Best Albums Of 2010: Jason Moran

jazzmusic24 revisits our favourite albums of 2010.

Jason Moran (piano)

Ten (Blue Note Records)

Ten celebrates Jason Moran's ten years on with Blue Note Records. As with his previous efforts it is a highly creative and challenging outing. The one difference I found is that Ten is also the most accessible album in the Moran cannon. "Blue Blocks" opens with a nice dose of Sunday morning church roll call that is both joyous and uplifting.

A number of the pieces on Ten were originally commissioned for concerts/exhibitions over the last few years. So its nice to hear some of this material for the first time on disc. "Feedback Pt.2" is one of those pieces and has loads of atmospheric effects mixed with Moran's classical side reminiscent of his material on the highly acclaimed Modernistic album. Moran also tackles one of his influences with an incredible reworking of "Crepusucle With Nellie" which for me makes this album worth owning out right.

Another standout is "Play To Live" a number co-written with the late Andrew Hill, another major influence (outside of Monk) on Moran's playing. It's a quiet and emotional piece that really brings home the power of Moran and his trio. "Gangsterism Over Ten Years" follows in the footsteps of a previous number from Modernistic with complexed arrangements yet pulsating and accessible all at the same time.

Ten is a brilliant celebration but also is a shinning document and statement as to why Jason Moran stands apart from all other piano players of his generation. It's engaging, challenging and creatively far and away from any of other piano based album you'll hear all year. One of the years best albums is our listening room.

Best Album Of 2010: Mary Halvorson

jazzmusic24 revisits our favourite albums of 2010.

Mary Halvorson (guitar)
Saturn Sings (Firehouse 12 Records; 2010)

So when I first wrote about Mary Halvorson a few months back I enthusiastically said I was addicted to her music and her latest release, Saturn Sings (Firehouse 12 Records). Since then I have acquired a boat load of other releases featuring Halvorson; including the spectacular trio album from drummer Tom Rainey, which features some phenomenal playing from Halvorson.

But let's stay focused on the real album at hand. Saturn Sings is a powerful statement from a guitarist who really stands high and above most of her contemporaries, even if a large majority of the jazz public doesn't know who she is...yet.

Saturn Sings features the same trio from her first album as leader, Dragon's Head (Ches Smith (drums) and John Hebert (bass))now expanded into a quintet with Jon Irabagon on sax and Jonathan Finlayson on trumpet. This adds a little more body and rhythm to some of the recordings. But it doesn't interfere with free flowing atmosphere of the original group. In fact I think it gives the musicians more strength and room to breath or expand on different themes.

Halvorson is still the leader but allows the band to do some of the talking as on "Mile High Like" which Irabagon, Finlayson and Smith rip through notes while Halvorson's floats above and sometimes just underneath the rhythm. This is one the best examples of how this quintet melds together beautifully throughout Saturn Sings.

"Crack In Sky" and more importantly "Moon Traps In Seven Rings" are almost ballad-esque, with a loose abstract construction from Halvorson. Finlayson is the standout on "Moon Traps In Seven Rings" until about two thirds of the way in when Halvorson takes a Marc Ribot like solo and the group returns to the original melody. This is a great piece of writing. "Crack In Sky" sees Irabagon and Halvorson interplay beautifully--displaying Mary Halvorson can combine tradition and avant garde into something magical (similar to her mentor Anthony Braxton).

"Sea Seizure" again expresses the more indie-rock leaning side of Halvorson. It's a groove-laden track with aggression and agitation that could sit alongside anything Sonic Youth or Praxis could write. The title track, "Saturn Sings" opens with marching order-like quality led by Halvorson and Smith, only to return to a wonderful group dynamic played out by the rhythm section. Saturn Sings is an album that is another step up for Mary Halvorson in song writing, leadership and performance.

You may have noticed the headline of today's entry was slightly different. I purposely don't like to rank my "Best Albums" because I feel its too difficult to make your deciding factors on how they should be ranked. So I'd rather just talk about them. But in the case of Mary Halvorson's Saturn Sings--I have made the rare judgement that this by far is my #1 Album Of The Year.

I wanted to talk about it early in the week in case a lot of you are not around towards the end of week/year. The sooner you know about this album the better. If you want an album and an artist that is going to knock you socks off or change your thoughts on what the guitar means to jazz, than Mary Halvorson's Saturn Sings is the place you should start. Beyond Highly Recommended.

Best Albums Of 2010: Soil & Pimp Sessions

Over the next two weeks jazzmusic24 revisits our favourite albums of 2010.

Soil & Pimp Sessions (group; formed 2003)
6 (Brownswood Records)

Shacho ("agitator")
Tabu Zombie (trumpet)
Motoharu (sax)
Josei (keyboards)
Akita Goldman (double bass)
Midorin (drums)

Soil & Pimp Sessions have done their fair share of DJing and guest billing on other albums for the last few years. In addition, they have pulled off an amazing feat in today's music world, of releasing five albums since their formation in 2003.

The Japanese "Death Jazz" (their term, not ours) sextet, returned with their sixth album this year. Aptly titled 6, was a raucous and relentless release with buzz saw crowd pleasers like "Papa's Got A Brand New PigBag," "Pop Korn" and "Quartz and Chronometer" blazing the way to the dancefloor.

But the group has grown into more than just a consistent source of dance heavy tunes. They have managed to turn on the lovelight with the midtempo stomp of "My Foolish Heart" and "Double Time." The bands constant touring globally has sharpened their influences more so now than on their previous records.

6 spreads the themes around with tinges of Latin funk on "Paraiso" and soulful grooves of both "Mirror Boy" and a second version of "My Foolish Heart." British semi-pop superstar, Jamie Cullim sits in on "Stolen Moments" surprising recreating Mark Murphy but it works.

If it always sounds like a good time on Soil & Pimp Sessions records, its because they try to recorded everything live in the club. That's no different here. You get the feeling of party and you have the feeling its never gonna stop.

Soil & Pimp Sessions have remained in the "underground' for far too long. This is by far their best and most cohesive album to date and well worth seeking out. 6 is a party album, no doubt about it. But its the kind of album that will also have you stopping in your tracks to listen to "that" song again...and again...and again.

Best Albums Of 2010: Soweto Kinch

Over the next two weeks jazzmusic24 revisits our favourite albums of 2010.

Soweto Kinch (sax, vocals; b.1978)
The New Emancipation (Soweto Kinch Recordings)

Resurfacing this year with an incredible document, The New Emancipation (SK Recordings), Soweto Kinch may have established himself as the premier storyteller of the new British jazz generation influenced by Hip Hop. This fertile underground mind delivers the trials and tribulations young London life trying to reach the better horizon.

That story is capsulized in perfectly on the opener, "Trying To Be A Star". Maybe in a similar fashion as some of Courtney Pine's earlier records but with a more updated and solid vision.

One of the brilliant things to come out The New Emancipation for me was the way Kinch has grown as a musician on sax. His playing especially on the hard bop of "A People With No Past" is very reminiscent of Branford Marsalis circa Crazy People Music. In the first two full tracks Kinch has made his case that Jazz and Hip Hop an coexist within the same sphere.

The influence of both someone like Branford, Sonny Rollins, Jackie McClean and Hip Hop artists Mos Def, KRS-One and Black Thought (of The Roots) can be felt throughout Soweto's discography but even more so on The New Emancipation.

And it's not just Soweto who stands out here either. He's band a superb. Guitarist, Femi Temowo and drummer Justin Brown act as wonderful counters to Kinch's fierce, rolling vision on the more traditional jazz pieces, including "The Never Ending" and "Suspended Adolescence."

The rhythm based pieces such "Raise Your Spirit," "Axis Of Evil" and the hilarious "Paris Heights" show the lighter yet bold side of Soweto's lyrical storytelling. But overall, The New Emancipation is sold jazz album. It balances Hip Hop and Jazz to perfection. This lyrical delivery of Soweto Kinch has never been more clear than now. Soweto has become a more mature and focused player and songwriter.

The New Emancipation is not only a statement of our culture. It is a blueprint of what Jazz and Hip Hop should sound like. It was one of my favourite albums during the second half of the year and I haven't stopped listening.

Best Albums Of 2010: One For All

Over the next two weeks jazzmusic24 revisits our favourite albums of 2010.

One For All (group; formed 1997)
Incorrigible (JLP)

Eric Alexander (sax)
Jim Rotondi (trumpet)
David Hazeltine (piano)
Joe Farnsworth (drums)
John Weber (bass)
Steve Davis (trombone)

One For All have consistently delivered albums of quality and distinction for over a decade now (15 albums in all). This years, Incorrigible (Jazz Legacy Productions) was no exception.

Driven by an unparalleled sense of unity, each member of One For All writes music for their records. Incorrigible demonstrates once again that One For All are that rare breed of band that you can tell has been together for a long time. They play off each other extremely well. They challenge each other with every note. And they have fun doing it.

From the eternal standard "Bewitched, Bothered and Bewildered", the lovely tribute to Freddie Hubbard "Voice" to what could easily become a standard in twenty years, the Steve Davis penned "Spirit Waltz"--Incorrigible is an album that is quite accessible for any music fan.

One For All have always been compared to Art Blakey's Jazz Messengers (a comparison they enjoy in fact). But they continue to show that they are a new breed for a new generation of jazz fans. This is a group enjoys playing together while having their own highly successful individual careers.

The title track, "Incorrigible," was written by Eric Alexander and it rips with delight. Jim Rotondi's playing is immaculate as always and the interchanges between the horn section are superb. But as with all One For All records each musician standout in their own way. Hazeltine, Webber and Farnsworth all have shinning moments throughout Incorrigible and that's what makes One For All one of the most important jazz groups of the last decade.

One For All are not a band out to reinvent the wheel--but they definitely make the wheel look alot better with each outing. Their sense of unity and continuing drive of making the perfect record is one of the things we have always enjoyed. Incorrigible is highly recommended and one of jazzmusic24's favourites this year.

Best Albums Of 2010: Mikrokolektyw

Over the next two weeks jazzmusic24 revisits our favourite albums of 2010.

Mikrokolektyw (group; formed 2004)
Revisit (Delmark; 2010)
Kuba Suchar (drums, electronics)
Artur Majewski (trumpet, electronics)

The melding of electronics inside jazz (particularly European jazz) has been a prominent force over the last decade. One of the best pioneers of this fusion is Nils Petter Molvaer, with numerous artists and groups emerging since Molvaer's groundbreaking Khemer release. One group were the Polish quartet Robotobibok. Robotobibok recorded three stellar albums in the mid-nineties--their 2000 debut, Jogging (Vytvornia OM) is highly recommended. After the group split in 2004, Suchar and Majewski carried on as a duo, now known as Mikrokolektyw (pronounced Microcollective).

Mikrokolektyw have created a magnificent piece of Eastern European jazz, electronics and acoustic improvisation with their debut, Revisit (Delmark). More atmospheric and live instrument based than like-minded countryman, Skalpel, Mikrokolektyw present beautiful soundscapes, rich in texture and lyrical expansion. While the absence of a bassist and pianist seem bizarre on the surface, its Majewski's sublime trumpet playing and Suchar's hypnotic patterns of percussion that make tracks like "Running Without Effort" and "Revisit" completely flawless. The listener never realizes that this is a duo (with the added accompaniment of a minimoog) driving the forceful yet melodic nature of the tunes.

This is similar ground that Robotobibok covered during its seven year run, so anyone familiar with those records won't be too surprised. But its the fluidity of Revisit as a whole that makes this one of the best albums of the year for me. The interplay between Suchar and Majewski on "Almost A Good Morning" is infectious and mind blowing all at once. There could be comparisons to Molvaer but that would only be on the surface of the melodic nature of the music. The improvisation and bending of sound of "Lipuko" and "Tar Man" show deep sense of creativity and search for sounds beyond jazz and electronica.

Mikrokolektyw released a companion DVD entitled Dew Point (Delmark) which will really convince you that this is a duo with serious intentions. The performance blew me away. It also includes a few numbers which aren't on Revisit. So it is well worth having both documents.

Mikrokolektyw have definitely made one of the best "boundary pushing jazz" records of the year - one that I can't stop listening to. Revisit builds on the experimental traditions of Miles Davis' latter fusion material and the worldly recordings of Don Cherry (a major influence) but then blast into Sun Ra territory without you ever noticing. This is confident work from musicians who have been on the scene long enough and continue to search and explore new sounds. I urge you if you haven't been turned on to Mikrokolektyw yet--now is the time.

Keefe Jackson: The Future Of Chicago?

Keefe Jackson (sax)

Keefe Jackson, a native of Arkansas, is slowing becoming a major force in the ever-evolving Chicago Free Jazz scene. A combination of complex and complete compositions and bold well-rounded playing is making a lot of people outside of Chicago stand up and take notice.

As discussed here at jazzmusic24 many a time, the Chicago Jazz scene is a breeding ground for some of the most solid, hard framed improvisational jazz coming out of the U.S. Yes, many New Yorkers would argue this point but I'm moving forward with my statement.

Keefe Jackson was already a well toned musician by the time he arrived in Chicago in 2001. But his association and contributions to such local groups as Chicago Luzern Exchange, Lucky 7s, Fast Citizens and the Josh Berman Quintet really established his credibility within the scene. In a town where Ken Vandermark looms large, it probably is extremely hard to break out from the presence. Keefe Jackson is doing just that. Not by following the same avant garde path as Vandermark but creating a rich base of post bop sensibility filled with forward-thinking lyricism.

While I do recommend any of the albums by the above mentioned groups (definitely Josh Berman and Lucky 7s), I want to really focus on the three albums Keefe Jackson has made as leader. These all show a progression to imploding convention of free jazz and resurrecting it in a cohesive exploration of free ideas. Ideas which many listeners will find challenging but highly rewarding.

Ready Everybody (Delmark; 2006) is a fantastic debut as leader by Jackson. The album is actually under the title, Keefe Jackson's Fast Citizens (named after the collective which the musicians belong to). The opening number "Ready Everybody" travels some similar territory as Atlantic era Ornette Coleman or Charles Mingus but with a very playful nature wrapped by some illuminating song structure and phrasing from Jackson.

"Signs" is haunting piece with some fabulous distortion work from Fred Lonberg-Holm (cello) and additional brilliance by both Josh Berman (trumpet) and Anton Hatwich (bass). Frank Rosaly, whose omnipresent drum work can be found on many Chicago jazz albums is superb here as well as the rest of this session. "Saying Yes" is a number where Jackson, Berman and Aram Shelton (alto sax) have some seriously delicious interplay that is both rhythmic as well as inventive.

While Fast Citizens documents a collective that has become a truly cohesive force on the music scene; it also shines light on creative writing of Jackson. This idea is moved forward on Jackson's second release as leader, Just Like This (Delmark; 2007). Just Like This is a massive 12 piece brass/woodwind ensemble that takes starts in foundation on themes of Ellington, Armstrong and other large swing ensembles and injects them with a large dose of Chicago improvisation.

The group includes such Chicago luminaries as Jeb Bishop (trombone), James Falzone (clarinet), Dave Rempis (alto sax) and more. A beautiful exchange expression and melodies moves throughout Just Like This, giving the listener a real sense of depth and freedom by this group Jackson has constructed.

"Dragon Fly", a funky, avant garde yet mid-tempo opener fills the airwaves with its complex arrangements and chord changes but shows a real sense of unity amongst the many players. There's a lot going on here but you are captivated by the varying passages and performances. The title track, "Just Like This" is another mid-tempo gem filled with hard hitting moments of colour by Jackson and clarinet/cornet section (including Berman again in this session).

A real standout here is "Wind Up Toy" written by drummer Frank Rosaly is a tempo shifting ride that feels like elements of crime jazz, swing and avant garde put through the mixer and coming out as an exquisite sundae delight. Just Like This may have Ellingtonian touches but also paints a Jackson Pollack-esque picture with Jimmy Giuffre and Ornette Coleman type brushes.

In 2010, Keefe Jackson returned with the magnificent Seeing You See (Clean Feed Records). Here Jackson pairs things down to a quartet featuring regular collaborators Noritaka Tanaka (drums), Jason Roebke (bass) and Jeb Bishop (trombone). Jackson and Bishop play point/counterpoint throughout Seeing You See with beautiful results. "If You Were" is a great example of their scintillating stylistic duel. This is aided by the subtle rhythms of Roebke and crisping (Billy Higgins-like) timing of Tanaka.

With the previous two albums exploring various themes and influences, Seeing You See approaches things from a slightly straight-forward free form of ideas and utilization of space. For me it's like listening to Giuffre's Free Fall. This is especially evident on "How-A-Low" a downtempo blues where the quartet maneuvers with gentle grace and beauty.

"Seeing You See" is rich with space and tonal structures that get bent in different directions by Roebke during a solo midway through the piece. The proceedings get jumping (slightly) with "Turns To Everything" where the group becomes one force of sound-in-rhythm with ripping chord changes and patterns that better experienced on headphones. "Word Made Flesh" a fierce composition which Frank Rosaly and Jackson have done as a duo previously, sounds even more venomous as a quartet.

"Close" silently takes you through a final journey a spacious undertones. This is led by Roebke's delicate bass lines and some wonderful and haunting movement from Bishop and Jackson (on bass clarinet) combined. Seeing You See really shows how Keefee Jackson has grown as a musician and more importantly a leader and composer.

Listening to the progression not just over these three records but over the course of the last decade in various groups encapsulates how significance Keefe Jackson has had on the Chicago scene. Among the new breed of Chicago improvisers, Keefe Jackson is becoming as prominent and as important as Ken Vandermark was a decade earlier. Keefe Jackson is a talent that everyone needs to start following if you haven't already. Start with the Delmark releases and then move forward to Seeing You See.