Schneider, Mahanthappa, Cassity and Shorter, withMarsalis
Recorded music has been more important than ever during the pandemic, with most jazz clubs closed and only a few streaming performances. Following are the best jazz recordings of 2020:
Maria Schneider: “Data Lords” (ArtistShare).
As much a philosophical statement as amusical one, “Data Lords” finds the accomplished composer-arranger-bandleader examining distinct realms on two CDs: “The DigitalWorld” and “OurNaturalWorld.” Schneider’s outspoken and eloquent liner notes lament howBig Tech is taking over our lives, and points to the solace she – andwe – can find in “silence, books, art, poetry, the earth and sky.” Throughout, Schneider’s orchestral music reminds us of the virtuosity of her pen, the richness of her imagination and her extraordinary attention to instrumental detail.
ChadMcCullough: “Forward”
(Outside In Music).
A Chicago trumpeter with a remarkable lyrical gift, McCullough is joined by comparably sensitive collaborators: pianist Rob Clearfield, bassistMatt Ulery, drummer Jon Deitemyer and keyboardist Ryan Cohan. Together they’ve created an unusually atmospheric album built on gorgeous melodic phrases, shimmering tone colors and pervasive
subtlety. Yet there’s no missing the substance beneath the sheen, thanks to the depth ofMcCollough’s compositions and concept.
Rudresh Mahanthappa: “Hero Trio” (WhirlwindRecordings).
The “hero” of the title is not alto saxophonistMahanthappa but the musicians he’s saluting: Charlie Parker, John Coltrane, Sonny Rollins, LeeKonitz and Ornette Coleman. Yetworks by these musicians, or associated with them, bearMahanthappa’s imprint, thanks to the ferocity of his tone and the speed and acuity of his technique. Joined by bassist FrancoisMoutin and drummer Rudy Royston, Mahanthappa at once embraces and reimagines a mid-20th century esthetic.
JeremyLevy JazzOrchestra: “The Planets Reimagined”
(OA2 Records).
Duke Ellington, Billy Strayhorn, WyntonMarsalis and others have been quite successful in applying a jazz sensibility to classical compositions, and composer-arranger Levy follows boldly in theirwake. His reimagining of GustavHolst’s “The Planets” doesn’t merely swing the old tunes but reinvents them. Yet enough of the original remains for listeners to savor the ingenuity of his transformation.
Jazz at Lincoln Center Orchestra withWynton Marsalis: “The Music ofWayne Shorter” (Blue EngineRecords).
We tend to think ofWayne Shorter’s compositions in smallgroup formats, but they blossom anew in this recording by the Jazz at Lincoln CenterOrchestra. With Shorter as tenor and soprano saxophone soloist, listeners can immerse themselves not only in his heroic musical statements but in vivid new arrangements by JLCO members VictorGoines, Vincent Gardner andMarcus Printup, among others. To hear Shorter classics revisited by the master and given orchestral muscularity is to perceive thiswork anew.
KennyWashington: “What’s the Hurry” (Lower 9th).
In a jazzworld still sorely lacking in significant male singers, it’s a pleasure to bask in Washington’swork. Performing without pretension or selfdramatization, Washington instead brings ample soulfulness to a series of standards. There’s palpable romance in “Stars Fell on Alabama,” radiant joy in “I’ve Got theWorld on a String” and disarming introspection in “Bewitched, Bothered and Bewildered.”
MatthewShipp: “The Piano Equation” (Tao Forms).
It takes considerable intellectual prowess and musical panache to sustain listener interest in a solo piano album, particularly at this late date. Pianist Shipp does so through the crystalline touch, compositional cohesiveness and tonal imagination of his solo improvisations. His musical language is as unique as his manner of building a solo, each phrase leading inexorably yet surprisingly to the next. The musicmay be a bit venturesome for conservative tastes but will pique the interest of anyone with ears wide open.
JoyceGrant: “Surrounded by Blue” (Craftedair; Blujazz).
It’s always a pleasure to revel in a voice as throaty and a sensibility asworldly wise as Grant’s. She brings vocal heft and autumnal maturity to “CryMe a River,” sassy swing to “My Baby Just Cares forMe” and airborne melody-making to “Green Samba.” A joy fromfirst track to last.
Ryan Cohan’s “Originations”
(OriginRecords).
The Middle Eastmay be the scene of endless conflict, but supposedly opposing cultural sensibilities intertwine poetically in pianist Cohan’s “Originations.” The six-movement suite juxtaposes Jewish and Arabic musical languages inways that bring out their commonalities while celebrating their differences. Once again, Cohan shows his skill in long-form writing.
Sharel Cassity: “Fearless”
(Relsha Music).
If you didn’t knowbetter, you neverwould have guessed that alto saxophonist Cassitywas suffering the harsh effects of post-Lyme disease when she made this recording. Realizing that, however, only makes the achievement seem all the greater, for Cassity plays alto, soprano and tenor saxophones with tremendous heart and an oft-formidable technique. Joined by pianist Richard Johnson (her husband), bassist Alex Claffy and drummer Mark Whitfield Jr., Cassity proves charismatic as soloist, savvy as composer and firmly in command as bandleader.