THE NOMINEES ARE...

Pianist Monty Alexander

Around this time of year, I start compiling a list of the best jazz albums I’ve heard, which by the end of December I have narrowed down to my ten favorites. So far this year I’ve heard roughly 150 jazz albums. It may seem too early to talk about my favorites of 2011. There’re more jazz albums coming out before the end of the year. James Carter, Geri Allen Rez Abbasi's, and Oscar Perez have upcoming releases. Selecting 10  from a 150 stellar albums is tough. One reason is the quality of jazz music has gotten better. Anyhow, here're a preliminary list of the best jazz albums I’ve come across so far this year.

Uplift by Monty Alexander (Jazz Legacy Production)

With this album Alexander proved it’s still humanly possible to make a kick ass jazz trio album.

The Time of the Sun by Tom Harrell (High Note Records)

Sort of a weird title. Nevertheless, Harrell has everything I want from a jazz trumpeter beauty, lyricism, and in-your-face swing.

Faith by Gonzalo Rubalcaba (5Passion)

My readers Jazz know I can’t stand most solo piano albums. Most are boring. I have to admit that Faith caught me off guard. Rubalcaba is a virtuoso in every sense of the word.

No Need for Words by Sean Jones (Mack Avenue Records)

Sean Jones is the best jazz trumpeter of his generation. Jones has proven that album after album. Jones thing is hard bop. With this album he stepped outside of that comfort zone some. Jones takes a stab at free-jazz on the closer. I wonder if that foreshadows a new direction Jones is contemplating.

Pianist Gerald Clayton

Bond the Paris Sessions by Gerald Clayton (Emarcy)

The piano player is still a wet behind the ear swinger. To date, his best moments have been his work with the Clayton Brothers (his dad John and his uncle Jeff). Bond the Paris Sessions is Clayton second album as a leader. This is a sweet ass album. Clayton is still a few albums away from a breakthrough.

Song of Mirth and Melancholy by Branford Marsalis and Joey Calderazzo (Marsalis Music)

Branford and Joey have been running the streets together for ten years now. Both are heady improvisers. This album isn’t austere as the title suggest. Branford and Joey are in lockstep from the beginning to the end.

Blues for Pekar by Ernie Krivda (Capri)

This is a downhome bop album. The most memorable I’ve come across in a long while. People familiar with Krivda understand that downhome bop is his specialty.

“State of Art” by Ben William (Concord Records)

As a bandleader the young jazz bass player doesn’t have a lot of frequent flier miles. State of Art is his first time in the pilot’s chair. Williams poured some of his musical influences into this album jazz, classical, and hip-hop, which could’ve been a disaster. With the grace of god, Williams pulled it off. State of Art is an excellent debut album.

Christian Scott, Stefon Harris and David Sanxhez

Ninety Miles by David Sanchez, Stefon Harris, and Christian Scott (Concord Records)

So far this year, Ninety Miles is my favorite jazz album. Sanchez, Harris, Scott are infallible. They’re masterful on their respective instruments. Somehow, they were able to avoid turning Ninety Miles into an ego fest.

Mano A Mano by Michel Camilo (Emarcy)

I set a world record for the number of times I replayed Camilo's take on Lee Morgan’s hard-bop classic the Sidewinder. Honestly, I know the exact number of times I listened to it. If I revealed it, you wouldn’t believe me.

Warren Wolf by Warren Wolf (Mack Avenue Records)

This is the vibraphone player’s third album, but his first for a big time record company. Wolf has the chops, and there’s no vibraphone player out there who play as fast as Wolf can. I bet during his formative years Wolf studied a lot of bebop music. This self-titled album will establish Wolf as a major force.

Jazz vocalist Rene' Marie

Voice of my Beautiful Country by Rene Marie (Motema)

To hell with Sarah Vaughan, Carmen McRae, and Sheila Jordan. Yes I said it. For my money, Rene' Marie is the best female jazz singer of any era. On this album—her first for Motema—Marie voices melts in your hands.

Close to You by Penny Wells (CDBY)

I don’t know if Penny Wells considers herself a jazz singer. I do know Wells has an excellent voice. For her first album Shine, Wells wrote all the songs. With Close to You, Wells covers standards from Burt Bacharach’s songbook, proving she can sing standards as beautifully as she sings originals.

Everyday Magic by Rahsaan Barber (Jazz Music City)

Barber is not a household name yet. In his home state Tennessee—also the home of the late great sax players Sonny Criss, Frank Stozier and Hank Crawford—Barber is the shit. And so is his first album for Jazz Music City. He owns the label by the way. On Everyday Magic, his energy to swing is inexhaustible.

The Story of Cathy and Me by Curtis Fuller (Challenge Records) The trombone player's wife of 30 years passed away in 2010. This album is Fuller's final love letter to his beloved Cathy, and it one of Fuller best albums in years.


Dancing with Duke by John Brown (Brown Boulevard Records)
This is a cover album of some of Duke Ellington and Billy Strayhorn's well-known material. Yes, there're a million such  albums on the Market, but none sweeter than this one. What I dig most about Dancing with Duke is Brown did not take too many liberties with the compositions, and on several of the compositions, Brown relinquished control to Cyrus Chestnut, a killer piano player. Brown made an awesome jazz trio date.

STAR-STUDDED GET TOGETHER

I was in Barnes & Noble Friday night. I picked up a copy of your new album “Duets An American Classic”. It was on sale for $9.99, a bargain, and I couldn’t resist buying it. I found out the album was coming out while reading “High Notes Tony Bennett in the studio with Lady Gaga in the New Yorker. You remember that article, right? Your pal Gay Talese wrote it.

Talese gave a blow by blow account of your studio experience with Lady Gaga doing take after take of “The Lady is a Tramp”. I’m a jazz man. I’m not familiar with Gaga’s music, but I understand she’s a hot commodity in the world of popular music.

Talese captured what went on in the studio that day, and I was anxious to hear the final outcome. I was disappointed the duet with Lady Gaga didn’t make the album. Talese is an idol of mine. Man, I wish I could write like him and had his sense of style.

Talese was credited as the pioneer of literary journalism. That’s not true. St. Clair McKelway was the pioneer. McKelway was a reporter, a managing editor, and a rewrite man for the New Yorker back in the ‘30’s when Talese was a kid.

Last year, the book publisher Bloomsbury put out “Reporting at Wit’s End Tales from the New Yorker”. The book is a collection of McKelway’s articles. What does all this McKelway stuff have to do with your new album? Nothing, I’ve been itching to share that bit of trivia with someone.

At any rate, Mr. Bennett “Duets An American Classic” is nearly perfect although the duet with Lady Gaga was left out.

The album feels like a big get together. And you asked all your favorite singers to participate. I bet you didn’t have to ask them twice. When the great Tony Bennett called the Dixie Chicks, Elvis Costello, Diana Krall, John Legend, Sting, and Stevie Wonder—six of the big named singers that you collaborated with—came running like they were hit with subpoenas.

At 85, your voice is still in good shape.

Did I have any favorite tracks? Absolutely. I was totally into “The Best is Yet to Come” with Diana Krall, “For Once in my Life” with Stevie Wonder, and the “Very Thought of You” with Paul McCartney.

With this album, listeners get a ringside set at this star-studded get together. Honestly, Mr. Bennett, if of went at it allow, "Duets An American Classic" still would've been a thrill

As for Lady Gaga, my thinking is you were so blown away by her that you decided not to include her on “Duets An American Classic” because someday you want to do an album with her. That'll be an other American classic.

BUY THESE ALBUMS

With “at the crossroads,” James Carter is back with his organ trio drummer Leonard King and organ player Gerard Gibbs. They've been working together for a decade , and  have made some excellence jazz albums “Live at Baker’s Keyboard Lounge,” and “Out of Nowhere”. Carter loaded this new album with blues and gospel tunes, and guest appearances. “at the crossroads” isn’t a masterwork like Caribbean Rhapsody, which came out in May. But “at the crossroads” is outstanding nonetheless. Gibbs deserves the lion share of the credit. Long ago, Gibbs earned his spot as one of the top jazz organ players around. All the slick things Carter can do on the sax Gibbs can do on the organ. That no easy feat. Decca makes “at the crossroads” available for public consumption October 4th. 

  

Yoko Miwa new album “Live at Sculler Jazz Club” is  the best jazz trio album I've come across this year. Around the Boston jazz scene Miwa is a big deal, and after I listened to "Wheel of Life" and "Season of Wither," I understood why. She a has a mean left hand and a restless right one. She plays a little bit of everything  samba, blues, and hardcore bop. On November 17, Jazz Cat Amnesty Records makes “Live at Sculler Jazz available to the public.

Tenor saxophone player Tim Mayer built his chops from scratch. He idolized Dexter Gordon and Sonny Stitt. That comes through on Mayer's debut “Resilience”. Like his saxophone idols, Mayer has a sound that’s big and wide. Mayer went for broke playing songs by jazz heavies Charles Tolliver, Steve Turre, George Cables, and Lee Morgan. Jazz Legacy Productions releases “Resilience” September 27th. 

This is jazz piano player Geri Allen’s second solo album for Motema Records. Last year, Allen served up “Flying Toward the Sound,”  which was a nob to her idols Herbie Hancock, Cecil Taylor and McCoy Tyner. The album was praised, but I wasn’t feeling it. It came off as if Allen was home alone, killing time practicing some of her favorite tunes. I,m totally into Allen's new solo outing “A Child is Born”. Allen plays 14 Christmas songs, and she dedicated the album to her immediate family. “A Child is Born” is a jazz holiday album I'll play year around. It will be on the streets October 11th.

AHMAD JAMAL AT HILL AUDITORIUM

Ahmad Jamal

Jazz piano player Ahmad Jamal opened the University Musical Society 18th Annual Jazz Series Saturday evening at Hill Auditorium in Ann Arbor Michigan. Jamal set the bar high for the Jazz at Lincoln Center Orchestra, and the Charles Llyod Quartet, acts scheduled this season. Jamal, 81, performed songs from his albums Quiet Time, It’s Magic, Awakening and Poinciana.

Drummer Herlin Riley, bass player James Cammack, percussion player Manolo Badrena walked on stage first, and positioned themselves behind their instruments. Then Jamal strolled on the stage to rousing applause befitting a jazz master.

Jamal started the 75 minute set with Appreciation. Then he cruised into After Math and After Jalc. Jamal is an interactive bandleader. He doesn’t just set at the piano hammering away. He used hand signals like a third base coach, signaling to his band mates to solo,  to speed up the tempo, and to settle down.

When Badrena soloed on After Jalc, Jamal stood in front of him, and egged him on. When Riley was wailing  and one of his drumstick flew out his hand, Jamal fetched the drumstick., and he handed Riley it like a  high school principal hands an honor student a diploma.  

I saw Riley last at Orchestra Hall many years ago with the Wynton Marsalis Quintet. It slipped my mind what a freewheeling, and animated drummer Riley is. Cammack is an awesome bass player. All night long, he walked the upright bass like a hot date. Jamal's guys earned their paycheck. Jamal was most valuable player.

Jamal still have that light and buttery soft touch. And the space he leaves between notes  is so wide a trucker could park his big rig comfortably. Jamal closed the set with his classic Poinciana. After that the audience gave him a length ovation. They didn't settled down until Jamal, Cammack,  Riley and Badrena agreed to an encore.   to an encore.

SONNY ROLLINS' TRAVELING SHOW

In 2008, Sonny Rollins put out the Road Show Vol. 1.  The album was bits of his never before released live concerts, and some of his unreleased studio recordings cut and pasted together. As a lifelong Sonny Rollins follower, I hated the first Road Show album. It didn’t suck me in like some of Rollins’ other albums Way Out West, Saxophone Colossus, Night at the Village Vanguard, and Without a Song the 9/11 Concert. Besides, the production quality sunk. 

Tuesday, Road Show Vol. 2 went on sale nationwide. It’s better than the first volume. Road Show Vol. 2 is filled with guest spots. Trumpet player Roy Hargrove, bass player Christian McBride, and guitar player Jim Hall participate. With that level of star power, it would be tough to make a dud. What pushes Road Show Vol. 2 over the top is the surprise appearance from Ornette Coleman.

Rollins threw a concert to celebrate his 80^th birthday, and he invited Coleman. Rollins didn’t know if Coleman was going to show.Well Coleman did show, and he killed on Sonny Mood for Two. Rollins chose that number for Coleman. It has room for Coleman to rove.

Rollins and Coleman are old-timers. They have been pals forever. The birthday bash was the first time they played side by side. The other guest spots on Road Show Vol. 2 are good, especially Hargrove’s playing on I Can’t Get Started and Rain Check and Jim Hall's strumming on In a Sentimental Mood.

But neither guest spot compare to the magic Rollins and Coleman generate.They didn’t horse around. They’re too up there in age for that. They sound like to friends shooting the breeze, catching up on old times. Coleman taking part in the Road Show Vol. 2 is the biggest reason the album is worth having.

IN THE MOMENT

Karriem Riggins

Karriem. I want to thank you for proving once and for all there're similarities between jazz and hip-hop. Anybody that left your set at the 20011 Detroit Jazz Festival,  feeling otherwise is a numskull plain and simple. Your group the Karriem Riggins Ensemble with special guest hip-hop artist Common ripped up the JP Morgan Chase Stage, and settled an argument. 

Many avid jazz fans believe there's no connections between jazz and hip-hop. I believe there are. Jazz musicians improvise and hip-hop musicians free style. They are the same in my book. The musicians create on the spot or in the moment. 

I’ve never had a problem with jazz musicians combining hip-hop with jazz. Of course, in the wrong hands, mixing the two could be messy. Branford Marsalis proved that with his album Buckshot LeFonque. But his peers jazz trumpet player Russell Gunn and saxophone player Courtney Pine successfully combined the two forms.. 

Common rhyming about Detroit was totally improvised. When Mike Jellick’s--one of the most in demand jazz musicians in Detroit right now--soloed, he spilled his musical imagination all over the piano.

Karriem, if naysayers need more proof that free styling and improvising are blood relatives, they should watch the cypher segments of the BET Hip-hop Awards show. Top hip-hop artists come up with slick, colorful, and witty rhymes off the top of their heads. 

Ornette Coleman’s album Free Jazz that featured  Eric Dolphy, Don Cherry, Freddie Hubbard, Charlie Haden, Scott LaFaro, Ed Blackwell and Billy Higgins is a good example of   jazz musicians creating in the moment or free styling.  

Coleman and company weren’t battling or trying to outplay each other. They let their imaginations run free, and what they came up with was out of sight.

The Karriem Riggins Ensemble was more cohesive than your other ensemble Virtuoso Experience. Don’t get me wrong, I liked VE. I’m just pointing out VE had some rough edges. Slum Village wasn’t as hyped as Common was. 

Common fit perfectly with the band of A-list Detroit jazz musicians in the Karriem Riggins Ensemble. Karriem, you  proved that jazz and hip-hop have glaring similarities.

OPEN LETTER TO JASON MORAN

Jazz pianist Jason Moran

Dear Jason,

I’m still pissed your set at the Detroit Jazz Festival was called off. I know it wasn’t your fault. I’m having a hard time letting it go. Man, I was anxious to hear your trio. But Mother Nature made it rain, and the  Saturday evening acts were cancelled. The audience didn’t give a shit about the thunder and the lighting. With your own eyes, you saw people out there with umbrellas, and rain gear, waiting for Mature Nature to cool it.

Jazz fans are dedicated, especially the ones from Detroit. Had Hurricane Irene swept through Detroit the fans still would’ve shown up. I wondered why Mother Nature decided to target Detroit anyway. She’s never interrupted the jazz fest before. She knows good and well this is Detroit's biggest music event of the year. It attracts jazz fans from all over the world.

Maybe Mother Nature and Father Nature had a big fight. Maybe Father Nature forgot her birthday, or came home after his curfew smelling different than when he left home. I'm going to investigate what cause Mother Nature to lose it. If Father Nature provoked her, I'm going to give the rascal a piece of my mind.

Jason, it’s been almost two decades since I’ve seen you in person. In the late 90’s, you played at a bar in Hamtramck, a small city outside of Detroit. I forgot the name of the bar. I was only there that one time. Blue Note Records had just signed a bunch of young lions. The company put together a band, and showcased it in select cities. Mark Shim, Greg Osby, and Stefon Harris were in the band. Neither of you were household names yet.

That show was pretty amazing. A year or so later, jazz concert producer Bill Foster booked Osby at the Serengeti Ballroom on Woodward Avenue in Detroit. You were in the rhythm section.   

I have your albums. I marvel at how you manipulate special effects. On one song, two women gossiped on the telephone while you improvised in the background. I understood the point you're trying to convey. That even meaningless gossip is music, or it can be turned into music. 

On another record, you improvised while someone scribbled in a notebook. Jason that  floored me. Just when I thought you couldn’t get more creative you turned the hip hop classic Planet Rock into a jazz tune.

I missed your set with Joe Lovano at Hill Auditorium a few years ago. My friend Andy was in the house. He said your solo set was beyond amazing. So, you understand why I was hot when your set at the jazz fest was called off. My ears were ready. I skipped some of the afternoon acts. I wanted to be fully rested to hear your trio, Sun Ra Arkestra, and Dave Holland. That’s a lot of swing to consume back to back.  

Saturday, I spotted you twice. First, with your family near the Pyramid Stage. Then I saw you before the Sun Ra Arkestra was set to go on. You were backstage at the Carhartt Stage. I wanted to ask you a few questions. But the timing was bad. You were with your sons. I decided not to bother you.

I wanted to know if someday you plan to record any of Jaki Byard’s songs, seeing as how Jaki influenced you. I also wanted to know if you plan to make a straight ahead jazz trio album without the sound effects. Not that I’m tired of the music you’ve been making. I wonder if a jazz musician as daring and creative as you are could play it straight.

So, Jason that why I was pissed your set got cancelled. There’s a silver lining, however. You are playing with saxophone player Charles Lloyd in Ann Arbor, MI in April. 

All the best,

Charles