There was a lot of very good-to-excellent music to listen to and write about this year; so much so, that I'll play catch-up through January 2021. Here's the rest of the recordings (in no particular order) I believe made this year so much better.
Brian Asher – "Brian Asher's Skrontch Music" - (Sinking City Records) – Even though this large ensemble album was issued in October of 2019, I did not create a review until late January of 2020. Asher has created a fascinating recording illuminating how the Black music that grew up in New Orleans permeates much of what we listen to. The 5-song "suite", created for a 10-piece ensemble, combines the issues of anti-Jim Crow activism with the growth of jazz from the turn of the 20th Century forward. Considering the craziness of this year, the music is hardly dated but right on target.
Rudy Royston – "PaNOptic" - (Greenleaf Music) – Mr. Royston is one of the finest drummers playing at this time. He is the supersonic engine beneath numerous Posi-Tone Records recording sessions yet can play gently and melodically when working with people such as Bill Frisell and Dave Douglas. When the pandemic hit, the drummer decided to release these solo tracks he made several years before. It's a percussive "autobiography" with Mr. Roystron paying tribute to the blues, to influences Max Roach and Elvin Jones, Herbie Hancock, Prince, and Jack DeJohnette, to dancing and more. 100% of the proceeds from the sale of the album goers to the Music Cares COVID-19 Musicians Fund. To listen to and purchase this splendid project, go to
Jorge Roeder – "El Suelo Mio" - (Self-released) - Bassist Roeder, who has regular gigs with guitarist Julian Lage as well as trombonist Ryan Keberle's Catharsis, created this musical gem before the pandemic struck yet it's a perfect example of an artist making creative statements on an instrument that often is overlooked for its versatility. Like a snifter of Cognac, aged single-malt Scotch, or vintage Port, this is music to be savored in the quiet moments of the day, early morning and late evening. Thoughtful, melodic, soulful, exciting and more, this music shines! For more information, go to www.jorgeroeder.com. To hear more and purchase, go to https://jorgeroeder.bandcamp.com/album/el-suelo-mio. Take a look:
The Dayna Stephens Quartet – "Right Now! Live at The Village Vanguard "- (Contagious Music) - Listening to this album for the first time five months into the pandemic made me long for live venues and for groups such as this who are musical explorers. Stephens (saxophones, EWI), joined here by Aaron Parks (piano), Ben Street (bass), and Gregory Hutchinson (drums), dances, swings, and sings his way through pieces from throughout his expanding catalogue. What a treat! Stephens work on the EWI has always been fascinating and the two tracks on this 2-CD set are excellent. To find out more, go to www.daynastephens.net. To hear more and purchase, go to
Chris Dingman – "Embrace" & "Peace" - (Inner-Arts.org) - Vibraphonist Dingman issued two projects this year, "Embrace", a trio recording with bassist Linda May Han Oh and drummer Tim Keipers plus the solo project "Peace" that he created for his father during his time in hospice. Both albums are infused with melodic invention, with hypnotic sounds, and with love. The trio disk is mesmerizing yet has moments of great excitement. "Peace" is a five-CD, nearly five hour project that is concerned with soothing and healing the body and mind. "Beautiful" is the word that comes to mind when this music is playing––it's not about technique or flash but all about how one person can help others when they are vulnerable, ailing, and in the last days of their life. For more information, go to https://chrisdingman.bandcamp.com/.
Here's a trio track:
Kurt Elling with Danilo Perez – "Secrets are The Best Stories" - (Edition Records) - Elling's debut for the British-based Edition Records is a fascinating reminder just how wide-ranging his creative mind can be. Teamed up with pianist Danilo Pérez, the material combines jazz compositions that the vocalist adds his poetry to. Social conscious works sit comfortably next to tributes to Toni Morrison and Robert Bly. Percussionist Rogerio Boccato is on the majority and there are appearances by bassist Clark Sommers, drummer Johnathan Blake, and alto saxophonist Miguel Zenón but the work of Elling and Perez is exemplary––this music gets better and deeper with each listen. For more information and to purchase the album, go to https://kurtelling.bandcamp.com/album/secrets-are-the-best-stories.
Here's the video for powerful "Song of the Rio Grande":
Dave Douglas – "Dizzy Atmosphere: Dizzy Gillespie at Zero Gravity" - (Greenleaf Music) - There are few people busier in the music world than Dave Douglas. The trumpeter-composer runs Greenleaf Music, hosts a monthly podcast, seems to be composing all the time, and teaches as well. 2020 saw three releases, tow initially for Greenleaf Music subscribers only, and this delight-filled tribute to John Birks "Dizzy" Gillespie. Joining him are Dave Adewumi (trumpet), Matthew Stevens (guitar), Fabian Almazan (piano), Carmen Rothwell (bass), and Joey Baron (drums). While only two of the nine pieces are Gillespie compositions, one can hear the Master's influence throughout the album. To find out more and to purchase the recording, go to
(Honorable mention: Dave Douglas – "Overcome" (Greenleaf Music) – This six-song album, released in December, was recorded "in quarantine" with each musician adding his or her part to the "blueprint" tracks that the trumpeter sent. What a lineup––Fay Victor and Camila Meza (vocals), Jorge Roeder (bass), Ryan Keberle (trombone), and Rudy Royston (drums)––playing music that ranges from "protest" songs to "prayers" to "free improvisation." The recording is now available at https://davedouglas.bandcamp.com/album/overcome. Check it out!)
Orrin Evans and The Captain Black Big Band – "The Intangible Between" - (Smoke Sessions Records) – Pianist, composer, and sometime arranger Evans has managed to keep this large ensemble going for nearly a decade. For this album, it's more of large-ish band, down to nine members from its usual 16-18. But, as always, these pieces are noisy, raucous, emotionally powerful, and chock-full of excellent soloists. There's Monk ("Off Minor"), there's gospel ("This Little Light of Mine"), a tribute to Roy Hargrove (the late trumpeter's "Into Dawn"), and a statement of power and against police brutality in these uncertain time ("Tough Love", music by Andrew Hill plus several poems). This music sounds better the more you listen! For more information, go to https://smokesessionsrecords.com/shop/albums/the-intangible-between-feat-the-captain-black-big-band/.
Take a listen:
Raphaël Pannier Quartet – "Faune" - (French Paradox) - As debut albums go, this effort from French drummer and composer Pannier. Now based in New York City, Pannier enlisted Miguel Zenón as "music director", co-producer, and alto saxophonist for these sessions. From the opening moment of Ornette Coleman's "Lonely Woman", the music is exciting, exploratory, and interactive. Besides the drummer and saxophonist, the ensemble includes François Moutin (bass) and Aaron Goldberg (piano); there are also two "classical" pieces, one composed by Olivier Messiaen, the other by Maurice Ravel, both featuring pianist Giorgi Mikadze. Great playing all around as well as inventive arrangements! To hear more and to purchase this delightful album, go to https://raphaelpannier.bandcamp.com/album/faune.
Check out the classic Coleman piece:
The Awakening Orchestra – "vol. II: to call her to a higher plain" - (Biophilia Records) – The long-awaited sequel to 2014's "vol. I", this album, composed (most of it), arranged, and conducted by Kyle Saulnier for this 18-member (plus guests) ensemble, continues in the vein of the earlier album in that there is a strain of "protest music" running through these works. The program includes two four-part "suites" plus rearrangements of songs by Nine Inch Nails, Nick Drake's mother, Bill Frisell (in the style of the Liberation Music Orchestra), and choral composer Eric Whitacre. The four-part title track features the powerful violin of the composer's wife Brooke Quiggins. The album, nearly two hours in length, is quite impressive for the intricate arrangements, often-stunning musicianship, and the breadth of the compositions. To find out more about this orchestra and its creator, go to www.awakeningorchestra.com/. To listen to and purchase the digital-only album, go to https://awakeningorchestra.bandcamp.com/album/volume-ii-to-call-her-to-a-higher-plain.
Give a listen:
This year's most wonderful "Historical Release" comes, no surprise here, from Resonance Records. "Sonny Rollins: Rollins in Holland" is a combination of tracks from three different sessions, one for a radio program and two in concert. Mr. Rollins met his rhythm section––bassist Ruud Jacobs and drummer Han Bennink–moments after stepping off the plane. Sound quality ranges from very good to okay but the music shines nonetheless. On the longer tracks, the great tenor master rarely comes up for an extended breather. Kudos to the rhythm section as they really spurred Mr. Rollins on to such inspired playing. For more information, go to https://resonancerecords.org/product/sonny-rollins-rollins-in-holland/. Be sure to check out the mini-documentary!
Actually, it was quite impossible to stop after 20 (my list, including reissues and "historical releases", comes closer to 44) but, as I wrote at the top, over the next month I will attempt to catch up with 2020 releases that are well worth your attention.
Have a Happy, Healthy, and Safe New Year! Thanks for reading!
As a youth growing up in Lima, Peru, Jorge Roeder first studied guitar, moved on to cello, but became entranced by the bass in High School, and found his musical calling. He came to the United States in 2002 to study at the New England Conservatory of Music in Boston, MA, and soon came into contact with teachers such as Bob Moses, Dominique Eade, Danilo Perez, and bassists John Lockwood, Cecil McBee, and fellow Peruvian, Oscar Stagnaro. Roeder also began performing with his contemporaries such as drummer Richie Barshay, pianist Carmen Staaf, and pianist Dan Tepfer. Moving to Brooklyn, NY, in 2007, the bassist started a professional relationship with guitarist Julian Lage which is ongoing today as well as with pianist Shai Maestro, John Zorn, and has been a member of trombonist Ryan Keberle's Catharsis since 2012.
If you have listened to Roeder in any of those groups, you'll know he possesses a wonderful facility for playing melody, rhythm, and counterpoint, with rich tones emanating from both his acoustic and electric basses. For his debut album as a leader, "El Suelo Mio" (self-released), the bassist goes it alone, playing only his sonorous upright bass––the album title translates to "my ground" or "my soil". His classical training comes through on pieces such as Ornette Coleman's "Lonely Woman": Roeder plays the tune with his bow, sawing at his instrument to capture the beauty of the melody and the emotion the song contained within the composition. Other pieces that have great emotion are "El Piebeyo" by legendary Peruvian composer Felipe Pingol Alva (1899-1936) and the lovely original "Silencio De Um Minuto". The aptly-titled "Bounce" is a rollicking blues with a handsome melody while "Patrona" displays exquisite finger work not unlike a flamenco guitarist. "I'll Remember Paris", the oft-recorded Gene De Paul melody, shines as Roeder caresses the melody and then creates a powerful solo.
Photo: Isabel Roeder
"El Suelo Mio" closes with the slowly unfolding ballad "Les Lapins", the soulful melody highlighting Roeder's articulate playing, the harmonics he creates ring in your ears for just a second before he moves back into the melody.
Jorge Roeder has created an album that resonates in so many ways; with his love of melody, emotion, and communication shines throughout. Yes, the bassist has tremendous facility on his instrument yet that ability is harnessed in order to present songs that sing to your heart, mind, and soul.
Flutist, composer, and educator Nicole M. Mitchell is one of the most visible contemporary members of the AACM whose recordings cover many different subjects and styles of Black Music. Lisa E. Harris is a vocalist, composer, creator and manipulator of electronic sounds who is also a filmmaker. The two artists have come together, along with members of Ms. Mitchell's Black Earth Ensemble (including cellist Tomeka Reid), to create "EarthSeed" (FPE Records), the third chapter in Ms. Mitchell's projects inspired by the work and vision of author Octavia Butler (1947-2006).
When you listen to the music on "EarthSeed" (recorded live in concert in January of 2017 at the Art Institute of Chicago), be prepared to enter into a different sonic world. After the brief introduction titled "Evernascence/ Evanescence" for flute and voice (breathing and whistling), "Whispering Flame" begins the story in earnest. Instruments move in and around each other, cello and bass swirl, percussion rattles, while flute and trumpet rise above the combined voices of Ms. Harris and tenor Julian Otis singing a song of "creation". Both vocalists also stretch their instruments, creating alien languages, guttural noises, grunts and squeals as the cello creaks beneath. A quiet interlude for flute and cello as trumpeter Ben Lamar Gay roils above the singers. That's just one song.
Photo: Emily Berl (NYTimes)
There's the fun of "Yes and Know" with its bouncing rhythm courtesy of percussionist Avreeayl Ra, violinist Zara Zaharieva, and Ms. Reid and vocal play of Ms. Harris and Mr. Otis as the flute and trumpet dance above. The mewing, snorting, hissing, babbling, chattering, flirting voices cause the audience to laugh on "Phallus and Chalice"––when the instruments and percussion join, the interactions sound like a chase scene in a cartoon. The gentle interaction of flute, muted trumpet, cello, violin, and percussion frame Mr. Otis and Ms. Harris (who soars and wails behind the poetry) at the onset of "Fluids of Time" before the music erupts into a "Rite of Spring"-like section.
"EarthSeed" closes with "Purify Me with the Power to Self Transform", an impressionistic ballad that blends a gospel influenced lead vocal (Mr. Otis's falsetto) and Ms. Harris's wordless responses) with all the instruments plus synthesizer to create an otherworldly benediction. Even the 15 seconds of silence at the end holds great power while serving as a re-entrance into our everyday reality. This album that Nicole Mitchell and Lisa E. Harris have created with members of the Black Earth Ensemble is filled with sounds, voices, poetry, prose, and the joy of performance. Get lost in this "new" world.
Lisa E. Harris, vocals / theremin / electronics / composition Nicole M. Mitchell, flute / electronics / composition Julian Otis, vocals Zara Zaharieva, violin Ben LaMar Gay, trumpet / electronics Tomeka Reid, cello Avreeayl Ra, percussion
Photo: Joe Crocetta
Drummer Jeff Cosgrove lives in Maryland and, up until the pandemic, played a lot in the Washington, D.C. area. Over the last decade or so, he's been working with his group Motian Sickness as well as gigging with numerous local musicians. Plus, he's invited musicians such as pianists Matthew Shipp and Frank Kimbrough, bassists Ken Filiano and William Parker, saxophonists Scott Robinson, Noah Preminger, and Rob Brown plus guitarist Steve Cardenas to play in clubs in and around the Capitol area, releasing many of the collaborations on his own label and on Bandcamp.com. A majority of the recording sessions––in-studio and live––are improvisations and offer the attentive listener the opportunity to listen to musicians "conversing" and listening to each other for the sake of the music. Cosgrove never "overplays"or "overthinks" the music; that sensitivity is one of the major components of his music, making it all the more interesting.
His newest offering, "History Gets Ahead of the Story" (Grizzley Music/self-released)", finds the drummer in a new trio, alongside John Medeski (organ) and Jeff Lederer (tenor and soprano saxophones, flute). Seven of the program's 10 songs are from the pen of bassist William Parker with two from Lederer and one from Cosgrove. Parker is one of the more important people on the contemporary scene, not just for his music but also for the work that he and his wife, poet and choreographer Patricia Nicholson, have done for artists by creating organizations, most notably the Vision Festival. The blues-soaked sounds this trio produces serve to remind the listener of Mr. Parker's "roots", his connection to "soul" music and the blues as well as to fellow bassist and composer Charles Mingus.
Photo: Joe Crocetta
Opening with "O'Neal's Porch" (from the 2001 album of the same name), the trio sets the easy pace and one can feel the influence of Curtis Mayfield in the melody and groove. These musicians are not afraid to go "out" for a moment yet the song always returns to the walking organ bass lines and Cosgrove's steady cymbal and snare work. Lederer's solo ranges far afield, something he does with joy, playing with an exuberance that adds fire. Medeski gets rights into the groove with his soulful Hammond B-3 sound. Lederer moves to flute for the playful "Little Bird", opening with a cheerful duet with Medeski before dropping into a sweet groove. The clarinet comes out for "Wood Flute Song", an angular groove that the drummer drives with his innate sense of rhythm. The drummer contributed the other-worldly "Ghost"––again, the richly-hued tones of Lederer's clarinet reads the melody and dances off into a sweet solo while Medeski's gospel chords swell in the background.
Photo: Joe Crocetta
Lederer's two contributions, "Gospel Flowers" and "Purcell's Lament", both show the trio at its musical best. The former track has a steady groove with powerful solos from Medeski and the tenor saxophonist, all the while Cosgrove pushes them forward. The latter tune opens with a unaccompanied keening soprano sax before the organ enters. The piece moves into a lovely ballad, the cymbal and trap set coloring the lines as Medeski supports the voice in front. The swirling organ moves in and around the lovely soprano phrases while the drummer adds more color (the photo on the left gives you an idea of what Cosgrove is doing as he listens and plays).
"History Gets Ahead of the Story" closes with Mr. Parker's "Harlem" (off his Quartet's 2005 "Sound Unity" album). The power of the tenor sax, Lederer at his bluesiest, is balanced by the quiet organ and drum accompaniment. Pay attention to Medeski's solo and how Cosgrove gives him so much space but never abandons the groove. This is 2 a.m. music at its best.
The trio of Jeff Cosgrove, John Medeski, and Jeff Lederer celebrate the music of William Parker by taking his music and not copying it but by putting their own creative voices to the forefront. The clarity of the recording allows the listener to enter into the studio and really "feel" the conversations going on with the trio and this music. A delight from start to finish, take an hour to dive into these "Stories."
Since vocalist Camila Meza joined Ryan Keberle & Catharsis in 2014, the quintet has gone from strength to strength Though Ms. Meza was not a full member in that year, she did sing on five of the eight tracks of "Into The Zone" (Greenleaf Music) plus the bonus track, Sufjan Stevens' "Sister." Two years later for "Azul Infinito", her voice had become an integral part of the quintet, an ensemble that features Keberle (trombone, keyboards), Michael Rodriguez (trumpet), Jorge Roeder (acoustic and electric basses), and Eric Doob (drums). That group also recorded 2017's "Find the Common, Shine a Light", a recording made in the wake of the 2016 U.S. election with music that was a strong indictment of the election process and results yet without pointing fingers. That album also featured several short improvised pieces plus longer pieces that showed the versatility of its members.
"The Hope I Hold" is a step forward for the group. Rodriguez is gone, replaced by tenor saxophonist Scott Robinson (who actually has guested on a number of Keberle's earlier albums). Also, the sound of the band has expanded with the addition of Ms. Meza's excellent guitar work plus vocal contributions from the leader and from Roeder. The program is split in two fascinating halves. The first five tracks are Keberle compositions with lyrics adapted from the great American poet Langston Hughes (1902-1967), specifically from his 1935 poem "Let America Be America Again." Hughes's powerful words (read them here) are been lightly edited to fit the equally powerful music. The four tracks that make up "The Hope I Hold Suite" are driven by the impressively forceful rhythm section, by the intelligent melodies the leader has created, by the mixture of reeds, brass, and guitar, plus the strong vocal work. Ms. Meza, an immigrant from Chile, understand the history of this country, has seen the remnants of "Jim Crow" that exist throughout the U.S. – yet, there is neither vitriol in her voice (as there is none in Hughes's words: sorrow yes but not burning hatred) nor sorrow in her delivery. One does hear hope, hope for a better country, a more compassionate leadership, and a better understanding of the myriad issues facing the world. Following the suite is another Keberle composition. "Campinas" not only features his trombone and keyboards but also he sings lead. The first part of the piece has a strong Brazilian feel, especially in the "floating" voices and the exciting drum patterns. The second part starts with understated percussion, synthesizer sweeps, and a lyrical trombone solo before the drums kick back into the rhythms of the opening under the trombone solo and the guitar spotlight that follows.
Photo: Takahiko Tokusa
The next four tracks introduces The Catharsis Trio. Composed of the leader, Ms. Meza, and bassist Roeder. The trio first worked together on a tour of Japan when the promoter really wanted the music but could not afford to bring the entire band. Needless to say, the participants viewed the tour as a both a challenge and an opportunity to see the material in a different light. The guitarist contributes the lovely "Para Volar" – the blend of voice, guitar, bass, and trombone is alluring. Roeder's first recorded composition, "Peering", has quite a fine melody with the various voices playing off each other, providing fine harmonies as well as smart counterpoint. The team of Manuel Jose Castillo (lyrics) and Gustavo "Cuchi" Leguizamon (music) composed "Zamba de Lozano", a song
made famous by Mercedes Sosa. Ms. Meza caresses the lovely melody while Keberle offers handsome support and even shadows her on several lines. The Trio closes its set with a rearranged version of "Become the Water" of the previous Catharsis album that took its title from the chorus of this song. Here, Keberle intertwines the sounds of his Korg Minilogue synthesizer into the mix but the words are loud and clear.
The album closes with with "Epilogue/Make America Again", a chorale for voices, trombones, and keyboard that ends with a long drawn-out chord (sounds like an organ). The music has the feel of a prayer, a wordless plea for hope that seems to have eluded many of us in the past two+ years. Bitterness and cruel satire is no help – it is imperative that we all talk to each other, at community meetings, in churches, mosques, and synagogues, in the classroom, in the halls of the government. Then, "The Hope I Hold" may become a reality. Ryan Keberle & Catharsis continue to make relevant music, the writing continues to mature, and the musicianship is of the highest caliber. Now that Ms. Meza's immense talent is being put to its full use, next time around, perhaps Scott Robinson will get to employ his full array of instruments. Imagine that!!
Saxophonist, violinist, vocalist, and composer Tori Freestone has been busy making a name for herself in her native England and on the Continent. As a leader or co-leader, she's issued four CDs and has appeared on recordings by Ivo Neame, Andre Canniere, and a group called Compassionate Cow. Ms. Freestone has also worked in a number of British big bands and smaller ensembles plus is currently a tutor for the National Youth Jazz Collective and for Trinity College of Music in London. Her main musical vehicle at the moment is the Tori Freestone Trio based on her saxophone playing and compositions with the delightful rhythm section of Dave Manington (bass) and Tim Giles (drums).
The Trio has just issued its third recording for Whirlwind Recordings. Titled "El Mar de Nubes" ("the Sea of Clouds"), much of the program was inspired by the saxophonist's retreat to the Canard Islands at the close of 2017. There she wandered the landscape catering her thoughts, inspired by the longs walks in the natural forests and mountains as well as viewing the Super Moon, a phenomenon that makes the night as bright as day when it rises. The music she created from her sojourns is not radically different than her previous two Trio discs yet one feels that the three musicians are locked in more than ever before. The title track opens the album with the leader's saxophone interacting and responding to the lyrical bass lines and dancing brushes work. Dig the funky opening of "Hiding Jekyll", how the rhythm section locks into the groove even as the saxophonist plays a double-time on top of them. Pieces such as "Hasta La Vista" and "Los Indianos" have such a playful quality, the former (composed by the bassist) built off a speedy riff that has hints of Trio Air in how the sax and bass work together over the dancing drums while the latter rises out of Giles's drums interacting with the cowbell. The riffs Ms. Freestone play may remind some of Sonny Rollins's playful interactions with Ray Brown and Shelly Manne on "Way Out West."
The album also includes two versions of the traditional American song "Shenandoah." Version 1 is all instrumental, replete with wonderful bass playing (note Manington's fine bow work and his deep sonorous phrases in response to Ms. Freestone's wide-ranging solo (she rarely strays far from the original melody but does create an impressive solo). In the middle section, Giles creates a hypnotic rhythm for the bass solo (note how the saxophonist plays long, breathy tones behind Manington)that leads into a more expansive tenor spotlight. Version 2 is quite different – Ms. Freestone accompanies her vocal with keening fiddle tones. The bassist creates a counter melody behind her, joined a verse later by Giles's skittish drums. The violin solo brings to mind the raspy tones of Charles Burnham and, when Ms. Freestone moves away from the melody, the music moves into more playful territory. The trio does return to the melody; this time, the vocalist sings with just the drums as her accompanist before it fades out on Giles.
"El Mar de Nubes" is music well worth exploring. Over the course of seven years and (now) three albums, Tori Freestone, Dave Manington, and Tim Giles have become tighter and looser, the former through the many gigs they have played and the latter from the trust they have built by playing all those gigs. Sadly, I don't see any live dates on this side of the Atlantic Ocean listed for the album release tour but this is a Trio one needs to hear live. That written, the new album is one for listening deeply and all the way through!
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