Notes on Jazz Best of Jazz 2017

Billy Childs : Rebirth Mack Avenue Records

The year is almost over and once again it’s time to highlight some of the best jazz that I have heard in 2017. There are undoubtedly many fine albums that I have not had the opportunity to have listened to,  so I am sure some deserving offerings will unfortunately go unrecognized by me and not make it to my  best of 2017 compilation. That being  said, I found a plethora of amazing, creative, diverse and inspiring recordings that I did get the privilege of listening to and my list includes some of what I consider the very best.

There were some notable debut releases by rising stars in this genre. Probably the most impressive vocal debut was that of Jazzmeia Horn on her A Social Call.  The woman just killed it with her superb instrument, amazing control , a rare sense of poise and vocal elasticity that was just a pleasure to be heard. Young Atlanta area drummer Dave Potter  made a surprising debut with his polished and propelled straight-ahead session, You Already Know.  The Hazelrigg Brothers fired a fine opening salvo with their crossover album Songs We Like.  Latin musicians made some terrific music this year with alto saxophonist Miguel Zenon's Tipico, Cuban pianist David Virelles' Gnosis and flutist Nestor Torres Jazz Flute Traditions all leaving us with some memorable music.

So, with no further ado here are my top picks for jazz for 2017 in no particular order. Where possible, there is a sample video or recording for you to listen to. Happy holidays and pleas continue to support live music and live jazz in particular.

Notes on Jazz Best of Jazz 2017:

If my feet were put to the fire to name the album that most impressed me this year it would have to be pianist/arranger/composer Billy Childs superb Rebirth. The album was a fountainhead of creativity played at the highest level.

Billy Childs: Rebirth : Mack Avenue Records

Drummer Nate Smith, whose been a first call musician backing many an artist, showed exactly how talented he is on his wonderful : Kinfolk: Postcards from Everywhere: RopeaDope records

Puerto Rican alto saxophonist Miguel Zenon  had a superlative effort with his : Tipico: Miel Music

Jazzmeia Horn: A Social Call: Prestige. An awesome debut. The lady can sing, period. 

One of my favorite contemporary bass player/composers, the ever inventive Ben Allison and Think Free: Layers of the City: Sonic Camera Records

Overcoming health issues, saxophonist Dayna Stephens: finds inspiration in Gratitude: Contagious Music

The irrepressible drummer Matt Wilson, finds a familial tie to the poet Carl Sandburg and his work on : Honey & Salt: Music Inspired by the Poetry of Carl Sandburg: Palmetto Records

Steve Nelson: Brothers Under the Sun” High Note Records The master vibraphonist pays homage to a mentor and friend, the late Mulgrew Miller. 

Sherman Irby and Momentum: Cerulean Canvas: Black Warrior Records

The mainstay alto saxophonist in the Jazz at Lincoln Center Orchestra comes into his own with this driving straight ahead jewel.

Alan Broadbent and The London Metropolitan Orchestra: Developing Story: Eden River Records/Rough Trade. The master pianist/arranger/composer finally realizes his grand idea that first started back in the nineteen seventies.

Brian McCarthy Nonet: The Better Angels of Our Nature: Truth Revolution Records
A fascinating big band work by a talented young arranger/composer from Vermont, inspired by a speech from Abraham Lincoln.

Ralph Towner: My Foolish Heart: ECM The virtuoso guitarist plays some beautiful music as only he can.

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Brian Charette: Kǘrrent: Dim Mark. The future of organ trio music is here.

Pete Malinverni: Heaven: Sarana  The spiritual side of this pianist is given wings with a terrific supporting cast.

  

The Hazelrigg Brothers: Songs We Like: Self Released These two brothers and an intuitive drummer tackle a more modern repertoire with their own fresh approach.

Mark Winkler: The Company I Keep: Café Pacific Records. West coast vocalist Mark Winkler is simply one of the most hip and interesting singers on the scene today.

Tim Hagans and the NDR Big Band: Faces Under the Influence: Music Inspired by the Films of John Cassavettes: Waiting Moon Records. The fiery trumpeter Tim Hagans writes an evocative score for big band, inspired by the films of director John Cassavettes.

Marilyn Scott: Standard Blue: Prana Entertainment. This enchanting chanteuse can make an old standard  sound like you've never heard it before.

Cuong Vu 4Tet w/ Bill Frisell: Ballet the Music of Michael Gibbs: Rare Noise Records. The Vietnamese trumpeter and the eclectic guitarist celebrate the music of Michael Gibbs.

Dave Potter: You Already Know: Summit Records. This young drummer proves he has the mettle to make it to the top of his game.

 Saffron Ensemble: Will You? : Rock, Paper, Scissors. A true world music album that celebrates the Persian poetry of Rumi featuring the marvelous voice of Katayoun Goudara.

David Virelles: Gnosis: ECM    The Cuban Pianist explores the spirit world of his ancestors and incorporates a variety of percussive elements.

Dave Stryker: Strykin’ Ahead: Strikezone Records. The journeyman guitarist revitalizes the organ trio format with a stellar group of like minded individuals.

Nestor Torres: Jazz Flute Traditions: Alfi Records. A master flutist honors the past greats of the flute with a splendid album that demonstrates his mastery of the tradition.

My pick for best historical re-issue: Two master saxophonists give an inspired performance in honoring one of their chief influences. 

Dave Liebman and Joe Lovano: Compassion: The Music of John Coltrane: Resonance Records

Review of Aaron Goldberg and Guillermo Klein’s ““Bienestan”

Bienestan

Sunnyside Records SSC 1245

Recorded at Systems Two, Brooklyn, NY

May 13^th & 14^th 2009

The Argentinean composer and pianist Guillermo Klein is an enigma. He originally came to Berklee in Boston back in 1990 to study with his contemporaries and then moved to New York from 1993 to 2000 to actually play with them. During his relatively brief stay, his impressive compositions and the arrangements for big bands attracted many of the young, up and coming musicians in the area, like bees to nectar. The Guillermo Klein 17 piece Big Band took Sunday residency at the hip village jazz club Small's. Later the band secured a running gig at the Jazz Standard. As a composer, Klein was able to attract some of the areas finest young musicians. He possesses a unique sense of rhythm and harmony.His music masks complexity with the modulating groove of an undertow. His subtle shadings skillfully utilize classical, folk and contemporary musical influences. Since 1990 Mr. Klein has been living in his native Argentina as well as in Barcelona, Spain. He makes his way to New York occasionally for short gigs at local venues like the Village Vanguard or the Jazz Standard, where he is able to assemble an awesome array of musicians who are anxious to perform with him.



Composer Guillermo Klein



In the case of this latest release “Bienestan”, Mr. Klein worked in close collaboration with the pianist Aaron Goldberg- both former Berklee students-to create a series of compositions and arrangements that were tailored made to showcase Mr. Goldberg’s considerable pianistic talents. The two enlisted the formidable rhythm section, plucked from the super group James Farm, of Matt Penman on bass and Eric Harland on drums. In case that wasn’t enough fire power saxophonists Miguel Zenon and 
Chris Cheek are also featured on several songs.

Pianist Aaron Goldberg

The short opening cut finds Mr. Goldberg playing an interesting intro before breaking into a straight ahead trio fromat with Penman and Harland on the Jerome Kern standard “ All the Things You Are”. Goldberg's familiarity with the song and its tradition is apparent .

“Implacable”, the first of several Klein compositions on the album, starts with an ostinato on Rhodes piano by Mr. Klein. A playful duel between he and Mr. Goldberg on piano incorporates elements of techno crossing into a classical fugue, all played over Klein's relentlessly modulating rythmic core line.
On Charlie Parker’s “ Moose the Mooche” we are treated to the superb alto of Miguel Zenon who navigates the constantly changing time signatures of the song brilliantly. Goldberg’s piano is equally adept at the quirky bobs and weaves, but it is the amazing duo of Harland and Penman that are the real treat here. The two make the chicane of time changes appear to be an effortless walk through the park. This is a stellar modernized version of the Parker classic that could only be executed by master musicians.

Klein’s pensive “Burrito” is a beautifully conceived tune that seems to float along on the chime-like sounds of Klien’s   Rhodes piano.Goldberg’s sensitive acoustic piano musings evoke a feeling of unfulfilled emotional yearning.

Perhaps the most challenging composition on the album is Klein’s  “Human Feel”.  Klein builds tremendous kinetics with his unique arrangements and clever use of instrumentation. Drummer Harland  compliments the music brilliantly while propelling the piece forward. Chris Cheek and Miguel Zenon intertwine their saxophone parts in a harmonious cacophony of sound that sails on top of Klein’s Rhodes and Penman’s bass. The piece somehow retains an inherrent organic order, despite feeling a bit like an attack of cardiac arrythmia.

“Anita” is another Klein composition that features Zenon and Cheek playing in beautiful harmony.Klein seems content to settle into mostly chordal work on his Rhodes leaving the more intricate piano solo work to Goldberg, who is a wellspring of ideas.

Another Charlie Parker tune “Blues for Alice”, features a wonderful lead-in bass solo by Matt Penman. Goldberg’s piano searchingly climbs up the keyboard as Harland creates unerring interest with his bag full of percussive techniques. Miguel Zenon’s alto solo is a high light of the album; wonderfully buoyant, tonally clean and truly Parkersque in its fluidity.

Klein offers two version of the standard “Manha de Carnaval”. The first features some beautifully sensitive and poignant piano by Goldberg, as well as a moving bass solo by Penman. The second version is a considerably more upbeat one with Harland and Penman offering a more rhythmic bossa beat that provides Goldberg the chance get into a groove and to play more aggressively. Harland is given a chance to demonstrate why he is one of the premier drummers on the scene today as he finds a myriad of sounds just using his sticks.

“Airport Fugue” is another Klein original, this one a duet with Goldberg on piano. Klein's playing has a hypnotic floating quality.

Klein’s “Yellow Roses” is airy, romantic ballad. Penman’s plucky, warm toned bass leads into a gorgeous Goldberg piano solo that follows the oscillating line of the melody. Chris Cheek’s silky soprano saxophone has the lightness of a butterfly in flight. One can almost hear the influence of the group Oregon in this piece with Cheek 's soprano evoking the etheraeal sound of Paul McCandless here.

“Impressions De Bienestan” starts out with the combined sounds of Goldberg’s piano and Penman’s bass creating a cinematic feel. Klein skillfully employs the sounds of his band's instruments, combining his Rhodes piano with Penman’s yearning bass lines to create suspense and intrigue. Harland adds deft accents to the mix. The group creates an aural picture of a rather eerie place, Beinestan,that could easily be a town in a Rod Serling vinette.

The finale is a completely different and hauntingly interesting take on the opening tune titled “Amtrak/ All the Things You Saw”.  This unusual version of the well-worn classic  is a little gem. Harland creates tick-tock metronomic time of a waiting train. Goldberg ultimately plays the memorable melody line as a solo. He pars it down to its bare essentials. Klein's arrangement somehow lingers in a way that manages to convince you that while this is familiar territory you have never really been here before. 

This group will be playing Wednesday through Sunday August 17th through 21st at the Jazz Standard in NYC , so go out and support great "live" music.

Musicians:

Aaron Goldberg, piano; Guillermo Klein, Fender Rhodes; Matt Penman, Acoustic Bass; Eric Harland, Drums; Miguel Zenon, alto saxophone ( tracks 3,5,6,7 & 11); Chris Cheek, tenor saxophone (tracks 5 & 6) soprano saxophone (track 11).