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CurtJazz’s Best Jazz Albums of 2011 – The Final List

Posted in Best Jazz Albums of 2011, CD Reviews, The Jazz Continues... with tags , , , , , , , , , , , , , , , , , , , , , , , , on December 13, 2011 by curtjazz

About six months ago, I posted a halftime list of my favorite 2011 jazz recordings heard between January and July.  I promised to be back around now to fill out the list with what I experienced over the last six months.  My original intent was to pare that list down to a final dozen or so, spanning the entire year…

Well, I changed my mind y’all. Instead, we’re going to add another ten to that first list, making it a Top 20.  And, like last year, there was an excellent 2010 disc that I completely missed until 2011. It will be included as well.

As a reminder, here are albums from the July post. You can see/read the entire July post HERE.

So here they are, in alpha order by album title – my favorite jazz discs from the second half of this year:

Alma Adentro: The Puerto Rican Songbook – Miguel Zenón (Marsalis Music) – He’s not prone to ostentatious self promotion, but this Guggenheim and MacArthur fellow has quietly become one of the most important saxophonists in jazz today.  Each of his albums has topped the previous one; taking his artistry to a new place and keeping us, the audience, on the edge of our seats. Alma Adentro, is the exploration of the music of five composers, who are unknown in the U.S. but very important in Puerto Rican musical lore. It’s not “Latin Jazz” in the sense that we’ve come to know it, but is outstanding music that broadened my horizons.

Bitches – Nicholas Payton (In + Out Records) – Yes, the title did make me wince a little, but the music made me smile, a lot.  This has been an interesting year for Mr. Payton, as his blunt, insightful and often profane musings have made him one of the more controversial and compelling figures in the world of jazz social media.  Not surprisingly, this album has also caused its share of controversy, raising eyebrows in the same way that In a Silent Way, another album with a dream-like vibe, did in 1969.  Payton composed every song, played every instrument and sings on many of the tracks (quite well, I might add), more than holding his own with some top-drawer guests, like Esperanza Spalding and Cassandra Wilson.  If you’re looking for “jazz” of the type that Payton played on his early Verve albums, you won’t find it here. Bitches has more in common with mid-70’s ballad driven R & B and with neo-soul. But as someone who grew up with the former and has developed a keen appreciation for the latter, I really dug this album.

Black Lace Freudian Slip – René Marie (Motema Music)

René Marie was very quiet for a while after her 2008 controversies, but she is back with a vengeance; releasing not one but two outstanding albums in 2011. The first; Voice of My Beautiful Country, (which was on our first “Best of” list) was a tribute to patriotic and traditional standards. Black Lace Freudian Slip is mostly comprised of Marie originals, including the title track, which is every bit as sly and sexy as the title suggests. The two discs may be lyrical opposites but the music on both is outstanding. Don’t try to choose between them, get them both.

For All Those Living – Sheryl Bailey (Pure Music Records)

Guitarist Sheryl Bailey gets better with every recording. She follows up last year’s impressive big band outing,  A New Promise, with a terrific quartet disc that displays her impressive chops and full-bodied swing to great advantage.  The Emily Remler comparisons are easy to make, but I think that that’s too limiting.  Sheryl Bailey has the potential to outshine her role model, whose untimely death halted her artistic growth. Bump the gender limitations; Ms. Bailey is one of the best jazz guitarists working today, period. This disc also has its heart in the right place as 20% of the proceeds from all sales will be donated to Ronald McDonald House.

The Mosaic Project – Terri Lyne Carrington (Concord Records)

As I stated in my earlier review of this album, The Mosaic Project is Terri Lyne Carrington’s most completely realized project, by a mile. It also is one of the best jazz works of the year by any artist. Click HERE to see my full post about it.

Pinnacle: Live and Unreleased from Keystone Korner – Freddie Hubbard (Resonance Records)

What a find this was by Resonance Records! Hubbard, at the top of his game in 1980 on performances compiled from summer and fall appearances at the legendary San Francisco club.  The version of “The Intrepid Fox” that opens the album, is jaw dropping. What follows is just as good, including the only known recording of Hub playing “Giant Steps”. The title says it all.

Road Shows Volume 2 – Sonny Rollins (Doxy/EmArcy)

I was one of the few who liked, but didn’t love Road Shows Volume 1; mostly because of the unevenness of the 30 years worth of performances. Volume 2’s tracks by contrast, were all recorded during 2010, most of them during Newk’s already legendary 80th birthday concert, the remaining two a month later in Japan.  Sonny is in very fine form and the guest stars, including Roy Haynes, Roy Hargrove, Jim Hall, Christian McBride and Ornette Coleman, in his first ever public performance with Rollins, all rise to the occasion. Sonny Rollins proves once again, that age ain’t nothin’ but a number.

Something Beautiful – Eric Reed (WJ3 Records)

Something Beautiful is Eric Reed doing what he does best; playing in a trio setting. It’s hard to believe that it’s been over twenty years since Reed first debuted with Wynton, but in those years he has grown from teenaged prodigy to one of the best pianists of his generation, with an impeccable melodic sense that accompanies his gospel influenced chord structure.  Something Beautiful consists mostly of songs by others, from Berlin to Brubeck to Billy Joel; all of them sounding as unsullied as if they were being played for the first time.

 

Tirtha – Vijay Iyer (ACT)

Tirtha is the self titled debut of pianist Vijay Iyer’s latest trio, which also includes tabla player Nitin Mitta and guitarist Prasanna.  As expected, the album has a strong South Asian influence, but I feel that slapping a term such as “Indian Jazz” on this music is almost insulting in its limitations.  Their sound is alive and its intricacies grow with every hearing.   Iyer has never been afraid to challenge conventions and he usually creates something fresh in the process. He and his Tirtha band mates have done so here.  In a genre often chided for being stale, Tirtha is a welcome breath of fresh air.

 

Triumph of the Heavy Volumes 1 & 2 – Marcus Strickland (Strick Music/CDBY)

Strickland is another of those young saxophonists who give me hope for the future whenever I hear him blow.  On this two disc set (gutsy for a relatively unknown artist), he brings the goods on tenor, alto, soprano and clarinet.  Disc 2 is a live trio set with Marcus’ twin brother E.J. on drums and up and coming bassist Ben Williams. They push the boundaries of convention to the limits, with a hard-driving sound that is spare, but never thin.  On Disc 1, recorded eight months later, they add David Bryant, a young Tyner influenced pianist with mad promise, to the mix.  Bryant’s angular harmonies are the main reason I have a slight preference for the studio set but it doesn’t really matter, because neither disc has left heavy rotation in my iPod since I bought them.

And a 2010 disc that I missed…

Introducing Triveni – Avishai Cohen (Anzic)

I’m continuing the tradition that I started last year of recognizing an outstanding disc released in the previous year that managed to escape my ears until the current one.  Triveni was released in September 2010. It’s a trio session led by the trumpet playing brother of Anat Cohen, who has garnered renown for her work on sax and clarinet.  Avishai Cohen is one of two Israeli jazzmen working today who share the same name (the other plays bass) and as of now, he’s the lesser known of the two.  This strong outing should do something to change that. Trumpet/bass/drums trio sessions are rare but Cohen is more than up to the task, collaborating with bassist Omer Avital and drummer Nasheet Waits on originals and standards that mine the depths of hard bop, swing, funk with a nice dose of avant-garde as well.  Cohen is not going to bowl you over with flights into the upper register but the impressiveness of his facility and inventiveness in the mid range is worth a dozen high notes. Many thanks to Canadian journalist/pianist Peter Hum for pulling my coat about this one.

Notable Mentions

Here are a few more fine discs from 2011 that are worth a listen or ten. Don’t pass them up if you have a chance:

  • A Boy’s Journey – Peter Hum Quintet (self-released) – The knowledgeable and witty jazz journalist is also a very fine pianist. An impressive debut recording.
  • Parallel Lives – Andrea Wolper (Jazzed Media) – This vocalist grows more impressive with each album.  Her coolly inviting mix of originals with rarely heard standards are a perfect tonic for a tough world. 
  • State of Art – Ben Williams (Concord Jazz) – The Monk Competition winner drops a formidable blend of the new and the traditional on his first disc.  It’s fresh, it’s exciting and I want to hear more.
  • Sweet Thunder (Duke & Shak) – Delfeayo Marsalis (Troubador Jass) – Delfeayo does The Duke proud on this hard-swinging octet version of Such Sweet Thunder. It’s the year’s best album from someone named Marsalis (Read the full review post HERE)
  • When the Heart Emerges Glistening – Ambrose Akinmusire (Blue Note) – A rare case of a much-hyped major label debut living up to expectations. Akinmusire is the real deal; and the greatest thing is that he’s nobody’s clone.

And that’s how things looked this year from my “plush” Charlotte studio/mancave.  Tracks from these albums and more will be heard on Curt’s Café WebJazz Radio, starting on December 27 and continuing on through the month of January.  Your thoughts, comments and criticisms are always welcome and your spam is always deleted.

Thanks for taking the time to read my thoughts this year. I don’t take your support for granted. I hope you’ll stick around for what I expect will be an interesting 2012.

A Happy and Healthy Holiday Season to all of you. 

Until the next time, the jazz continues…

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Concert Review – Delfeayo Marsalis in Charlotte, NC

Posted in JazzLives!, The Jazz Continues... with tags , , , , , , , on June 26, 2011 by curtjazz

I’ve been a resident of Charlotte, NC for almost 11 years.  I must admit that during most of that time, the choices for mainstream jazz have been at best, limited.  Yes, there have been a few establishments that have called themselves “jazz” clubs, but they have mostly offered what we sometimes call “grown folks music”, that is, a mix of radio hit-based R & B instrumentals;  vocalists whose time atop the pop charts has passed and competently performed, but unimaginative “smooth” jazz.  Economic times being what they are, even those clubs have fallen by the wayside.  Though there would be the occasional appearance of a jazz star, they were few and far between.

I tell you that to tell you this.  To quote Martin Luther King, we straight ahead jazz fans are now “able to hew out of the mountain of despair, a stone of hope”.  Within the past 15 months, Charlotte has played host to well-attended concerts by notables such as Regina Carter, Kurt Elling, Kenny Barron, Russell Malone, Esperanza Spalding, Robert Glasper, Branford Marsalis and now another Marsalis brother, Delfeayo; who brought a vibrant quintet to the McGlohon Theater at Spirit Square last week.  I’m going to cut to the chase: it was the finest jazz concert I’ve seen since I’ve lived in this city.

The concert was presented by the Jazz Arts Initiative, a new non-profit organization composed of educators, cultural arts patrons, musicians and individuals, all dedicated to the continued development of Charlotte’s arts heritage.  Headed by Lonnie Davis, the JAI has shown great potential to succeed where other similar organizations have failed –  first because they have already produced tangible results, such as last night’s concert and the ongoing educational programs for elementary and secondary school students; second, because they have shown a willingness to use social media, to an extent that prior organizations have not and finally, because they are funded in part by The Charlotte Arts and Science Council, giving them needed legitimacy with local arts fundraisers.

The evening was kicked off in fine fashion by the JAI All-Star Youth Jazz Ensemble, a promising group of youngsters, all in their teens: Quinn Bannon on drums; Phillip Howe on trumpet; Claire Lucas, bass; Steven Ray (remember that name) on guitar and Alex Sherman, piano. These well-trained, enthusiastic kids delivered solid, swinging takes on Miles’ “Four” and Sam Jones’ “Unit 7”. Their performances bode well for the future of JAI and Charlotte area jazz.

Delfeayo took the stage immediately after the JAI Youth; relaxed, in good humor and ready to swing. Surprisingly, he played no music from his latest, album Sweet Thunder, an Ellington tribute. Instead, he delighted the audience with tunes from the jazz canon and his own compositional catalog.  He broke with tradition by kicking the set off, not with a flag-waver but with Strayhorn’s “Intimacy of the Blues”.  Marsalis and the quartet, consisting of his longtime pianist Victor “Red” Atkins, John Brown on bass and Charlotte’s own Ocie Davis on drums, had the crowd feeling “intimate” as we hummed, swayed and responded with sundry expressions of approval. 

Another regular Marsalis ally, saxophonist Derek Douget and trumpeter Ashlin Parker, a Charlotte native who shows remarkable promise; joined the group for a bouncy romp through the old warhorse “Drum Boogie”.  This delight was followed by one of the high points of the evening, Elvin Jones’ “The Lone Warrior”, a tune inspired, as we found out in Delfeayo’s expository comments, by Jones’ father’s refusal to answer his draft notice.  Marsalis and Douget and Atkins painted a story of haunting determination in their solos and the ensemble passages. You could envision the proud, resolute Jones père as he marched through his 25 mile journey. 

From a previous performance, here’s Delfeayo’s group on an excerpt from “The Lone Warrior”, featuring Mark Gross…

The second half of the show was devoted to numbers penned by Marsalis:  the dark, haunting “Lost in the Crescent”, the appropriately whimsical “Br’er Rabbit” (both from Marsalis’ underrated Minions Dominions album).  And the compelling set closer, “The Weary Ways of Mary Magdalene” from his debut album Pontius Pilate’s Decision.   That tune’s percussive piano vamp grabbed my attention when I first heard it nearly 20 years ago and it still moves me in the same way now.

After the concert was over, Mr. Marsalis returned to the stage for a Q & A session with the audience.  In keeping with the relaxed atmosphere that had been established, Marsalis was gracious with his time and expansive with his answers, peppering his responses with interesting anecdotes and raucous humor. 

To close the evening, there was one more selection.  Victor Atkins returned to join Delfeayo for reminiscence about the beginning of their musical partnership, followed by a duet on “What a Wonderful World”. It was truly a wonderful evening of jazz in Charlotte, one of many we hope to see in the near future here. Kudos to Delfeayo Marsalis and his fine sextet, to the JAI All-Star Youth Ensemble and to Lonnie Davis and The Jazz Arts Initiative; thanks to them, the future of jazz in this city looks very bright, indeed.

Delfeayo Marsalis website: http://delfeayomarsalis.com Follow him on Twitter: http://twitter.com/delfeayo

The Jazz Arts Initiative website: http://www.thejazzarts.org Follow them on Twitter: http://twitter.com/theJazzArts

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For Father’s Day – A Great Son of Jazz

Posted in JazzLives!, The Jazz Continues... with tags , , , , on June 18, 2011 by curtjazz

On Father’s Day, Charlotte will be hosting a concert by a son of “America’s First Family of Jazz”.  NEA Jazz Master Delfeayo Marsalis will appear at the McGlohon Theatre in Spirit Square on Sunday, June 19; at 7:30 p.m.

This will be the internationally acclaimed trombonist/producer/educator’s second appearance in Charlotte this year.  He was last with us in February for a series of educational workshops and concerts. He also took time out for a hot jam session at Sullivan’s in South End, which was documented in this blog. 

Here’s Delfeayo and his dad Ellis, on “Sultry Serenade”

Marsalis is of course, the son of renowned pianist/educator Ellis Marsalis and the brother of jazzmen Branford, Wynton and Jason Marsalis.  His father and brothers share the NEA Jazz Master Award with Delfeayo.  He’ll be playing selections from his latest critically acclaimed album Sweet Thunder (Duke & Shak) and more.   The JAI All-Star Youth Jazz Ensemble will open this event.

The concert is being presented by the Jazz Arts Initiative, a new non-profit organization made up of educators, cultural arts patrons, musicians and individuals dedicated to the continued development of Charlotte’s arts heritage.

The remaining tickets are on sale for $25. (The $35 VIP seats are sold out.) They are available online through CarolinaTix. 

I will be there, courtesy of a generous Father’s Day gift from my wife and son. I hope to see you there too.

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