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.
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.
Jacques 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 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.
REFLECTIONS OF A GRATEFUL HEART – WJ3 Records WJ31015 www.williejones3.comI Love The Lord; In Case You’ve Forgotten; Changed; Psalm 8; ‘Tis So Sweet; Hymn; New Morning; This Day; God Cares; Prayer; Spiritual; I Love You Lord Today/We Praise You Lord
PERSONNEL: Eric Reed, piano
By Curtis Davenport
Like many other fine jazz pianists before him, Eric Reed did not spring forth from the womb playing bop or swing. Though you clearly can hear Monk, Powell, Ellington, John Lewis and others in his style, his first piano idols were men such as Thomas Whitfield, James Cleveland, Richard Smallwood, Edwin Hawkins and others; artists whose names are virtually unknown in jazz but who are legends in the world of gospel music. This should come as no surprise because Mr. Reed is the son of a minister, who started playing piano at the age of two and cut his musical teeth playing in his father’s storefront church. The jazz influences came later. So like his contemporary, Cyrus Chestnut and his predecessors like Bobby Timmons, Mr. Reed’s sound is never too far from the church. His latest project Reflections of a Grateful Heart is as the title implies, a reverent appreciation, first of God and then of the music of the under-appreciated masters of the music that has meant so much to him, spiritually and stylistically.
This is not Reed’s first “All-Gospel” recording; 2009’s Stand! was a swinging trio date featuring original Reed compositions with titles that left no doubt as to their subject matter. Mercy and Grace from 2003 was like Reflections of a Grateful Heart,a solo piano album but it concentrated on traditional spirituals such as “Jesus Loves Me” and “Wade in the Water”. Reflections… is an amalgam of its predecessors, a solo piano album that features compositions by some of the aforementioned influences and some Reed originals. But where the two prior albums were a “church service”, mixing the uptempo foot-stompers with the slower pieces; Reflections… is worship time. The song selections are obviously very personal and reverential. We the listeners are afforded the opportunity to listen in as Mr. Reed spends intimate time speaking to and thanking God for the great gifts that He has given him.
Reed chose two compositions by Richard Smallwood a classically trained pianist, who writes some of today’s most beautiful Gospel songs. The stately “I Love the Lord” opens the album with Reed taking his time, building the theme toward a hushed crescendo. A lesser pianist might have given in to the temptation to play with abandon. The fact that Mr. Reed doesn’t, adds to the effectiveness of the performance. “Psalm 8” is the other Smallwood piece. Here we hear a little more of Reed, the jazz pianist as he draws the blues chords in the melody to the fore. The opening words of the Psalm (“O Lord, our Lord, how excellent is Your name in all the earth…”) permeate Reed’s playing. Thomas Whitfield, another brilliant contemporary Gospel composer, who died far too young, is represented by “In Case You’ve Forgotten”. Reed opens his version with a quote from John Lewis’ classic “Django” before moving into the rich melody. Mr. Reed also leaves some room for his own impressive non-secular compositions, including “New Morning” and “Prayer”, which had been performed on Stand! Stripped of any bass and drum adornments, these two beautiful works become even more personal. I don’t know if lyrics have been composed for either of these pieces but they certainly cry out for them. The time of devotion closes with a medley of “I Love You Lord Today”, one of the more popular contemporary worship songs and Reed’s own “We Praise You Lord”. The two pieces mesh together seamlessly, to leave instill a feeling of overwhelming peace and hope in those who have experienced this album.
Eric Reed’s Reflections of a Grateful Heart is an artistic statement of rare beauty. We often hear artists perform for us but how often do we get to hear an artist bare his soul? As someone who shares Mr. Reed’s religious beliefs, I was as much moved by the worship experience as I was by Mr. Reed’s stellar piano playing.
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.
Unsung Heroes– Brian Lynch (Hollistic Music Works) [A 2011 CD release]
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.
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.
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.
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.
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.
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 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 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.
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.
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.
Jacques 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, 
Willie 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 
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