What I’ve been listening to lately

  • Byard Lancaster – It’s Not Up To Us. The star of this piece of free-jazz marginalia from 1968 is the criminally under-recorded electric guitar innovator Sonny Sharrock, delivering an early example of his extraordinarily forceful attack. When I saw Sharrock live in the early 1990s, he kept a stack of guitar picks on his amp, and wore them out at a furious pace–a physical approach to guitar noise that no one has matched. The theme “John’s Children” from this album was later reprised in more epic fashion as “Many Mansions” on Sharrock’s late-career masterpiece Ask The Ages. For more on his career, see this 1989 interview.
  • Sonny Rollins & Coleman Hawkins – Sonny Meets Hawk. The Jazz Great Meets Jazz Great formula beloved of midcentury record producers was not very reliable at actually generating good albums, though a few classics did result. Among them are Coltrane’s session with Ellington, and this one from 1963. I had not sought it out before because I just assumed it would be a courteous, traditional blowing session. Nothing could be further from the truth: it’s actually one of Rollins’ more adventurous recordings, featuring young avant-gardists like Paul Bley and Henry Grimes. Hawkins, whose own avant-garde credentials go back to his “Picasso” of 1948, meets them on that territory and plays wonderfully.
  • Dave Easley – Byways Of The Moon. Fellow practitioner Susan Alcorn has called the pedal steel guitar “the last musical instrument borne of the mechanical age” and its potential in a jazz context has still been barely tapped. In this recording, the Louisiana-based Easley demonstrates the fiendishly complex instrument’s capabilities in a recital of tunes by Monk, Miles, Coltrane and Carla Bley, also throwing in a couple of transformed pieces from the rock repertoire (Led Zeppelin, Brian Wilson). It sounds great.
  • William Parker – O’Neal’s Porch. Recorded in the opening months of this century but unheard by me until recently, this is a stunningly good session. It’s recognizably in the “freebop” mode of Ornette Coleman’s quartet (sax, trumpet, bass, drums) but with a radically different and funkier rhythmic approach from Parker and longtime comrade Hamid Drake on drums. Right now, I can think of few recordings that better mine the tension between rhythmic drive and vertiginous improvisation that is one of the singular pleasures of jazz. This 20th anniversary appreciation has good context on how the album fits into Parker’s impressive career.
  • Ben Goldberg – Everything Happens To Be. Improvisational counterpoint is one of my favorite things and there’s plenty of it on this new-ish session from an unusual quintet. The woody tone of Goldberg’s clarinet mixes wonderfully with the dry, breathy sounds from Ellery Eskelin’s tenor sax and Mary Halvorson’s guitar. And the rhythm section of Michael Formanek on bass and Tomas Fujiwara on drums is one of the best in jazz right now, one of the few rivals to the Parker-Drake combo.

The best music I heard in 2021

I listened to somewhere around 250 recordings for the first time this year; these are the ones that stood out the most. The list is by release date to highlight the more recent ones:

  • Floating Points & Pharaoh Sanders – Promises (2021). A gorgeous and unclassifiable sound; after decades of searching, Sanders’ tone on tenor sax has become something unearthly. Also on many best of 2021 lists.
  • Andrew Cyrille – The News (2021). Cyrille is another jazz elder (he is a year older than Sanders) making stellar work as he enters his ninth decade. This is the latest in a series of excellent, spacey recordings for ECM that have featured the guitarist Bill Frisell.
  • Hailu Mergia – Tezeta (2021). A rediscovered treasure dating from 1975, during the golden age of Ethiopian jazz.
  • Daniel Carter – Welcome Adventure! Vol. 1 (2020). The multi-instrumentalist Carter leads a free-jazz supergroup through understated yet complex improvisations. Carter and bassist William Parker played together again on Painter’s Winter, another record on a lot of this year’s best-of lists.
  • Joshua Abrams – Simultonality (2020). The quasi-minimalist drones of Abrams’ Natural Information Society are some of the most interesting sounds in contemporary jazz.
  • Fretwork – The Art Of Fugue (2010). Currently my favorite version of this great Bach work. The six viols create a gorgeous overlapping sound while keeping the different voices distinct. I also appreciated Angela Hewitt‘s 2014 version for piano.
  • Lee Perry – Dub Treasures From The Black Ark: Rare Dubs 1976-1978 (2010). Rest in peace, Scratch. This collection of mostly instrumental pieces is perhaps not the place to start exploring Perry’s huge oeuvre, but it is of very high quality. Another excellent reggae compilation I enjoyed this year is Kingston Allstars Meet Downtown At King Tubby’s 1972-1975 (2004).
  • Anthony Braxton – Charlie Parker Project (1995). Braxton’s work is easier to admire than enjoy; it’s usually too cerebral for me. But this project documents a truly hot jazz band ripping their way through the bebop repertoire with a ferocity that recalls the original radicalism of Parker and his cohort. For the truly devoted, an 11-CD box set of this material was released in 2018.
  • John Coltrane – Live In Seattle (1994). The release of A Love Supreme: Live in Seattle got lots of hype this year but honestly I was underwhelmed. This phase of Coltrane’s group was a transitional and experimental one, and the experiments were often unsuccessful. But it did make me dig out this previous set of recordings from the 1965 Seattle shows, which has lots of unlistenable longueurs but also two wild masterpieces, the standards “Out of This World” and “Body and Soul.”
  • John Zorn – More News For Lulu (1992). A landmark reinterpretation of the jazz tradition that finds fresh things to say about traditional hard-bop tunes. And they are great tunes: many of the originals can be heard on Freddie Redd’s 1960 Shades of Redd, one of the best records in this style. 
  • The Jazz Passengers – Live at the Knitting Factory (1991). Not actually something I heard for the first time this year, but it had been so long that it sounded fresh: virtuosic, humorous, thoroughly enjoyable. This was actually one of the first jazz CDs I ever bought, for no real reason other than the Knitting Factory was famous at the time; in hindsight not a bad choice.
  • Andrew Hill – Eternal Spirit (1989). Perennially under-rated and under-recorded, Hill was one of the greats. Somehow I had missed this one until now, which marked his return to ensemble work after a string of mostly trio and solo records. If it does not quite rise to the heights of his classic 1960s records, or the great ones he made in the early 2000s, it is still very very good.
  • King Tubby – Dub From The Roots (1975). Turns out that a pretty good way to explore dub reggae is just to go through King Tubby’s discography in chronological order. That process led to me to this fine early example of the genre; another good one from the same year is King Tubby Meets Jacob Miller In A Tenement Yard which throws some unusual synth sounds into the mix.
  • Stan Getz – Captain Marvel (1972). The gorgeous Getz tone blends surprisingly well with a cool 70s electric jazz sound.
  • Paul Gonsalves – Meets Earl Hines (1970). A startling late-career masterpiece by these two giants of swing, the furthest thing imaginable from a safe reading of familiar repertoire. I got turned on to this one by Ethan Iverson’s review under its alternate title, It Don’t Mean A Thing If It Ain’t Got That Swing. Another excellent Ellington-adjacent item from the same time period is Roland Kirk & Al Hibbler’s A Meeting Of The Times

Previous lists: 2020 | 2019 | 2018 | 2017 | 2016 | 2015 | 2014

Duke Ellington eating ice cream

What I’ve been listening to lately

  • Roland Kirk & Al Hibbler – A Meeting Of The Times. This curious item seems gimmicky in its teaming of the legendary avant-garde showman Kirk with the much older blues vocalist Hibbler; the only apparent commonality is that they were both blind. In fact they work very well together: Kirk was a deep student of the jazz tradition and loved Ellington, and Hibbler sang with the Ellington orchestra in the 1940s. It’s a spectacular record, and one of the better Ellington tributes out there. Hibbler reprises his old hit “Don’t Get Around Much Anymore” (whose lyrics were written for him) and some other Ellington tunes. On “Carney and Bigard Place,” Kirk pays homage to those two key Ellington sidemen as only he could, playing clarinet and baritone sax, successively and then, of course, simultaneously.
  • Nat Birchall – Mysticism Of Sound. A beautiful piece of spiritual jazz, produced during the isolation of the pandemic year by British saxophonist Birchall, who accompanies himself on all the instruments: drums, bass, keyboards. Birchall wears his influences on his sleeve: the titles sound like results from the Sun Ra Random Title Generator and the vibe recalls the mellower moments of Pharoah Sanders. Perfect solitary headphone listening.
  • Mat Walerian – Every Dog Has Its Day But It Doesn’t Matter Because Fat Cat Is Getting Fatter. A long title for a long recording: this is nearly two hours of lengthy jams from Polish multi-instrumentalist Walerian’s ongoing collaboration with pianist Matthew Shipp. The extended explorations feel pretty appropriate for the revived ESP-Disk label, but these are much more listenable than a lot of the noisy messes from the 1960s. Walerian is in excellent excellent form throughout, and his bass clarinet playing is particularly evocative.
  • William Parker – Painter’s Winter. The legendary bassist teams up again with multi-instrumentalist Daniel Carter and drummer Hamid Drake for a sequel to their 2001 trio record Painter’s Spring. That was a good session but this one is even better, with all the players showing the benefit of two decades’ more experience and wisdom. No one combines propulsive grooves with complex improvisation better than Parker.
  • Art Ensemble of Chicago – Les Stances à Sophie. The opening track of the 1970 Paris session, “Thème De Yoyo,” is legendary and rightfully so; no one before or since has so convincingly combined hard funk and free jazz. It’s one of those pieces of music that holds within itself the promise of an entire unexplored genre. But having demonstrated convincingly that they could make a better funk record than almost anyone, the Art Ensemble characteristically changes tack and plays little avant-garde miniatures for the rest of the album, one of their best.

What I’ve been listening to lately

  • Lee Perry – Dub Treasures From The Black Ark: Rare Dubs 1976-1978. There are a lot of compilations in the late Lee Perry’s vast and confusing discography, of widely varying quality. This one is the real deal: the material is excellent and as best I can tell not available elsewhere. It’s mostly instrumental, and the sounds are heavy on the weird: lots of swooshes and bleeps over the rattling dub beats. In other words, wonderful.
  • Freddie Redd – Shades of Redd. There is a certain variety of jazz fan for whom the hard bop released on the Blue Note label in the 1950s and 1960s is the pinnacle of the art; these are the people to whom all those endless vinyl reissues are marketed. I am not that type of jazz fan, but the best hard bop can pretty great. Mark Stryker’s appreciation turned me on to this Freddie Redd album, which is one of the peaks of the style. The compositions are particularly excellent: they were endorsed by no one less than John Zorn, who covered many of them in his great News For Lulu project from the mid-80s.
  • Hailu Mergia – Tezeta. A newly unearthed treasure from the golden age of Ethiopian jazz. That sound is instantly recognizable and totally entrancing: the shuffling, gently funky drums, the spacey keyboards, and the incantations of the horns on top of it all. There’s just not enough of this stuff out there and more is always welcome.
  • Daniel Carter – Welcome Adventure! Vol. 1. A stellar session by what I am tempted to call a supergroup: the multi-instrumentalist Carter, heard here on trumpet, saxes and flute, genius pianist Matthew Shipp, and the unbeatable team of William Parker on bass and Hamid Drake on drums. The music continuously evolves in the manner of free jazz, but lacks the cathartic or chaotic vibe typical of that genre; the clarity of the themes and the musical logic is impeccable. Can’t wait for Vol. 2.
  • Ben Goldberg – Unfold Ordinary Mind. Clarinetist Goldberg changed roles with this project, choosing to lead the band from the low end with the rumbling sounds of the contra-alto clarinet. His melodic bass lines meld with contributions from two strong tenor players and guitar hero Nels Cline to create high-energy counterpoint.

What I’ve been listening to lately

  • Alice Coltrane – Ptah, the El Daoud. A real classic. Joe Henderson and Pharoah Sanders are not an obvious combination of players, but they are surprisingly complementary here, delivering dark and complex lines over Coltrane’s driving piano. Still, the centerpiece of the album for me is the moody, bluesy “Turiya and Ramakrishna,” on which the horns lay out; it’s one of my favorite pieces of jazz piano trio.
  • Susan Alcorn – Pedernal. I’ve been catching up on various best-of-2020 lists, many of which featured this album. It has one of the more distinctive sounds of recent jazz bands: an all-string lineup of pedal steel guitar, guitar, violin, bass, drums. The complex tunes pay homage to the pedal steel’s country heritage while still exploring outer space. A truly unique musician, Alcorn is starting to get more of the recognition she deserves.
  • Webber/Morris Big Band – Both Are True. Another widely praised release of 2020, this is complex and up-to-the-minute contemporary ensemble work. The compositions by Anna Webber and Angela Morris deploy an amazing range of instrumental sounds in carefully chosen combinations, mixing minimalist repetition and improvisational climaxes to excellent effect.
  • Carla Bley – Andando El Tiempo. Bley has had a long and distinguished career (ably documented by Ethan Iverson), but for my money her recent recordings are among her very best. This is the second in a series documenting an intimate trio with bassist/husband Steve Swallow and saxophonist Andy Sheppard. Although Bley is more known for her large ensemble arrangements, the small-group interplay here is wonderful.
  • Alice Coltrane – Journey In Satchidananda. Alice gets two, as there’s been a strong need for spiritual jazz lately in my house. The monster bass lines from Cecil McBee tie the whole thing together, and Pharoah Sanders is mostly restrained and even pretty on soprano sax throughout. The interplay between Rashied Ali’s drums and Vishnu Wood’s oud on the closing “Isis and Osiris” is one of many highlights.

What I’ve been listening to lately

  • Floating Points & Pharaoh Sanders – Promises. This unusual collaboration has been almost universally hailed as a late-career masterpiece for Sanders, the one-time terror of the 60s avant-garde who has mellowed into something like elder-statesman status (see reviews in the New Yorker, Pitchfork, and the New York Times). Richard Williams’ review calls it less challenging than some earlier jazz-meets-ambient work, such as the great John Tchicai With Strings, which is fair enough. But it’s still strikingly lovely.
  • Morwell Unlimited – Dub Me. Somehow this didn’t grab me when I first listened to it a decade or so ago–whoops, mistake. Perhaps that’s because it’s quieter and more pared-down than an a lot of dub. In fact it is a masterpiece of minimalism, one of King Tubby’s finest efforts. I picked this up back when the Blood & Fire reggae reissue label was still going strong and its CDs were still in circulation; it’s harder to find now (the link is to Deezer).
  • Sonic Youth – Simon Werner a Disparu. These instrumental jams are the last studio recordings Sonic Youth made before they broke up in 2011. They were my favorite band back when I was a Young Alternative Dude, and the chime of their detuned guitars can still bring a smile to my face. There’s nothing too groundbreaking here, but if you like the spacey bits of other SY albums then this will also be enjoyable.
  • Stan Getz – Captain Marvel. Chick Corea, may he rest in peace, played electric piano on this 1972 date, and his fusion-y Return To Forever band made up with the rest of the sidemen. But the resulting sound bears little resemblance to other offspring of Miles Davis’ electric period: it’s a rare example of electric jazz without rock gestures, just that gorgeous Getz tone throughout.
  • Edgard Varèse – “Density 21.5.” Originally composed in 1936, this solo flute piece has had a strange afterlife as a symbol of the potential for cross-pollination between jazz and classical music. A copy of the score with a signed dedication from the composer was found among Eric Dolphy’s papers in the Library of Congress, and Dolphy reportedly performed it at a 1962 concert. Among the many losses from Dolphy’s tragic early death in 1964 is the fact that we will never hear his take on it. The original 1950 recording of the piece is spooky, but actually does not sound too radical compared to the vocalized sounds Dolphy would develop in his own flute playing.

What I’ve been listening to lately

  • Django Reinhardt – Renown And Resistance 1937-1943. Django’s recordings with his string-band group the Quintette du Hot Club de France are legendary, and rightly so. But he played in many different contexts, and this collection brings together a mass of recordings of him with other swing-era musicians. One of the highlights is a session with Rex Stewart and Barney Bigard from the Ellington band; together they make some of the best small-group swing on record.
  • John Zorn – More News For Lulu. The original News For Lulu album was a landmark of the 1980s avant-garde, taking on traditional hard-bop tunes with a very untraditional lineup: Zorn on alto, George Lewis on trombone, Bill Frisell on guitar. This live recording is even better, the players more assured and adventurous.
  • Duke Ellington – Piano In The Background. A somewhat obscure session that delivers the opposite of what the title promises: it’s a feature for Ellington’s often-underrated piano playing. The repertoire is largely familiar territory for the band but Ellington’s solos lift the playing out of the ordinary. The 1960s were a great decade for Ellington: two years after this he would record the stunning piano-trio masterpiece Money Jungle.
  • Steve Lacy – Blinks. A terrific, exciting live recording from a great working band. The rhythm section of Jean-Jacques Avenel and Oliver Johnson push the horn players (Lacy and his longtime partner Steve Potts) to startling heights.
  • Archie Shepp – Blasé. Of most interest on this 1969 Paris session are the first two tracks, in which Shepp brings in two harmonica players and the adventurous vocalist Jeanne Lee to improvise alongside his rough-edged tenor. The result feels like a glimpse of a possible new musical genre, a sort of free blues.
Rex Stewart, Django Reinhardt, Duke Ellington: Paris 1939

The best music I heard in 2020

I listened to something around 350 albums for the first time in 2020; these are the ones that stand out most in my memory. Most of them were not newly issued this year, but I’ve listed them in reverse chronological order by original release date to highlight the more recent stuff:

  • Sun Ra Arkestra – Swirling (2020). A loving and lovable repertory recording that takes Sun Ra’s instrumental miniatures and expands them in new directions. What stands out is how full of joy and good cheer the Arkestra is, so unlike the po-faced seriousness of much of the jazz avant-garde.
  • Vin Gordon – African Shores (2019). A new recording by the great Jamaican trombonist, who played on many classic 70s sessions with Lee Perry and others, is an event. He’s ably assisted by the reggae-loving British saxophonist Nat Birchall, and together they deliver classic spacey rhythms.
  • Junius Paul – Ism (2019). A sprawling, glorious mess. The music spans the gamut from free bop to funk, all grounded by Paul’s monstrously rhythmic bass playing.
  • Kim Kashkashian – J.S. Bach: Six Suites For Viola Solo (2018). This adaption of Bach’s cello suites for the viola is beautifully played, and succeeded in making me hear these classic pieces differently.
  • Coleman Hawkins – The Middle Years: Essential Cuts 1939-1949 (2018). The inventor of jazz saxophone displays unceasing daring and invention on this huge trove of classic recordings. Probably Hawkins’ best period.
  • Tony Allen – The Source and Tribute to Art Blakey (2017). On these late-career albums for Blue Note, Allen’s music is more compact in length and instrumentation than the long jams he played with Fela Kuti. His drumming is masterful, subtle and propulsive at once. Allen led a band from behind the drum kit as well as anyone since Blakey; he was one of our many losses of 2020.
  • Matthew Shipp – Not Bound (2017). Free jazz that simmers rather than boils. Shipp is one of the most consistently interesting and listenable pianists in the avant-garde.
  • John Tchicai – Tribal Ghost (2013). The Danish saxophonist, an elder of the 60s avant-garde, convenes a sympathetic group with fellow elders Cecil McBee and Billy Hart along with saxophonist Charlie Kohlhase and guitarist Garrison Fewell from a somewhat younger generation. The Free Jazz Collective rated it the seventh-best album of the 2010s.
  • Bill Dixon – With Exploding Star Orchestra (2008) and Papyrus Vol. I & Vol. II (1998). Maximalist and minimalist contexts for Dixon’s extraordinary trumpet sounds, which are equally gorgeous in front of Rob Mazurek’s large ensemble, or playing duets with drummer Tony Oxley.
  • Steve Lacy & Roswell Rudd – Early and Late (2007). Rudd’s New Orleans-inspired growls and smears on trombone are the perfect foil for Lacy’s tart, angular lines on soprano sax; together they make for one of the best front lines in jazz.
  • Bennie Maupin – Penumbra (2006). Perhaps the finest single example of Maupin’s bass clarinet playing, which was made famous on Miles Davis’ Bitches Brew but has been recorded too seldom since. He also plays flute, tenor, soprano and a bit of piano, all backed by much loose, delicate percussion.
  • Roland Kirk – Kirk in Copenhagen (1991). You’re best off seeking out the full concert recording, released as discs 5 and 6 of the Complete Mercury Recordings and readily available on streaming platforms. Kirk’s sustained exuberance is a marvel; you can hear the audience laughing in delight, the only appropriate reaction to this music.
  • Dr. John – Dr. John Plays Mac Rebennack: The Legendary Sessions Vol. 1 & Vol. 2 (1981). These mostly solo piano tracks, with a few vocals, highlight the late Doctor’s artistry and deep connection with the New Orleans tradition.
  • Gregory Isaacs – Slum In Dub (1978). A classic piece of dark dubbing goodness, every track is a gem. Thanks to my local reggae DJ for turning me on to this one.
  • Funkadelic – Funkadelic (1970). The rule of thumb for rock bands is that the first album is always the best, and that rule holds for George Clinton’s experiment with using a guitar-heavy rock lineup to play his soul and funk tunes. Funkadelic delivered occasional great tracks after this, but their debut is the most consistently enjoyable.
  • Gigi Gryce – Nica’s Tempo (1955). A somewhat obscure but nearly perfect piece of modernist 50s jazz. Gryce’s arrangements are the highlight, there are a couple of wonderful vocal numbers by Ernestine Anderson, and some surprising quartet tracks with Thelonious Monk. Another excellent Monk-adjacent recording is Introducing Johnny Griffin (1956); Griffin played on some of Monk’s best albums and his virtuoso chops are on full display here.

Previous lists: 2019 | 2018 | 2017 | 2016 | 2015 | 2014

What I’ve been listening to lately

  • Briano Eno, Dieter Moebius, Hans-Joachim Roedelius – Cluster & Eno. The product of an extended collaboration in a rural German retreat, this 1977 album still stands as one of the better things any of these electronic-music luminaries have done. It’s more melodic and interesting than the pure background of the ambient music Eno would develop a few years later, and more consistently beautiful than much of Cluster’s previous work. These delicate miniatures are more attractive to me than the more rock-like songs on their follow-up effort, After The Heat.
  • Andrew Hill – Smokestack. Although Andrew Hill’s run of mid-60s albums on Blue Note is some of my favorite jazz ever recorded, I did not really appreciate this one the first few times I encountered it. It’s an oddball lineup — piano, two basses, drums — and the compositions are dark and twisty. Listening to it again recently, I abandoned all previous reservations; it’s great stuff, a distillation of Hill’s inimitable style.
  • Geri Allen – Etudes. Another pinnacle of modern jazz piano, with brilliant accompaniment from Charlie Haden and Paul Motian. Her version of “Lonely Woman” sounds perfectly natural on piano, a real accomplishment; Ethan Iverson calls it “the first truly acceptable version of Ornette Coleman’s most famous ballad with piano in the lead.”
  • Vin Gordon – African Shores. The British saxophonist Nat Birchall is not the only jazz musician to have fallen in love with reggae music. But he may be unmatched in his commitment to playing reggae in a respectful idiomatic style, without letting jazz preoccupations with individual virtuosity get in the way of the music. He produced and played on this new late-career album by the great Jamaican trombonist Gordon, who delivers indisputably excellent instrumental reggae throughout.
  • Pete Rock – Center Of Attention and The Original Baby Pa. A time capsule from the golden age of hip-hop: these albums were recorded in 1995 but went bafflingly unreleased at the time. Pete Rock’s beats are excellent, and provide many fine headnodding moments in his classic style, even if the rapping is not always as interesting as the production.
  • Makaya McCraven – Universal Beings E&F Sides. The sequel to one of the best jazz recordings of 2018, and very much more of a good thing. The casual vibe and accessible rhythms of this project disguise McCraven’s radical rejection of the usual strategies of the jazz avant-garde: there are few extended solos or complex compositions here. Instead he favors a collective groove, atmosphere and interlocking parts.

What I’ve been listening to lately

  • Coleman Hawkins – The Middle Years: Essential Cuts 1939-1949. Out of all the classic tenor players, Hawkins has been the slowest to grow on me. His bluff, aggressive tone didn’t initially appeal, and I have to say Lester Young is still my president. But the unceasing daring and invention on display in these classic recordings finally won me over.
  • Curlew – Bee. One of the gateway drugs that first got me into jazz; I saw one of their shows in the early 1990s, when I was still an alternative-rock kid, and it really expanded my horizons. That era of the band is captured well on this 1992 album, which I hadn’t heard in a long time. Now that my ears have been trained by a couple more decades of jazz listening, Curlew is actually too rocky and aggressive for me. But Davey Williams’ guitar pyrotechnics and Tom Cora’s amplified cello playing are still a blast.
  • Gigi Gryce – Nica’s Tempo. I did not come to this obscure mid-50s jazz record with particularly high expectations, but it blew me away. In fact it’s one of very best recordings of this era of modernist jazz. Gryce’s arrangements are the highlight, there are a couple of wonderful vocal numbers by Ernestine Anderson, and some surprising quartet tracks with Thelonious Monk.
  • Bill Dixon & Tony Oxley – Papyrus Vol. I & Vol. II. Two hours of improvised trumpet and drum duets is not the kind of thing I usually go in for: a bit too close to avant-garde self-punishment. But this music is not punishing and is often outright gorgeous: Dixon extracts an unbelievable range of sounds from his trumpet.
  • Tony Allen – A Tribute to Art Blakey. I found out about this little session for Blue Note from Tony Allen’s obituary, which is always a sad way to come to appreciate an artist. I didn’t know much about his post-Fela Kuti work, but this is pretty damn good. Allen’s drumming is just amazing, entrancing without being overbearing.
  • Gregory Isaacs – Slum In Dub. A classic piece of dub from 1978, every track is a gem. Isaacs’ name is on the cover, and some of the rhythms come from his Cool Ruler album, but there is almost none of his singing to be heard. It’s mostly a fine piece of echoey rhythm work by Prince Jammy and King Tubby.
  • Junius Paul – Ism. Certainly one of best jazz recordings of 2019 (it dropped in November). A sprawling, glorious mess, whose long jams and eclecticism are reminiscent of one of those double albums from the 1970s. The music spans the gamut from free bop to funk, all grounded by Paul’s monstrously rhythmic bass playing.