Best Jazz album of 2017

[Ian Thumwood]

Apologies for being late with this thread.

I have found 2017 to be a weird year for new releases and would have to admit that nothing has blown me away quite like Alan Ferber's "Roots and transitions" which came out last year. A number of new albums have been snapped up this year but, by and large, the discs are pretty much 4 out of five stars. Albums by the likes of Taylor Ho Bynam disappointed given the glowing reviews on line and even the stalwart Delmark label has not produced too much. The latest paul Giallorenzo is currently unobtainable and the album by the Jason Stein quartet featuring a two bass clarinet front line paying homage to the Tristano school was interesting more than a knockout disc.

Most of this year I have been snapping up re-issues such as the Avid Steve Lacy double CD which is excellent, an Arthur Blythe double CD and a box set of Andrew Hill material. It is noticeable just how good this material is and, I the case of the Blythe disc, redolent of the changing values in the music which makes this kind of free-booting approach to jazz so rare in 2017. However, the most played disc this year has been a recording of Steve Reich's "Music for 18 musicians" which has rarely been off of my player this year. It was only towards the end of the year that two contender materialised. The first of these is a duet between David Murray and pianist Aki Takase which has some tranquil moments such as the title track "cherry - Sakura" , a degree of levity with an interpretation of Monk's "Let's cool one" and some uncompromising work on a number of the other tracks.

For me, the most rewarding record of 2017 was one I acquired out of curiosity . This is J D Allen's "Radio Flyer" which features his long running quartet augmented by the guitar of Liberty Elman. I suppose that you would call this record a "grower" as it's strengths creep up on you. Tenor-man Allen might be criticised as being something of a Neo-conservative and there were moments that you feel he has been listening to the likes of Branford Marsalis to produce music that is unashamedly jazz but the shared front line of Threadgill-ite Elman really makes this a rewarding listen. The music is knotty and has a toughness about it that I find extremely appealing. With the added bonus of the great Rudy Royston on drums (not to mention the sterling bass work of Gregg August) so far I have not heard anything else new in jazz in 2017 which is quite so good.

[Beef Oven!]

Talking about reissues, there were a few Glenn Miller releases this year, which have been excellent value for money and obviously contain seminal jazz music of the era.

[Lat-Literal]

Unlike in 2016, I am not going extensive on this section but I will pick out a few possible contenders.

This is the one that immediately stands out as spinning in from the world music desk. A bold project:

Tony Allen - A Tribute To Art Blakey And The Jazz Messengers

Politely - https://www.youtube.com/watch?v=zINzk3gWmJw

[Ian Thumwood]

Talking about reissues, there were a few Glenn Miller releases this year, which have been excellent value for money and obviously contain seminal jazz music of the era.

My curiosity in jazz grew out of listening to Glenn Miller but, like fellow trombonist Tommy Dorsey's band, there is something of a split personality about the band insofar that more jazz-orientated instrumentals juxtaposed themselves with some pretty dreary commercial material. The one CD I was given for Christmas was incidentally by yet another big band led by a trombone player but the music of Alan Ferber is a totally different proposition. I had never heard of him until about three years ago but I now have his last four records and he has become one of the musicians that I keep an eye on whenever there is a prospect of new releases. "Jigsaw" sees him revert back to the big band format as opposed to the fleet-on-it's foot nonet. One of the long-running debates with SA has been about the role of writing versus improvisation and the advent of long playing records really facilitated the move within big band jazz to feature soloists for 8-bar, 16-bar or one chorus solos to the kind of writing today whereby the orchestration wraps around extended solos and charts stretch towards the 10 minute mark. For my money, Ferber is someone I would cite as being a great example as to why one of the most creative styles in contemporary jazz is that performed by large ensembles. The most fascinating comparison with Alan Ferber has been Taylor Ho Bynam's large ensemble which is swollen with some of the most original cutting edge soloists yet undermined by very ordinary writing. In fact, I would go as far as say a lot of the large , free jazz ensembles , when the come undone, are victims of their inability to frame the solos in a sophisticated context. On the other scale, there are more conventional bands like the recent Christian McBride big band which is wholly within the tradition established by the likes of Basie and it is their ability to swing within the jazz mainstream that I feel appeals. If anything, Alan Ferber's band takes a middle approach where he is always striving for something different with the writing whilst always ensuring that it is the improvised solo is given full reign. Outside of the small group line ups where I feel that it is the avant garde stuff which is most regularly "on the money", if you want an indication of how progressive and forward thinking contemporary jazz is, it is bands like Alan Ferber's where you need to look.

I feel that some of his best music is that performed at a slower tempo and this latest disc is worth the money for the ballad "North Rampart." Other elements that impress are the "outside" opening of the title track and the lumbering "Get sassy" which initially features the acapella trombone section before being twisted into a frayed, post-Mingus blues. This track is absolutely brilliant. I also like the re-working of the Paul McCandless tune "Lost in the hours" and the Anthony Wilson feature "She won't look back." (Wilson is the son of legendary bandleader Gerald.) Wilson is very impressive on this record but the whole band features some very talented soloists and I doubt if it is possible to assemble a stronger trombone section from those mustered for this record which includes Jacob Garchik (more usually found with Mary Halvorson) and John Fedchock. (He also fronts his own band as well as previously being the MD for Woody Herman's last band.)

It is strange that Ferber seems all but ignored in the UK. I can only ever recall Elmo mentioning his music on this board before but he won a Grammy for instrumental arrangement at the Grammys in what I feel is a rare example of the judges looking beyond the mainstream to see where the music is really happening. His last big band record was actually reviewed on Jazz Line Up but it certainly feels he is off the radar as far as British jazz fans are concerned. I would consider Alan Ferber to be one of the most under-rated jazz musicians by British jazz fans in 2017 - I believe that the more savvy American audience have probably started to twig how good his music is.

[CGR]

Cannot think of a single CD I've bought that stands out. Most, on reflection, are just a waste of space on my shelf and a waste of money.
Not been enthused by any contemporary jazz that I've seen live either.

A rather poor year.

[Quarky]

Talking about reissues, there were a few Glenn Miller releases this year, which have been excellent value for money and obviously contain seminal jazz music of the era.

I find musicians such as Glen Miller interesting in that they accurately reflect American culture of that period. I guess the War years, and the music directed at everyman (and his gal). But still an underlying racism ( Pardon me Boy....).

The present COTW on Cole Porter is even more interesting from that point of view. Pretty inane ditties reflecting an idle rich culture in the 20's, but seamlessly transitioning to Every man/woman (i.e Fred and Ginger), where the music became much more interesting and enjoyable.

[CGR]

But still an underlying racism ( Pardon me Boy....).

Oh dear.

[Jazzrook]

For me the reissue of the year was the 1968 free improvisation classic 'Karyobin'(EMANEM 5046) by The Spontaneous Music Ensemble.
Gripping, empathetic and beautiful music with Kenny Wheeler, Evan Parker, Derek Bailey, Dave Holland & John Stevens.

https://www.emanemdisc.com/E5046.html

JR

[Lat-Literal]

Bill Frisell and Thomas Morgan – Small Town:

It Should Have Happened a Long Time Ago - https://www.youtube.com/watch?v=zJfjzGwTmFI

Amir Elsaffar and Rivers of Sound - Not Two:

Jourjina Over The Three - https://www.youtube.com/watch?v=YrlFyIehk-U

Matt Wilson - Honey and Salt : The Poetry of Carl Sandburg:

Anywhere and Everywhere People - https://www.youtube.com/watch?v=w5wdon2dAVs

Craig Taborn - Daylight Ghosts:

The Shining One - https://www.youtube.com/watch?v=KRr1ecUCAAU

Jane Ira Bloom - Wild Lines : Interpreting Emily Dickinson:

Alone and In A Circumstance - https://www.youtube.com/watch?v=owMdHw-03eQ

[Lat-Literal]

Jorn Swart - Malnoia:

Elefante Triste - https://www.youtube.com/watch?v=ZPJotzFv7sk

Anouar Brahem – Blue Maqams:

Blue Maqams - https://www.youtube.com/watch?v=M4Kh985eJGU

Eliane Elias - Dance Of Time:

Speak Low - https://www.youtube.com/watch?v=b77troonOb4

Yazz Ahmed - La Saboteuse:

Organ Eternal - https://www.youtube.com/watch?v=qhoskfhrf5A

[Ian Thumwood]

Lit-Lateral

Your lists looks interesting and I will go through the links later on. The Matt Wilson disc was reviewed extensively on the "Jazz Bastard" podcast that I was listening to in part yesterday. I had never come across this podcast before and the reviews were interesting to hear an American perspective. I can't say that I found the podcast too professional or enlightening but the Wilson record was dissected in detail with one reviewer's conclusion being negative in a disrespectful manner you would be unlikely to encounter in the UK. I knew it mixed music with poetry but the reviewers took the music to task for being too "Americana" and not enough jazz. It would be interesting to hear their opinion of something like Jazz Line Up because the two reviewers seem to rate music higher the more it adheres to the general principles of jazz. Any other influences that creep in such as Americana, EDM, commerciality, etc , etc are definitely out. Even the Kamasi Washington release got criticised and summed up as lightweight introduction to jazz. Gregory Porter's new disc got slaughtered and, by default, so did the music of Nat King Cole.

Oddly, the Ferber disc was reviewed on the Jazz Times website yesterday and it is interesting to see that their assessment mirrors my own perception of this record.

https://jazztimes.com/reviews/albums/alan-ferber-jigsaw/

[Lat-Literal]

Lit-Lateral

Your lists looks interesting and I will go through the links later on. The Matt Wilson disc was reviewed extensively on the "Jazz Bastard" podcast that I was listening to in part yesterday. I had never come across this podcast before and the reviews were interesting to hear an American perspective. I can't say that I found the podcast too professional or enlightening but the Wilson record was dissected in detail with one reviewer's conclusion being negative in a disrespectful manner you would be unlikely to encounter in the UK. I knew it mixed music with poetry but the reviewers took the music to task for being too "Americana" and not enough jazz. It would be interesting to hear their opinion of something like Jazz Line Up because the two reviewers seem to rate music higher the more it adheres to the general principles of jazz. Any other influences that creep in such as Americana, EDM, commerciality, etc , etc are definitely out. Even the Kamasi Washington release got criticised and summed up as lightweight introduction to jazz. Gregory Porter's new disc got slaughtered and, by default, so did the music of Nat King Cole.

Oddly, the Ferber disc was reviewed on the Jazz Times website yesterday and it is interesting to see that their assessment mirrors my own perception of this record.


https://jazztimes.com/reviews/albums...ferber-jigsaw/

Thank you Ian for your interesting comments.

I am mainly digging out selections that are jazz with a twist along with a few long term favourites (eg Bill Frisell although I am not sure that our splendid host would be enthused as much of his output has an Americana twist). Matt Wilson's "Honey and Salt", by virtue of its subject matter, would inevitably lean towards Americana, albeit in a less gentle way than Bill. At the same time, Wilson and Sandburg share Scandinavian heritage and in fact they were distantly related so that needs to be considered in the mix. Perhaps surprisingly, what is arguably a (modern?) lack of subtlety on the disc - the overall approach is somewhat brash - enables it to stand out among its 2017 counterparts. That is because the year, if anything, was one in which many musicians opted for the understatement. I may well be wrong but I sense that a significant part of this involves a slight resurgence of new ageism whereas perhaps a year or two a lot of the talk would have been about the ever increasing incorporation of hip-hop and similar. What I haven't as yet located is much in the way of vibrancy.

[Tenor Freak]

I thought the Bill Frisell/Thomas Morgan album was OK, though not a knock-out. Quite liked Kamasi Washington's Truth. Err...that's it.

[Ian Thumwood]

Always interesting to read where the Grammys are pitching up. The selections are pretty weird and, as ever, there is a tendency towards fusion albeit the Latin Jazz nominations actually look the most adventurous.

I was curious to see the Christian Mc Bride album pip the Alan Ferber disc in the Large Jazz Ensemble category as I have both discs and would have to say that the bassist's record is tight but pretty run-of-the mill in a Mainstream / Modern fashion. It could have been made any when in the last 50 years whereas "Jigsaw" is highly creative and is asking questions about what a big band can do in the 21st century. For me, this disc was one of the best of 2017 and follows up Alan Ferber's win last year for best arrangement. About time the UK got a bit more savvy to his writing albeit the people compiling the nominations for Jazz seem to be selecting from a lot of FM-friendly stuff. I don't think that the Grammys actually mean anything other than an indication was to what music has the highest profile.

https://jazztimes.com/news/jazz-grammy-winner/