1. Los
Hombres Calientes: New Congo Square, Vol. 3
Though
quite serious in intent, you can't help feel that
you are part of the world's biggest party when you
listen to them play, which I would consider the highest
of compliments. Rather than giving the impression
of an academic exercise, Los Hombres make their case
and prove their point by delivering their musical
fare authoritatively and getting you to rejoice, smile,
laugh, pray, dance, and learn right along with them.
When it's over, you aren't asking "hey, was that
jazz?" You're wondering, "man, where can
I get some more of that?"
2.Chick
Corea Trio: Past, Present, and Futures
While perhaps not as adventurous as Corea's trio work
with Roy Haynes and Miroslav Vituous, there is still
a great deal of beatiful playing here, including the
lyrical bass work of Avishai Cohen. This album is
squarely in the post-bop mainstream camp, relying
very little on Corea's avant-garde or fusion influences,
and it is a real pleasure to hear him stretch out
in this format. Standout tracks include "Cloud
Candy", the incredible "Dignity", "Rhumba
Flamenco", and a swinging "Chelsea Shuffle".
3.
Joshua
Redman: Passage of Time Redman
really has arrived with this disc, following nicely
on the heels of 2000's excellent Beyond. This
loosely-conceived suite of songs allows Redman to
work in a variety of styles, from hard bop to ballad
and challenging rhythmic adventures. his quartet helps
add fuel to the fire, particularly the work of pianist
Aaron Goldberg. Passage of Time should quiet
naysayers and make it clear that Redman is one of
the more inventive tenor saxophonists working today.
4.
Karrin
Allyson: Ballads: Remembering John Coltrane
In her liner notes, the articulate
Allyson reminds us that Coltrane was known more for
his "sheets of sound" than for his ballad
interpretations, but anyone who has listened to Coltrane
in any depth at all soon realizes that his tone and
interpretation of ballad material is unique and first-rate.
"...I love that unmistakable sound he (always)
gets, in a beautiful plaintively loving way, the deep
feeling you're left with. It's not simply romantic,
for good ballads and the way one interprets them are
more complex than that." This realization is
key to Karrin's ability to get inside and deeply read
the songs rather than merely singing them in a jazz
style.
5.
George
Mraz: Morava Morava
is a recording of lush beauty, deep meditation, and
warm, open humanity. There is much great jazz playing
here, so don't be frightened by the folk music origins
of the tunes. In mining the music of his homeland,
George Mraz has demonstrated that music is indeed
an international language and serves to revive cultural
traditions, bring people together, and entertain.
6.
Keith
Jarrett: Inside Out Some
listeners were disappointed by this disc, expecting
more of the standards that drove last year's live
recording Whisper Not. But the fantastic trio
work of Jarrett, bassist Gary Peacock and drummer
Jack DeJohnette, now in their third decade of work
together, is nearly telepathic in nature. The closest
thing to this type of work previously on record is
that of Bill Evans and his trio and duet work. A gorgeous
and highly rewarding disc.
7.
Poncho
Sanchez: Latin Spirits It's
hard to laud one Poncho Sanchez album over another
because he is clearly the very best at what he does.
On Latin Sprits, though, he really outdoes
himself. Performing with a tight large band, Sanchez
roams from Havana to New York City and New Orleans
in search of the Latin groove. Chick Corea plays luminously
on both his own compostition (Latin Spirits) and
the Wayne Shorter standard Ju Ju. Meahwhile,
Sanchez demonstrates again and again why he is the
king of the congueros.
8.
Various
Artists: Blonde The
first CD release for Playboy Jazz, soundtrack to the
miniseries based on Joyce Carol Oates' novelization
of the life of Marilyn Monroe, is a winner. An allstar
group that includes Roy Hargrove, Kenny Burrell, James
Moody, Bill Watrous, and Snooky Young, plays music
of the period depicted in the film (arranged beautifully
by Patrick Williams). Always sharp and clean, but
never academic, the disc will be popular with anyone
who longs to hear first rate big band work. The title
track is a standout, with Hargrove providing haunting,
fragile trumpet a la Miles.
9.
Dave
Holland Quintet: Not For Nothin' Holland
is, together with George Mraz, one of the best bassists
in jazz--steady, with a deep tone and perfect intonation.
Not only that, but he is a seemingly endlessly inventive
composer whose work really swings, no matter how many
rhythmic or harmonic twists it may take. The rest
of the quintet--comprised of tenorman Chris Potter,
trombonist Robin Eubanks, drummer Billy Kilson, and
vibraphonist Steve Nelson--provide wonderful solos
and breathe life into Holland's compositions. This
is as near a perfect modern jazz recording as you're
going to hear.
10.
Archie
Shepp/Roswell Rudd: Live In New York A
reunion of the avant-garde tenor sax player and trombonist
who challenged jazz in the 1960s. While both players
have mellowed some, there is still plenty of fire,
as on the blustery track "Pazuzu". Shepp's
introductions are personable and both humorous ("Acute
Motelitis") and touching ("Steam").
His singing, developed more recently, is expressive
and adds to the mix. Rudd is in great form, as is
fellow trombonist Grachan Moncur III. Bassist Reggie
Workman cements the proceedings, and Amiri Baraka
does a beat poetry turn on "We Are The Blues".
Like Shepp's orginial 1960s work, this isn't for everyone,
but for the attentive jazz fan wanting to be challenged,
this disc is in no way disappointing.
