as bound to conventional chord structures. However, that lack of structure can also be frightening as it can easily expose the limitations of less creative players.

Fortunately, with a world class quartet that includes Nasheet Waits on drums; Marcus Strickland on tenor sax; Joshua Evans on trumpet and McBride on bass, they are on the money, from first note, until the last. As intended, they stretch conventional boundaries to the edge of the avant-garde, but they are anchored just enough to keep the traditional jazz listener interested. It’s a thrilling ride.

I also have to give props to the ultra cool album cover, which appears to be a 21st Century take on the iconic artwork for the classic Wynton Kelly album, It’s All Right!

By the way, “Jawn”, is a term in Philly parlance, for “a person, place or thing”; it can change with the situation. Which makes it appropriate for this group.

The two clips here are live performances of two tracks from the album, “Middle Man” and “Pier One Import”, filmed live in performance, at radio station KNKX in Tacoma, WA. These tracks and others from Christian McBride’s New Jawn, can be heard in regular rotation on CurtJazz Radio click HERE to listen now.

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Best Jazz Albums of 2017 (Second Half) – Instrumental Albums: Closer Look – Pt. 2

Posted in Best Jazz Albums of 2017, CD Reviews, curtjazz radio with tags , , , , , , , , , , , , , , , on January 9, 2018 by curtjazz

brenda navarreteOur 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.

 

In alphabetical order:

Jersey – Mark Guiliana Jazz Quartet (Motema)

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.

Marseille – Ahmad Jamal (Jazz Village)

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!

Mi Mundo – Brenda Navarrete (ALMA)

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.

Our Point of View – Blue Note All-Stars (Blue Note)

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.

Strykin’ Ahead – Dave Stryker (Strikezone)

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.

 

Walk of Fire – Behn Gillece (Posi-Tone)

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!

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Best Jazz Albums of 2017 (Second Half) – Instrumental Albums: Closer Look – Pt. 1

Posted in Best Jazz Albums of 2017, CD Reviews, curtjazz radio with tags , , , , , , , , on January 7, 2018 by curtjazz

don't blinkAmong 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.

In alphabetical order:

Bringin’ It – Christian McBride Big Band (Mack Avenue)

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’ It is 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.

Don’t Blink – Unhinged Sextet (OA2)

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.

Handful of Keys – Jazz at Lincoln Center Orchestra with Wynton Marsalis (Blue Engine)

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.

Harmony of Difference (EP) – Kamasi Washington (Young Turks)

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.

Honey and Salt – Matt Wilson (Palmetto)

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.

Hybrido (from Rio to Wayne Shorter) – Antonio Adolfo (AAM)

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 

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Best Jazz Vocals of 2017 (Part 2): A Closer Look

Posted in Best Jazz Albums of 2017, CD Reviews, Video Vault with tags , , , , , , , , , on January 2, 2018 by curtjazz

Happy New Year, everyone.

Well, this didn’t work out the way I intended.

ori dagan nathanielI 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:

 

Code Noir – Carmen Lundy (Afrasia)

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.

Dreams and Daggers – Cecile McLorin Salvant (Mack Avenue)

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.

Grace – Lizz Wright (Concord)

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.

Nathaniel (A Tribute to Nat King Cole) – Ori Dagan (Scat Cat)

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.

Rendering – Kellye Gray (Grr8)

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:

You can click HERE to read my post about that Fab Five.

Now that the flu is almost behind me, I’ve got a lot of posting to catch up on. Next will be the Instrumental album for the second half of the year.

Tracks from these albums and more can be heard on the new CURTJAZZ RADIO, our 24/7 jazz radio station, on the new Live365.com.

Stay healthy, my friends!

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Two New Jazz Albums To Warm Your Holidays

Posted in CD Reviews with tags , , , , , on November 29, 2017 by curtjazz

Each Holiday Season usually brings a few new discs in most genres, including jazz. Here’s our take on a couple that stand apart from the rest:

Champian Fulton – Christmas with Champian

Christmas with Champian final coverThis delightful Oklahoma native has had quite a year – She released a fine, all instrumental album (Speechless). This was followed by a terrific, live date, as a co-leader, with the great tenor saxophonist, Scott Hamilton (The Things We Did Last Summer). Champian Fulton now caps 2017 with Christmas with Champian, her first Holiday disc. It is another winner.

To be successful, Christmas albums, need to exude a certain joy of the season and this one does, from the finger-snapping backbeat of “White Christmas” (nice work by drummer, Fukushi Tainaka, throughout) to the closer, “Merry, Merry Christmas”, a lovely original number by Ms. Fulton. The rest of the album is filled with familiar songs of the season but thanks to Ms. Fulton’s first-rate piano work and the rock-solid backing of her sidemen; Mr. Tainaka, bassist David Williams and Champian’s dad, trumpeter Stephen Fulton, these tunes have new life.

Then there are Ms. Fulton’s vocals – to these ears, her sound is an amalgam of Dinah Washington and Nancy Wilson, to which she has added a touch of Blossom Dearie’s playfulness and charm. Yet, it manages to be all her own. She has grown by leaps and bounds as a singer, in the decade that she has been a part of the jazz scene. “Have Yourself a Merry Little Christmas”, opens with a cool, bluesy piano figure, which pulled me in, prior to Ms. Fulton’s sassy vocal, which was then followed by a rollicking piano solo…Nice. Papa Stephen is on board, with his flugelhorn, for a swinging “Sleigh Ride”, with dad being pushed a little by his baby girl during his solo. That brought a smile to my face. “A Child is Born” is the stronger of the album’s two instrumental tracks, thanks to Ms. Fulton’s sensitive piano and outstanding work on the bass by Mr. Williams.

Order through Ms. Fulton’s website www.champian.net

Rating: 4 ½ out of 5 stars – Champian Fulton has produced a classic Holiday album that should be heard all year round.

 

Jason Paul Curtis – These Christmas Days

Jason-Paul-Curtis-These-Christmas-Days-CoverJason Paul Curtis is a Washington D.C. based vocalist and songwriter, who mostly works with a big band, called Swing Shift and a small combo, Swinglab. He is a pleasant, modern swinger, in the Harry Connick, Jr., Michael Bublé vein. For this, his second Holiday themed album, he has concentrated on his own music, having written eight of the album’s ten tracks.

These Christmas Days, has a warm, family feeling, with most of the tracks referencing family celebrations and Christmas memories with his children. Curtis is in fact, joined by his daughter, Isabella, on vocals, on two of the album’s more memorable tracks; the lightly swinging, “December Again”, which will touch a soft spot in the hearts of any of us who have watched our kids grow up too quickly; and the bouncy, “I Want Snow”, with a warm alto sax interlude by Dave Schiff. “Came Winter”, a finger snapping piece, with a punchy big band arrangement, and good solos. It’s a winning tune but its lyrical content is more along the lines of Wham’s “Last Christmas”, with its topic of Holiday season bitterness against the treachery of a former lover. Not exactly one for decking the halls. “I’ll Feel Christmas”, with its Motown derived backbeat and the happy freneticism of “Christmas Breakfast” are more like it, as they celebrate, respectively, the start of the Holiday Season, in the city and the joy of Christmas morning with those you love.

The arrangements are sharp and tight and Mr. Curtis is in excellent voice, throughout. If you’re looking for a well-played, Holiday jazz album, with tunes that are not in the traditional vein, give These Christmas Days a try.

Order through CDBaby.com Click HERE

Rating: 4 out of 5 stars. A Charismatic, swinging and warm Holiday album.

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Album Review: Handful of Keys – Jazz at Lincoln Center Orchestra

Posted in CD Reviews with tags , , , , , , , , on November 25, 2017 by curtjazz

Jazz at Lincoln Center Orchestra with Wynton Marsalis: Handful of Keys (Blue Engine Records)

Handful-of-Keys

Handful of Keys, the sixth album released by the JALC label on their own Blue Engine imprint, was recorded over three nights as the prolific orchestra opened their 2016-2017 season, by celebrating a century’s worth of jazz piano. On the recording, there are six pianists, ranging in age from 13-year-old prodigy Joey Alexander to 89-year-old stride master, Dick Hyman, playing compositions by some of the 20th Century’s most outstanding pianist/composers, including Oscar Peterson, McCoy Tyner, Bill Evans, Wynton Kelly and James P. Johnson. In all except one instance, the arrangements were by the pianists or JALC Orchestra members.

This album virtually had “can’t miss” stamped on it, from the beginning. JALC Orchestra is at the top of their game, as are the piano players. And the arrangements often breathed new life into pieces that we have heard many times. Helen Sung’s arrangement of “Four by Five” adds richness to Tyner’s original and the solos by Ms. Sung on piano, Victor Goines on piano and drummer Ali Jackson, are on fire. Walter Blanding’s lush arrangement, ripe with flutes and muted trumpets set a perfect scene for young Mr. Alexander on Evans’ “Very Early”. Joey’s precocious brilliance has been done to death, so I will just say that he was in his customary fine form and the arranger also contributes some nice tenor work. 19-year-old Isaiah J. Thompson, whose name is new to me, floored my twice – first on an epic version of “Lulu’s Back in Town”, that was a virtual history of jazz piano all by itself, with a stellar chart by Vincent Gardner; then on a hard swinging and deeply soulful take on Oscar Peterson’s “Hymn to Freedom”. I have GOT to hear more from Mr. Thompson. Then there is Myra Melford, an avant-garde pianist, with whom I am, again, unfamiliar. She leads a Ted Nash arrangement of her own composition, “The Strawberry”, which Mr. Nash has turned into a Latin infused tour-de-force. Ms. Melford names Andrew Hill, Don Pullen and Cecil Taylor as some of her influences and I hear a bit of all three of those giants in her attack. She is stretching her use of the keyboard to the limits of the boundaries of tradition, laid down by Nash’s arrangement and it is a thrill to listen to. No wonder Wynton takes his only solo of the album on this piece. He fills his horn with expressive growls, trills and cries, equal in unbridled joy, to the arrangement itself.

Rating: 4 ½ out of 5 Stars. Great composers + great arrangements + great pianists = a great album.

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What’s New (and Good) from WJ3 Records

Posted in CD Reviews with tags , , , , on November 21, 2017 by curtjazz

WJ3 Records is another of the cadre of the small, but mighty, jazz record labels that have cropped up in our post-CD society. Founded and helmed by drummer Willie Jones III, WJ3 releases around 3 – 4 new projects each year, featuring top flight mainstream jazz masters such as pianists Cyrus Chestnut and Eric Reed, L.A. based guitarist Jacques Lesure and Mr. Jones, himself. I first became hip to WJ3 about a decade ago, when I was assigned by a publication, to review a couple of their new releases. I can honestly say, that I’ve never heard a bad album from any of their artists.

Here now is a review of two recent WJ3 releases:

Jacques Lesure – For the Love of You

jacques lesureJacques Lesure…educator, actor, social media raconteur, and above all, master guitarist. Though his name is still unfamiliar to many, Mr. Lesure has been part of the music scene for over 30 years. With an inviting, single-note guitar line that is reminiscent of Grant Green, but infused with the warmth of a Kenny Burrell, Jacques Lesure, is always worth listening to, be it live or on one of his recordings, the last three of which have been on WJ3, including his latest, For the Love of You.

The title of the album should give you a hint about the vibe. Whereas his two prior efforts When She Smiles and Camaraderie, were fine, straight-ahead blowing sessions, For the Love of You,  is more accessible, but just as good; featuring several, mid-tempo romantic tracks, with titles straight out of pop radio. It’s a perfect antidote to a long day. Mr. Lesure is as always, in top form, as are his band mates, pianist Eric Reed, bassist Tony Dumas and WJ3’s chief, Willie Jones III, on drums.

Strong performances abound, including a bright, infectious version of “The Lamp is Low”, with a tasty solo by Mr. Reed; “Put On a Happy Face”, on which Lesure builds a simple starting line, layer by layer, into a very nice solo. His tribute to one of his musical idols, “That’s Mr. Burrell, Thank You”, is a head nodding, finger snapping blues, that is pure fun. It will be a definite crowd favorite during his live performances. The centerpiece is Cedar Walton’s anthemic classic, “Holy Land”. I’ve heard many versions of this tune over the years; this is one of the best. Following the familiar opening theme, Mr. Lesure digs down deep and delivers a blistering solo, which clearly inspires Reed, who then matches Lesure’s virtuosity in his turn.  Dumas and Jones take strong turns before all four musicians trade eights until the close.

Rating: 4 out of 5 stars – Another first-rate album from Jacques Lesure. It will appeal to fans of all categories of jazz.

 

Willie Jones III – My Point Is…

willie jones iiiWillie Jones III is one busy cat, in addition to leading his own group and running WJ3 records, he also is a first call sideman and producer on numerous projects outside of his label. If he is spreading himself too thin, it certainly is not in evidence on My Point Is…, his seventh album as a leader. This protégé of Albert “Tootie” Heath, recorded this album with some of his own label’s top talent, who also happen to be some of the best in the current jazz world; trumpet master Eddie Henderson, the criminally underrated Ralph Moore on tenor, the legendary Buster Williams on bass and the soon to be legendary Eric Reed, on piano.

I first became a fan of Mr. Jones, when I reviewed his fourth album, The Next Phase. The first thing I noticed was Jones’ rock solid timing and that even on ballads, he swings like mad. Nothing in that respect has changed since 2010. Like two of my other favorite working drummers – Kobie Watkins and Ocie Davis, Jones has an innate gift for pushing the musicians playing with him, while still doing things that are unfailingly rhythmically interesting.

The selections are a nice mix of Jones’ originals, along with a few from the band and one each by Horace Silver and Herbie Hancock. “Manhattan Melodies” a Reed composition from about 20 years ago, open the disc on a high note. I’ve heard three versions of this tune over the years and this one is my favorite. The theme takes on new life in the hands of the two horn players, who punch it up with strong solos. Buster Williams’ ballad, “Christina”, offers a nice opportunity for a muted Henderson to remind us of the good ways that Miles influenced him. “The Maze”, a tune that Herbie wrote for his debut album, is given a fresh reading here. The sinuous backbeat set by Jones, followed by Reed’s funky solo, pulled me right in. Yes, I was sitting at the keyboard with eyes closed and head nodding. I see an interesting hip-hop sample in this track’s future. The title cut is the best thing on the album, with Williams and Jones feathering an intricate nest for some sweet mute work by Eddie and a rolling piano solo from Reed. This was, and still is, on heavy rotation in my playlist.

I’ve never gone wrong with a Willie Jones III album and My Point Is… is no exception. Solid writing, first rate playing and a final product, that is a fine example of modern jazz.

Rating: 4 ½ out of 5 stars. Another straight-ahead jazz winner from Willie Jones III and WJ3 Records.

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