Jan 21 2020

Best of 2019 #56: Marta Sanchez Quintet – “El Rayo de Luz”

 

Choppy waves jostle the boat and they crash loudly upon the shore and move at brisk speeds that defy the tranquility of a serene lake, and, yet, if those waves were composed by Marta Sánchez, that lake would still elicit a powerfully hypnotic effect.  The pianist has a talent for setting melodies free in a turbulent environment, and yet attaining a flow like the sweetest song.  Her 2015 release Partenika was proof of that talent in the strongest sense, perhaps captured most vividly in the staying power of the melodies, and how some had an almost timeless quality to them, even as they were framed by compositions that were clearly made from the stuff of the present day.  Her 2019 release El Rayo de Luz continues in that vein, but diverges where Sánchez focuses more of her attention on the nuance of those waves, and how tiny permutations effected at just the right moment make the biggest splash.

Your album personnel:  Marta Sánchez (piano), Roman Filiu (alto sax), Chris Cheek (tenor sax), Rick Rosato (bass), and Daniel Dor (drums).

Released on the Fresh Sound New Talent label.

Music from New York City.

I wrote about this album for The Bandcamp Daily.

Cool album cover artwork by Alicia Martin Lopez.

Listen | Read more | Available at:  Amazon – Bandcamp

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Jan 21 2020

Best of 2019 #57: Chelsea McBride’s Socialist Night School – “Aftermath”

 

Composer Chelsea McBride has previously received warm words on this site for her modern take on the big band recording.  She has deftly shrugged off the gravitational pull of jazz past and how a big band jazz album should sound.  Much like counterparts Darcy James Argue, Brian Krock, and Ben Cottrell, McBride incorporates modern influences and approaches, and pretty much annihilates all preconceptions of what the big band medium should be, and, instead, illuminates what could be.  Her 2019 release Aftermath is the stronger, cohesive grand vision that previous recordings flirted with.  The impression of a running narrative exists throughout, and the eccentric flourishes have settled into the body of the compositions so that their personality shines strong without blinding the listener to all else.  Aftermath is one of the best big band recordings of 2019, and a reason to be hopeful that the medium will continue to evolve, and thrive, as we dive into 2020.

Your album personnel:  Chelsea McBride (tenor sax, conductor, composer), Colleen Allen (soprano & alto saxophones, piccolo, flute, alto flute), Naomi Higgins (soprano & alto saxophones, flute, alto flute), Alison Young (tenor saxophone, flute, clarinet), Patrick Smith (tenor & soprano saxophones, flute, clarinet), Conrad Gluch (baritone sax, bass clarinet, contrabass clarinet, alto flute), James Rhodes, Justin See, Tom Upjohn, Kaelin Murphy (trumpets, flugelhorns), William Carn, Aidan Sibley, Jill Richards (trombones), Nicholas Sieber (bass trombone, tuba), Alex Samaras (voice), Chris Bruder (piano), David Riddel (guitar), Steven Falk (acoustic & electric basses) and Geoff Bruce (drums).

The album is Self-Produced.

Music from Toronto, Ontario.

I wrote about this album for The Bandcamp Daily.

Cool album cover artwork by Arthur Ikuta.

Listen | Read more | Available at:  Amazon – Bandcamp

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Jan 21 2020

Best of 2019 #58: Avram Fefer Quartet – “Testament”

 

So very often on the 2019 release from Avram Fefer, the impression given is of one teetering on the brink of it all falling apart.  And, yet, there is another impression, much greater its impact so that it eclipses the first… and that is of a choreographed dance, where the chaos is merely a single component of a much larger theme of celebration.  And that is what Testament boils down to, a celebration, a dance of joy, of the blues for their sadness and their hope and their astounding approximation of the miracle/curse of life.  This was an album that 2019 needed desperately.

Your album personnel:  Avram Fefer (alto & tenor saxophones), Marc Ribot (electric guitar), Eric Revis (acoustic bass), and Chad Taylor (drums).

Released on Clean Feed Records.

Music from New York City.

I wrote about this album for The Bandcamp Daily.

Listen | Read more | Available at: Bandcamp – Amazon

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Jan 20 2020

Best of 2019 #59: Danketsu 9 – “Towards a Walk in the Sun”

 

Patrick Shiroishi knows how to make edgy music feel warm as sunlight. He takes the talent to its extreme on this gorgeous live session, 47 uninterrupted minutes of a tenuous serenity, like how a tiny splash from a pebble on the placid lake surface sends ripples everywhere, unending, an undercurrent of tension in an otherwise peaceful life.  Some of Shiroishi’s music gets pretty volatile, but even then, the comforting, almost contemplative presence that’s on full display here will exert its influence during moments of extreme intensity.  In terms of recorded music, the saxophonist had an excellent 2019; Let this be your launching point to discovering more of it.

Your album personnel:  Patrick Shiroishi (alto & tenor saxophones), Ang Wilson (flute), Dylan Fujioka (accordion, percussion), Jason Adams (cello), Ken Moore (double bass), Kelly Coats (flute), Mallory Soto (voice), Noah Guevara (guitar), and Pauline Lay (violin).

Released on Patient Sounds Records.

Music from Los Angeles, CA.

Listen | Read more | Available at:  Bandcamp

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Jan 20 2020

Best of 2019 #60: Terri Lyne Carrington and Social Science – “Waiting Game”

 

When I wrote about this album for The Bandcamp Daily, I stated, “There’s nuance to this music, but the message is undeniably blunt: On her new release, Terri Lyne Carrington is calling society out. Waiting Game is a rebuke to inequality, and each piece shines a spotlight on the ways it manifests itself in the world.”  There’s no way to write about this album without bringing in that context.

Many recordings, most even, it’s not difficult to interface with the music in an environment completely stripped of its context.  How we, as listeners, choose to interpret the music is entirely based on how each of us as individuals are wired, and the resulting imagery and messages may veer dramatically far away from the musician’s intent.  This is true of all art, and it is, in fact, a trait of creativity that is powerful and humanistic and essential.  But as the 2019 release from Terri Lyne Carrington proves so adeptly, some albums simply won’t allow the context to be shed quite so easily.  This is protest music through and through, it names names, and it forces us as listeners to see what’s really happening, gives us no other choice but to face up to it, no matter how much we’d prefer a reprieve from the world, just long enough to listen to some beautiful music.  Carrington’s Waiting Game, comprised half of mainstream jazz tunes and the other half an improvised suite, certainly is beautiful music in its way, but there’s no escaping the fact that it was created in a world full of so much ugliness.  Now, more than ever, we need this music.

Your album personnel:  Terri Lyne Carrington (drums, vocals), Aaron Parks (piano), Matthew Stevens (guitar), Morgan Guerin (bass, sax), Debo Ray (vocals), Kassa Overall (MC/DJ), and guest vocalists:  Rapsody, Mark Kibble, Nicholas Payton, Malcolm-Jamal Warner, Meshell Ndegeocello, Esperanza Spalding, Maimouna Youssef, and Raydar Ellis.

Released on Motema Music.

Music from New York City.

I wrote about this album for The Bandcamp Daily.

Listen | Read more | Available at:  Amazon – Bandcamp

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