{"id":2252,"date":"2018-12-09T16:26:47","date_gmt":"2018-12-09T16:26:47","guid":{"rendered":"https:\/\/geneseymour.com\/?p=2252"},"modified":"2018-12-17T15:45:07","modified_gmt":"2018-12-17T15:45:07","slug":"gene-seymours-top-ten-jazz-discs-for-2018","status":"publish","type":"post","link":"https:\/\/geneseymour.com\/?p=2252","title":{"rendered":"Gene Seymour’s Top Ten Jazz Discs for 2018"},"content":{"rendered":"

It was the kind of year when the biggest, most-talked-about release in recorded jazz was a compilation of takes and outtakes from fifty-five years ago. It wouldn\u2019t surprise me to see Both Directions At Once<\/em> at or near the top of some reviewers\u2019 lists for best new album since its 1963 sessions by the John Coltrane Quartet had never before seen the proverbial light of day. The album doesn\u2019t appear on this list, and I\u2019ve already suggested why it won\u2019t.<\/a> Still it was the kind of marketing triumph rarely seen in jazz music, pulling in a big, broad spectrum of listeners. Some older jazz heads told me Both Directions<\/em> drew bigger crowds than Coltrane did when he was still alive \u2013 which sounds more than plausible.<\/p>\n

Even with my misgivings, it was hard not to be caught up in the excitement Both Directions At Once<\/em> aroused among listeners, especially those who weren\u2019t yet born when Coltrane died in 1967. Yet along with the excitement there was also a melancholy acknowledgment that Back Then aint the same as the Here & Now. Hearing the Coltrane quartet at a time when some of its greatest breakthroughs were just ahead reminded you that those early-to-mid-1960s were an era of expanding horizons and greater possibility.<\/p>\n

And now? To paraphrase something one of my peers told me earlier in the year, we once lived in a time of transcendent, boundary-breaching improvisers. Now we live in an era awash in very-good-to-great players working well and even nobly within the standards set by giants. Every once in a while, one of them spins you around by making a sound you never heard before. (Number 4 on this list has been doing this since she emerged only a few years ago.) But maybe Gary Giddins was right when he wrote back in 1983 about the emergence of the Marsalis brothers and their contemporaries, \u201cMy intuition is that innovation isn\u2019t this generation\u2019s fate.\u201d<\/p>\n

After almost forty years have passed and at least a couple more of waves of musicians have emerged, Giddins\u2019 assessment still sounds prescient, at least as far as improvisers are concerned. But there are other ways to be innovative. Throughout this period of revision and retrenchment, some of our most interesting jazz artists have devoted their energies to creating or, in Wynton Marsalis\u2019s case, refreshing contexts for jazz’s presentation, whether by expanding the music\u2019s canon through jazz repertory or providing broader frameworks for presenting the music. Maybe you bring choirs along as part of your equipment, as Kamasi Washington does, or revise conventional horns-rhythm-section stagecraft as the late Max Roach once suggested \u2013 and as artists such as Esperanza Spaulding have been doing. It\u2019s the same kind of musical nation-building that Miles Davis, Charles Mingus, Art Blakey and Betty Carter used to do with their outfits and I\u2019d like to believe that from these revised contexts, more than a few musicians will emerge and make all our heads spin the way John Coltrane once did, and still does.<\/p>\n

Or…I could be wrong. Anyway, here\u2019s my list and I\u2019m sticking with it:<\/p>\n

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1.) Steve Coleman and Five Elements, Live at the Village Vanguard, Vol. 1 (The Embedded Sets)<\/em> (PI)<\/strong> \u2013 In Coleman\u2019s previous appearances on this list, I\u2019ve described what he and his band are doing as an ongoing quasi-scientific inquiry into what he characterizes as biological processes, but are in reality groove dynamics and harmonic montage. The studio work has yielded encouraging and often earth-shaking results. But in a live setting, especially within the concave confines of jazz music\u2019s Holy Dive, everything the band does seems ramped up in intensity as if having live witnesses to its experiments goads Coleman, Jonathan Finlayson, Miles Okazaki, Anthony Tidd and Sean Rickman to raise their respective games. The overlapping dialogue between Coleman\u2019s scorching alto sax and Finlayson\u2019s slashing trumpet seems more colorfully serpentine on stage while the worlds-within-worlds polyrhythmic drive provided by bassist Tidd and drummer Rickman yanks you into the music\u2019s molten core and Okasaki\u2019s guitar sets off well-timed compression bombs. If your head can move to this group\u2019s percolating dramatic tension \u2013 and it should \u2013 your body will eventually follow.<\/p>\n

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2.) Wayne Shorter,\u00a0Emanon\u00a0<\/em>(Blue Note)\u00a0<\/strong>\u2013 This just in: THE MULTIVERSE EXISTS! If you doubt this, and you do so at your peril, you need to find the nearest available copy of The 3 Marias, a \u201cprestigious publication\u201d dominating a \u201cone world reality\u201d known as Logokrisia. Failing that, you\u2019ll just have to trust this one-of-a-kind artifact springing from the teeming brain of a comic-book nerd from Newark who grew up to become, among (many) other things, one of this year\u2019s Kennedy Center honorees. This combination of graphic novel and three-disc collection is\u00a0<\/em>a multiverse you can carry around the house or, if invited to do so, somebody else\u2019s. The title, which is \u201cno name\u201d spelled backwards , owes its origins to a Dizzy Gillespie tune and is given to the novel\u2019s mystical superhero. Described by Shorter and co-author Monica Sly as a \u201crogue philosopher,\u201d this Emanon travels from dimension to dimension to subdue fear and oppression in all its forms and replace them with knowledge and wisdom. The real mystery and suspense come with the music performed on the three discs by Shorter and his comparably intrepid sidekicks, pianist Danilo Perez, drummer Brian Blade and bassist John Pattitucci, spinning off motifs, ideas and even characters from the comic book (\u201cPegasus,\u201d \u201cThe 3 Marias,\u201d \u201cPrometheus Unbound\u201d etc.) The first installment has the quartet deploying its customary allusive interplay in tandem with the Orpheus Chamber Orchestra. At times the combination sounds like the soundtrack to a cryptic SF movie spectacular. But then, almost all of Shorter\u2019s compositions, going as far back as such grandly-conceived classics as 1965\u2019s The All-Seeing Eye<\/em> and ahead towards such underrated pastels as 1985\u2019s Atlantis<\/em> (where \u201cThe 3 Marias\u201d first appeared) and 1995\u2019s High Life<\/em>, are soundtracks to movies whose stories would be too inscrutable for Hollywood to attempt. The quartet carries on its sporadic, probing conversations on the other two discs, whose content is culled from a live London concert. Some listeners have complained that the music seems more tentative than they expected as a definitive statement from the greatest living jazz composer. (We\u2019ll argue that latter clause some other time.) But it all sounds pretty definitive to me, coming as it does from somebody whose teenage nicknames were \u201cMr. Gone\u201d and \u201cMr. Weird.\u201d Listen to this music often enough and you\u2019ll find that its secrets aren\u2019t meant to be deciphered; only appreciated on their own slippery, shadowy terms.<\/p>\n

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3.) Charlie Haden & Brad Mehldau, Long Ago and Far Away<\/em> (Impulse!)<\/strong> \u2013 Up until his death in 2014, bassist Haden was always up for melding minds with other individual seekers of beauty and truth. This colloquy, recorded in 2007 at a jazz festival in Mannheim, Germany, may not be perfect (since nothing is), but it is gorgeous in the affecting manner of an early winter sunset or a lingering over-the-shoulder pivot towards a onetime lover you\u2019re certain of never seeing again. Haden knew a fellow romantic sensibility when he met one and Mehldau found in Haden\u2019s generosity of spirit a warm, safe haven for his vagabond lyricism and bold phraseology. The playlist is pure classic standard, from \u201cAu Private\u201d to \u201cEverything Happens to Me,\u201d both of whose steady-as-she-goes renditions here would have made Charlie Parker smile. But what would have caused Bird to sit up straight with wide eyes are Mehldau\u2019s variations within each chord change; sometimes they swirl and tumble onto a different path while at other times they imperturbably ride with whatever tangent Haden discovers along the melody\u2019s surface. These collaborators bring out each other\u2019s richest conceptual contours in such ballads as \u201cWhat\u2019ll I Do\u201d and a Haden favorite, \u201cMy Love and I,\u201d David Raksin\u2019s love theme from the 1954 movie \u201cApache,\u201d within whose bridge Mehldau shakes loose some of his most stunning inventions, expansive yet firmly tethered to the song\u2019s pulse. Haden has always shown a special watchfulness in piano duets. This one is most remarkable for disclosing many things we either didn\u2019t know, or merely suspected, about Mehldau\u2019s resourcefulness. And, as another entry on this list will attest, we\u2019ve come to know a lot more by now.<\/p>\n

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4.) Cecile McLoren Salvant, The Window<\/em> (Mack Avenue)<\/strong> \u2013 She can neither be stopped nor contained by anybody\u2019s marketplace; nor is she in any way daunted by having to immediately follow the most breathtaking and ambitious jazz vocal album of this century. She takes a heady gamble on this one by relying mostly on a single accompanist: pianist Sullivan Fortner, who is as formidable a dramatist with his instrument as she is with hers. Her inflections provide well-timed cues for his embellishments and fusillades. Granted, there are times when their respective strengths almost collide, most notably on that Bernstein-Sondheim rouser, \u201cSomewhere,\u201d when their attacks at different ends of the song threaten to shortchange its impact and even confuse their listeners. But even when they threaten to go too far, they end up creating something you haven\u2019t heard before \u2013 and won\u2019t mind hearing again. She\u2019s still at the top of her game and, more definitively, her profession. I wouldn\u2019t be at all surprised if I\u2019m talking about her again in this space a year from now. I expect to be surprised by what she chooses to do next.<\/p>\n

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5.) Charles Lloyd & The Marvels + Lucinda Williams, Vanished Gardens<\/em> (Blue Note)<\/strong> \u2013 \u201cWe all play folk music,\u201d Thelonious Monk once told Bob Dylan. Accordingly, this smoke-cured aggregation of laments, dirges and secular prayers lofted towards what we cringe to regard as Present Day Reality feels very much like the album Dylan would release if he believed now was the time to try more jazz with his blues. Led by tenor saxophonist Lloyd, who at 80 seems to be (in Dylan-speak) a lot younger than he was in his Forest Flower<\/em> period of the 1960s, guitarist Bill Frisell, bassist Reuben Rogers, drummer Eric Harland and steel guitarist Greg Leisz concoct a spectral blend of American musical java that soothes and jolts at odd hours of the day. Williams, in my judgment, has never had more suitable backup for her leathery vocals, whether on original songs such as \u201cVentura\u201d or \u201cUnsuffer Me\u201d or on Jimi Hendrix\u2019s \u201cAngel\u201d on which you\u2019re tempted to imagine an alternate reality where he lived long enough to accompany her. (Maybe Wayne Shorter, or Emanon, can find one.) Still wondering why \u201cBallad of the Sad Young Men\u201d is an instrumental, but they (whichever [sic] \u201cthey\u201d are) may know something I don\u2019t.<\/p>\n

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6.) Joshua Redman, Still Dreaming<\/em> (Nonesuch)<\/strong> \u2013 Jazz needs another tribute album the way I need another Bush, Clinton or Trump to run for president. But this feels far more like an urgent personal testament than yet another solemn salaam<\/em> to a past master. It\u2019s a tribute, perhaps foremost, to Redman\u2019s father, which also makes it a homage to the Old and New Dreams band that featured Dewey Redman on tenor, Don Cherry on trumpet, Charlie Haden on bass and Ed Blackwell on drums. And because that group was formed as a kind of early exemplar of an Ornette Coleman repertory band, the younger Redman, Ron Miles, Scott Colley and Brian Blade are taking on the respective roles of the aforementioned (now departed) players, but in their own voices and on their own terms. Thus, these four guys aren\u2019t paying homage so much as paying renewed attention to a state of mind, a manner of behaving well under pressure and a means of stretching the collective unconscious. There is one piece each by Haden (\u201cPlaying\u201d) and Coleman (\u201cComme Il Faut\u201d). Yet most of the compositions are originals by Colley and Redman, the latter of whom, despite the fearsome range displayed in his previous recordings, shows sweet affinity with the serrated rhythmic patterns and riff extensions of the older band. It\u2019s hardly a secret that all was not well between the elder Redman and his son in the former\u2019s lifetime. But the peaceful feeling one gets listening to these tracks suggests a more intimate, profoundly deeper peace fully achieved within a tumultuous heritage of undaunted dream weavers.<\/p>\n

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7.) Brad Mehldau Trio, Seymour Reads the Constitution<\/em> (Nonesuch)<\/strong> \u2013 To get the obvious out of the way, yes, I was intrigued, though mildly disappointed to find out that the title tune refers to a dream Mehldau had wherein the thirsty-grizzly voice of the late Philip Seymour Hoffman was reading the Constitution to him. But it wasn\u2019t the only reason I couldn\u2019t keep this disc out of my player for most of the calendar year. By now, the things Mehldau has done to stretch possibilities of the piano trio format have become part of the music\u2019s turn-of-the-century heroic folklore. But what keeps us attentive to Mehldau and his longtime partners Larry Grenadier (on bass) and Jeff Ballard (on drums) is their expansion of jazz\u2019s repertoire, either by broadening the definition of \u201cclassic pop\u201d (Brian Wilson\u2019s \u201cFriends,\u201d Paul McCartney\u2019s \u201cGreat Day\u201d) or by prying open fresh approaches to modernist standards, especially Sam Rivers\u2019 evergreen \u201cBeatrice,\u201d whose natural bounce is refreshed here with insouciance and ingenuity. To his own compositions, Spiral\u201d and \u201cTen Tune,\u201d Mehldau brings deeper harmonic invention and tonal progressions that reflect the abiding influences of both Bach and Brahms. Somehow, Mehldau has softened his intensity without losing his edge and still stands out among a prodigious — and increasingly crowded — pack of great jazz pianists.<\/p>\n

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8.) Christian McBride\u2019s New Jawn<\/em> (Mack Avenue)<\/strong> \u2013 \u201cJawn\u201d is Philly-speak for\u2026well, I suppose if a definition of a noun is person, place or thing, then \u201cjawn\u201d is another word for \u201cnoun,\u201d though I always took it as a Del-Val variant of \u201cjoint.\u201d In any event, I don\u2019t think McBride\u2019s piano-less quartet necessarily qualifies as a \u201cnew thing,\u201d which for jazz heads of earlier generations was a euphemism for what was considered avant-garde from roughly 1959 till 1971. In fact, there\u2019s something bracingly familiar in this joint\u2019s blend of freewheeling neo-bop and nimble rhythm machinery. Trumpeter Josh Evans and saxophonist Marcus Strickland let fly with seeming abandon while staying grounded to the shifting pocket of percussion lad down by drummer Nasheet Watts and the bassist-leader, who despite his growing reputation as an eminence-gris on his instrument still comes across as the young tyro breaking loose from Philadelphia\u2019s storied Settlement Music School. And perhaps what\u2019s most gratifying about a small ensemble such as this is that it provides an ideal showcase for hearing what McBride has learned and can teach as a musician and a leader.<\/p>\n

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9.) Eddie Henderson, Be Cool<\/em> (Smoke Sessions)<\/strong> \u2013 Let me tell you about Eddie Henderson because his is one of the most remarkable jazz-life stories you probably never heard. First of all, it\u2019s Doctor<\/em> Eddie Henderson, having earned a medical degree from Howard University in 1968 four years after earning a B.S. in zoology from Cal-Berkeley in 1964. His general practice came in pretty handy in the years after he\u2019d recorded with Herbie Hancock\u2019s Mwandishi electro-boogie band in the early 1970s. Oh, and before all that happened, he took his first trumpet lesson with Louis Armstrong at age nine. This was in large part because he came from Harlem entertainment royalty since his mother was a Cotton Club dancer and his father was a singer whose 1957 cover of \u201cI\u2019m Gonna Sit Right Down and Write Myself a Letter\u201d was a million-seller. If that sounds like too much to take in at once, then we\u2019ll make this long story short by saying that Dr. Henderson continued to practice general medicine while playing, recording and touring all over the world. This latest album of polished hard bop, backed by solid gold players such as pianist Kenny Barron, alto saxophonist Donald \u201cBig Chief\u201d Harrison, bassist Essiet Essiet and drummer Mike Clark, comes across as the closest thing to a musical autobiography Henderson has put forth so far. Its selections pay homage to players who have inspired and nurtured him throughout his long career whether it\u2019s Hancock (\u201cToys\u201d), Coltrane (\u201cNaima\u201d), and fellow trumpeters Woody Shaw (\u201cThe Moontrane\u201d) and Miles Davis (his take on \u201cFran Dance\u201d just misses equaling Davis\u2019 dry-witted studio rendition from 1958, but that\u2019s OK because Miles never quite matched it either and Henderson\u2019s comes closer than he did). But what boosts this testament towards rare air is its approach to that stout old warhorse, \u201cAfter You\u2019ve Gone.\u201d Most interpretations play that Tin Pan Alley ditty as a briskly paced taunt. Henderson, however, goes against the grain and slows the tempo, turning what\u2019s popularly recognized as a jolly anthem of comeuppance into a wistful rumination on loss. I forgot to mention: Henderson turned 78 last October and is still gigging, recording, broadening his musical horizons and, for all I know, available for consultation.<\/p>\n

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10.) Noah Baerman Resonance Ensemble, The Rock & The Redemption<\/em> (RMI)<\/strong> \u2013 The notion of a jazz suite devoted to the myth of Sisyphus seems so obvious that you wonder why it hasn\u2019t happened before now. (Albert Murray, the late philosopher king of swing, had to have at least sketched out an idea of Sisyphus as the first blues hero\u2026somewhere.) It\u2019s likely that the idea was waiting to land on someone like Baerman, a keyboardist-composer who teaches at Wesleyan University and has struggled his entire life with Ehlers-Danlos Syndrome, an incurable malady that affects connective tissue. As one can imagine, the disorder has tempted Baerman to walk away from playing music, but he has gone on and in doing so, found communion with the dogged Sisyphus, whose labors to roll a boulder up a slippery slope are duly honored with an 11-part piece blending funk, gospel, hard bop and (of course) blues. Baerman\u2019s Resonance Ensemble provides formidable support for this tribute to perseverance: Kris Allen on reeds, Chris Dingman on vibraphone, Henry Lugo on bass, Bill Carbone on drums and vocal support from cellist Melanie Hsu, Garth Taylor, Latanya Farrell and the late Claire Randall, whose murder at age 26 a year after this 2015 recording session became yet another painful marker on the slippery, treacherous slope of day-to-day existence. Her presence here is part of the bittersweet gift this enterprise bestows on those of us who wake up every day with a boulder in front of us, still standing wherever we left it the day before. The way I see it \u2013 and maybe Noah does, too \u2013 the rock mocks us, but in doing so, its presence reminds us that we\u2019re still alive. And pushing.<\/p>\n

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HONORABLE MENTION: Orrin Evans and the Captain Black Big Band<\/em> (Smoke Sessions) Andrew Cyrille, Lebroba<\/em> (ECM); Luciana Souza, The Book of Longing<\/em> (Sunnyside); Renee Rosnes, Beloved of the Sky<\/em> (Smoke Sessions); Jeremy Pelt, Live in Paris<\/em> (High Note); Fred Hersch Trio, Live in Europe<\/em> (Palmetto); Don Byron & Aru\u00e1n Ortiz, Random Dances<\/em> and (A)tonalties (Intakt); Ambrose Akinmusire, Original Harvest<\/em> (Blue Note); Dave Holland, Uncharted Territories<\/em> (Dare2); Matthew Shipp Quartet Featuring Mat Walerian, Sonic Fiction<\/em> (ESP Disk); Kamasi Washington, Heaven and Earth<\/em> (Young Turk)<\/strong><\/p>\n

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HISTORICAL\/ARCHIVAL\/REISSUE, ETC.<\/strong>
\n 1.) Frank Sinatra, Only The Lonely<\/em> (Capitol)<\/strong>
\n 2.) Keith Jarrett, La Fenice<\/em> (ECM)<\/strong>
\n 3.) Miles Davis & John Coltrane, The Final Tour: The Bootleg Series, Vol. 6<\/em> (Columbia\/Legacy)<\/strong><\/p>\n

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LATIN ALBUM<\/strong><\/p>\n

David Virelles, Igb\u00f3 Al\u00e1koran (The Singer\u2019s Grove) Vol. I & II <\/em>(PI)<\/strong><\/p>\n

HONORABLE MENTION: Ruben Blades, Wynton Marsalis & Jazz at Lincoln Center Orchestra, Una Noche Con Ruben Blades <\/em> (Blue Engine)<\/strong><\/p>\n

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VOCAL<\/strong>
\n Cecile McLorin Salvant, The Window<\/em><\/strong>
\n HONORABLE MENTION: Luciana Souza, The Book of Longing<\/em><\/strong><\/p>\n

DEBUT<\/strong>
\n Arianna Neikrug, Changes<\/em> (Concord)<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

It was the kind of year when the biggest, most-talked-about release in recorded jazz was a compilation of takes and outtakes from fifty-five years ago. It wouldn\u2019t surprise me to see Both Directions At Once at or near the top of some reviewers\u2019 lists for best new album since its 1963 sessions by the John […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[107],"tags":[835,954,955,502,913,957,836,956,958,403,255],"class_list":["post-2252","post","type-post","status-publish","format-standard","hentry","category-jazz-reviews","tag-brad-mehldau","tag-cecile-mcloren-salvant","tag-charles-lloyd","tag-charlie-haden","tag-christian-mcbride","tag-eddie-henderson","tag-joshua-redman","tag-lucinda-williams","tag-noah-baerman","tag-steve-coleman","tag-wayne-shorter"],"_links":{"self":[{"href":"https:\/\/geneseymour.com\/index.php?rest_route=\/wp\/v2\/posts\/2252","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/geneseymour.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/geneseymour.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/geneseymour.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/geneseymour.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2252"}],"version-history":[{"count":10,"href":"https:\/\/geneseymour.com\/index.php?rest_route=\/wp\/v2\/posts\/2252\/revisions"}],"predecessor-version":[{"id":2283,"href":"https:\/\/geneseymour.com\/index.php?rest_route=\/wp\/v2\/posts\/2252\/revisions\/2283"}],"wp:attachment":[{"href":"https:\/\/geneseymour.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2252"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/geneseymour.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2252"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/geneseymour.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2252"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}