"A Conversation:" Orchestral Communication by Tim Hagans and the NDR Big Band

Tim Hagans and the NDR Big Band  A Conversation  Waiting Moon Records

I have followed the trumpeter, Tim Hagans, for years and I always found his playing to be fiery, at his best exploratory, and always inventive. His musical horizons were never limited by his acumen as an accomplished trumpet player. Hagans has produced seventeen recordings as a leader. He has honed his skills and expanded his musical challenges to include composition, arranging, and now conducting. His latest release on Waiting Moon Records titled A Conversation, matches Hagans up with the excellent NDR Big Band for the fourth time. This five-movement piece of work is conversational, dynamic, at times cinematic, often raucous, and by any measure an important achievement.

Hagans has taken the instruments of the NDR Big Band, here nineteen pieces plus his trumpet, and formed four ensembles to play his challenging music. Instead of the instruments being deployed in traditional sections by type- Hagans has formed three mixed ensembles, each containing trumpet, woodwinds, flutes, and trombones in various configurations and one rhythm section that includes guitar, piano bass, drums, and percussion. He has written and arranged these groups like independent jazz ensembles that are directed to communicate in cooperation and at times vie with each other for sonic attention in his works. Hagans’ ensemble voicings are more related to their sonic identity and emotional effect.  Essentially, A Conversation explores possibilities of musical conversation in new, exciting, and perhaps unexpected ways. The music is a amalgam of elements from classical, jazz and orchestrated film music disciplines.

Hagans’ music is progressive, orchestral, and musically rich. Each movement is between twelve to sixteen minutes; each like an aural theatrical presentation that use the four groupings to create a vibrant, and at times, competing approach to the music.

"Movement I" utilizes alternating brass, flutes, and woodwinds in ascending statements that cascade with the help of Jukkis Uotila’s percolating drums and Marcio Doctor’s complementary percussion to maintain a perceptible direction. These ensembles are powerful and boisterous. They converse like friendly neighbors at a street party where multiple voices add their own identity to the gathering. Vladyslav Sendecki fires off an energetic and angular piano solo that has the lead voice of this conversation before the music stops abruptly and moves into a gentler stage, flute whispering over a throbbing rhythmic base. Individual voices, trumpets, flutes, trombones, and percussive accompaniment are orchestrated to build to a robust conclusion.

"Movement II" opens with modulating sections swelling into a raucous interchange of exchanging musical ideas. There seems to be no melodic anchor to these pieces, the music is more like vignettes that open and expand like a cinematic scene from one act to another. But in "Movement II" there is a repeated line in at about the three-minute mark that is maintained by one section and accompanied by others. This unfolds into a gorgeous, extended bass clarinet solo by Daniel Buch that follows the same established theme, improvising on it. The movement also features a beautiful and buoyant bass solo by Ingmar Heller whose sound is tonally rich and fluid and carries on to the coda. Here Hagans seems interested in the darker, lower tones and the aural effects they can evoke.  

"Movement III" starts off with a Heller meandering bass line upon which Sendecki offering an angular piano line that is accentuated by sectional accompaniment in ascending steps.  Hagans adds rash, boisterous trombone accents by Dan Gottshall and a high register squealing trumpet solo by Stephan Meinberg. At about the four-minute mark the rhythm section starts a swinging section that is lead by Uotila’s intrepid drum work and sections entering the fray. There is a searing and inventive trumpet solo that is followed by Buch’s rousing baritone solo, some powerful drum and bass work, and an impressive alto sax solo by Pete Bolte. This one joyously swings leading to an expressive muted Hagans trumpet at the coda.  

"Movement IV" is one of my favorite tracks on the album. It features an opening with the composer on his open trumpet.  Hagans has impressive control, modulating to create microtonal slurs of expression before opening the music up to the entire group. Fiete Felsch offers a rousing, Phil Woods-like alto solo that lights it up with his excitement. Marcio Doctor’s percussive skills make this one  move with a noir-like feeling that is delightful. The sections compete at one point in a boisterous, cacophonous outreach for attention, and it losses the flow a little for me, but Felsch’s strong sax voice maintains the drive. The movement ends with a rhythmic display of sonic riches by Doctor’s wind-like creations.

"Movement V" opens with an island-inspired rhythm that evokes memories of the cinematic work of master composer/arranger Henry Mancini. There is no doubting the theater-like qualities of some of Hagans' music on this album. His muted trumpet soars over the music like a clarion bird overwhelmed by the sight of approaching land. The section work is most unified here, lending tonal support to the ostinato sway. Sendecki’s piano comp is astute and minimal. A splash of Uotila’s cymbal opens an entry to a more robust section that features some vibrant solo trombone work by Klaus Heidenreich.  The sections are orchestrated to play sequentially in a explosive ending that is like a sonic eruption before ending in a structured fade.

Take a listen for yourself: https://timhagans.bandcamp.com/track/movement-iv

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

Trumpeter/ Composer Tim Hagans and the NDR Big Band bring renewed life to the films of John Cassavetes with his "Faces Under the Influence"

Tim Hagans and the NRD Big Band: Faces Under the Influence 

An artist always gleans inspiration from life, whether it be by personal interaction with others, by careful observation of the world around him, or sometimes, by being touched by the work of another artist. For the musician Tim Hagans, his love of cinema and his love of the work of the independent film-maker John Cassavetes, became a source of musical inspiration. The culmination is his new album: 

Faces Under the Influences: A Jazz tribute to John Cassavetes.

It’s not such a stretch to imagine two fiercely independent spirits, Cassavetes and Hagans, eventually finding some common ground. Cassavetes was known as an accomplished television and film actor- his work can be seen in both Polanski’s Rosemary’s Baby and in Robert Aldrich’s The Dirty Dozen, two nominally famous productions. As a filmmaker, Cassavetes wrote, directed and produced twelve independent films from 1959 through 1986. His most well received films are Faces from 1968, for which he was nominated for an Academy award for best screen play, and A Woman Under the Influence, a film that garnered him a Best Director nomination by the Academy Award Committee in 1974.

Hagans takes the main characters from six of Cassavetes’ films and composes six compositions that represent some notable characteristics of each of these character’s film persona.  The seventh and final composition is a tribute to the director himself and is a musical representation of Cassavetes’ passion for cinema as realized in his acting, writing and directing. To achieve this artistic goal, Hagans has teamed up with the NDR Big Band-a world class institution from Hamburg, Germany that he has worked with before- writing the music, playing on much of it and conducting it all.

The first composition is titled “Leila” and comes from the lead character in Cassavetes’ directorial debut from 1959, the film Shadows. This was a landmark of independent film-making, as it broached the then taboo subject of  interracial relationships, set in the Beat generation of the late nineteen fifties.

Hagan’s starts the film noir score of “Leila” with a sensuous alto saxophone solo by Fiete Felsch. The music has some wonderful interplay between guitarist Stephan Diez, bassist Ingmar Heller and drumming phenom Jukkis Uotila. Hagans utilizes a broad spectrum of tones to create the moody, Beat-era sound of cool. A sleek evocative score that has elements of transcendent beauty and aching poignancy.

“Richard Forst” is the main character from Cassavetes’ film Faces, a middle-aged husband who suddenly finds himself dissatisfied with his married life and seeks a divorce as the easy answer to his problems. Hagans allows the big brass sound of his orchestra to send out a powerful blaring intro that bespeaks of a sudden realization, an awakening. Hagans clarion trumpet solo is powerful, but purposefully waivers a bit, just like Forst whose initial bravado gives way to doubt and confusion. Hagans reaches the high registers effortlessly and slurs his notes with a masterfully controlled legato. The composition features some accomplished bass work by Heller, who breezily walks through the middle section solo, and in counterpoint to Edgar Herzog’s bass clarinet and Dan Gottshall’s rambunctious trombone work, before the swing comes back into the mix and tenor man Lutz Buchner is given a chance to blow.

The composition “Harry, Archie & Gus” is a reference to the three main characters of Cassavetes’ film Husbands from 1970. These are three middle-aged men who just lost a friend unexpectedly to death. Realizing their own mortality, they try desperately to recapture their fading youth. Hagans starts the raucous music appropriately with three musical voices playing off each other; Klaus Heidenreich on trombone, Claus Stotter on flugelhorn and Fiete Felsch on alto. The three seemingly trying to stay connected, but each following his own path, as demonstrated by their differing solo approaches. Meanwhile drummer Uotila, bassist Heller and guitarist Diez provide solid rhythmic backing until the whole band is reunited in brash harmony before Hagans introduces a brief cadenza that features the sparse, sensitive piano of Vladyslav Sendecki.

“Seymour Moskowitz” is one of the main characters in the film Minnie and Moskowitz, an unlikely love story between a lovelorn museum director and a parking lot attendant. Hagans uses a rock inspired driving rhythm with power chords provided by guitarist Dietz, with Hagans playing a series of frenzied trumpet lines. The whole band eventually joins the in the driving progression until Hagans relieves the tension with a short melodic horn-led break in the action. Christof Lauer provides a tenor solo of varying intensity as the band continues its march onward. The music takes another break in the action to allow the creativity of percussionist Marcio Doctor to shine. Hagans conducts the band through a series of escalating counterpoints that bring the action to another peak before the whole band shouts out, presumably a line from the film, “Baby, I think about you so much that I forget to go to the bathroom.”  The band has another short break where guitar, bass and drums carry on a nice shuffle over which Hagans plays a penetrating muted trumpet solo that is very reminiscent of Miles Bitches Brew sound.

Tim Hagans ( photo credit unknown)

“Mabel Longhetti” was the desperately tragic figure in Cassavetes’ Woman Under the Influence, and Hagans knows precisely how to evoke a bewildered melancholy that surely must have been part of this character’s psyche.  Hagans uses some breezy flute, clarinet and bass clarinet work by Felsch, Peter Bolete and Herzog to great effect, but it’s Sendecki ‘s perceptive piano solo that really sets this wistful stage. It’s as if Mabel is in a web of melancholic introspection that she can’t see her way out of. When the entire band swells up and plays this gorgeous melody, the orchestra acts in a unified voice, a glimpse of a life outside of oneself. Sendecki gets another chance to play with resplendent creativity on the next passage where he is shrewdly accompanied by Heller’s booming bass and Utopia’s airy brush and stick work. Hagans again builds the tension to a peak before reprising to Sendecki’s piano with an accompanying flute and woodwind chorus. This leads to the whole band finishing on a peacefully resolution. Sendecki’s solo piano finishes up this piece with two measure solo reprise.

The intro of “Cosmo Vitelli,” the protagonist from Cassavetes’ quirky The Killing of a Chinese Bookie, is a deep-toned, ominous chorus of horns, the prominent voice being Herzog’s looming bass clarinet. Guitarist Diez plays a disjointed, abstract solo on electric guitar that fades into an echoed dispersion. Hagans enters the second movement with a strangled-like sounding, muted trumpet as the band plays the repeating motif. Altoist Peter Bolte offers a squeaking high register solo that cries of frenzy. This band, under Hagans’ direction, is switchblade responsive, tonally diverse and mesh voices like the gears in a fine swiss movement.

The final composition is Hagan’s homage to the director, his passion and his dedication to a fiercely independent creative vision, titled “John Cassavetes”. Hagans is no stranger to this mantra. His music has consistently shown a penchant to chart its own course. Hagans runs his brass and woodwinds through complex passages that brim with vitality. He directs the band into a straight ahead swing at about the two-minute mark, soaring on his open trumpet like a caged bird set free to fly. Guitarist Diez always seems to be on the verge of breaking out into a raucous fusion solo as he, Hagans and Uotila let loose-a brash rumble that for me represents Cassavetes’ independent spirit. As is his habit, Hagans builds up the furor and then relaxes the tension as he brings you back with a tonally rich moderation in intensity. 

Throughout the album the NDR Big Band responds to the chicanery of his compositional twists and turns with the precision of the rack and pinion steering on a fine sports car. Hagans is a superb and fiery trumpet player and with Faces Under the Influence a Jazz Tribute to John Cassavetes, he has also proven himself to be a formidable composer in the big band format. 

My list of best of Jazz 2011

My list of some of the best Jazz in 2011

The year 2011 was an inspirational year. I was privileged to listen to, and in some cases experience “live”, some of the best and most varied musical performances that I have seen in many a year. With all the discussion of jazz dying and the graying and shrinking of the jazz audience, what I have personally witnessed is that this improvisational music that we paint with the expansive brush we call “jazz” is flourishing and experiencing a renaissance of creativity that is nothing short of breath taking.

People love lists and fans often relish in picking their favorites. Often people revel in finding their choices being validated by inclusion in lists made by critics at the end of the year. But music is subjective and there will always be room for outliers in taste. This year I am going to list my picks for the best music I have heard this year, trying to be as inclusive as possible for the deserving music that has been created. I stress some very worthy albums will undoubtedly be missing from my list simply because I  haven’t had the opportunity to listen to them, but of the many I have listened to these are some of my favorites.

Contemporary big band music had a  resurgence
this year.Ninety–three year old Gerald Wilson had 
an exquisite offering  with his brilliant “Legacy” .
(See you tube video here)

Another big band album that could equally be placed in  the best of Latin Jazz  category  was the cooking Manhattan School of Music Afro-Cuban Jazz Orchestra under the direction of Bobby Sanabria and their marvelous
 "Tito Puente Masterworks Live" . This band of young artists just keeps getting better and better. 


The Westchester Jazz Orchestra under the direction of Mike Holber is certainly a seasoned group. This year they offered their take on the music of Herbie Hancock on their "Maiden Voyage Suite".  I was fortunate enough to catch this polished orchestra "live" this year,, with the powerhouse tenor saxophonist Joe Lovano as a guest soloist. This is a talent packed group of professional musicians who take playing tight arrangements and turn it into an art form.


Another fine "live" performance was the spectacular mulit-media show  composed and conducted by the talented D'arcy James Argue and illustrated by the artist Danijel Zezelj titled "Brooklyn Babylon".
 (see video here).


Trumpeters offered some compelling music this year. One of my  favorites included the fresh sound of the young Ambrose Akinmusire  and his quintet on his impressive  "When the Heart Emerges Glistening".  (see video here).

"The Talented Mr.Pelt" was a showcase of fine contemporary music by trumpeter Jeremy Pelt and his fine quintet. Pelt has a matured tone that is wonderful to behold.
















The electric Tim Hagans demonstrated his compositional acumen as well as his instrumental virtuosity on his 
 " The Moon is Waiting".  Under appreciated guitarist  
Vic Juris was a standout on this outing. I caught Tim live at the WJO show where he was featured in a piece with saxophonist Joe Lovano on a song he arranged for the orchestra .


The trumpeter Tom Harrell came to the table with his own  quintet on his ethereal  "The Time of The Sun" . 


















With so many fine pianist offerings this year it was a daunting task to pick and choose a handfull. In the solo category Denny Zeitlin's remarkable "Labyrinth" , brilliantly recorded live at Ernie Shelton's house in California, was a standout. Denny's performance with drummer Matt Wilson and bassist extraordinaire Buster Williams at the Kitano this fall was a wonderful display of mature but daring virtuosity  that I was fortunate enough to attend..


The pianist Michael Cain's release, simply titled "Solo", was a unique combination of solo acoustic piano and electronics that I found intriguing. His "Prayer"  is an evocatively spiritual piece of music that is very meditative. ( see video here)

A delicious duet was served in Italy by masters Chick Corea  and Stefano Bollani. Titled "Orvieto", this demonstration of magical interplay was recorded live at the Umbria Winter Jazz Festival in 2010.






The pianist Benny Green, who was schooled  with stints in bands led by Ray Brown, Art Blakey and Freddie Hubbard to name a few,  blew my socks off with his swinging album "Source" a pianistic joy.

Two terrific trio recordings by pianists Sam Yahel with his 
 "From Sun to Sun" 




and Ted Rosenthal's
"Out of this World"  were both strong outings in a crowded field of exemplary performances. (see video here)




The pianists Aaron Goldberg and composer/pianist Guillermo Klein, ably assisted by drumming phenon Eric Harland and bassist Matt Penman,.produced one of my favorite albums of the year "Bienestan. ,  a musical trip to an imaginary country of the same name. I was able to see them perform this enchanting music "live" at the the Jazz Standard with the fabulous altoist Miguel Zenon,  who was also featured on the album. The live performance did not disappoint with the hypnotic original composition "Human Nature" capturing my attention.
(listen here)


At the wonderful Caramoor festival this year Joshua Redman's
new super group, which featured Aaron Parks on piano, Matt Penman on bass and the ubiquitous Eric Harland on drums, blew away the audience. There self titled album James Farm features original music composed by each of these talented players and is another must listen. ( see video here)








Alto saxophonist David Binney composed an unusual  suite of cinematic-like music titled "Graylen Epicenter" featuring some of today's most hip musicians on the New York jazz scene.

New York based tenor saxophonist Donnie McCaslin introduced the dynamic
"Perpetual Motion"   and caught my ear earlier this year.




Bassists were fully engaged this year with some creative outings.Ben Allison continues to show a rare ability to create new music by deconstructing contemporary songs from recent times and presenting them in  new and exciting ways. Allison's  Action-Refraction was inspired by  the music of composers as varied as Neil Young, P.J.Harvey, Thelonious Monk  and Donny Hathaway. ( see video here)
 




















Bassist Sean Smith had a quiet and joyful gem with his album "Trust" , with notable support from guitarist John Hart and a superb outing by the saxophonist John Ellis.

The ubiquitous Christian McBride had a busy year with his big band performance at the Caramoor festival being a real crowd pleaser. This big band music was released as "The Good Feeling" , but his recent release "Conversations with Christian"  was the real McBride standout to me. It showcased his  virtuoso playing in some really intimate musical conversations with various artists. His duets  with the astute Dr.Billy Taylor on the composition "Spiritual" and the marvelous  Hank Jones on the song "Alone Together" , both recently passed giants of this music, were pure gold. A  duet with the soulful guitarist Russell Malone on "Sister Rosa"  demonstrated why Mr.Malone is a first call guitarist of exquisite taste. 


Bassist Jay Anderson  and fellow members of the band named BANN, drummer Adam Nussbaum , saxophonist Seamus Blake and guitarist Oz Noy, produced and played on an quirky but satisfying album from earlier in the year titled 
"As you Like".  I especially enjoyed their re-creation of the David Crosby tune "Guinnevere". (see video here)


Guitarist Jonathan Kriesberg came out with a fusion infused album that I really grooved on titled "Shadowless". It featured some impressive playing and composition by the talented guitarist and some penetrating saxophone by Will Vinson. Just listen to the lead track 

"Twenty-one" and you will be hooked. (see video here)





"Gladwell" by guitarist Julian Lage offers a musical journey, this time through a fictional town of the same name. Lage weaves a convincing picture of this place, its people and the vibes he experiences there. It is a fascinating musical trip worth taking the time to experience it through Gage's talented fingers.



The so called "Third Stream" of music  as described by Gunther Schuller was alive this year with a beautiful offerring from Carlos Franzetti and his wife Allison Brewster Franzetti titled "Alborada". It combined elements of  classical and South American folk music with the music of contemporary jazz artists like Herbie Hancock, Bill Evans and Milton Nascimento.


Drummers had some important offerings this year with special mention of Eric Harland's work on Bienestan and James Farm. I was fortunate enough to see Mark Guiliana's kinetic drum work when he played an unrehearsed electronic set of pure improvisation with pianist Brad Mehldau at Tony Falco's club The Falcon in Marlboro, .NY. back in September
( see video here) . 





The drummer Ralph Peterson had a take no prisoners offering titled  
"Outer Reaches" that featured organist Pat Bianchi and  absolutely shredding guitar solos by Dave Fiuczynski on Woody Shaw's "Zoltan" and John McLaughlin's "Spectrum". Also checkout Peterson's version of the Christmas classic "We Three Kings".

Drummer Adam Cruz had an auspicious year. I caught him recently with the talented saxophonist Chris Potter and the amazing John Patitucci at Smoke in NYC. Cruz released his latest "Milestone" and indeed it was just that. With a brilliant supporting cast that included the aforementioned Potter, along with fellow saxophonists Miguel Zenon and Steve Wilson, guitarist Steve Cardenas, pianist  Edward Simon and  bassist Ben Street this one packs a punch.


Vocalists that piqued my interest this year Giacomo Gates fine tribute to the late Gil Scott Heron titled 
"The Revolution Will Be Jazz".  With Gates successfully pulling off some of the poet's most poignant music.






Gretchen Parlatto was again impressive with her latest
album "The Lost and Found" where her wispy voice continues to defy convention. Taylor Eigsti's piano work was inspired.




Two artists who were new to me this year were the violinist Majid Khaliq with his impressive "Basilisk" , a surprisingly stirring
 album from a rising talent.
(see video here)


A second surprise was the discovery of the talented saxophonist from Utah, Chaise Baird on his impressive debut album "Crosscurrent".
For those who question Jazz in Utah? Check this kid out.









Two recently recieved albums that deserve honorable mentions are the baritone saxophonist Brian Landrus' "Traverse"  and Canadian trombonist William Carn's 
"Run Stop Run". 










So there you have it, my exhaustive list of the best I have heard in jazz this year.I am sure some will scratch their heads in confusion, others will nod in agreement and others will be pleasantly surprised,  but one thing is for sure jazz is alive and thriving in 2011 and I for one predict that based on the trend 2012 will be an even better year for this music we call "jazz".