Artists of the Year

One name keeps turning up in my “favorites lists” of the past few years. Joe Lovano is proving (to me at least) to be one of the most versatile jazz artists of modern times, and he seems to have an uncanny knack for spearheading or joining in on one stellar project after another. In the past few years, he has recorded a stunning duo with Hank Jones (Kids), lent his horn and music to big band (Symphonica), and now appears on two of my favorite recordings of 2009, Steve Kuhn’s Mostly Coltrane and Joe’s own Folk Art. He’s also proved to be a physically durable performer, after breaking both arms in a pair of freak accidents in November, and now sufficiently recovered to return to his touring schedule only two months later.  

Roy Hargrove delivered back to back wonders, his quintet’s Ear Food in late 2008 and his big band debut recording, Emergence in mid 2009. But Roy’s status isn’t simply a reflection of his recordings, but of his consistently high-energy live performances and mentorship of some of the finest young musicians working today. A stint in the Roy Hargrove Academy seems to be the first giant step toward global attention—Gerald Clayton being one of the most recent cases in point. And watch Roy’s latest protégé, pianist Jonathan Baptiste. 

And 2009 was certainly the breakout year for Hiromi. Hardly unknown since her 2003 debut recording (Another Mind), Hiromi has been amazing listeners with her monster technical skills, powerful control of acoustic and electronic keyboards, wide-ranging compositions, and series of recordings in trio and quartet formats. But 2009 introduced another level of artistry, first in all-acoustic Duets with Chick Corea, then as “sideman” on Stanley Clarke’s first all-acoustic recording and on tour with his trio (Jazz in the Garden), and finally with the release of her first solo recording, Place to Be, which technically will be on my 2010 list given the U.S. release was just this past week. In live performance locally with Clarke and Lenny White, she stole the show from her veteran cohorts.  I look forward to seeing her solo in Chicago (at the Jazz Showcase) and Minneapolis (at the Dakota) in early March. 

Finally, in the realm of vocalists, it’s hard to pick among Tierney Sutton, Kendra Shank, Sophie Milman, Roberta Gambarini and Kurt Elling, all of whom had savvy recordings and live performances... but I have to highlight local singer Nancy Harms. Nancy has only been singing professionally for a few years but her growth has been exponential and her debut release (In the Indigo) a masterpiece of interpretation and arrangements, and she brings it all to bear in live performance.  

Recordings of 2009

I haven’t even written reviews yet of some of my favorites and I am still gathering highly touted discs (like Vijay Iyer’s Historicity). But I have noticed that the label ECM keeps turning up whenever I start naming my personal preferences: Keith Jarret’s 3-volume Testament , Steve Kuhn’s Mostly Coltrane, Stefano Bollani’s Stone in the Water; Enrico Rava’s New York Days (which not surprisingly also includes Stefano Bollani). 

There were some very tasty sax efforts—Lovano’s Folk Art and work on Kuhn’s Mostly Coltrane, Ravi Coltrane’s Blending Times, Joshua Redman’s Compass, Branford Marsalis’s Metamorphosen, Miguel Zenon’s Esta Plena. And I do admittedly lean heavily toward piano, the Duets of Hiromi and Chick Corea, and works of Steve Kuhn, Stefano Bollani and Keith Jarrett, as noted above, along with solo releases from Jessica Williams (Art of the Piano), Martial Solal (Live at the Village Vanguard) and Fred Hersch (Plays Jobim). And the best of both worlds—the duet recording of Alec Wilder compositions from Joe LoCascio and Woody Witt (Seasons Ago). Favorite vocal releases included Kurt Elling’s Coltrane/Hartman tribute, Kendra Shank’s Mosaic, Roberta Gambarini’s So in Love, Sophie Milman’s Take Love Easy, and Nancy Harm’s In the Indigo. 

Locally, 2009 was a good year for jazz releases—in addition to Nancy Harms’ In the Indigo as noted above, the duo drum and trumpet CD from Kelly Rossum and Phil Hey (Conflict), the eponymous release from Ingo Bethke, Adam Linz’ solo bass, A Kiss for Luck, Vicky Mountain/James Allen’s Sincerely Yours, the Atlantis Quartet’s Animal Progress, Reid Kennedy’s Reflections, young Adam Meckler’s debut, For Dad, and two from the CC Septet, She’s Big in Egypt and the holiday delight, We Three Kings and a Horn Section. 

If I have to name a single recording that seemed to capture the passion, communication and general spirit of jazz in 2009, I’ll have to go with the Stanley Clarke Trio’s Jazz in the Garden. The interplay is telepathic, the solos are stunning, the choices of material make for a never complacent journey. It reveals the rich foundation of jazz’s first century as well as its evolution well into the second. 

Live Jazz in 2009

Maybe this is the most difficult of all to highlight. What shows did I attend that really rose above the delightful din of the entire year? I probably attend at least two or three live jazz gigs per week. Add to that a few festivals with multiple shows day and night. And I did not get to New York this year so eliminate anything live in the Big Apple that is likely to show up as favorites of New York Times critics! When all is said and done, the gigs I will remember well into 2010 and beyond: 

Among visiting touring artists: Bobby McFerrin and Cantus at Orchestra Hall (January); Japanese gong master Tatsuya Nakatani at Rogue Buddha (January); Kenny Werner’s Trio at the Dakota with special guest, our own Debbie Duncan (March); Esperanza Spalding’s Dakota debut (March) SF Jazz Collective at the Dakota (April); Jason Moran’s Monk at Town Hall at the Walker (May); Ari Honig with Adam Linz at the Artists Quarter (May); Marcus Roberts solo at the Dakota (May); the Twin Cities Jazz Festival at Mears Park (June, particularly Allan Touissant, Jon Weber, and Esperenza Spalding); Roy Hargrove Quintet at the Dakota (June), Charles Lloyd Quartet at the Dakota (July); Bill Carrothers International Trio at the Artists Quarter (July); The Detroit Jazz Festival (September, and particularly, Chick Corea, Wayne Shorter, Hank Jones, and young Alfredo Rodriguez); Stanley Clarke Trio (with Hiromi and Lenny White) at the Dakota (October);  Dave Brubeck Quartet at the Dakota (November); Roy Haynes’ Fountain of Youth at the Artists Quarter (November). 

But there was a lot of stellar music from local musicians on stages throughout the Twin Cities, most memorably, the young artists of the Dakota Combo at MacPhail (April); the Schubert Club/Dakota Foundation for Jazz Education Jazz Piano Scholarship Finals at the Dakota (May), featuring three exciting young pianists heading off to college studies (Joe Strachan, Chris Misa, Cody Peterson) and a panel of judges that included Marcus Roberts; the Ellen Lease/Pat Moriarty Quintet at Studio Z (July); Kelly Rossum’s farewells at the Artist Quarter and Dakota (August), and most particularly his duo set with Phil Hey at the AQ; Adam Linz solo CD celebration at MacPhail (October); Nancy Harms’ CD release at the Dakota (November); the new Dakota Combo’s gig with Tia Fuller at the Dakota (December); the “Young Lions Showcase” at the Dakota (December, with native Twin Citians Paris and Amber Strother, Brandon and Ashley Commodore, Chris Smith, John Raymond, Javier Santiago). 

Don’t press me to single out one of these performances as “most memorable,” but let’s just say that Nakatani’s gong show and the accompanying wild antics of bassists Chris Bates and Adam Linz provided both visual and aural sensations that will linger well beyond 2010. As did the sight and sound of Beyonce’s saxlady (and inspiring jazz artist) Tia Fuller pouring out a solo improvisation over 15-year-old composer Quentin Tschofen’s piano on his “Neither Here Nor There” on the Dakota stage. And oh yeah, don’t forget Dave Brubeck springing to his 89-year-old feet in total satisfaction following his quartet’s late set at the Dakota. 

Anticipation-- 2010

There’s plenty I look forward to in 2010 – already we’ve had yet another great run from the Roy Hargrove Quintet. There’s the Dave King for Two Nights extravaganza at the Walker (March), two nights featuring a half dozen projects involving King including the Bad Plus, Happy Apple, and reunion of the Golden Valley boys (King, Craig Taborn and Reid Anderson). The AQ hosts Matt Wilson’s Arts and Crafts for one night (March); Chick Corea reunites with Gary Burton in duo at the Dakota (April). And I’ve always wanted to hear Anat Cohen and the opportunity comes in late April with Benny Green at the Dakota.  Of course the annual Twin Cities Jazz Festival (June) promises to be bigger and better. As does the Detroit Jazz Festival, which I plan to attend again over Labor Day weekend.  

Maybe I will get back to New York... but it sure won’t be because there’s limited opportunities for great jazz in the Twin Cities! 

Reprinted from www.jazzink.com