Dec 29 2017
Best of 2017 #06: Marco Santilli CheRoba – “L’occhio della betulla” (Unit Records)
Marco Santilli released two albums in 2017, and both deserved a slot in this year’s Best of 2017. The clarinetist’s concoction of chamber, jazz and folk accentuates the dramtic beauty of a simple melody, and patiently illustrates how a universe of possibilities exist within the nuance of each. The engaging La Stüa saw Santilli’s CheRoba ensemble joined by il Fiato delle Alpi for a performance recorded live at Musikinsel, Rheinau in Switzerland. It came heavy with the chamber influence, but also with the intensity, and so the album was a potent mix of introspection and liveliness. With L’occhio della betulla, Santilli took his CheRoba ensemble of 12-string guitarist Lorenzo Frizzera, pianist Ivan Tibolla and percussionist Fulvio Maras into the recording studio, with many of the same compositions as La Stüa, but with a completely different result. These are tranquil pieces. They bubble with life and resonate with daydream imagery, and there’s a certain majesty to how this music fills up a room. The balance between jazz, folk and chamber is more evenly distributed, and the transitions between states of primacy are as effortless and smooth as the changing of tides. And while it exhibits many of the same complexities as its 2017 counterpart, L’occhio della betulla simmers with a brooding passion that hints at a power that could obliterate mountains. This is the most beautiful thing to see the light of day in 2017.
Music from Zürich, Switzerland.
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The very first recommendation of the very first column I wrote in 2017 for The Bandcamp Daily stated It’s too early in the year to be saying things like “this is the best thing I’ve heard all year”… but this is the best thing I’ve heard all year. The album I was speaking of was Dusty Shelters by the Anne Quillier 6tet. And as we crawl to the final days of 2017, it turns out that it was true all along. This album is one of the very best things I’ve heard all year. There’s a poetry to the way each piece reveals itself, and the path is marked by all kinds of little surprises and colorful displays of lyricism. There’s an electricity to this music that’s as charged as the blood coursing through our veins, a subtle nod to the life-affirming power of music and the unabashed joy of creating it. 2017 was a very strong year for the modern jazz scene. Dusty Shelters has been Exhibit A all year long.
There’s a fireplace warmth emitted by the guitar-bass-drums trio Red Planet, and it’s a quality of their music whether the tune be a post-bop or folk jazz piece or an adaptation of something else altogether. There’s an icy precision to the way that pianist Bill Carrothers delivers a melody, and this is true if it’s framed by a conventional jazz structure or something freer and disembodied from a typical format. Together, on Red Planet with Bill Carrothers, those opposing characteristics take on a complementary relationship, and the result are dreamy tunes with stark outlines. What’s remarkable about this recording is that this inimitable sound carries with the same strength whether they are performing an original composition or something by Coltrane or Monk. This is not in-your-face music. It’s warm and welcoming and often quite beautiful. But it’s singular personality makes a huge impression, stamps itself into every note, each phrase, and it’s why the memory of the songs continues to linger long after the album is over. Just outstanding.
Of the many protest albums to surface in 2017, the recording debut of Irreversible Entanglements is what rises up and above the crowd. A quintet of vocalist Camae Ayewa (aka Moor Mother), alto saxophonist Keir Neuringer, trumpeter Aquiles Navarro, double bassist Luke Stewart and drummer Tcheser Holmes, they stand up to what’s wrong, voice and instruments in unity and channeling a rage that won’t be contained. In a year when it seemed so much went to hell and the flaws emerged all around us, Irreversible Entanglements is what it sounds like to fight back. And in a context outside of politics and society, this album isn’t so easily carried through. Spoken word and free improvisation rarely see such a remarkable confluence as on this recording, where each word seems perfectly married to an instrumental phrase, where the changes of intensity of the former rise and fall with those of the latter, and where inflections and patterns and running narratives have a complementary relationship like they were fated to be together from the very start. Irreversible Entanglements has a specific perspective, a blunt point of view, and it resonates with a power that transcends its personal meaning and touches upon the protest against everything that’s corrupt. This is the gold standard for protest albums.
Dec 29 2017
Best of 2017 #05: Collectif SPATULE – “Le Vanneau Huppé” (Aloya Music)
Music from Nantes, France.
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By davesumner • Recap: Best of 2017 • 0 • Tags: Aloya Music, Collectif SPATULE, Jazz - Best of 2017, Nantes (France)