A quick glance at JJA's year-end bonanza

The Jazz Journalists Association webpage have invited their members to post year-end lists in their blog section (late November, early December is always too early for me to finalize a list, for various reasons, but mostly because I use the first weeks of December to catch up.)

The lists point in all different directions, which makes consensus less of a given, but on the plus side it suggests that writers out there are able to spread the word about most every strain of what we know as jazz (whether they are any good at backing up their "likes" in writing, I can't say. I've only read a few, from what I can recall.) Still, only a few of the lists have piqued my interest beynd glancing through, mostly because they contain a few or more touch-stone releases (e.g. MOPDtK, Mary Halvorson, David S. Ware or others), which suggests that our tastes may be similar enough for me to happily check out or reassess whatever else is on their respective lists (most interesting so far: Geoffrey Himes, Laurence Donohue-Greene, Gordon Marshall (still aching to hear that William Hooker record. Wish they would make some mp3s available, as the price is too steep for me to import it myself, at the time of writing), and Tim Duroche.

That said, I usually take time to listen to as many of the albums as possible, especially if they recieve multiple mentions, even if some of the choices initially may seem uninspired to me (based on my biases, that is.) Jason Moran's new record is listed plenty of times, and I've given it a quick spin (first impression: OK, nothing more. Messes up a Monk tune big time.) Another record that pops up more than a couple of times is the Ruresh Muhanthappa & Bunky Green album, which I've written about already. Fine record though it is, the "up-and-coming youngster teaming up with rediscovered forgotten older statesman" formula certainly seems like it could win you extra votes, no matter how the record actually sounds (again, based on my biases.)

Anyway, I hope to have a Listening Booth ready in a couple of weeks, containing some of the records I've been able to pick up from these lists (mostly, by using Spotify, WiMP or other streaming sources) as well as other things (for example, I came to Mike Reed's Loose Assembly's Empathetic Parts a bit late, but it does sound very good indeed.)

Listmania, Nate's a mate, & more

NY Times' Nate Chinen's 2009 list proves that the expressions of values, emotions and attitudes he looks for in music is not found merely within one "field" (I'm loathe to use "genre") of music. This is a view that seems to be a rarity among jazz-based music writers, who perhaps are just being protective of their field of expertise, which is understandable. We wish to make the point that jazz can be and still is a relevant music today. However, I think Chinen's juxtaposition of different types of musical expressions in his 2009-list argues that point in a more convincing way than "genre" specific ones.

Nate's picks are interesting in their own right, too. The only record I don't like particularly well is the Grizzly Bear one, though I'm yet to hear Fly's Sky & Coutry. Brad Paisly's "Then", Sonic Youth's "Antenna" and Miranda Lambert's "Making Plans" are all my favorite songs off their respective recent records, too.

The only other jazz-based writer I can think of off the top of my hat who seems to think about music in a similarly "all-inclusive" way is mr. Tom Hull (see e.g. his Pazz & Jop ballot).

Ironically, just to regress to the genre specific, I plan to post my year in jazz here in a few days time. I don't think I'll bother with a decade overview. My much touted 25 anniversary celebration of 1984 will have to wait a bit because of technical issues, but it's pretty much finished.

'Til then, happy holidays!

Out of Step...

...with the (Northern) European mentality that favors celebration of tragedy (fetal position) as more "artful" than the defiance of a tragic state or life. This mentality has put Glasvegas' debut on top of most year-end lists in Norway. To me it sounds like a perpetual whine. Cue lyrics from "It's My Own Cheating Heart That Makes Me Cry":

so this is the grand finale
the crescendo of demise
this is the happy ending
where the bad guy goes down and dies
this is the end
with me on my knees and wondering why?
cross my heart, hope to die
its my own cheating heart that makes me cry

There's nothing quite like feeling sorry for yourself. No, to hell with that. It's a town full of losers, I'm pulling out of here to win!

Listmania

A few weeks ago, I was asked by PlanB to submit a list of my favorite records of 2008. The list was published online earlier today. You can find it here. It's pretty much a carbon copy of the list I keep at this blog, bar a few things. For one, I didn't include Girl Talk's tons-of-fun Feed the Animals, though I have no idea why. I also slipped in Bottomless Pit (which is also on the blog list, though it probably will miss out on a top 15 spot upon next review) although it was sticktly released in 2007. When I have more time, I'll make a comment on a few more of the records. Among other things, I have a text on the new MOPDtK in the pipeline.

If you can read Norwegian, I've also written a few words on Randy Newman and Harps and Angels.

Favorite Jazz Albums of 2006

I had initially planned this to be posted on the Norwegian blog as a response to the increasingly narrow scope of Norwegian Jazz critics - this year exemplified by Dagsavisens Roald Helgheim choosing to flag an all Norwegian top 10 (enough of the self-congratulations already). I guess the lack of space afforded to Jazz in the dailies, plus the few records that companies do send, limit what the critics can write about. But I would hope that love and appetite for music would make them search for new music as well, and not just sit back and take whatever is handed to them. Maybe they do search, but if so that doesn't show in their columns, reviews, or top ten lists. They are usually filled with familiar faces, not to speak of the same record labels (most notably ECM). There is nothing new about this situation, though. I had qualms last year too. Anyway, Zoilus's call for more Jazz top lists prompted me to post mine on the regular page, so here goes:

1. Ornette Coleman - Sound Grammar (Sound Grammar)

Ornette's tone and sense of melody is as strong and beautiful as ever. Coleman's themes, which sound fresh and new yet oddly familiar at the same time, are given added color by the use of two basses; Tony Falanga playing melodies with his bow, Greg Cohen providing as steady a pulse as Charlie Haden once did. Ornette's kid Denardo bangs the drums. Not only my fave jazz record, but my overall favorite of 2006.

2. Adam Lane Trio - Zero Degree Music (CIMP)

Punkish Jazz. Bassist and band leader Adam Lane has many projects going, but this trio recording is my favorite. Lane's bass lines are assertive and prodding, and he is augmented by the excellent saxophone of Vinny Golia, who goes from a whisper to a scream at the drop of a hat. Vijay Anderson is just as solid behind the drum kit (originally released in 2005).

3. Adam Lane's Full Throttle Orchestra - New Magical Kingdom (Clean Feed)

Swings like a motherfucker. It is easy to hear Lane's debt to Charles Mingus, but where Mingus used politics to fuel the energy of his music, Lane uses his love for avant rock, hence the guitars. Powerful stuff.

4. The World Saxophone Quartet - Political Blues (Justin Time)

The Quartet is augmented by James Blood Ulmer and a backing band to help them bring the outrage, blues style-e, as they pick a fight with the current administration . But they also bring the funk, much thanks to Jamaladeen Tacuma's bass. Inspirational verse: "I've got the political blues, now we're stuck with Bush, Cheney and Rice / I've got the political blues, the Republican Party is not very nice"

5. Ben Allison - Cowboy Justice (Palmetto)

Another young bassist and leader, and yet another small big-band with guitar for added chops - and it works. Allison is Haden to Lane's Mingus, which helps explain his somewhat mellower approach both as a bassist and as a songwriter. This doesn't mean they don't "rock out" when it's called for, and Allison's not too fond of "Tricky Dick" Cheney either.

6. Odyssey the Band - Back in Time (Pi Recordings)

7. Kidd Jordan, Hamid Drake, William Parker - Palm of Soul (AUM Fidelity)

8. Bobby Previte - Coalition of the Willing (Ropeadope Music Entertainment)

9. Mario Pavone - Deez to Blues (Playscape)

10. Atomic - Happy New Ears (Jazzland)

Honorable mention:

• Adam Lane Trio - Music Degree Zero (CIMP)
• Nels Cline - New Monestary: A Journey Into the Music of Andrew Hill (Cryptogramophon)
• Jon Faddis - Terranga (Koch)
• Erik Friedlander - Prowl (Cryptogramophon)
• Sonny Rollins: Sonny Please
• Trio 3 (Lake, Workman, Cyrille) - Time Being (Intakt)
• David S. Ware: Balladware (AUM Fidelity)

For all my gripes about the Norwegian press, you'll probably be able to find patterns in my choices, too: Four of the records were led by bassist; three records were explicitly political in titles and imagery or even words; James Blood Ulmer was involved in two of the records in the top 10; nine - 9! - of the records were by American artists. Well, there you go.

For other lists of Jazz records from the year that went by, head over to Jazzhouse's list section here.