My Top 3 Jazz Albums of 2019

Happy New Year

Wishing all of you a fantastic 2020!

I meant to complement my Top of the Year 2019 article I wrote on classical music with a similar one for Jazz. I didn’t get to finish that last year, so at least it is the first thing I do in the still very fresh year of 2020. Hope all of you had a nice New Year’s Eve last night.

Why is this post called “Top 3” and not “Top 5” as I typically do? Well, for one I did review significantly less albums in 2019 than in the years before, due to very extensive business travel.

Furthermore however, I find less and less new Jazz albums that truly excite me. Not sure if it is the Jazz scene, or my taste is evolving. Anyhow, let’s get to it.

Keith Jarrett – Munich 2016

Keith Jarrett Munich 2016 ECM 2019 24 96

Any new Keith Jarrett solo album is an event, but this is a particularly nice one. I’m slightly biased as me attending the 2015 concert in Lucerne that was part of the same tour triggered me to start this blog in the first place Highly recommended. You’ll find my original review of Munich 2016 here.

GoGo Penguin – Ocean in a Drop

GoGo Penguin Ocean In A Drop Music For A Film Blue Note 2019

Ocean In A Drop is a very special album. Not even originally intended to be released, it really captures a very special atmosphere of an improvised film soundtrack. I still haven’t seen the movie it refers to, but keep going back to the album on a regular basis.

Triosence: scorpio rising

Triosence: Scorpio Rising 2019 24 96

I’ve written about Triosence previously (here and here), but never got to formally review this album. They are a relatively unknown group from Germany, but their style is very much to my taste. So this may be the most subjective of my recommendations. Triosence are all about melody. Therefore, some may consider them a bit too mainstream. So check them out before you buy, but if you like modern trio jazz, they are a worthy discovery. You’ll find it here (Qobuz)

So, over to you, enlighten me! I’m sure I’ve missed plenty of good new releases in 2019 that should have been mentioned here. What would you recommend I check out?

Wishing you again a Happy New Year and thank you for all the great feedback and discussions we had in 2019!

Finally A New Keith Jarrett Solo Live Album – Munich 2016

Keith Jarrett Live Concerts

Keith Jarrett is without doubt one of the most important, if not THE most important artists alive today in the space of solo piano improvisation.

Seeing one of his live concerts finally triggered me to start this blog now more than 4 years ago, and I’ve already reviewed a lot of his live albums (always on ECM) as well, including Paris, A Multitude Of Angels, Bregenz München, La Scala, and Bremen Lausanne.

Each of these albums is worth having, my ratings typically are either 4 or 5 stars.

So I was obviously very happy when Jarrett finally released a new (well, 3 years old) solo concert recording again.

Keith Jarrett – Munich 2016 (ECM 2019)

This album was recorded live in Munich in July 2016, about one year after my “own” live experience in Lucerne, and it has a very similar feel.

Jarrett has moved away from the very long improvisations of the Köln concert era to shorter pieces, simply titled “Part”. The concert is split into 12 parts, with roman numerals, plus two encores.

Don’t be afraid by the slightly atonal start in Part I, there is so much more to come.

Part V for example is are the kind of melodic improvisations that fans of the Köln concert (including me) are just loving so much

Part VI and VIII are yet another of the slowly flowing parts, 5 minutes of absolute bliss.

In part IX, Jarrett all over sudden starts a boogie woogie. For most other artist, this would make me run away. Not so with Jarrett, here it is just 3 minutes of a lot of fun, which he’s clearly having.

I personally am not such a big fan of when Jarrett goes much more crazy like in part VII, but these wilder improvisations are typically short.

And I’m so happy to report, that nearly 20 years after La Scala, Jarrett goes back to Somewhere Over The Rainbow as his final encore. And in a way, this improvisation is even better. It must be my sentimental side, but I just love this song.

So in total, this album is an absolute joy!

My rating: 5 stars

You can get it here (Qobuz)

GoGo Penguin is Back With a Beautiful Album – Ocean In A Drop

I know this blog has been quite heavy on classical music recently. I’ll promise I’ll try to increase the frequency of Jazz articles!

So, here we go.

GoGo Penguin

I only discovered GoGo Penguin some years ago. I was really on board they came out with their album Man Made Object, which remains my favorite album of the group until now.

I’ve also listed Man Made Object in My Top 5 Jazz Albums of 2016. I actually had noticed them with their previous 2014 album, V 2.0, which I also really liked. I also had the pleasure of seeing them live already

Therefore, I was quite disappointed when I just really didn’t particularly like their 2018 album A Humdrum Star.

Nicely enough, when their latest album came out yesterday, I was immediately hooked.

If you want to know more about the style of GoGo Penguin, click on any of the links above, but just to quickly summarise, we’re talking about the setup of a traditional Jazz piano trio here, but with music that clearly takes cues from EST, but is equally influenced by Philipp Glass type minimal music, and probably even more by the beats of contemporary Electronica.

GoGo Penguin: Ocean In A Drop (Music For Film) (BlueNote 2019)

GoGo Penguin Ocean In A Drop Music For A Film Blue Note 2019

So here’s the genesis of this album. Apparently the thee artists of GoGo Penguin,  Chris Illingworth, Nick Blacka, and Rob Turner, really liked the Philipp Glass written soundtrack to the 1982 film Koyaanisqatsi.

They liked it so much that they played their own soundtrack to the film. Everything was recorded live while watching the movie.

Yes, this may remind you of another famous movie soundtrack that was recorded in a similar manner (which is a great album and should be discussed on these pages at some point), but I digress.

Miles Davis Ascenseur pour l'échafaud  soundtrack

This music was never intended to be released. Nicely though, enough people in their immediate entourage bugged them enough, so now we have a new fantastic album.

It is quite short, EP-style, only 22 min (and one could argue, a bit expensive for the duration), but the music is just fantastic, very inspired. We’re back to the mesmerising mix of fast rhythms and beautiful minimalist melodies that I so loved on Man Made Object.

You really need to check it out.

My rating: 5 stars

You can find it here (Qobuz)

Miles Davis’ Rubberband – An Album That Better Should Have Stayed Unpublished

Thank you again for all your feedback

I get a lot of comments, both on the site itself and via direct message. And I truly appreciate every single element of feedback. It is what keeps me going now 5 years in a row.

Recently you told me you’d like more reviews of Jazz albums, and also encouraged me to write more critical reviews. I often tend to shy away from them, as my reviews clearly are very subjective opinions, and I really don’t like to critisize great musicians just because I don’t like some of their albums.

That said, the next musician won’t mind, a) he’s passed away a long time ago, and b) he’s one of the most brilliant musicians ever and nothing I’ll write here will take anything away from this

Miles Davis – Rubberband (Warner 2019)

This is a negative review that is more of a warning. Stay away from this zombie at all cost.

In the 1980s, Miles Davis had finally left his long term label Columbia to sign up with Warner. He then started recording some tracks. For several reasons, these tracks were never fully finished, and ended up in a drawer somewhere.

Now, somebody decided, let’s take these tracks, complete what Miles didn’t complete, and let’s see if we can still milk the Miles Davis brand.

First of all, people think of Miles Davis as a Jazz musician. Let’s be clear, in the 1980s had moved on, to a style much more influenced by funk and pop. Nothing wrong with this, it’s not really my cup of tea, but Tutu an album that was recorded shortly after this, is a modern classic. It will never get a lot of playtime on my system, but I understand why some people like it.

Rubberband really never should have been published in my opinion. Without Davis’ trademark horn popping up every once in a while, it would have just been a very bland synthetic late funk / 80s pop album. So if you’re interested in 1980s funk jazz, get Tutu (or some Herbie Hancock stuff from that era). But really avoid this “album” at all cost.

My rating: 1 star (this is now officially my first 1 star review in 5 years and more than 300 posts)

If you still want to check it out, you can find it here (Qobuz)

An Beautiful New Vocal Jazz Album with Giovanni Mirabassi and Sarah Lancman

Giovanni Mirabassi

Giovanni Mirabassi remains one of my favorite Jazz pianists. I really love his trio efforts, be it on Terra Furiosa, Live in Toyko, or, probably my preferred one, Architectures.

Mirabassi is Italian, but has been living in Paris for many years. As mentioned above, he trio output (mainly with Gianluca Renzi and Leon Parker) is fantastic, but he’s also collaborated with some excellent singers, e.g. Angela Elvira Herrera Zaparta and Maikel Ante Fajardo on Adelante, and on Sarah Lancman’s previous 2018 albums A Contretemps and Inspiring Love. Both albums only featured Sarah on the title, now we have a recording where both Lancman and Mirabassi share the cover. The two already met in 2015 and have toured together.

Sarah Lancman

Sarah Lancman is a young French singer, who studied in Paris, and has released three albums so far.

There is no shortage of excellent Jazz singers today, but still, Lancman has a very recognisable, unique voice. Not suprisingly, she won the first price in a jazz contest hosted by Quincy Jones.

Giovanni Mirabassi – Sarah Lancman – Intermezzo (Starprod 2019)

So what do you get? Well, you could argue, is this still Jazz?

You basically get beautiful duos where Mirabassi plays in a very intimate and connected way with Sarah, who singing exclusively in Italian (note the album cover kind of gives it away) on this album.

Every once in a while, Olivier Bogé joins playing the saxophone, with a sound somewhat reminiscent of Stan Getz. So who cares if this is Jazz or not?

All of this is just hugely enjoyable, beautiful, intimate music, and really worth checking out.

My rating: 4 stars

You can find it here (Qobuz)

Coltrane ’58: The Prestige Recordings

John Coltrane

I’ve checked, and to date, I’ve only mentioned John Coltrane twice on my blog. Let me clarify: this lack of coverage is not for lack of admiration, it is after all not by chance that I’ve listed the amazing album My Favorite Things in My 25 Essential Jazz Albums.

It is just that overall, so much more has been written about the Jazz legends, both online and offline, than about current contemporary musicians.

Therefore, I try to focus a lot of my Jazz writing here on recordings of the last 2 decades.

That said, every once in a while the record industry finds a smart way of re-releasing existing content, which gives me a nice excuse to write about it.

Coltrane’58 – The Prestige Recordings (Prestige Remaster 2019)

Coltrane '58 The Prestige Recordings 2019 remaster 24 96 192

To make it clear: there is no new content on this box that hasn’t been released previously. What is interesting about it is essentially two things: a remaster of the original recordings, and the chronological ordering of all of his recordings.

You get 37 tracks, all recorded in the year of 1958 when Coltrane signed with Prestige, and started to emerge as the star and legend he was bound to become in the following years. They are taken from albums such as Soultrane, Lush Life, or Kenny Burrell & John Coltrane.

Personally, I don’t think this year is as great as some of his all time masterpieces, be it Giant Steps (1959), My Favorite Things (1960) or obviously A Love Supreme (1964).

That said, this is nevertheless a box of thoroughly enjoyable music, uniting such fantastic musicians such as Tommy Flanagan, Red Garland, Paul Chambers, Jimmy Cobb, Louis Hayes or Art Taylor as the rhythm section, and great soloists such as Kenny Burrell and Freddy Hubbard.

Furthermore, the remastering really is quite well done, apparently taken directly from the original master tapes. Prestige unfortunately never was one of the “audiophile” labels, that said, for a 60 year old recording, this entire box really is fully enjoyable.

Before buying it, you may want to check out which of the original albums you may already own, or if you already (like me) have the Complete Prestige Recordings box set, in which case the only reason for buying would be the remastering.

If you don’t have any of these albums yet, this is a purchase I can recommend without any hesitation.

My rating: 4 stars

You can find it here (Qobuz)

One of the best Jarrett Solo albums: Paris Concert

Keith Jarrett’s Solo Albums

At some point on this blog I had said I was planning to review all of Jarrett’s solo recordings here.

Well, I haven’t written about them in a long time. Nicely enough, a reader comment, inquiring about a live concert by Jarrett she heard on the radio a long time ago, brought me back on track.

I’m still not sure, but most likely the album she is looking for is one of Jarrett’s best ever solo piano recordings, Bremen/Lausanne, actually one of my 25 Essential Jazz albums.

Therefore, let’s talk about another excellent Jarrett solo album I’ve had for a long time:

Keith Jarrett: Paris Concert (ECM 1990)

Keith Jarrett: Paris Concert ECM 1990

This is not one of Jarrett’s longest solo albums, containing just a single concert. It mainly consists of one impressive continuous improvisation of more than 38 minutes, simply titled “October 17, 1988”. 

The concert starts sounding like Jarrett is actually doing a Bach concert, he plays something that could be a slow Präludium, indicating that Jarrett clearly knows his counterpoint. 

This is not totally surprising, Jarrett was actually playing a lot of Bach at the time, e.g. his recording of the Goldberg Variations was released just one year later after this concert was recorded in 1988 at Salle Pleyel. (Side note: I’m not such a fan of Jarrett’s classical recordings on their own, but am very happy how they influenced his Jazz playing).

About 9 to 10 minutes in this evolves into a more hypnotic part, with the left hand in a steady bass pattern over which the right hand freely improvises.

Later, around the 20 minutes mark, the music becomes increasingly minimal, but probably even more beautiful and mesmerizing. He quickly evolves back into a much more powerful improvisation.

After the main course you get two smaller pieces, simply called The Wind and Blues, both of which are highly enjoyable.

The only downside of this album is Jarrett’s really annoying tendency to hum along with his music. I sincerely hope one day artificial intelligence will be good enough to remove his singing from his otherwise fantastic albums.

This is clearly one of his best ever solo efforts, and should be in every Jarrett lover’s collection.

My rating: 5 stars

You can find it here (Qobuz)