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Merkel 1 A. Ellis 1 A. Trosper 2 A. Radley 2 A. Culey 3 A. Griffiths-Jones 2 A. Scudiere 11 A. Wharton 1 A. Alexander 0 A. Knorr 7 A. Freeman 0 A. Keen 0 A. Clayton 1 A. Grosjean 0 A. S Coomer 4 A. Michael Stevens 0 B. Roman 1 B. Trimmer 1 Bailey B. Britton 2 Barbara M. King 1 Bradford Alberts 0 Bradford G.
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Tomas 8 Gail Smith 4 Gail Z. Mahaffey Jr. Burke 1 H. Romero 0 H. William Taeusch 1 H. Wells 7 H. Gooden 2 H. Roberts 1 H. Mullins 1 Hurbert L. Mensah 0 Isaac Asimov 1 Isaac D. Kellman 1 J. Fields 4 J. McKenzie 1 J. Chase 0 J. Edwards Holt 1 J. Grandison 1 J. Bogran 1 J. Isaac Bowman 0 J. Lee Porter 2 J. Manfred Weichsel 0 J. Valentine 3 J. Rain 1 J.
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Goodsell 3 K. Connors 1 K. Edwin Fritz 1 K. Kris Loomis 7 k. Waller 2 K. Andrews 1 K. Everly 1 K. Ladnier 1 K. West 2 K. J Rabane 1 K. This category also includes compilations of previously released music, including straight reissues, although my selection is very erratic. New Music 1. Joint improv, artist order some approximation of fame, though Lowe is the commanding presence here. Cleaver defines "free jazz" as "many contexts and frames of reference held at once.
Sons of Kemet: Black to the Future Impulse! British jazz group, led by saxophonist Shabaka Hutchings, fourth album, second on major label, first was a major crossover success, and this currently ranks 6th at AOTY with an 87 over 23 reviews -- compare to Vijay Iyer with 6 reviews for a measure of how much attention they've garnered. With Theon Cross on tuba and two percussionists, they put out a lot of rhythm, without simplifying.
Nor is it the guest rappers and singers they showcase, although their words have serious impact. Starts with George Floyd, and threatens to burn, before they sweep you away. A blindfold test puts him closer to David S. Ware, aside for the change-of-pace closer "Chemurgy" , my favorite piece here. The group has always worked a funk-fusion vein, but they've rarely integrated hip-hop this well. Plus long stretches without vocals. Coleman has rarely played so powerfully.
Choice selections here, including some fine takes on standards. With 67 tracks, median close to 10 minutes, way too much for anyone to work through, especially streaming, but Braxton's previous forays into standards -- especially the Quartet, which filled up two 4-CD boxes -- have often been brilliant. I've been sampling this between other records, rarely for more than an hour at a time.
It's not brilliant, at least not in the sense that his Parker, Monk, and Tristano sets were, but it's engaging and often quite delightful. Can't say much for the guitarists here, but doesn't matter the way Carrier is playing. Barry Altschul's 3Dom Factor: Long Tall Sunshine Not Two Drummer-led free jazz trio, Altschul played on several major albums in the s, never really went away but rarely appeared as leader until he put this group -- with Jon Irabagon saxes and Joe Fonda bass -- together in Irabagon has been erratic lately, but in the right company he still has tremendous chops -- and this is that, as they show even when he lays out.
One disc here is a trio with Bill Laswell electric bass and Milford Graves drums. The other two are duos. The box is dedicated to Graves, who died last year, but his duo disc is the highlight, one of the best things he ever did.
Laswell's duo is less interesting: he's a guy who works with an extraordinary range of people, and never overshadows them. The booklet, superb as usual, is especially good for its bios of Laswell and Graves.
Joint credits, vigorous if a little on the rough side. She recorded this one in Switzerland, January , with cello Lester St. Has crossover reach like s Miles Davis, replacing the fusion with even more intense and complex rhythm.
The others, from various points in Latin America, play tenor sax, bass, and drums, on seven Ornette Coleman compositions. The tunes are as radical ever, and played with aplomb. One of their more impressive outings. Six pieces stretch out, the pointed poems have much to say "how long do you have to live in a place before you can call it home?
Credits list four saxophonists. Together they're formidable, but the monster solos I'd guess to be the work of Shabaka Hutchings. This is something less than her duos with Han Bennink or Pierre Favre, but is still very impressive. Not sure about the lyrics, but the guitar improvs stagger, even if they lean to the rock side of fusion.
Guest Carneiro plays marimba, neither here nor there, but the saxophone is superb, even when he slows it down. Often strong politically, not that the music could go some other direction. They have close to a dozen albums since , usually with Erika Lewis singing. Muldaur, who started in Jim Kweskin's Jug Band, is perfectly at home here. Michael and Peter Formanek: Dyads Out of Your Head Famous bassist and his less known son, playing tenor sax and clarinet, probably his first album.
Something more than a nice duo album, the bass solos could stand on their own, but the extra color and shading extends interest, in this case all the way to He knows his way around beats, but I doubt he's ever worked with a drummer with Sorey's chops before.
Loses a bit when the drummer checks out, but by they you're hooked. This adds a second tenor sax, an old master making the rounds. Morris is better known as a guitarist, but plays some exceptional bass here. I haven't heard much by Vandermark over the last few years. He's been as prolific as ever, but his Catalytic Sound Bandcamp only offers bits of albums.
But he sounds great here, pushed on by the guitar ferment, and a terrific drummer. Shipp honors him with some of his most percussive playing. One piece, taken from a album, plus an "sample" the bit you can hear on Bandcamp.
Much edgier than the original, which captures the spirit. Carter pokes around the edges, rarely taking charge, which is fine given how strong the bass lines are. Recent records have been elevated by Matthew Shipp, so this one starts a little uncertain, but the cornet player Clucas opens things up with a blistering solo, and by midway Halley has found his wind.
One of the major tenor saxophonists of our time. Billing order could be alphabetical or seniority or just how the name lengths fit on the cover, but it helps to focus on Carter's bass first, before the pianist explodes. Wish he did it more often, but not for lack of appreciation for the rest of his kit.
Something less than his usual tour de force, but softer touches are appealing as well, heightened perhaps by the always present tension. Skeidsvoll has a record in the group Bear Brother, but this is his first slugline. Not fancy, just heavy chords with some abstract tinkling, but it really sets the saxophonist off. A tour de force. The suites aren't terribly long for the first three, for the last , and I have reservations about the third, but they feel more improvised than Smith's recent major productions, and with this group that's a plus.
Impressive work all around. Jaubi: Nafs at Peace Astigmatic Pakistani instrumental quartet, exploring "eastern mysticism and the spiritual self [Nafs]. She grew up in Vienna, managed to keep one step ahead of the Nazis, moving to Amsterdam in , then to America, eventually San Francisco. She has some twenty books of poetry since , and several jazz albums. Fairly minimal backing, with synth, bass, wooden log, and tasty squibbles of Rent Romus sax and flute -- puts this record over the top.
By the way, Romus credits George Russell with introducing him to Weiss in ESP-Disk Bassist, very prolific, already has several of the year's best albums, with his wife adding spoken word over the brash free jazz, smacks a bit of preaching to the choir but nothing you shouldn't hear. Henry Threadgill Zooid: Poof Pi Alto saxophonist, also plays flute more than I'd like , founded the group Air in the late s, has produced a steady stream of albums since, including some of the best of the last decade.
I sampled a cut of two when this came out, and wasn't blown away, but it all seems to work out in the end. Conducted improv, starts evoking s Miles, adds a bit of mythopoetic vocal chorus, then settles into seductive groove. Early on barely hints at township jazz heritage, but as the album develops, first the piano then the sax come into focus. Manana is described as "young," but he impresses like Dudu Pukwana. The thing that most impressed me about Sun's debut was the depth of his understanding of saxophone history and lore, so I suppose it's not surprising that he would want to work his way through Parker's legacy.
She only sings on 6 of 12 songs, but is key to the networking that makes the record work. Dorough's songs were recorded in , shortly before his death at Not clear when Jordan's 4 songs were done, but she's in a band picture with Dorough. Aside from "These Foolish Things" at the end, all of the tunes are from Parker, with various lyrics.
I'm not a huge fan of Parker or vocalese, but the whole album is done with such good cheer I can't help but smile or laugh. Terrific mix. Repertory from another dimension of funk. At 32, he's put together a strong discography, and he's a very impressive saxophonist.
Also an ambitious composer, employing pianist Mauro Schiavone to help with arranging the London Symphony Orchestra. One improv, wanders a bit, but the piano is especially impressive. Kimbrough Newvelle Quite a tribute to the late pianist Frank Kimbrough, 61 songs he wrote played by 67 musicians who had some direct relation, some famous, many not, recorded over four days, perhaps the most productive wake ever.
It's a lot to take in. Seems likely I long underrated him although I totally enjoyed his Monk's Dreams. Without guitar, to my ears this doesn't sound anything like Frisell, but it's bright, energetic, amusing, and thought-provoking. Theon Cross: Intra-I New Soil British tuba player, also trombone, plays in Sons of Kemet and other jazz projects, second album, more electronica with Emre Ramazanoglu co-producing, featured guests on 5 of 10 tracks, adding rap and beats, but the real lesson is: everything goes better with tuba.
Here it's one old guy, two youngsters, and drummer Froman in between. Favors standards, with a nice, relaxed feel, even when they kick it up a notch and Liebman really shines. Label named for the producers. The combination recalls Nils Petter Molvaer's jazztronica, but the beats have more industrial and hip-hop overtones.
Six pieces, named for world cities although Oppdal, in Norway, is more of a village. Austin is funky and fun. Amsterdam is a bit overwhelming, ending the album on a high plateau. Soft tones and lots of rhythm, with sly commentary.
Small size is part of the equation, but wealth isn't: Portugal is the poorest country in western Europe, while Norway is one of the richest. But cross-polination has helped, especially as Portugal's Clean Feed label regularly hooked Portuguese jazz masters up with peers from Scandinavia and Eastern Europe. Nothing particularly electric in the lineup, but they do keep you turned on. Quartet, with lap steel guitar Mike Neer , bass, and drums. Nothing slick or conventionally smooth here: he loves the grit of the low notes, and when he sings "Nature Boy" over an extended vamp, he exhibits a voice to match.
The record ends with a "radio version," versus the original Lots of interesting looks here, starting with Ola Kvernberg's violin, but the piece that really takes off is "Pickaboogaloo" on disc 2, so much so everything else gets sharper. Starts with flute, which at least contains Gustafsson's tendencies to excess, although he later switches to bari and sticks mostly within the groove, letting the other horns provide the highlights. Matthew Shipp: Codebreaker Tao Forms Solo piano, and while I rarely find his solo work -- as a rough guess, at this point only Keith Jarrett among living pianists is likely to have more -- as appealing as his trio, it remains impressive compared to everyone else including Jarrett.
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