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Neil Tesser
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Here’s my list as compiled for the Chicago READER and for discussion on the syndicated public-radio jazz review, “Listen Here!”
- VIJAY IYER
- MESHELL NDEGEOCELLO
- KEITH JARRETT
- DAVE DOUGLAS
- JOHN HOLLENBECK LARGE ENSEMBLE
- THELONIOUS MONK QUARTET
- ERNEST DAWKINS’ CHICAGO 12
- RICHARD GALLIANO NEW YORK TRIO
- ANTHONY BROWN’S ORCHESTRA
- FREDRIK LUNDIN OVERDRIVE
Reimagining (Savoy)
Panist Iyer offers the clearest statement yet of his Indian-American fusion, stitching mathematics, ancestral rhythms and modes, and a powerful lyricism into jagged music that excites head and heart.
The Spirit Music Jamia: Dance Of The Infidel (Shanachie)
Hip-hop bass girl opens up to jazz past (a la electric Miles) and present (with the likes of Don Byron, Neal Evans, Wallace Roney), and points to
an especially fertile possible future.
Radiance (ECM)
Solo piano, yes, but a lot edgier than what you expect from Jarrett. It’s two concerts recorded in Japan, three days apart, and combined into one kaledioscopic, 17-part treatise: The (Mostly) Well-Tempered Clavier.
Keystone (Greenleaf)
What? You don’t think the silent films of the long discredited Fatty Arbuckle can yield the year’s best fusion disc? (Just in case, the disc includes a separate DVD of said films, with Douglas’s obliquely inspired music supplying the soundtrack.)
A Blessing (OmniTone)
Having already revitalized chamber jazz with his Claudia Quintet, drummer-composer Hollenbeck now reinvents the jazz orchestra, nodding to Charles Mingus, Aaron Copland, Thad Jones, and Steve Reich.
With John Coltrane At Carengie Hall (Blue Note)
No one even knew that it existed, but this album — a technically superior recording of an artistically superior concert in 1957 — immediately became the most valuable example of the short-lived Monk-Coltrane partnership. (And its discovery was jazz’ s feel-good headline of the year.)
Misconceptions Of A Delusion Shades Of A Charade (Dawk)
Created by Chicago saxist Ernest Dawkins to mark the 35th anniversary of the Chicago Seven conspiracy trial, this piece captures much of the helter-skelter anarchy, the lively burlesque (both intended and not), and the angry pathos of that time and place.
Ruby My Dear (Dreyfus)
Galliano plays accordion, and it speaks to his virtuosity and musicality that you won’t be tempted into a single Lawrence Welk joke.
Rhapsodies (Water Baby)
Brown has previously tackled and transformed the music of Ellington and Monk; to complete the tryptich comes this re-scoring, re-harmonization, and re-formation of Gershwin’s Rhapsody In Blue, incorporating Asian influences (and a touch of Latin). Scandalous, heretical! — until you hear it.
“Belly-Up” — The Music Of Leadbelly (Stunt)
The Swedish saxist Fredrik Lundin leads his big band in an inventive tribute to the American folk icon, and doubles the ante by dedicating each arrangement — in spirit as in name — to a different American jazz great. C’mon — you didn’t see this one coming.