Prompted by the Alyn's comment on JRR, I would have to say that three albums have really stood out for me this year even though I think I have probably scored more re-issues than in the past prompted by the recent Blue Note book which has seen me snap up those records which were missing in my collection. This has included a lot of Kenny Dorham. If there is one dominant theme in 2015, it seems to me that those records that have pushed towards the more adventurous end of the avant garde really stand out.
At one point I was convinced that Myra Melford's "Snowy Egret" was going to be the major discovery for me in 2015. I found it a really enjoyable album, pushing some pretty adventurous ideas forward in a manner that is accessible. Tyshawn Sorey's drumming and the leader's edgy piano particularly appeal.
However, no other record has received as much play as Dave McDonnell's "The time within a year" which combines a handful of Contemporary compositions for Tomeka Ried's cello but is dominated by a quintet + guests session where the alto saxophonist takes his cues from the late Jackie McLean through a series of memorable themes. The band is essentially a quartet with the guitar of Chris Welcome providing the harmony but the likes of Jason Adasiewicz drop in for a couple of numbers. There are tracks like "Baker's Man" which mash up a Fletcher Henderson inspired theme with some free improvisation and others that sound like ready made jazz standards. The leader's ability to come up with instantly memorable themes is pretty outstanding. McDonnell's record is the kind of recording that would make anyone who loves the more advanced Blue Note records by musicians such as McLean and Bobby Hutcherson punch the air with glee. It is just a terrific record, right in the tradition but still very much of these times. (Are you listening, Bluensnik?)
The McDonnell disc shares my nomination with the more austere " A dance and a hop" by cornetist Josh Berman who is backed by the bass of Jason Roebke and the same drummer from the McDonnell disc, the brilliant Frank Rosaly. McDonnell's music makes an immediate impact and if the opening notes on "Hang ups" on the Berman has a shock value that is compelling, this is a braver record with the absence of a harmony instrument that means that all three musicians need to use every nuance of their instruments to make the music interesting. I feel that the dialogue between these three musicians is something special and raises the game for horn led trios in the way that, say, Bill Evans' trio did the same with the piano. It is also extremely representative of that the current crop of young players from the Chicago scene who have emerged from under the influence of the AACM and producing the kind of jazz that is showing up the lack of integrity and lack of commitment to the genuine cause that I feel is marring a lot of the contemporary scene. I am increasingly enthused by the generation of musicians who have followed on in the wake of Ken Vandermark and the urgent and strident nature of their music really appeals to me these days. The Berman and McDonnell discs share the honours this year for me.
At one point I was convinced that Myra Melford's "Snowy Egret" was going to be the major discovery for me in 2015. I found it a really enjoyable album, pushing some pretty adventurous ideas forward in a manner that is accessible. Tyshawn Sorey's drumming and the leader's edgy piano particularly appeal.
However, no other record has received as much play as Dave McDonnell's "The time within a year" which combines a handful of Contemporary compositions for Tomeka Ried's cello but is dominated by a quintet + guests session where the alto saxophonist takes his cues from the late Jackie McLean through a series of memorable themes. The band is essentially a quartet with the guitar of Chris Welcome providing the harmony but the likes of Jason Adasiewicz drop in for a couple of numbers. There are tracks like "Baker's Man" which mash up a Fletcher Henderson inspired theme with some free improvisation and others that sound like ready made jazz standards. The leader's ability to come up with instantly memorable themes is pretty outstanding. McDonnell's record is the kind of recording that would make anyone who loves the more advanced Blue Note records by musicians such as McLean and Bobby Hutcherson punch the air with glee. It is just a terrific record, right in the tradition but still very much of these times. (Are you listening, Bluensnik?)
The McDonnell disc shares my nomination with the more austere " A dance and a hop" by cornetist Josh Berman who is backed by the bass of Jason Roebke and the same drummer from the McDonnell disc, the brilliant Frank Rosaly. McDonnell's music makes an immediate impact and if the opening notes on "Hang ups" on the Berman has a shock value that is compelling, this is a braver record with the absence of a harmony instrument that means that all three musicians need to use every nuance of their instruments to make the music interesting. I feel that the dialogue between these three musicians is something special and raises the game for horn led trios in the way that, say, Bill Evans' trio did the same with the piano. It is also extremely representative of that the current crop of young players from the Chicago scene who have emerged from under the influence of the AACM and producing the kind of jazz that is showing up the lack of integrity and lack of commitment to the genuine cause that I feel is marring a lot of the contemporary scene. I am increasingly enthused by the generation of musicians who have followed on in the wake of Ken Vandermark and the urgent and strident nature of their music really appeals to me these days. The Berman and McDonnell discs share the honours this year for me.
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