Liveblogging impressions! The Diego Barber disc is pretty, but feels slight. Like pleasant background music. The folk-jazz leanings of the Jimmy Udden disc -- and this whole notion that it's about the pull of a smalltown home -- is much more compelling to me.
Eh, I already started with Jonah's list, but I'll try K's suggestions, too.
50. Lars Danielsson - Tarantella, Act Music + Vision 2009
49. Charles Lloyd - Jumping the Creek, ECM 2005
48. Old Dog - By Any Other Name, Porter 2009
47. Bebo & Cigala - Legrimas Negras, RCA 2004
46. Vandermark 5 - Alchemia, Not Two 2005
45. Anashai Cohen - Continuo, Sunny Side 2006
44. Esbjorn Svensson Trio - Seven Days of Falling, Act 2003
43. Susie Ibarra - Folklorio, Tzadik 2004
42. Full Blast - Full Blast, Jazzwerkstatt 2005
41. Mark Feldman - Secrets, Tzadik 2009
40. Kieth Jarrett - Up For It, ECM 2003
39. Scorch Trio - Luggmut, Rune Grammofon 2004
38. Derek Bailey - Mirakle, Tzadik 2007
37. Milford Graves & John Zorn - 50th Birthday Celebration Vol. 2, Tzadik 2004
36. Greg Osby - Channel 3, Blue Note 2005
35. Dave Douglas - Strange Liberation, RCA 2004
34. Ellery Eskellin - Aracanum Moderne, HATology 2003
33. Nels Cline - Monastery, Cryptogramophone 2006
32. Braxton, Graves, Parker - Beyond Quantum, Tzadik 2008
31. Led Bib - Sensible Shoes, Cuneiform 2009
30. David S. Ware - Corridors and Parallels, AUM Fidelity 2001
29. Bobby Bradford Extet - Midnight Pacific Airwaves, Entropy 2008
28. Brad Mehldau - Day is Done, Nonesuch 2005
27. Tord Gustarvsen Trio - Being There, ECM 2007
26. Alexander von Slichppenbach Trio - Swinging at the BIM, Phantom 2008
25. Anouar Brahem - Astrakan Cafe, ECM 2001
24. Evan Parker - After Appleby, Leo 2000
23. Wadada Leo Smith - Lake Biwa, Tzadik 2004
22. Art Ensemble of Chicago - The Meeting, Pi 2003
21. Andrew Hill - Time Lines, Blue Note 2006
20. Matt Wilson - Humidity, Palmetto 2003
19. William Parker - Sound Unity, AUM Fidelity 2005
18. Fred Hersch - Trio + 2, Palmett0 2004
17. Bobby Previte - 23 Constellations of the Joan Miro, Tzadik 2003
16. Paul Bley, Jimmy Giuffre, & Steve Swallow - Emphasis & Flight 1961, HATology 2003
15. Mathew Shipp - Nu Bopp, Thirsty Ear 2002
14. Electric Masada - 50th Birthday Celebration Vol. 4, Tzadik 2004
13. Ben Allison - Riding the Nuclear Tiger, Palmetto 2001
12. Tim Berne - Open, Coma/The Shell Game, Screwgun 2001
11. The Masada - Sevilla 2000/Tonic 2001, Tzadik 2000/2001
#. Bar Kokhba Sextet - 50th Birthday Celebration Vol. 11, Tzadik 2004 - Of all the Zorn on this list, I feel bar Kokhba is his masterpiece. Both this and the Electric Masada recording (#14) are featured debuts by him from this decade and each presents Zorn as a seasoned avant-garde veteran. The Masada comes in right above the ten here and he and drummer Milford Graves are up higher at #37. Needless to say, this 3 night live feature is from the most important month of jazz this decade, September 2004. In mixing klezmer with new classical, frantic free jazz, and dark somber tones, Zorn assembled a team of Tzadik wunderkinds to play some of the most beautiful, powerful renditions of the Masada songbook.
#. Bohren & der Club of Gore - Black Earth, Ipecac 2004 - This album is without definition so whatever the Gore Club consider themselves is fine with us. They used to be a hardcore metal band, but now exhibit an extremity of self-control. Black Earth is strewn with swings, flows, and terrifies. Death metal lounge music would be spot on but the Club is something more visceral and deep. The quartet conjures up images and lets you decide what any of their 9 ballads of mystery and madness mean.
#. Bill Frisell - Richter 858, Soundlines 2005 - Jazz musicians become legends because they have a sound. Frisell broke into the usually tepid world of jazz guitar with just that. His long run with Nonesuch has produced some of the most interesting works on guitar in the last two decades. Songlines release Richter 858 presents a look at the seasoned Frisell where each piece is a sublimation of art by German artist Gerhard Richter. The albums tracks are repetitive violin/cello/viola lines on top of which Frisell smears on the effects, the beauty, and the anti-rhythm.
#. Charles Mingus - Cornell 1964 w/ Eric Dolphy, Blue Note 2007 - Certainly the best discovery of the year goes to Sue Mingus. This album is as stacked as they come: Dannie Richmond, Eric Dolphy, Jaki Byard, Johnny Coles, and Clifford Jordan. The hand of Mingus guides this group through the likes of When Irish Eyes Are Smiling, Fats Waller's Jitterbug Waltz, a 29 minute Fables of Fabus, and Mingus' solo bass homage to Ellington in Sophisticated Lady. Within these comes the endless styling of such a diverse group in solo sections, complementing, and Mingus' spur-of-the-moment stage direction. A must-own.
#. The Bad Plus - These Are the Vistas, Sony 2003 - The most interesting part about the Bad Plus is their drummer David King. King, who has drummed primarily with rock groups including 12 Rods, Meat Beat Manifesto, among others. But this unlikely trio doesn't end there, pianist Ethan Iverson seems a cooler version of Mehldau, preferring classical and free jazz influences to more traditional like Bill Evans, and Reid Anderson is a NYC new classical composer with a stint of garage rock running through him. These Are the Vistas is their second rock/pop influenced post-bop record. Apart from covering Smells Like Teen Spirit, they explore the boundaries of what a jazz trio can do, writing arrangement after arrangement of mini-pop symphony.
#. Dave Holland - Extended Play: Live at Birdland, ECM 2003 If '59 was a pivotal year, then '69 could be said to follow it in importance. Again, at the helm is Miles Davis with In a Silent Way infusing us forever with rock and electronic music. Out of this mist came Dave Holland, the bass player who adapted his playing to fit the electronic charge in the air. Soon thereafter, he began a successful solo career. Fast forward 30 years, he plays live with his quintet consisting of saxophonist Chris Potter, trombone/cowbell Tom Eubanks, vibe/marimba Steve Nelson and drummer Billy Kilson. Every track but one clocks in over 10 minutes, some as long as 20. Holland and his guys just love to play and do so in a fashion which shatters normal conventions while staying within jazz's classic sound.
#. Thomasz Stanko - Suspended Night, ECM 2004 The European free jazz bullpen is deep, all too often with people North America never hears of. Thank god for ECM, which turns up allover this list. Throughout the 90s Stanko began recording eerie ballads drenched in his far-off, minimal trumpet. Since the 60s he had been helping Krzysztof Komeda on such albums as Astigmatic. At the turn of the century, he had perfected this and has released a slew of great albums, any of which could have made this list. Suspended Night contains some of the most standard recordings of them all, making a very accessible recording.
#. John Coltrane - The Olatunji Concert: Last Live Recording, UMVD 2001 - As far as rediscoveries go, live stuff is always the most exciting. Coltranes last live set from 1967 has an incredible lineup, including his wife Alice Coltrane, drummer Rashied Ali, complementing saxophonist Pharoah Sanders, and several more African percussion players. The two tracks, Ogunde and My Favorite Things are among his best ever recorded on record. The venue, Olatunji Center of African Culture, is a perfect atmosphere for Tranes last amazing licks.
#. Ornette Coleman - Sound Grammar, Sound Grammar 2006 - In 2007 Coleman won a Pulitzer Prize for this, and it was his first album in over a decade. Chock full of the usual free, upward swells of jubilee, Coleman is also one of the great listeners of music and makes extensive use of musical quotation. Greg Cohen and Tony Falanga both play bass...giving the album double, double bass. The album seems as if it could be transplanted from his seminal album Live at the Golden Circle in Stokholm, and now, at 76 years old, he is still utilizing trumpet, violin, and sax to bring classic free jazz and show he is still the ruler of his kingdom.
#. Supersilent - 5/6, Rune Grammofon 2006/2005 - When Rune Grammofon records began in 98, the Norwegian label began drawing from techno influences heavily. Supersilent became their international success. Having released all 5 of their 9 albums this decade, 5 and 6 present some of their most compelling work. Each album is the result of a live improvisational performance combining a quartet of trumpet, drums, electronics/electric guitar, and synthesizer.
12. Tim Berne - Open, Coma/The Shell Game, Screwgun 2001
What an odd pairing here - those two albums have nothing to do with each other.
Btw DanielEsq, if you're looking for "evidence" against your previously stated position, Tim Berne is my personal choice for argument against. Unfortunately, emusic's offerings suffer greatly from album pricing for his stuff, especially since he has a penchant for longer works. His trio Big Satan's Winter & Winter album might be the best value from there, though I would advocate an introduction from something in the late 80s-early 90s, unavailable at emu.
But if you think you have any idea of my tastes, then safely know he's probably my single favorite musician, and you can set expectations accordingly.
And, to connect dots in the thread, notice that WMLU's top 50 jazz discs of the decade has Ornette Coleman's Sound Grammer at No. 2. And their No. 1 -- Supersilent's 6 -- was also highly rated by Pitchfork (it didn't make P4K's Top 200 discs of the decade, tho).
Vincent: That Big Satan disc doesn't appear to be album-priced. I see it listed at 6 credits (for 6 songs totalling 78 minutes). Intriguing cover and AMG review. I'll check it out. Maybe I can sample the full album on Lala.
Daniel, that's why I said it was probably the best value (I didn't mean to imply that everything there was album priced, just that the bulk of it suffered from it). Lala apears to have very little, but it does have that Big Satan disc and The Sevens, which is excellent. Listen to the 25 minute track 4 "Quicksand" for a good example of his work. If that doesn't sound vital to you, then I might not have many good pointers for you. You can listen to another good Berne track "Jalapeno Diplomacy" on this compilation.
Lala's pretty comprehensive, but I'm starting to spot some omissions here and there. The discs you mention, for example. Also missing: Titles from reissue labels Sublime Frequencies and Analog Africa.
Kinda diggin' The Sevens. It sounds like an homage to big U.S. cities at night. There's a lot of odd time-changes and time-signatures happening here, but I don't know enough about tempo to really dissect them.
I can't say it grabs me the way that older jazz I mentioned does, but it is interesting.
And their No. 1 -- Supersilent's 6 -- was also highly rated by Pitchfork
I actually have a big issue with this--not that 6 isn't meritworthy, but that it doesn't seem to be an innovative use of electronica for jazz musicians. To put it differently, it imports the musical stylings of electronica, sounding more ambient as a consequence, but does not represent a genuine encounter between jazz musicians and contemporary technology. Certainly, if a revisioning of Jazz should be the best album of the decade, the jazz version of Kid A shouldn't be the best choice.
if a revisioning of Jazz should be the best album of the decade, the jazz version of Kid A shouldn't be the best choice.
Oh, I don't know about this. Kid A is one of -- if not the -- best rock album of the decade. A jazz album of the decade could do worse looking for a comparison.
Besides, I think 6is a bewitching blend of electronica and jazz. I don't think of it as ambient as much as a boundary-pushing form of free-jazz (and a form of free-jazz that I can easily enjoy).
I'm often surprised by things that Lala is missing. Not that they are a totally comprehensive site, simply that they have some odd gaps. However, now that Apple owns them...
Onto more serious subjects, it seems a number of people take overall issue with the lists posted. Is that because of the focus on indie/alternative material, or is it the actual content? Obviously someone who listens almost exclusively to classical or jazz is not going to have a lot of crossover with P4K's or anyone else's lists, but I really wonder how anyone who listens to a lot of indie/alternative music could come away from this decade with only a couple discs that are on the P4K list.
I really wonder how anyone who listens to a lot of indie/alternative music could come away from this decade with only a couple discs that are on the P4K list.
Has the label "independent music" ever represented something that is stylistically unified? In the 1980s, the college radio acts that called themselves indie, in one way or other, varied quite a lot because the markets were not themselves unified. Getting SST records outside of Southern California could be quite difficult, and only a few groups, like REM, snagged distribution deals from majors early in their careers. By the end of the decade the moniker could cover both rootsy rockers and techno-dance music. Except that "alternative" has often come to represent a type of rock music, I'm not sure that the extremes of indie have ever been brought together into a coherent scene.
Since I'm about to head out for lunch and some shopping, I'll keep this brief: no, it hasn't. Both terms are heavily inclusive and only begin to have focus when used as modifiers (e.g. indie pop, alt. rock).
And, to connect dots in the thread, notice that WMLU's top 50 jazz discs of the decade has Ornette Coleman's Sound Grammer at No. 2. And their No. 1 -- Supersilent's 6 -- was also highly rated by Pitchfork (it didn't make P4K's Top 200 discs of the decade, tho).
My google search hasn't yielded a result for WMLU's top 50 list. Any chance you could toss me a link?
Onto more serious subjects, it seems a number of people take overall issue with the lists posted. Is that because of the focus on indie/alternative material, or is it the actual content? Obviously someone who listens almost exclusively to classical or jazz is not going to have a lot of crossover with P4K's or anyone else's lists, but I really wonder how anyone who listens to a lot of indie/alternative music could come away from this decade with only a couple discs that are on the P4K list.
My primary contention with the lists are the specious inclusion of albums that belong to genres other than indie. If indie-purveyor Pitchfork wants to make a best of the decade list, go for it. But don't pretend it's not a best-of-the-indies list by including a jazz album or two, maybe an indie-approved world music album. Because if an honestly constructed all-inclusive best of the decade list were made, it will look a whole lot different than the ones pasted in this thread.
As far as the choices within it, other than one list egregiously omitting Calexico's "Feast of Wire", my only real issue is with the actual numerical placement of some albums. I mean, even a band like Grizzly Bear, which I find dull and uninspiring, is very well thought of by friends and acquaintances whose taste in music I respect, so it's difficult for me to have an issue with, say, Veckamist's inclusion on the list; just a different strokes for different folks kind of thing. It wouldn't be art if it didn't inspire contradictory and differentiated opinions among similar people.
yesterday emusic's front page very briefly had a sign that said "best of the decade blowout" - then I clicked on it and it took me to the best of the decade hub, with the same "blowout" banner at the top - but otherwise the hub was the same, and all the prices were as normal. Anyone else see this? I think it means a sale is in the works.
I would like to think so, but the home page seems to default more often to banners that note specific releases more often than not. The "Deals and Steals" icon only appears after I refresh the page several times. Does anyone know that the Bach Cantatas on BIS are on sale?
1. It's obvious the lister's ears are into the avant guard sound. The domination of Tzadik and Thirsty Ear (with some Hatology and Ipecac thrown in) give that away immediately. And then, of course, Frisell's Richter album, which might as well have been released by one of those labels. It's hard to quibble with what a person's ear most enjoys hearing. I mean, my top 50 looks very different than his, but then again, I'm at a place where much of the music on Tzadik and Thirsty Ear doesn't appeal to me. What am I supposed to say to the guy, make a list that includes stuff that you don't like to listen to? Hey, wait a minute, it's just one guy, right? This isn't a list compiled from lots of peoples lists, right? I'll have to recheck that. When it's a group of people, I have a way different take on it. Then you're putting the organization stamp of approval on things. When it's just some guy (or girl), then that's all it represents; here's what this person has most enjoyed listening to for the last ten years. There's no doubt my own list will show a particular bias.
2. it's waaaay more than a coincidence that whenever I run into someone with jazz tastes similar to the WUML lister that they invariably put Anouar Brahem's Arkastran Cafe on it. I just don't get it. I mean, I understand the ECM choice of Strange Liberation; I can see how a avant-noise-jazz fan would like Strange Liberation, but I still don't hear anything in Arkastran Cafe that would so consistently appeal to this type of jazz fan. For what it's worth, IMO, Brahem's Le Voyage de Sahar is far superior to an okay Cafe.
3. The inclusion of Sound Grammar at number two is nothing more than the lister honoring a jazz great still putting out good music. I mean, even in his mini-review of it, the lister uses the phrase "chock full of the usual..." and basically calls it more of the good stuff. Well, that's what it is. But it sure ain't no top 50 of the decade. I do, however, find his selection of this album rings with more sincerity than the previous list (was it Pitchfork's? I forget). Based on this guy's list, he probably does look at Coleman as a jazz god, and as such, it's not inconceivable that he'd want to honor Coleman with a high placments on a best-of list. I can respect that, even if I do find the result ludicrous.
4. What the hell is that Tord Gustarvsen album doing there? Gustarvsen is one of the most overrated players out there. That sleep inducing hack shouldn't be anywhere on a best of list. You know what this is? This is what happens when you listen primarily to Tzadik and Thirsty Ear... you need to overcompensate when it's time to finally listen to something peaceful, and you go with a guy that's pretty much a human white-noise machine. Someone should give this guy a copy of Marcin Wasilewski's "January"; that's a quiet piano album deserving of top 50 recognition. But, hey, when you're trying for a momentary retreat from the audio barrage, maybe even January is too much stimuli for your thirsty ear to handle. Good grief, lol.
5. I have a real problem with including the Mingus and Coltrane albums. This was music made long ago, and if you can justify putting these albums in, then you can justify putting re-issues in, too, which would only compound the mistake. Too bad the albums weren't released back when they were made, but it's wrong to include music made forty years ago in a best of the decade (or year) list. The criteria should be recording date, not release date.
6. Nice to see Fred Hersch getting some love. I don't agree that it should make the top fifty, but I also can't vehemently disagree with it. Some good music there. And the guy deserves some recognition. He kinda flies under the radar.
7. I'm familiar with the Supersilent releases because they get talked up from time to time over on AAJ, but other than the Amazon samples for #9, I haven't heard anything on them, and I'm reluctant to comment on them with so little to go on. Even though the samples for #9 weren't auspicious, I've been doing this for too long to fall for that trap. I'll have to see about tracking some of this stuff down. I certainly enjoy other musicians that apply an ambient electronica take on jazz. I don't know if it really even is jazz, but I don't get too caught up with that distinction.
@jonahpwll: Who wrote the list--whether one person or the staff of the station--definitely shapes the list. If the authors were students (WUML is a college station), their exposure to any genre may be limited to whatever promotional recordings the station receives. Someone so young may not have the money to explore a non-mainstream genre with the same intensity as someone who is older. Their experiences of live shows may be limited to whatever is close and cheap (Boston and Cambridge, which are near Lowell, aren't great for jazz, and they aren't cheap). But even if the list was composed by people with more vision, they may have fallen into a different trap: having to defend the small label music it plays as opposed to mainstream choices. Amongst the Thirsty Ear, Tzadik, and ECM (and there is a lot of ECM) there are but two new Blue Note offerings (the rest are historic recordings). I think this shows a certain defiance. College radio DJs field numerous calls from students who ask, "What the f! are you playing?" They become accustomed to responding with some hostility.
@jonahpwll: Who wrote the list--whether one person or the staff of the station--definitely shapes the list. If the authors were students (WUML is a college station), their exposure to any genre may be limited to whatever promotional recordings the station receives. Someone so young may not have the money to explore a non-mainstream genre with the same intensity as someone who is older. Their experiences of live shows may be limited to whatever is close and cheap (Boston and Cambridge, which are near Lowell, aren't great for jazz, and they aren't cheap). But even if the list was composed by people with more vision, they may have fallen into a different trap: having to defend the small label music it plays as opposed to mainstream choices. Amongst the Thirsty Ear, Tzadik, and ECM (and there is a lot of ECM) there are but two new Blue Note offerings (the rest are historic recordings). I think this shows a certain defiance. College radio DJs field numerous calls from students who ask, "What the f! are you playing?" They become accustomed to responding with some hostility.
Excellent points. I was gonna run a quick check on WUML before making my post, but, well, I was unapologetically lazy. Just didn't feel like expending the effort to open an extra window and google the station site. The fact that it's a college station puts many things into context.
As far as Blue Note, they absolutely shouldn't have anything up there (except maybe a Greg Osby, no, wait a minute, was Robert Glasper's In My Element on Blue Note? I think it was. Surprised a college radio station didn't fawn over an album that did a mashup of Radiohead and Herbie Hancock. In My Element, a great album.).
I don't know if Fresh Sound, Rune Grammophone, Cryptogrammaphone, SunnySide, Songlines, or ACT would get many promo cds to college stations or not. Too bad if they don't, because those labels put out some of the best jazz of the decade (along with Tzadik and Thirsty Ear).
Comments
Eh, I already started with Jonah's list, but I'll try K's suggestions, too.
50. Lars Danielsson - Tarantella, Act Music + Vision 2009
49. Charles Lloyd - Jumping the Creek, ECM 2005
48. Old Dog - By Any Other Name, Porter 2009
47. Bebo & Cigala - Legrimas Negras, RCA 2004
46. Vandermark 5 - Alchemia, Not Two 2005
45. Anashai Cohen - Continuo, Sunny Side 2006
44. Esbjorn Svensson Trio - Seven Days of Falling, Act 2003
43. Susie Ibarra - Folklorio, Tzadik 2004
42. Full Blast - Full Blast, Jazzwerkstatt 2005
41. Mark Feldman - Secrets, Tzadik 2009
40. Kieth Jarrett - Up For It, ECM 2003
39. Scorch Trio - Luggmut, Rune Grammofon 2004
38. Derek Bailey - Mirakle, Tzadik 2007
37. Milford Graves & John Zorn - 50th Birthday Celebration Vol. 2, Tzadik 2004
36. Greg Osby - Channel 3, Blue Note 2005
35. Dave Douglas - Strange Liberation, RCA 2004
34. Ellery Eskellin - Aracanum Moderne, HATology 2003
33. Nels Cline - Monastery, Cryptogramophone 2006
32. Braxton, Graves, Parker - Beyond Quantum, Tzadik 2008
31. Led Bib - Sensible Shoes, Cuneiform 2009
30. David S. Ware - Corridors and Parallels, AUM Fidelity 2001
29. Bobby Bradford Extet - Midnight Pacific Airwaves, Entropy 2008
28. Brad Mehldau - Day is Done, Nonesuch 2005
27. Tord Gustarvsen Trio - Being There, ECM 2007
26. Alexander von Slichppenbach Trio - Swinging at the BIM, Phantom 2008
25. Anouar Brahem - Astrakan Cafe, ECM 2001
24. Evan Parker - After Appleby, Leo 2000
23. Wadada Leo Smith - Lake Biwa, Tzadik 2004
22. Art Ensemble of Chicago - The Meeting, Pi 2003
21. Andrew Hill - Time Lines, Blue Note 2006
20. Matt Wilson - Humidity, Palmetto 2003
19. William Parker - Sound Unity, AUM Fidelity 2005
18. Fred Hersch - Trio + 2, Palmett0 2004
17. Bobby Previte - 23 Constellations of the Joan Miro, Tzadik 2003
16. Paul Bley, Jimmy Giuffre, & Steve Swallow - Emphasis & Flight 1961, HATology 2003
15. Mathew Shipp - Nu Bopp, Thirsty Ear 2002
14. Electric Masada - 50th Birthday Celebration Vol. 4, Tzadik 2004
13. Ben Allison - Riding the Nuclear Tiger, Palmetto 2001
12. Tim Berne - Open, Coma/The Shell Game, Screwgun 2001
11. The Masada - Sevilla 2000/Tonic 2001, Tzadik 2000/2001
#. Bar Kokhba Sextet - 50th Birthday Celebration Vol. 11, Tzadik 2004 - Of all the Zorn on this list, I feel bar Kokhba is his masterpiece. Both this and the Electric Masada recording (#14) are featured debuts by him from this decade and each presents Zorn as a seasoned avant-garde veteran. The Masada comes in right above the ten here and he and drummer Milford Graves are up higher at #37. Needless to say, this 3 night live feature is from the most important month of jazz this decade, September 2004. In mixing klezmer with new classical, frantic free jazz, and dark somber tones, Zorn assembled a team of Tzadik wunderkinds to play some of the most beautiful, powerful renditions of the Masada songbook.
#. Bohren & der Club of Gore - Black Earth, Ipecac 2004 - This album is without definition so whatever the Gore Club consider themselves is fine with us. They used to be a hardcore metal band, but now exhibit an extremity of self-control. Black Earth is strewn with swings, flows, and terrifies. Death metal lounge music would be spot on but the Club is something more visceral and deep. The quartet conjures up images and lets you decide what any of their 9 ballads of mystery and madness mean.
#. Bill Frisell - Richter 858, Soundlines 2005 - Jazz musicians become legends because they have a sound. Frisell broke into the usually tepid world of jazz guitar with just that. His long run with Nonesuch has produced some of the most interesting works on guitar in the last two decades. Songlines release Richter 858 presents a look at the seasoned Frisell where each piece is a sublimation of art by German artist Gerhard Richter. The albums tracks are repetitive violin/cello/viola lines on top of which Frisell smears on the effects, the beauty, and the anti-rhythm.
#. Charles Mingus - Cornell 1964 w/ Eric Dolphy, Blue Note 2007 - Certainly the best discovery of the year goes to Sue Mingus. This album is as stacked as they come: Dannie Richmond, Eric Dolphy, Jaki Byard, Johnny Coles, and Clifford Jordan. The hand of Mingus guides this group through the likes of When Irish Eyes Are Smiling, Fats Waller's Jitterbug Waltz, a 29 minute Fables of Fabus, and Mingus' solo bass homage to Ellington in Sophisticated Lady. Within these comes the endless styling of such a diverse group in solo sections, complementing, and Mingus' spur-of-the-moment stage direction. A must-own.
#. The Bad Plus - These Are the Vistas, Sony 2003 - The most interesting part about the Bad Plus is their drummer David King. King, who has drummed primarily with rock groups including 12 Rods, Meat Beat Manifesto, among others. But this unlikely trio doesn't end there, pianist Ethan Iverson seems a cooler version of Mehldau, preferring classical and free jazz influences to more traditional like Bill Evans, and Reid Anderson is a NYC new classical composer with a stint of garage rock running through him. These Are the Vistas is their second rock/pop influenced post-bop record. Apart from covering Smells Like Teen Spirit, they explore the boundaries of what a jazz trio can do, writing arrangement after arrangement of mini-pop symphony.
#. Dave Holland - Extended Play: Live at Birdland, ECM 2003 If '59 was a pivotal year, then '69 could be said to follow it in importance. Again, at the helm is Miles Davis with In a Silent Way infusing us forever with rock and electronic music. Out of this mist came Dave Holland, the bass player who adapted his playing to fit the electronic charge in the air. Soon thereafter, he began a successful solo career. Fast forward 30 years, he plays live with his quintet consisting of saxophonist Chris Potter, trombone/cowbell Tom Eubanks, vibe/marimba Steve Nelson and drummer Billy Kilson. Every track but one clocks in over 10 minutes, some as long as 20. Holland and his guys just love to play and do so in a fashion which shatters normal conventions while staying within jazz's classic sound.
#. Thomasz Stanko - Suspended Night, ECM 2004 The European free jazz bullpen is deep, all too often with people North America never hears of. Thank god for ECM, which turns up allover this list. Throughout the 90s Stanko began recording eerie ballads drenched in his far-off, minimal trumpet. Since the 60s he had been helping Krzysztof Komeda on such albums as Astigmatic. At the turn of the century, he had perfected this and has released a slew of great albums, any of which could have made this list. Suspended Night contains some of the most standard recordings of them all, making a very accessible recording.
#. John Coltrane - The Olatunji Concert: Last Live Recording, UMVD 2001 - As far as rediscoveries go, live stuff is always the most exciting. Coltranes last live set from 1967 has an incredible lineup, including his wife Alice Coltrane, drummer Rashied Ali, complementing saxophonist Pharoah Sanders, and several more African percussion players. The two tracks, Ogunde and My Favorite Things are among his best ever recorded on record. The venue, Olatunji Center of African Culture, is a perfect atmosphere for Tranes last amazing licks.
#. Ornette Coleman - Sound Grammar, Sound Grammar 2006 - In 2007 Coleman won a Pulitzer Prize for this, and it was his first album in over a decade. Chock full of the usual free, upward swells of jubilee, Coleman is also one of the great listeners of music and makes extensive use of musical quotation. Greg Cohen and Tony Falanga both play bass...giving the album double, double bass. The album seems as if it could be transplanted from his seminal album Live at the Golden Circle in Stokholm, and now, at 76 years old, he is still utilizing trumpet, violin, and sax to bring classic free jazz and show he is still the ruler of his kingdom.
#. Supersilent - 5/6, Rune Grammofon 2006/2005 - When Rune Grammofon records began in 98, the Norwegian label began drawing from techno influences heavily. Supersilent became their international success. Having released all 5 of their 9 albums this decade, 5 and 6 present some of their most compelling work. Each album is the result of a live improvisational performance combining a quartet of trumpet, drums, electronics/electric guitar, and synthesizer.
Btw DanielEsq, if you're looking for "evidence" against your previously stated position, Tim Berne is my personal choice for argument against. Unfortunately, emusic's offerings suffer greatly from album pricing for his stuff, especially since he has a penchant for longer works. His trio Big Satan's Winter & Winter album might be the best value from there, though I would advocate an introduction from something in the late 80s-early 90s, unavailable at emu.
But if you think you have any idea of my tastes, then safely know he's probably my single favorite musician, and you can set expectations accordingly.
I'll check out those Berne discs on Lala.
I can't say it grabs me the way that older jazz I mentioned does, but it is interesting.
Thanks for the Examples of Twelves pointer.
The Way Things Were can be streamed in its entirety at IMPOSSIBLE ARK RECORDS
@ Kargatron:
Thanks for the John Hollenbeck rec. - Sounds just fantastic !
BTW: great thread !
Oh, I don't know about this. Kid A is one of -- if not the -- best rock album of the decade. A jazz album of the decade could do worse looking for a comparison.
Besides, I think 6 is a bewitching blend of electronica and jazz. I don't think of it as ambient as much as a boundary-pushing form of free-jazz (and a form of free-jazz that I can easily enjoy).
Onto more serious subjects, it seems a number of people take overall issue with the lists posted. Is that because of the focus on indie/alternative material, or is it the actual content? Obviously someone who listens almost exclusively to classical or jazz is not going to have a lot of crossover with P4K's or anyone else's lists, but I really wonder how anyone who listens to a lot of indie/alternative music could come away from this decade with only a couple discs that are on the P4K list.
My google search hasn't yielded a result for WMLU's top 50 list. Any chance you could toss me a link?
My primary contention with the lists are the specious inclusion of albums that belong to genres other than indie. If indie-purveyor Pitchfork wants to make a best of the decade list, go for it. But don't pretend it's not a best-of-the-indies list by including a jazz album or two, maybe an indie-approved world music album. Because if an honestly constructed all-inclusive best of the decade list were made, it will look a whole lot different than the ones pasted in this thread.
As far as the choices within it, other than one list egregiously omitting Calexico's "Feast of Wire", my only real issue is with the actual numerical placement of some albums. I mean, even a band like Grizzly Bear, which I find dull and uninspiring, is very well thought of by friends and acquaintances whose taste in music I respect, so it's difficult for me to have an issue with, say, Veckamist's inclusion on the list; just a different strokes for different folks kind of thing. It wouldn't be art if it didn't inspire contradictory and differentiated opinions among similar people.
http://wumlradio.blogspot.com/
This is a bunch of "bests." The 50 jazz albums of the decade is about 2/3 of the way down the page. It's the list posted above by Bad Thoughts.
P.S. Found it by searching on: top 50 jazz discs of the decade. A quick skim through the results found it on page 4.
Holy crap that's a lot of lists.
Craig
Yeah. Sorry. I'm a moron.
It's certainly the largest list of lists. The challenge is separating the wheat from the chaff.
I saw you mention that at the other place but the reply comment left me thinking you were referring to the box-set sale. I did not know that - thanks.
1. It's obvious the lister's ears are into the avant guard sound. The domination of Tzadik and Thirsty Ear (with some Hatology and Ipecac thrown in) give that away immediately. And then, of course, Frisell's Richter album, which might as well have been released by one of those labels. It's hard to quibble with what a person's ear most enjoys hearing. I mean, my top 50 looks very different than his, but then again, I'm at a place where much of the music on Tzadik and Thirsty Ear doesn't appeal to me. What am I supposed to say to the guy, make a list that includes stuff that you don't like to listen to? Hey, wait a minute, it's just one guy, right? This isn't a list compiled from lots of peoples lists, right? I'll have to recheck that. When it's a group of people, I have a way different take on it. Then you're putting the organization stamp of approval on things. When it's just some guy (or girl), then that's all it represents; here's what this person has most enjoyed listening to for the last ten years. There's no doubt my own list will show a particular bias.
2. it's waaaay more than a coincidence that whenever I run into someone with jazz tastes similar to the WUML lister that they invariably put Anouar Brahem's Arkastran Cafe on it. I just don't get it. I mean, I understand the ECM choice of Strange Liberation; I can see how a avant-noise-jazz fan would like Strange Liberation, but I still don't hear anything in Arkastran Cafe that would so consistently appeal to this type of jazz fan. For what it's worth, IMO, Brahem's Le Voyage de Sahar is far superior to an okay Cafe.
3. The inclusion of Sound Grammar at number two is nothing more than the lister honoring a jazz great still putting out good music. I mean, even in his mini-review of it, the lister uses the phrase "chock full of the usual..." and basically calls it more of the good stuff. Well, that's what it is. But it sure ain't no top 50 of the decade. I do, however, find his selection of this album rings with more sincerity than the previous list (was it Pitchfork's? I forget). Based on this guy's list, he probably does look at Coleman as a jazz god, and as such, it's not inconceivable that he'd want to honor Coleman with a high placments on a best-of list. I can respect that, even if I do find the result ludicrous.
4. What the hell is that Tord Gustarvsen album doing there? Gustarvsen is one of the most overrated players out there. That sleep inducing hack shouldn't be anywhere on a best of list. You know what this is? This is what happens when you listen primarily to Tzadik and Thirsty Ear... you need to overcompensate when it's time to finally listen to something peaceful, and you go with a guy that's pretty much a human white-noise machine. Someone should give this guy a copy of Marcin Wasilewski's "January"; that's a quiet piano album deserving of top 50 recognition. But, hey, when you're trying for a momentary retreat from the audio barrage, maybe even January is too much stimuli for your thirsty ear to handle. Good grief, lol.
5. I have a real problem with including the Mingus and Coltrane albums. This was music made long ago, and if you can justify putting these albums in, then you can justify putting re-issues in, too, which would only compound the mistake. Too bad the albums weren't released back when they were made, but it's wrong to include music made forty years ago in a best of the decade (or year) list. The criteria should be recording date, not release date.
6. Nice to see Fred Hersch getting some love. I don't agree that it should make the top fifty, but I also can't vehemently disagree with it. Some good music there. And the guy deserves some recognition. He kinda flies under the radar.
7. I'm familiar with the Supersilent releases because they get talked up from time to time over on AAJ, but other than the Amazon samples for #9, I haven't heard anything on them, and I'm reluctant to comment on them with so little to go on. Even though the samples for #9 weren't auspicious, I've been doing this for too long to fall for that trap. I'll have to see about tracking some of this stuff down. I certainly enjoy other musicians that apply an ambient electronica take on jazz. I don't know if it really even is jazz, but I don't get too caught up with that distinction.
Excellent points. I was gonna run a quick check on WUML before making my post, but, well, I was unapologetically lazy. Just didn't feel like expending the effort to open an extra window and google the station site. The fact that it's a college station puts many things into context.
As far as Blue Note, they absolutely shouldn't have anything up there (except maybe a Greg Osby, no, wait a minute, was Robert Glasper's In My Element on Blue Note? I think it was. Surprised a college radio station didn't fawn over an album that did a mashup of Radiohead and Herbie Hancock. In My Element, a great album.).
I don't know if Fresh Sound, Rune Grammophone, Cryptogrammaphone, SunnySide, Songlines, or ACT would get many promo cds to college stations or not. Too bad if they don't, because those labels put out some of the best jazz of the decade (along with Tzadik and Thirsty Ear).