In the three previous posts, I’ve listed and discussed my favorite jazz albums of 2020. Bright musical oases, in this otherwise miserable year.
In this post, we bring all 30 of them together, in one place. In each album title is embedded a link to the album’s page on Amazon. In these extraordinarily difficult times, we encourage you to purchase these albums, if there’s something that you like. Streaming is nice but the financial support that it provides to the artists, is laughable. So we provide the Amazon links as a first alternative. However, many of the artists also have their own websites, through which you can purchase the music directly from them. If you are so inclined, I encourage you to go that route. It can provide maximum remuneration for the artists that you love. We will also feature tracks from each of these albums, throughout January 2021, on CurtJazz Radio. Click HERE to listen now.
We’ve also created another Spotify playlist, featuring selections from a dozen of the 30 albums on the list, to give those of you who have not yet visited the prior posts, an opportunity to sample the artistry represented here. I can’t say it enough. Streaming is nice but buying is better.
Here are my 30 for ’20, in alphabetical order, by artist name:
Thank you all, for reading and listening. Here’s to a great 2021. Hopefully, we’ll be able to get back to live music by the time you read my next “Best Of…” list.
In our last set of my favorite jazz albums of 2020, we’ve got a reunion from a group of musicians who made remarkable music a quarter century ago, a very impressive debut album by a promising young pianist and a vocalist who delivers the remarkable album that we’ve been waiting for from them. Let’s take a look.
Once again, the albums are in alphabetical order, by artist name. We will also try hard again, to adhere to the three-sentence rule. So far, we’ve been mostly unsuccessful.
Joshua Redman’s 1994 album MoodSwing remains in my top three all time favorite discs by the prolific saxophone master. Redman was but 25 at the time of the album’s release (his third). He was joined by a trio of young (under 25) musicians, who held promise for what they could bring to jazz’s future: Brad Mehldau on piano, Christian McBride on bass and Brian Blade, on drums. They dropped one exceptionally fine album and disbanded, all going on to fulfill their promise and become four of the most respected musicians in jazz today. Twenty-six years later, Redman reunited the group to deliver RoundAgain. Whereas Redman was the star the first time around, they have all returned as equals, each getting co-billing and contributing as composers. Other than that, absolutely nothing has changed. The four are still as swinging, tight and fiery as they were in 1994. Their work is now, as then, exemplary, and highly recommended.
It happens to me every year. I will have carefully selected the music to be included on this list by around the end of November. But there’s always some artist who will release an album, late in the year, that doesn’t reach my ears until December. Invariably, the music will be excellent and cause me to reconsider my “Best ofs”. This year, that artist is my old friend, Eric Reed. His new album, For Such a Time as This, is hands down, his best in over half a decade. This album was recorded in late June of this year, during the pandemic related lockdown, in Los Angeles. Mr. Reed assembled a hand-picked quartet of local musicians, and away they went. With all going on, this year, from COVID-19 to racism and racial injustice, to our fraught political environment, this became a very personal musical statement, for the pianist. I felt that. But I also felt that because it was so personal, his musicianship and those of his bandmates, moved to a higher level. Well done.
The most welcome sophomore release of the year for me, turned bittersweet, when I learned that one of the members of this wonderful vocal group, Holli Ross, had succumbed to cancer, between the completion of the album and its release. The album itself, is just as great as their stunning 2015 debut. The group’s harmonies are drum tight and joyous, even on the ballads. Guest spots by Christian McBride, Sheila Jordan, and the late Bob Dorough, enliven the proceedings even more. Ms. Ross, you have left us a beautiful memory, Rest in Peace.
This is the album that I’ve been waiting for from Kandace Springs, since she first grabbed my attention on her compelling but uneven debut album Soul Eyes. Perhaps because on The Women Who Raised Me, which is a tribute to the vocalists who influenced her, she finally has an album’s worth of material worthy of her stunning talent. Her honest, soul drenched voice, has never sounded better. With guest appearances by Norah Jones, David Sanborn, Chris Potter, Christian McBride and others, this album has placed her in the upper echelon of young soul-jazz vocalists.
Another on the growingly impressive list of jazz artists, under 30, who a creating a bright future for jazz, Alexa Tarantino is a multi-reed player, who demonstrates stunning proficiency on flutes, and soprano and alto saxophones, on this, her second album. Ms. Tarantino also wrote four of the nine selections, including two of the best performances, “Through”, which features her on flute and “A Race Against Yourself”, on which Tarantino delivers a blistering turn on alto sax. Two albums, in two years, each better than the last. I’m looking forward to hearing what next year will bring.
I’ve been an admirer of this big-toned tenor, ever since his impressive debut for Impulse! Records, 22 years ago. On this date, his first for Willie Jones III’s fine WJ3 label, he wraps that tone around seven originals and one standard. Mr. Tardy is an intelligent soloist and an excellent composer. His name should be far better known than it is. If Time Could Stand Still, is another winner in his catalog, a fine straight-ahead date with excellent solos from Tardy, guest star Alex Norris on trumpet and pianist Keith Brown, son of the piano master, Donald Brown. Keith is new to me and very impressive. I look forward to hearing more from him, in the future.
Oh my! I had no idea that Ms. Brianna Thomas existed until a few tracks from this album appeared in my new release file, a few months ago. Her voice is a marvel. It’s a blend of soul, blues, jazz, and world-weary heartbreak, that gives her a sound like no one else working today. Ms. Thomas delivers a cooking set, that straddles the line between blues and jazz, doing both idioms proud. Any vocalist who can pull off “It’s a Sin to Tell a Lie”, “Mississippi Goddam” and the slightly raunchy “My Stove’s in Good Condition”, with equal aplomb, on the same album, is my kind of singer. Nice to meet you, Brianna Thomas. Let’s do this again, soon.
I first heard the young, brilliant pianist, Isaiah J. Thompson, on Jazz at Lincoln Center Orchestra’s release A Handful of Keys, which featured several pianists of various ages and experience levels. Though Mr. Thompson was the youngest of the group, he managed to stand out among his seasoned colleagues. On his full album debut as a leader, he tackles the music of the youngest of the Montgomery Brothers, pianist Buddy. Mr. Montgomery wrote some fine and so far, under-recorded tunes, which makes this album quite appropriate. It’s also quite good. Mr. Thompson has impeccable taste as a soloist. He avoids the unnecessary runs and flourishes that plague many keyboardists of his age. This album is an outstanding start for an artist who has a very bright future.
This is the New Orleans native’s debut album, as a leader, at the tender age of 63 (thus the tongue-in-cheek title). He has often been confused with the popular jazz drummer of the same name (they are no relation) and during his 35-year career, Mr. Washington has often been shy about promoting himself and his considerable talents. Like the man himself, this album is not going to get in your face. It is low key, it swings, and it will insidiously wrap itself around your brain. Washington’s intonation and phrasing are excellent, and he has a marvelous way with the standards that make up most of the selections on the album. An excellent debut. Let’s hope a follow-up is forthcoming, soon.
Bobby Watson, who has had a long and storied career, as a musician, bandleader, and educator, has been on a hot streak of late, especially from a recorded perspective. The superb Keepin’ It Real, is the third critically acclaimed Smoke Sessions release that Mr. Watson has been a part of, in the last three years. Here, he just continues to do what he has been doing so well, since his days as musical director of Art Blakey and the Jazz Messengers and then with his own group, Horizon; create catchy and memorable hard bop arrangements and infuse them with his inimitable sound and swing on alto sax. Now that he has retired from the education field, Mr. Watson has spoken of having more time for touring and recording. If he keeps producing music of this quality, the jazz world will be incredibly pleased. [Bobby Watson joined me, to discuss this album and his career, on Conversations with Curtis. Click HERE to view that interview, on You Tube].
A reminder, if you are interested in purchasing any of the music that we’ve discussed in these posts, clicking on the album title, will take you to the album’s page on Amazon.com. There is also a Spotify playlist below, which includes a track from each of the albums discussed here, for you to sample. And we’ll be featuring many of these albums throughout January 2021 on CurtJazz Radio. But please don’t just stream. During these tough times, these musicians can use your support more than ever, so if you like it, buy it.
Our next post will be a summary listing of all 30 albums, in our 30 for ’20 list. It will be up on the site, tomorrow.
Thoughts and opinions are welcome, as always, in the comments.
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
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.
If you’re a jazz fan, you’ve probably heard Warren Wolf’s work, even if you’ve never heard his name. Though Mr. Wolf has not yet released an album domestically as a leader (his Mack Avenue debut is due out this fall), the multi-instrumentalist has made some very impressive guest appearances with headliners such as Jeremy Pelt, Bobby Watson, Tia Fuller and Christian McBride, as a member of McBride’s group “Inside Straight”. Christian will return the favor by joining Wolf in his AJF performance.
Though he is also a virtuoso on piano and drums, Mr. Wolf is known mostly for his work on the vibes. Originally from Baltimore, he was a child prodigy, whose musical education began at three. Mr. Wolf is a graduate of the Baltimore School for the Arts and the prestigious Berklee College of Music. He has recorded two albums that have been released in Japan: Incredible Jazz Vibes, with Mulgrew Miller on piano, Vicente Archer on bass and Kendrick Scott on drums; and Black Wolfwith Miller, Rodney Whitaker and drummer Jeff “Tain” Watts.
Warren Wolf is sure to bring some powerful and exciting jazz to the Atlanta Jazz Festival this weekend. Wolf, with special guest Christian McBride, will take the stage at 7 pm on Saturday, May 28. We hope to see you there!
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 