Stereogum's 10 Best Jazz Albums of 2019

FLY or DIE II: bird dogs of paradise is the much-anticipated follow-up to composer, trumpeter, and (now) singer jaimie branch's debut Fly or Die, which was dubbed one of the “Best Albums of 2017” by The New York Times, Los Angeles Times, NPR Music, WIRE, Stereogum, Aquarium Drunkard, and more. Written (mostly) while on her first European tour with Fly or Die in November 2018; and recorded (mostly) in studio at Total Refreshment Centre and live at Café OTO in London UK at the end of that tour, bird dogs of paradise is the result of a never-satisfied branch pushing her distinct style of progressive composition to new heights — while also stepping forward as a vocalist for the first time. “So much beauty lies in the abstract of instrumental music,” says branch in the album’s liner notes, “but being this ain’t a particularly beautiful time, I’ve chosen a more literal path. The voice is good for that.” On the album’s epic opening opus “prayer for amerikkka pt.1 and 2” branch calls out “a bunch of wide-eyed racists” between searing trumpet ad libs atop a massive, down-tuned blues. On the album’s closing track “love song (for assholes & clowns)” she laughs in their faces - an unhinged, unflinching, mix of anger and humor paired with a classic shuffle beat. Between both ends is an instrumental chronicle that traverses a deep sea of dystopian Americana without trepidation. Her trumpet – sometimes soft and pleading and other times brash and seething – is always at the helm. Branch and company are on a quest for sonic saturation here and they conjure up moments of real reckoning - hopefulness, hopelessness, danger, and joy. A cinematic sojourn from our earth to imagined worlds above, bird dogs of paradise dares you to feel again, or as branch says, “now sound the trumpets and get ready to roll.”

“This album is a celebration of female courage, determination and creativity. In 2015, the Tomorrow’s Warriors commissioned me to write an extended work, to be performed by members of their Nu Civilisation Orchestra, for a concert at the Women of the World Festival, in London’s Southbank Centre, on International Women’s Day. Whilst gathering ideas for my composition, I came across the character of Polyhymnia, the ancient Greek Muse of music, poetry and dance: a Goddess for the arts. Perhaps inspired by her, I conceived the form of a suite of movements, each dedicated to women of outstanding qualities, role models, with whom I felt a strong connection. Whereas La Saboteuse, the embodiment of my inner-destroyer and the catalyst for the creation of my last album, could be viewed as my anti-muse, maybe Polyhymnia herself became my Muse, inspiring an intense period of creativity, which resulted in the six pieces on this album. Since its conception, composed and arranged over the six weeks leading up to the first rehearsal for the premiere, the music has evolved and expanded. During the recording process I began incorporating new elements and drawing on a wider pool of artists, including members of my own Hafla band, alongside some of my favourite musicians working on the London scene. By sharing my musical response to the stories and achievements of these exceptional women, and celebrating the creativity and talents of my co-contributors, I hope to inspire others, in the words of Malala, “to be brave, to embrace the strength within themselves and realise their full potential” - Yazz Ahmed -- Yazz Ahmed is a British-Bahraini trumpet player and composer. Through her music, she seeks to blur the lines between jazz, Arabic folk and electronic sound design, bringing together the sounds of her mixed heritage in what has been described as ‘psychedelic Arabic jazz, intoxicating and compelling’. Already established at the centre of London’s dynamic new jazz scene, her second album, La Saboteuse, made a global impact. It clocked up multiple rave reviews, making many cross-genre ‘best of 2017’ lists around the world, including Jazz Album of the Year in the Wire Magazine. It has recently been recognised as one of the albums of the decade: “for sheer, unconquered beauty, there are few albums of any genre that reach these heady heights. Ahmed, in diving deep within herself, comes back up for air with a mysterious, wondrous artefact humming in her hands.” the2010s.net

The centerpiece of this collection is an absorbing five-part suite inspired by Rodin’s sculptures. It finds New York trumpeter Jeremy Pelt in a sonically expansive mood, supplementing a core sextet with the adroit guitar of Alex Wintz and the prismatic Rhodes and effects of Frank LoCrasto. The four non-suite tracks, more steeped in acoustic jazz, bristle with the same energy and harmonic seeking. The new presence here is vibraphonist Chien Chien Lu, who makes an outsize contribution both as a captivating improviser and as a colorful and attentive ensemble player (on marimba as well, particularly effective in doubling the basslines of Vicente Archer). She lends Pelt’s music a certain Bobby Hutcherson-like flavor, shimmering and thoroughly modern. Pianist Victor Gould swings and stretches out with authority; drummer Allan Mednard and percussionist Ismel Wignall give a three-dimensional quality to every groove. And Pelt achieves some of his most commanding and lyrical trumpet playing on record.

日本語は英語の後に続きます。 ----- "Theon Cross is bringing tuba back to jazz's center." Rolling Stone "With 'Fyah,' Theon Cross Makes An Electric Statement From London's Jazz Underground" NPR Voted #4 Best Jazz Album of 2019 by MOJO Magazine. As one of the key players of the London jazz scene, Theon Cross has been dominating airwaves and stages recently. He's part of a thriving family network of young London-based musicians who have regularly supported one another in stretching and re-shaping the boundaries of the jazz genre. Additional side-projects include performing and recording with individuals such as Makaya Mcraven, Sons of Kemet, and featuring on Gilles Peterson’s compilation album We Out Here. Within all this noise, Cross has also been leading his own trio project with Nubya Garcia and Moses Boyd. The band released an EP back in 2015 and are now following up with a full studio album, ‘Fyah’. Cross makes the tuba his own, mixing together early New Orleans bass line influences as well as the synth soundscapes and rhythms from modern grime and trap. His innovative style brings a new dynamic to the scene as he paves the gap between more traditional jazz styles and dance music. ----- ロンドンが生んだ世界屈指のジャズ・チューバ奏者テオン・クロスのすごさは、仲間たちと作り上げてきた独自の感性と技術だ。アメリカのジャズ・ミュージシャンがヒップホップからの影響を避けられないように、イギリスのミュージシャンはイギリスのラップ音楽であるグライムや、イギリスのエレクトロニック音楽でもあるダブステップ、さらには移民たちが持ち込んだアフロバッシュメントやソカ、ダンスホール・レゲエなどの影響を色濃く受けている。そのイギリスならではのトレンドをチューバの生演奏の中に落とし込めるのがテオン・クロスの特徴だ。オクターバーなどのエフェクターをチューバに繋げたりしながら、グライム的なベースラインをその打ち込みで作られたイギリスならではのサウンドのフィーリングをチューバという不自由な楽器で完璧に再現してみせる。その上でその低音域の太い音色を効果的に活かしながら鋭くリズミックにソロ・パートでも難なく魅せる。 2018年以降、テオンが起用されたサンズ・オブ・ケメット『ユア・クイーン・イズ・ア・レプタイル』、 シード・アンサンブル『ドリフトグラス』、モーゼス・ボイド『ダーク・マター』といった現行のイギリスのジャズの傑作だけでなく、シーンの中心にいるヌバイア・ガルシアやジョー・アーモン・ジョーンズ、ネリヤ、エズラ・コレクティヴらが自身の最高到達点を更新した。今作『ファイア』は、そんなイギリスのジャズ・シーンの隆盛を記録した重要な一枚としても記憶されることになるはずだ。

*** Grammy Nominated for Best Contemporary Instrumental Album “All forms of expression in sound are valid, as all people are… this is the mantra of Ancestral Recall.” Christian Scott aTunde Adjuah sets the tone for his new project - Ancestral Recall - with this powerful statement. In his mission to unify cultural voices and tear down the sonic and social constructs that separate based on race, class, and culture, Adjuah asserts music has historically been disseminated to people with harmony and melody prioritized over rhythm. The value distinction leads to harmful hierarchal sentiments and perpetuates the view that cultures who prioritize harmony and melody are more nuanced and sophisticated than those who prioritize rhythm. It is an inaccurate portrayal. Ancestral Recall looks to excavate and update hidden histories in sound by displaying a sonic tapestry that illuminates the har-melodic movements found within rhythm, rendering previous contexts baseless, Adjuah explains: "In its inception, Ancestral Recall was built as a map to de-colonialize sound; to challenge previously held misconceptions about some cultures of music; to codify a new folkloric tradition and begin the work of creating a national set of rhythms; rhythms rooted in the synergy between West African, First Nation, African Diaspora/Caribbean rhythms and their marriage to rhythmic templates found in trap music, alt-rock, and other modern forms. It is time we created a sound that dispels singular narratives of entire peoples and looks to finally represent the wealth of narratives found throughout the American experience. One that shows that all forms of expression in sound are valid, as all people are." The goal is to connect people in one understanding rather than dividing them by definition. The music of Ancestral Recall focuses the mind. As the ear adjusts to the shifting tapestries of rhythm, Adjuah stands firm in the mix, heralding the histories of rhythm and song. Walking hand-in-hand with listeners through his and their musical histories, clearing the way for a new reading of what all musical futures can become. Ancestral Recall is an album that might easily be misunderstood in its own time, but will certainly be seen as a moment in history that marked a momentous shift in musical and perhaps social understanding.

London-based 10-piece SEED Ensemble features some of the UK’s most exciting rising jazz musicians, including their bandleader, composer, and alto saxophonist Cassie Kinoshi, and Sons of Kemet’s Theon Cross. Their Mercury-nominated debut carries to shore an eclectic raft of influences, from Miles Davis at his ’60s height (“The Darkies”) to hints of piano legend Jason Rebello in “The Dream Keeper.” There’s rawness in the tripping beats of “Afronaut”—a sprawling epic framing XANA’s commanding spoken word—while the bluesy, fervent chanting in “WAKE (For Grenfell)” pushes through powerful, ever-more-twisting brass and complex rhythms. The final track, “Interplanetary Migration,” featuring London MC Mr Ekow, sinks joyfully into African grooves, with the collective’s impressive chops and thrilling, tight ensemble lifting it high into orbit.

jazz re:freshed are proud to present the long-awaited debut album from emerging London-based collective SEED Ensemble. Formed in 2016, SEED Ensemble is a ten-piece project led by composer, arranger and alto saxophonist Cassie Kinoshi. Already a giant on the UK jazz scene, she is known for her work with all-female jazz septet, Nerija, and afrobeat jazz group, Kokoroko. Combining jazz with inner-city London, West African and Caribbean influenced groove, Cassie Kinoshi’s SEED Ensemble explores a blend of genres through both original compositions and arrangements. “SEED Ensemble is my way of celebrating the vibrant and distinctive diversity that has significantly influenced what British culture has become over the centuries. Projecting this new musical vision are some of London’s most up-and-coming young jazz musicians essential to the modern identity of British jazz including tuba player Theon Cross, trumpeter Sheila Maurice-Grey, tenor saxophonist Chelsea Carmichael and one of London’s leading guitarists, Shirley Tetteh. Across ‘Driftglass’, Kinoshi embraces styles both past and present to create something that we can call modern. Band members cut across race and gender with original compositions inspired by the social issues of our times.

Matana Roberts returns with the fourth chapter of her extraordinary Coin Coin series — a project that has deservedly garnered the highest praise and widespread critical acclaim for its fierce aesthetic originality and unflinching narrative power. The first three Coin Coin albums, issued from 2011-2015, charted diverse pathways of modern/avant composition — Roberts calls it “panoramic sound quilting”—and ranged sequentially from large band to sextet to solo, unified by Roberts’ archival and often deeply personal research into legacies of the American slave trade and ancestries of American identity/experience. Roberts also emphasizes non-male subjects and thematizes these other-gendered stories with a range of vocal and verbal techniques: singspeak, submerged glossolalic recitation, guttural cathartic howl, operatic voice, gentle lullaby, group chant, and the recuperation of various American folk traditionals and spirituals, whether surfacing in fragmentary fashion or as unabridged set-pieces. The root of this vocality comes from her dedication to the legacy of her main chosen instrument, the alto saxophone. On Coin Coin Chapter Four: Memphis, Roberts convened a new band, with New Yorkers Hannah Marcus (guitars, fiddle, accordion) and percussionist Ryan Sawyer (Thurston Moore, Nate Wooley, Cass McCombs) joined by Montréal bassist Nicolas Caloia (Ratchet Orchestra) and Montréal-Cairo composer/improviser Sam Shalabi (Land Of Kush, Dwarfs Of East Agouza) on guitar and oud, along with prolific trombonist Steve Swell and vibraphonist Ryan White as special guests. Memphis unspools as a continuous work of 21st century liberation music, oscillating between meditative incantatory explorations, raucous melodic themes, and unbridled free-improv suites, quoting archly and ecstatically from various folk traditions along the way. Led by Roberts’ conduction and unique graphic score practice, her consummate saxophone and clarinet playing, and punctuated by her singing and speaking various texts generated from her own historical research and diaristic writings, Coin Coin Chapter Four is a glorious and spellbinding new instalment in this projected twelve-part Gesamtkunstwerk. Says Roberts: “As an arts adventurer dealing w/ the medium of sound and its many contradictions I am most interested in endurance, perseverance, migration, liberation, libation, improvisation and the many layers of cognitive dissonance therein as it relates to my birth country’s history. I speak memory, I sing an american survival through horn, song, sadness, a sometimes gladness. I stand on the backs of many people, from so many different walks of life and difference, that never had a chance to express themselves as expressively as I have been given the privilege. In these sonic renderings, I celebrate the me, I celebrate the we, in all that it is now, and all that is yet to come or will be... Thanks for listening.” Matana Roberts: alto sax, clarinet, wordspeak, voice Hannah Marcus: electric guitar, nylon string guitar, fiddle, accordion, voice Sam Shalabi: electric guitar, oud, voice Nicolas Caloia: double bass, voice Ryan Sawyer: drumset, vibraphone, jaw harp, bells, voice GUESTS: Steve Swell: trombone, voice Ryan White: vibraphone Thierry Amar: voice Nadia Moss: voice Jessica Moss: voice Recorded at Break Glass studios in Montréal, Québec by Jace Lasek, assisted by Dave Smith Mixed at Thee Mighty Hotel2Tango in Montréal, Québec by Radwan Moumneh Mastered at Greymarket in Montréal, Québec by Harris Newman

New York drummer Allison Miller marks the 10th anniversary of her Boom Tic Boom sextet with an album of original compositions as refined and eccentric as the band itself. With violinist Jenny Scheinman, cornetist Kirk Knuffke, clarinetist Ben Goldberg, pianist Myra Melford, and bassist Todd Sickafoose, Miller creates beautifully whimsical jazz in which form unfolds like a dream and style is a moving target. Standout tracks on this fourth studio album have a focused theme: “Malaga” features an arrangement so cinematic that the music feels like a drone tour of the Spanish city; “Zev — The Phoenix” juxtaposes a rakish clarinet-driven vamp with introspective piano lyricism to create the mood of a child at play. Along with the LP\'s ubiquitous melody and groove, one of its greatest strengths is the band’s esprit de corps; each improviser is uniquely expressive while looking to a shared musical horizon.