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FeedsEverything 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
Historicity
(Act Music + Vision; US: 13 Oct 2009; UK: 24 Aug 2009)
1
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.
2
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.
Jacob Fred Jazz Odyssey
One Day in Brooklyn
(R.E.D. Distribution; US: 1 Sep 2009; UK: 31 Aug 2009)
3
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.
4
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.
5
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.
Steve Lehman Octet
Travail, Transformation, and Flow
(Pi; US: 9 Jun 2009; UK: 9 Jun 2009)
6
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.
7
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.
Great list. I like how you broke it down into sub-categories. It seems like there is so much going on in jazz these days that it’s like comparing apples to oranges with some releases.
I was pleasantly surprised to see Jacob Fred up there as well as Matt Wilson, one of the nicest and most underrated composers in jazz. And it’s great you included some avant-garde works like the Henry Threadgill joint. More folks need to hear the awesome things going on in experimental jazz.
A couple points of contention I’d make: 1) Vijay Ayer seems to be all we hear about in jazz. Yes, he’s a great pianist with some cool ideas. Yes, he has more years of education than my entire high school graduating class combined. But, I’d like to see some new faces at the top of the list. 2) Being a huge Ben Allison fan, I was super hyped for his latest record. But, honestly it’s not his best work. No offense to the masterful Steve Cardenas, but I miss Michael Blake and Ted Nash. And I liked it better when Allison was a jazz musician in a rocker’s body and not vice versa. 3) Kudos for including a Tzadik release on the list. That label is putting out some of the most tightest jazz around. But, I definitely would have gone with one of Roberto Juan Rodriguez’s amazing 2009 releases.
Thanks for compiling this great list!
Posted by Michael Kabran on December 15, 2009 at 6:22 pm
Thanks Michael. I’d have to agree with you on the Ben Allison note; while I enjoyed “Think Free,” it didn’t strike me as much as “Little Things Run the World.” Personally, I’d love to hear his current rock-jazz approach blended with the exotic sounds on “Peace Pipe.” The electric guitar of Steve Cardenas (gotta give my hometown KC boy props) and Mamadou Diabate’s kora? Yes please.
Posted by Andrew Zender from Maryland on December 16, 2009 at 8:49 am
I am so happy to see Fay Victor’s album on your list as so many critics seem to have missed it. Another overlooked vocal gem from the past year is the stunning debut by Kat Edmonson entitled Take To The Sky. Both well worth repeated listens!
Posted by Michael from usa on December 21, 2009 at 12:26 am