Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums2024" class="mention hashtag" rel="tag">#<span>GreatAlbums2024</span></a> My 20 favourite albums this year...</p><p><a href="https://mstdn.social/tags/AroojAftab" class="mention hashtag" rel="tag">#<span>AroojAftab</span></a> – Night Reign (Verve)<br />Ethereal jazz from a Pakistani-American singer and composer who guides you into quiet corners where dark emotions reign</p><p><a href="https://mstdn.social/tags/GreatJazzAlbums" class="mention hashtag" rel="tag">#<span>GreatJazzAlbums</span></a></p>
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#GreatJazzAlbums
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Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums2024" class="mention hashtag" rel="tag">#<span>GreatAlbums2024</span></a> My 20 favourite albums this year...</p><p><a href="https://mstdn.social/tags/KamasiWashington" class="mention hashtag" rel="tag">#<span>KamasiWashington</span></a> – Fearless Movement (Young Turks)<br />This jazz wonderkind employs a large ensemble of players and singers to take jazz into new realms where pop, funk, hip-hop, and Afrobeat thrive as equals. </p><p><a href="https://mstdn.social/tags/GreatJazzAlbums" class="mention hashtag" rel="tag">#<span>GreatJazzAlbums</span></a></p>
Great_Albums<p>My review of jazz artist Kamasi Washington's new album, Fearless Movement, published today in PopMatters.</p><p><a href="https://mstdn.social/tags/GreatJazzAlbums" class="mention hashtag" rel="tag">#<span>GreatJazzAlbums</span></a> <a href="https://mstdn.social/tags/Jazz" class="mention hashtag" rel="tag">#<span>Jazz</span></a> <a href="https://mstdn.social/tags/KamasiWashington" class="mention hashtag" rel="tag">#<span>KamasiWashington</span></a> <a href="https://mstdn.social/tags/CurrentSpins" class="mention hashtag" rel="tag">#<span>CurrentSpins</span></a> <a href="https://mstdn.social/tags/PopMatters" class="mention hashtag" rel="tag">#<span>PopMatters</span></a></p><p><a href="https://www.popmatters.com/kamasi-washington-fearless-movement-review" target="_blank" rel="nofollow noopener" translate="no"><span class="invisible">https://www.</span><span class="ellipsis">popmatters.com/kamasi-washingt</span><span class="invisible">on-fearless-movement-review</span></a></p>
Great_Albums<p>Occasionally I like to buy an album knowing nothing about the artist or the music it contains, based maybe on a few hints from an evocative cover image or song list. </p><p>This is one of those albums and it's absolutely amazing. If you know anything about it, please chime in.</p><p>EDIT: Finding some bios online. AKA: Kofi Ghanaba... Oh! He's in The Rough Guide to Jazz under "Ghanaba." </p><p><a href="https://mstdn.social/tags/GuyWarrenOfGhana" class="mention hashtag" rel="tag">#<span>GuyWarrenOfGhana</span></a> <a href="https://mstdn.social/tags/Jazz" class="mention hashtag" rel="tag">#<span>Jazz</span></a> <a href="https://mstdn.social/tags/GreatJazzAlbums" class="mention hashtag" rel="tag">#<span>GreatJazzAlbums</span></a> <a href="https://mstdn.social/tags/VinylDiscoveries" class="mention hashtag" rel="tag">#<span>VinylDiscoveries</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/23From2023" class="mention hashtag" rel="tag">#<span>23From2023</span></a> - <a href="https://mstdn.social/tags/JohnScofield" class="mention hashtag" rel="tag">#<span>JohnScofield</span></a> – Uncle John’s Band (ECM). The jazz guitar legend teams with double bassist Vicente Archer and drummer Bill Stewart for a double album that grooves and contemplates on a range of material. Dylan’s “Mr. Tambourine Man,” Neil Young’s “Old Man” and the Dead’s “Uncle John’s Band” get a modern treatment through Scofield’s fluid lines with a touch of amplifier breakup. More typical jazz fare like Miles Davis’s “Budo” fills out a diverse and lively set. </p><p><a href="https://mstdn.social/tags/GreatJazzAlbums" class="mention hashtag" rel="tag">#<span>GreatJazzAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/23From2023" class="mention hashtag" rel="tag">#<span>23From2023</span></a> - <a href="https://mstdn.social/tags/BradMehldau" class="mention hashtag" rel="tag">#<span>BradMehldau</span></a> – Your Mother Should Know (Nonesuch). The US jazz pianist has been interpreting rock deep cuts since the 90s, when his Art of the Trio series included Jarrett-influenced takes on Radiohead and Nick Drake. On YMSK, Mehldau doesn’t so much transform “I Am the Walrus,” “Baby’s in Black,” “She Said She Said” and other Fabs songs into jazz as draw out harmonic subtleties they already contain. A closing rendition of Bowie’s “Life on Mars” fits right in. </p><p><a href="https://mstdn.social/tags/GreatJazzAlbums" class="mention hashtag" rel="tag">#<span>GreatJazzAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/23From2023" class="mention hashtag" rel="tag">#<span>23From2023</span></a> - <a href="https://mstdn.social/tags/JaimieBranch" class="mention hashtag" rel="tag">#<span>JaimieBranch</span></a> – Fly or Die X3 (World War). When jazz trumpeter Branch died tragically in 2022, she left us a gleaming alloy of music blending jazz with folk, rock, electronic and worldbeat. Completed posthumously by her bandmates, this set veers from the exotic groove of “Borealis Dancing” to the simmering block party of “Burning Grey.” “Baba Louie” has an almost trip-hop feel. “The Mountain” turns a Meat Puppets (!) tune into an evocation of Appalachian lore. </p><p><a href="https://mstdn.social/tags/GreatJazzAlbums" class="mention hashtag" rel="tag">#<span>GreatJazzAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1960s" class="mention hashtag" rel="tag">#<span>GreatAlbums1960s</span></a> – The <a href="https://mstdn.social/tags/AstrudGilberto" class="mention hashtag" rel="tag">#<span>AstrudGilberto</span></a> Album (1965). Backed by Antonio Carlos Jobim’s bossa nova guitar and songwriting, Gilberto’s solo debut extends the sunny villa vibe of the previous year’s smash, “The Girl from Ipanema,” with a set of tunes sung in both English and Brazilian Portuguese. “Once I Loved,” “How Insensitive” and “Dindi” reveal a quiet soulfulness within Astrud’s languid style and limited range, making this LP a velvety delight by a unique vocalist. <br /><a href="https://mstdn.social/tags/GreatJazzAlbums" class="mention hashtag" rel="tag">#<span>GreatJazzAlbums</span></a> <a href="https://mstdn.social/tags/BossaNova" class="mention hashtag" rel="tag">#<span>BossaNova</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1960s" class="mention hashtag" rel="tag">#<span>GreatAlbums1960s</span></a> - <a href="https://mstdn.social/tags/StanGetz" class="mention hashtag" rel="tag">#<span>StanGetz</span></a> & João Gilberto – Getz/ Gilberto (1964). Saxophonist Stan Getz and Brazilian guitarist Joao Gilberto added minimalist piano by Antonio Carlos Jobim and guest vocals by Astrud Gilberto on this LP, codifying the bossa nova style for all time. Grammy-winner “The Girl from Ipanema” and smooth stunner “Corcovado” defined 60s cool in a Mad Men universe. The craze caught on and even Sinatra caught the bossa-nova bug. </p><p> <a href="https://mstdn.social/tags/Album" class="mention hashtag" rel="tag">#<span>Album</span></a>, <a href="https://mstdn.social/tags/Jazz" class="mention hashtag" rel="tag">#<span>Jazz</span></a>, <a href="https://mstdn.social/tags/Getz" class="mention hashtag" rel="tag">#<span>Getz</span></a>, <a href="https://mstdn.social/tags/Gilberto" class="mention hashtag" rel="tag">#<span>Gilberto</span></a> <a href="https://mstdn.social/tags/GreatJazzAlbums" class="mention hashtag" rel="tag">#<span>GreatJazzAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1960s" class="mention hashtag" rel="tag">#<span>GreatAlbums1960s</span></a> - <a href="https://mstdn.social/tags/HerbieHancock" class="mention hashtag" rel="tag">#<span>HerbieHancock</span></a> – Empyrean Isles (1964). Hancock is in able company on this rousing set of hard and post-bop workouts, featuring Freddie Hubbard on blistering cornet, and the Miles Davis rhythm section, Ron Carter and Tony Williams, on bass and drums. “One Finger Snap” opens the set with some hot soloing from all concerned, after which “Oliloqui Valley” sets a mellower pace (a la Maiden Voyage). “Cantaloupe Island” gets you humming on the LP’s second side. </p><p><a href="https://mstdn.social/tags/GreatJazzAlbums" class="mention hashtag" rel="tag">#<span>GreatJazzAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1960s" class="mention hashtag" rel="tag">#<span>GreatAlbums1960s</span></a> - <a href="https://mstdn.social/tags/HerbieHancock" class="mention hashtag" rel="tag">#<span>HerbieHancock</span></a> – Maiden Voyage (1965). Breezier and more subtle than the boogaloo hits (“Watermelon Man,” etc.) behind Hancock’s 60s stardom, Maiden Voyage evokes oceanic excursions, blustering storms, and dancing sea mammals on “Maiden Voyage,” “The Eye of the Hurricane” and “Dance of the Dolphins.” Hancock’s Miles Davis compatriots (Ron Carter, Tony Williams) support Freddie Hubbard’s trumpet and George Coleman’s sax solos with grooves relaxed as sea air.</p><p><a href="https://mstdn.social/tags/GreatJazzAlbums" class="mention hashtag" rel="tag">#<span>GreatJazzAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1960s" class="mention hashtag" rel="tag">#<span>GreatAlbums1960s</span></a> - <a href="https://mstdn.social/tags/OliverNelson" class="mention hashtag" rel="tag">#<span>OliverNelson</span></a> – Blues and the Abstract Truth (1961). Bringing his big band arranging skills into the small combo arena (Eric Dolphy on flute & sax, Freddie Hubbard on trumpet and Bill Evans on piano, etc.), Nelson leads the charge on lyrical pieces (“Stolen Moments”), folk dance interpolations (“Hoe Down”), and post-bop barnstormers (“Cascades” and “Teenie’s Blues”). In an era of experimentation, this LP often recalls the cool jazz of the previous decade. </p><p><a href="https://mstdn.social/tags/GreatJazzAlbums" class="mention hashtag" rel="tag">#<span>GreatJazzAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1960s" class="mention hashtag" rel="tag">#<span>GreatAlbums1960s</span></a> - <a href="https://mstdn.social/tags/EricDolphy" class="mention hashtag" rel="tag">#<span>EricDolphy</span></a> – Far Cry (1962). Proficient on alto sax, flute and bass clarinet, Dolphy teamed with trumpeter Booker Little on this post-bop delight tracked in 1960 – just before Dolphy took the free jazz leap. Two Charlie Parker tributes start the LP, firing up Dolphy and Booker on some wicked soloing. Listeners used to Dolphy’s gnarlier Out to Lunch! material will marvel at the sublime lyricism of “Left Alone” and his unaccompanied sax solo, “Tenderly.” <br /> <br /><a href="https://mstdn.social/tags/GreatJazzAlbums" class="mention hashtag" rel="tag">#<span>GreatJazzAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1960s" class="mention hashtag" rel="tag">#<span>GreatAlbums1960s</span></a> - <a href="https://mstdn.social/tags/EricDolphy" class="mention hashtag" rel="tag">#<span>EricDolphy</span></a> – Out to Lunch! (1964). Kicking rules aside, Dolphy spars with Bobby Hutcherson’s vibraphone and Freddie Hubbard’s trumpet as hard bop textures step into the realm of free jazz. The cloak-and-dagger groove of “Hat and Beard” and “Something Sweet, Something Tender” keep your feet on solid ground, although passages of near atonality peppering the LP reflect Dolphy’s work with Ornette Coleman. Dolphy’s last before diabetes took his life in Berlin. </p><p><a href="https://mstdn.social/tags/GreatJazzAlbums" class="mention hashtag" rel="tag">#<span>GreatJazzAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1960s" class="mention hashtag" rel="tag">#<span>GreatAlbums1960s</span></a> - <a href="https://mstdn.social/tags/LeeMorgan" class="mention hashtag" rel="tag">#<span>LeeMorgan</span></a> – The Sidewinder (1964). “The Sidewinder’s” earworm boogaloo (the template for Hancock’s “Watermelon Man” et. Al) made it a surprise hit in ’64, casting Morgan as the furiously cool inheritor of the post-bop mantle among those not ready to leap into free jazz. Morgan’s dynamic trumpet – part dizzying bluster, part miles-long meditation – made him one of the greats, between apprenticeships with Dizzy Gillespie and Art Blakey and his murder in 1973. <br /><a href="https://mstdn.social/tags/GreatJazzAlbums" class="mention hashtag" rel="tag">#<span>GreatJazzAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1960s" class="mention hashtag" rel="tag">#<span>GreatAlbums1960s</span></a> - <a href="https://mstdn.social/tags/LeeMorgan" class="mention hashtag" rel="tag">#<span>LeeMorgan</span></a> – Search for the New Land (1964/1966). Held back for two years by Blue Note while trumpeter Morgan capitalized on the boogaloo craze his “Sidewinder” triggered, New Land was a more meditative excursion, especially on its long title track where Morgan, Wayne Shorter, Herbie Hancock and Grant Green all play long solos in free time between patches of 6/4 groove. “Mr Kenyatta” and “Morgan the Pirate” quicken the pace on this definitive Morgan LP. <br /><a href="https://mstdn.social/tags/GreatJazzAlbums" class="mention hashtag" rel="tag">#<span>GreatJazzAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1960s" class="mention hashtag" rel="tag">#<span>GreatAlbums1960s</span></a> - <a href="https://mstdn.social/tags/BillEvansTrio" class="mention hashtag" rel="tag">#<span>BillEvansTrio</span></a> – Sunday at the Village Vanguard (1961). Culled from live sets taped in NYC, the Evans Trio topped the definitive studio set Portrait in Jazz, with a contained energy and lyrical grace on highlights like “Gloria’s Step,” Miles’s “Solar,” and Sammy Fain’s fantasia “Alice in Wonderland.” Evans, bassist Scott LaFaro and drummer Paul Motion are three partners in a scintillating musical ballet, palled by LaFaro’s death ten days after the recording. <a href="https://mstdn.social/tags/GreatJazzAlbums" class="mention hashtag" rel="tag">#<span>GreatJazzAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1960s" class="mention hashtag" rel="tag">#<span>GreatAlbums1960s</span></a> - <a href="https://mstdn.social/tags/BillEvansTrio" class="mention hashtag" rel="tag">#<span>BillEvansTrio</span></a> – Portrait in Jazz (1960). One of jazz’s most admired pianists, Evans perfects his lyrical, classically-inspired style on this set of ballads and standards. Scott LaFaro’s bass and Paul Motion’s drums complete the group that set a standard for the modern jazz piano trio, with Evans’s and LaFaro’s nimble interplay enlivening “Autumn Leaves,” “Someday My Prince Will Come” and a meditative take on Evans’ cowrite with Miles Davis, “Blue in Green.” <br /><a href="https://mstdn.social/tags/GreatJazzAlbums" class="mention hashtag" rel="tag">#<span>GreatJazzAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1960s" class="mention hashtag" rel="tag">#<span>GreatAlbums1960s</span></a> - <a href="https://mstdn.social/tags/CannonballAdderleyQuintet" class="mention hashtag" rel="tag">#<span>CannonballAdderleyQuintet</span></a> – Them Dirty Blues (1960). Alto saxman Julian Adderley and his cornetist brother Nat were major jazz popularizers during the 1960s. Nat’s “Work Song” (included here and on his own LP by that title) transcended the hard bop scene with its easy-to-recall riff and soulful groove. This ability to temper immense chops with melodicism would make the Adderleys stars of the soul jazz movement – a style already in nascent form on this LP. </p><p><a href="https://mstdn.social/tags/GreatJazzAlbums" class="mention hashtag" rel="tag">#<span>GreatJazzAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1960s" class="mention hashtag" rel="tag">#<span>GreatAlbums1960s</span></a> - <a href="https://mstdn.social/tags/JohnColtrane" class="mention hashtag" rel="tag">#<span>JohnColtrane</span></a> – Giant Steps (1960). Jazz critics will discuss modal scales and chord substitutions, but what makes this LP a delight is Trane’s balancing of fiery virtuosity (most conspicuous on “Countdown” and the blazing title track) with lyrical subtlety (on the bluesy “Cousin Mary” and gorgeous “Naima"). Pianist Tommy Flanagan, bassist Paul Chambers, and drummer Art Taylor join Coltrane on a new excursion set on obliterating boundaries in Sixties jazz. <br /> <a href="https://mstdn.social/tags/GreatJazzAlbums" class="mention hashtag" rel="tag">#<span>GreatJazzAlbums</span></a></p>
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