Don Cherry – Art Deco. After playing a lot of world music, flute and percussion in the 1970s, Don Cherry re-engaged with the jazz tradition in this fine 1988 recording. It’s a reunion of the Ornette Coleman quartet, with James Clay in the sax chair, that ranges from Charlie Haden playing folk tunes on the bass to a respectful take on “Body and Soul.” Clay’s playing is absolutely stellar, as Ethan Iverson emphasizes in his appreciation of this album.
Charlie Haden – The Ballad of the Fallen. The second album by Haden’s Liberation Music Orchestra project is much less well known than the 1969 original, but I think it’s even better. The fusion of jazz and Latin American folk music is more assured and convincing, and Carla Bley’s arrangements are gorgeous.
Lee Konitz – The Lee Konitz Duets. A startlingly original and diverse recording that still sounds completely fresh 50 years later. Konitz plays duets with several musicians on different instruments, before combining everyone into a larger group session. A huge variety of sounds and styles.
Myra Melford – Snowy Egret. A quintet featuring the wonderful Ron Miles on cornet plays Melford’s compositions just beautifully–they take many surprising turns while remaining very listenable.
Art Blakey – The Freedom Rider. In honor of Blakey’s centennial I spent some time exploring some of the massive pile of Jazz Messengers recordings I had never got around to listening to before. This one really stood out: all killer, no filler, with Wayne Shorter and Lee Morgan in the front line. As a bonus, the cover is one of the best-ever Blue Note photographs.