Notes on Jazz : Best of Jazz 2020

The year 2020 will go down as a stressful, disappointing, and even a dangerous year for this country. Since March and the outbreak of Covid 19-undoubtedly the worst viral pandemic since the Spanish Flu took the world to its knees back in 1918- society has been endangered, quarantined, and generally stifled from any semblance of normality. It has also been an ugly and trying time. A time where we witnessed a string of racially motivated deaths that created reactive multi-racial protests demanding responsibility. These events stirred up intermittent riots across the country that vented frustration, destroyed property, and conjured up the appearance of a loss of law and order. It was a mess of a year.

Through it all, we have had to adapt to a world that demanded severely restrained travel and social intercourse. Work has been relegated to remote digital contact. These restrictions have economically beggared many previously active and engaged artists. Live concerts have been veritably obliterated. Many venues that allowed social connection between musicians, music, and their public have been stymied. Even the most natural of things for musicians, shedding, collaborating with peers, or performing for audiences,have become relegated to video engagements or zoom collaborations. Despite all these formidable physical and monetary obstacles, artists and musicians have found a way to still create, record, and share their endeavors with us, enriching our lives and bringing the light of creativity and passion to all us in these otherwise difficult times.

As the year is rapidly starting to close I am proud to have had the opportunity to carefully listen to, marvel, and enjoy the works of many artists, some new to me and others reliable masters who continue to create amazing work.

Here are my picks, in no particular order, for some of the best of jazz for 2020 The selections come from diverse categories that include Big Band and large ensemble jazz works, modern small jazz groups, chamber/theatrical jazz, Latin/Brazilian jazz, vocal jazz, and notable historical releases for jazz in 2020. As with any list of favorites, these are purely subjective choices, and they do not include many fine albums that for one reason or another I have not personally had the opportunity to listen to in the past year.  Where possible, I have included links to sample music from the albums selected. Check these musicians out, listen, and enjoy.

Best of Jazz 2020: Big Band Music

John Hollenbeck with Kate McGarry, Theo Bleckmann, Gary Versace and The Frankfurt Radio Big Band: Song You Like A Lot: Flexatonic Records

 https://youtu.be/_BC5ieb8k_E

Maria Schneider and Orchestra: Data Lords: Artists Share

Dave Stryker with Bob Mintzer and the WDR Big Band: Blue Soul: Strikezone Records

https://youtu.be/5DSPaY2iWJM

John Beasley: Monk’estra plays John Beasley: Mack Avenue Records

https://youtu.be/Rto2gSDcWj0

The Ed Palmero Big Band: The Great Un-American Songbook Vol III:

 Sky Cat Records

https://youtu.be/J2QSyrUASOU

 

 

Gregg August: Dialogues on Race Vol 1: Self-Produced

https://youtu.be/wYrGQHJev7w

Smaller  Jazz Groups 2020:

Jerry Bergonzi with Renato Chicco and Andrea Michelutti: Nearly Blue: Savant Records

https://youtu.be/6VHUJ0mYDyk

Jeff Cosgrove with Jeff Lederer and John Medeski: History Gets Ahead of the Story: Grizzley Music

https://youtu.be/zOiAvW7RCzI

Wolfgang Musthspiel with Scott Colley and Brian Blade: Angular Blues: ECM

https://www.ecmrecords.com/shop/1578640543/angular-blues-wolfgang-muthspiel

Grégoire Maret with Romain Collin and Bill Frisell: Americana:

 Act Music

https://youtu.be/jeZb5z3lQDM

Brian Landrus: For Now: Blueland Records

https://youtu.be/oiKRxBYul1s

Ricardo Grilli: 1962: Tone Rogue Records

https://youtu.be/WPG-fbTpUcU

 

John Scofield w Bill Stewart and Steve Swallow: Swallow Tales: ECM

https://www.ecmrecords.com/catalogue/1580225075

Aaron Parks Little Big III: Dreams of A Mechanical Man: Ropeadope Records

https://youtu.be/0jaxs4mTMjY

Dayna Stephens Trio w Ben Street and Eric Harland: Liberty: Contagious Music

https://youtu.be/su744saoJzY

 

 

Eric Revis: Slipknots Through a Looking Glass: Pyroclastic Records

https://youtu.be/qG-5zwGaNcs

 

 

Chamber Jazz/ Jazz Opera 2020:

Ryan Keberle, Frank Woeste, Vincent Courtois: Reverso The Melodic Line: Outhere Music

https://youtu.be/5asGkl7DJ28

 

Juliet Kurtzman and Pete Malinverni: Candlelight Love in the Time of Cholera: Self-Produced

https://youtu.be/842RWji-2RM

 

John Ellis and Andy Bragen: The Ice Siren: Parade Light Records

https://youtu.be/16EfYeU35MM

 

Best Debut Jazz Album 2020:

Raphael Pannier Quartet: Faune: French Paradox

https://youtu.be/czTPdt2xI1c

 

Best Jazz Vocal Album 2020:

Somi w John Beasley and the Frankfurt Radio Big Band: Holy Room Live at Alte Oper:

https://youtu.be/pBE9pU-mJwI

 

Best Latin Jazz Alum 2020:

Chico Pinheiro: City of Dreams: Buriti Records

https://youtu.be/KHYxknX1NEo

 

Best Historical Albums Released in 2020:

Thelonious Monk Quartet: Monk: Palo Alto Live from 1968: Impulse Records

       https://youtu.be/tr1P6JWD2cU

Bill Evans with Eddie Gomez and Jack DeJohnette: Bill Evans Live at Ronnie Scott’s July 1968: Resonance Records

https://youtu.be/sjCN8nMLEyY

Nat King Cole: Hittin’ the Ramp, The Early Years 1936-1945: Resonance records

https://youtu.be/qW7h1HaRB0s

 

Further worthy recordings your consideration from 2020:

Aaron Diehl w Paul Skivie and Gregory Hutchinson: The Vagabond: Mack Avenue Records

Rudresh Mahanthappa: Hero Trio: Whirlwind Records

Chick Corea w Christian McBride and Brian Blade: Trilogy 2:Concord Records

Edgar Djangirov: Rhapsodize: Twelve Tone Resonance

Steve Cardenas: Blue Has a Range: Sunnyside Records

Amina Figarova Edition 113: Persistence: AmFi Records

Kenny Barron, Dave Holland  Trio w Jonathan Balke: Without Deception: Dare 2 Records

Marvin Stamm and Mike Holober: Live @ Maureen’s Jazz Cellar: Big Miles Music

Denny Zeitlin Trio: Denny Zeitlin Live at Mezzrow: Sunnyside Records

Martin Wind, Philip Catherine & Ack Van Rooyen: White Noise: Laika Records

Rez Abbasi w Neil Alexander and Michael Sarin: Django Shift: Whirlwind records

Chris Dingman: Embrace: Inner Arts Initiative

Jason Palmer: The Concert: 12 Musings for Isabella: Giant Step Arts

John DiMartino: Passion Flower: The Music of Billy Strayhorn: Sunnyside Records

Thana Alexa: Ona: Self-Produced

Sirkis/Bialis IQ: Our New World: MoonJune records

Dave Douglas: Dizzy Atmosphere Dizzy at Zero Gravity: Greenleaf Music

Marcin Wasilewski Trio w Joe Lovano: Artic Riff: ECM

Keb’ Mo’: Oklahoma: Concord Records (Blues)

Craig Taborn: Junk Magic- Compass Confusion : Pyroclastic Records

Jeff Hamilton Trio: Catch Me if You Can: Capri

Guiseppe Paradiso Meridian 71: Metropolitan Sketches: Self-Produced

Warren Wolf's "Convergence" : Converging on Excellence

Warren Wolf

The title of vibraphonist/multi-instrumentalist Warren Wolf is “Convergence,” a coordinated coming together of forces toward a single goal. In this case the forces are the formidable musicians that have come to take part in Wolf’s vision of music.  The core band is made up of Wolf on vibes, marimba and piano on one cut; Christian McBride on bass; Jeff “Tain” Watts on drums and pianist Brad Mehldau along with two songs that feature John Scofield’s soulful guitar work. Co-producer McBride wanted to bring the young lion of vibraphone into the spotlight and test his mettle by pairing him with this group of no nonsense talent. Wolf more than rose to the occasion, with the result a recording that combines grit, funk, swing, soul and outright beauty into one of the most satisfying albums of the year.

Warren Wolf's Convergence MAC 1105

The fun begins right from the opening bars of Wolf’s funky cha-cha shuffle “Soul Sister,” the perfect vehicle for Scofield’s twisted electric blues guitar as McBride and Watts drive the groove. Wolf’s melodic vibes have a sensuous smoothness to them, that cover you like silky lotion. 

On his “Four Stars from Heaven” the interplay with Mehldau is particularly insightful. The pianists signature angular sound darts perfectly with the intuitive rhythm section of McBride and Watts. Mehldau is a master of building tension in his solo. Wolf feeds off the inspiration and juxtaposes his own solo with a marvelously relaxed approach, building tension in a series of cascading arpeggios that get increasingly faster.  He brings the band back together for another Mehldau solo that rollicks as Watts creates a tumult of sounds on his toms, snare and cymbals before the band fades into the dreamy sounds of Wolf’s vibes at the coda.

Wolf reduces the band to a duo for” King of Two Fives” where he a McBride play off each other in a delightfully swinging conversation. McBride is a master of his instrument and hearing him play with such seemingly effortless facility is a pure joy. Wolf’s unobtrusive vibes are the perfect accompaniment during the bassist’s forays, lending beautiful sustained harmonies to the music.

Dave Samuel’s “New Beginning” utilizes another duo, this time Wolf and Mehldau. The beautiful sensitivity both players reveal recalls Bill Evan’s “Blue in Green” in part. Mehldau’s solo is Evanesque in his approach enhancing the connection to the old standard. These two have a great chemistry and the conversational quality and utter beauty of their musical dialogue is quite moving, reminiscent of the work of Corea and Burton did on their famed “Crystal Silence.”

The pulsing “Cell Phone” features the quartet again, with McBride’s relentless bass line and Watts polyrhythmic drum work surging the piece forward. Wolf’s blurred vibe tones and Mehldau’s staccato piano jabs all make for a frenetic frenzy of a piece, emblematic of Wolf’s aversion to cell phones that ring constantly.

“Montana” is a Bobby Hutcherson composition that is the epitome of a “chill” tune. Wolf employs the trio on this one, a subtle bass line and traps. The vibraphonist creates the dreamy landscape by overdubbing his own vibe accompaniment to his single note solo work on Marimba over the top with the effect being quite enchanting. Lay back on your lounge chair and enjoy this one with a tall one and you sure to relax.

The full ensemble is back for “Havoc,” a fusion tune written by Wolf but inspired by guitarist’s Scofield’s “Trim.” The group hard charges as Wolf and Scofield trade licks in a test of spontaneous creativity. The ensemble is tight as they whirl through some complex, serpentine passages at both the beginning and the end. Like oil and vinegar go together, Scofield’s guitar ekes out his nasty pungent sound and Wolf replies with his own tasty viscous flow of notes.

One of my favorite song’s of the early seventies was bassist Gene Perla’s “Transgiversation” that I first heard on Elvin Jones’ classic Merry Go Round from 1971. The title according to that album’s liner notes means “…something like the act of changing one’s mind continually, of being a renegade.” On it two monster Fender Rhodes players Chick Corea and Jan Hammer played opposite each other trading licks to this wonderful fast paced melody as Perla’s bass held the beat and Elvin played exquisite brushes. Here Wolf, McBride and Watts play this swinger to perfection. Wolf’s vibes mimic the Rhodes sound perfectly. McBride takes an auspicious solo that wasn’t present in the Jones/ Perla original, but is fabulously swinging and Watts keeps the pace pushing in true Jones-style. Wolf doesn’t have another lead foil to do battle with, but no matter, his endless creativity is amply up to the task of making this an awe inspiring rendition that put a smile on my face. See for yourself.

Stevie Wonder’s “Knocks Me Off My Feet” is a slow sensual ballad that features Wolf as the multi-instrumentalist. This time he overdubs a piano accompaniment and his marimba solo work on top of his vibes as McBride and Watts provide subtle rhythmic support.

The spiritually sound of Wolf’s warm marimba kicks off his “A Prayer For the Christian Man” with its deliberate back and forth sway accentuated by McBride’s plucky bass. The dirge-like song takes its inspiration from John Coltrane’s “Alabama” and Wolf’s deeply moving mallet work is as reflective as you’ll find. The Coltrane inspiration is carried on by a stirring Elvin Jones-like poly-rhythmic burst at the end by the formidable Jeff “Tain” Watts.

The finale is all solo Wolf, playing the delicate hollow sounding Marimba, first on sensitive rendition of Hoagy Carmichael’s “Stardust” joined in medley with a utterly fantastically whimsical version of the classical piece, Chopin’s Minute Waltz.

Warren Wolf’s music on this album ranges from the burning to the sublime and does it all with an easy aplomb. The excellence of Convergence marks Wolf as a major player on the contemporary music scene whose time has come.