Everything in the culture these days is political, right? Partisanism is the new black.
Jazz, at its heart, resists polarization. The premise of the blues, after all, is the creation of joy from adversity, and surely no music has ever reconciled as many contradictions as jazz.
Still, there has always been a pseudo-political inner tension in jazz between a conservative impulse to honor the past and a liberal impulse to innovate at every turn. During down periods in the music, those impulses do battle, creating dull music: either mindlessly imitative or mindlessly free. During good periods—and that includes the bulk of the new century so far—there is mindfulness on both sides. The tradition is referenced and transformed while still being a touchstone. And innovation takes place within brilliant systems that overthrow the past but never seek merely to destroy it.
2009 was a great year for melding innovation and tradition. The trend continues of piano trios playing boldly, creating a new language for this venerable jazz form. And other kinds of groups have been equally inventive, particularly in working through what it means to be a jazz group—a notion that has evolved beyond trumpet-saxophone-piano-bass-drums.
Also noted: only one recording here is from a major label (Nonesuch), demonstrating once again that the dissolution of big-label jazz imprints has simply allowed the music to flower in a million small pots. Alas, it is also noted that these brilliant musicians are scraping to distribute their music and deserve better deals. Support them if you can!
Here is the best jazz of 2009, interpreted in three groupings—the piano trios that knocked us out, the new groups that found new sounds for jazz, and some more traditional sounds that, nevertheless, pushed toward discovery.
Vijay Iyer Trio
(Act Music + Vision; US: 13 Oct 2009; UK: 24 Aug 2009)
This trio, led by a prolific and exciting pianist, moves with assured consistency across a huge swath of musical territory, from a Leonard Bernstein ballad to a particularly hard-hitting version of M.I.A.‘s “Galang”. It is the strongest artistic statement of Iyer’s career, elevating the creative potential for the traditional piano trio to dramatic new heights. What impresses most is the way this trio manages to alter the very DNA of the groove.
Music We Are
(Golden Beams; US: 7 Apr 2009; UK: 7 Apr 2009)
This piano trio, led by the legendary drummer, takes brilliant advantage of alternate and electric instruments. Danilo Perez uses electric keyboards to create textural richness, John Patitucci plays electric bass and bowed acoustic bass, and DeJohnette contributes horn-like lines on the melodica. This array of textures helps create a fully realized orchestral approach to small-group jazz.
One Day in Brooklyn
(R.E.D. Distribution; US: 1 Sep 2009; UK: 31 Aug 2009)
Retrofitting their lineup (originally a trio) with pedal steel guitarist Chris Combs, the Tulsa-based band recorded this EP live in the studio without overdubs and generated some serious heat, seamlessly weaving together Monk, classical, Middle Eastern music, and the Beatles. It’s a great example of how jazz has expanded beyond traditional “swing” without forsaking a sense of rhythmic pliability.
Showcasing a penchant for thundering drum ‘n’ bass grooves—while mixing in Brazilian and hip-hop rhythms—Portland, Oregon’s Trio Subtonic conjures up tightly crafted tunes that split open with bluesy piano, searing organ, and delightfully funky horn arrangements.
Drummer and composer Alix Cline has crafted a series of stately, dramatic compositions that combine violin and cello, bass and drums, and Myra Melford’s transporting piano and harmonium. Working across styles and in longer forms, Cline’s tunes are patient and full of space, and Melford provides the spontaneous juice that allows this record to blossom.
Travail, Transformation, and Flow
(Pi; US: 9 Jun 2009; UK: 9 Jun 2009)
This shimmering record uses a technique called “spectral harmony” by arranging notes and instruments with careful attention to attack, decay, and harmonic overtones. But forget the technicalities—it just sounds brilliantly new and luminescent. Add to this generous dollops of rhythmic energy and concise solos by great improvisers such as Jonathan Finlayson on trumpet, Chris Dingman on vibraphone, Mark Shim on tenor saxophone, and Lehman, playing alto sax with acid tone and swirling imagination.
Henry Threadgill is one of the few utterly pure originals in this music, and his rare releases appear as sensations. This music by his group Zooid sounds like a collision of unexpected joy, with angular lines of melody passing each other in midair: alto sax or flute, trombone or tuba, acoustic guitar, bass and drums in ecstatic, intelligent dialogue. Threadgill’s groups use distinct vocabularies, so this much is wonderfully true: no other jazz sounds like this, period. And it sounds good.