Today I have 18  CDs to add to the 22 from the last post, which completes my 40 honorable mention CDs for 2013, category new recordings/non-vocal. Same rules, same breakdowns, so here goes. 

• Straight Ahead, Right Down the Middle, Mainstream Jazz

Houston Person, "Nice 'n' Easy" (High Note 2013: This is Person's annual gift to us, his large and soulful tenor sound on a range of interesting songs from the American songbook, played with a fine supporting cast. This time around Chuck Redd's vibes add new textures, but the recording as always belongs to Person, and it's wonderful. 

Gilad Edelman, "My Groove, Your Move" (Sharp Nine 2013): Forget that his Dad is the producer of Sharp Nine rcordings and just listen. You'll hear a mature and sweet tenor from a precocious 20 something playing with an all-star band --- Joe Magnarelli on trumpet, David Hazeltine on piano, John Webber on bass, and Jason Brown on drums. Cut from the same mold as Houston Person and Eric Alexander, a bravura mainstream recording. If you like those artists you'll love this. 

• Modern Mainstream Jazz

Noah Preminger, "Haymaker" (Palmetto Records 2013): And that's what he delivers, a haymaker of a recording with Ben Monder on guitar, Matt Pavolka on bass and Colin Stranahan on drums. A group of young Turks light up the music, most composed by Preminger himself. Fine music. 

Allison Miller's Boom Tic Boom,"No Morphine, No Lilies" (Foxhaven 2013): Somehow I slipped this out of the top 25 but lord knows how or why. It's fantastic music, modern tunes by Miller for the most part played by a team of Myra Melford on piano, Jenny Scheinman on violin, and Todd Sickafoose on bass, with guests coming in at times on trdanya stephens, umpet and slide trumpet, and cello. Energetic, clever, and compelling music. 

3 Cohens, "Tightrope" (Anzic 2013): Talented family sound from Anat on woodwinds, Yuval on soprano sax, and Avishai on trumpet, with support from Fred Hersch, Johnathan Blake, and Christian McBride. Reimagined standards interspersed with some free-form improvisations and some songs written by the Cohens. Anat amazes on clarinet, Avishai's tome is as pure as one will find on the trumpet. The arrangements are fun and shake things up a bit so they sound fresh and very smart. 

Danya Stephens, "That Nepenthetic Place" (Sunyside 2013): This is what modern mainstream is about, taking the harmonies, the interplay of key instruments, and the rhythms of hard bop or post bop and extending them and enhancing them with the modern beats of the 2000s. As played by a stellar tenor in Stephens, with support from a cast of young stars --- Taylor Eigsti on piano, Joe Sanders on bass, Justin Brown on drums, Ambrose Akinmusire on trumpet, Jaleel Shaw on alto, and Gretchen Parlato singing on two songs. The arranging is tight so everyone gets into the act but never clutter the compositions, which are largely originals by Stephens. Impressive. 

Geri Allen, "Motown and Motor City Inspirations" (Motema 2013): The third in her trilogy of recordings that are connected to Detroit, this one features Marcus Belgrave on trumpet and David McMurray on alto sax. It's mostly piano driven by Allen, who is expressive on a combination of songs from the Motown songbook and penned by herself. You can hear her pouring her feelings into the entire set, her love for the city, her sorrow, anger, and her prayers. It is another one that I barely dropped from the top 25, so consider it one that is highly recommended. 

• Modern Lyrical Jazz

Lage Lund, Will Vinson, Orlando le Fleming, "Owl Trio" (Losen Records 2013): Music that is ethereal, charmingly lyrical, and wonderfully calming. Tunes from a wide range of sources -- Duke Ellington, Jim Hall, Sammy Cahn, Jerome Kern, Cole Porter, and Toninho Horta -- along with three by the group. Admirably restrained play by Vinson that blends beautifully with the fleet fingerings of Lund. 

Turner Trotignon, "Dusk is a Quiet Place" (Naive 2013): Another soulful, quiet and charming CD, this one combining the tenor sax of Mark Turner with the piano of Baptiste Trotignon. Trotignon has a string of fine piano outings and needs more attention to them in the U.S.; hopefully working with Turner will raise his profile deservedly. And Turner plays with the kind of laid back restraint needed for a CD called "Dusk is a Quiet Place". Beautiful, thoughtful music.

Dave Douglas Quintet, "Time Travel" (Greenleaf Music 2013): Dave Douglas wrote all the music. This is the most accessible CD of Douglas' that I have heard and the first one I truly appreciated for its melodies, lyricism, and lush arrangements. It's quite a group, with Jon Irabagon on saxes, Matt Mitchell on piano, Linda Oh on bass, and Rudy Royston on drums. Works for me.  

• Modern Impressionistic Jazz

Carla Bley, Andy Sheppard, Steve Swallow, "Trios" (ECM 2013): Bley and Swallow had a great year with a couple of ECM releases among them.  Here with the talented but neglected -- in the U.S.-- Andy Sheppard on tenor and soprano saxes they impress on five modernist creations by Bley as they move in, out, and around each other. 

John Abercrombie Quartet, "39 Steps": (ECM 2013): Adding Marc Copland on piano to his trio of guitar, Drew Gress on bass, and Joey Baron on drums opened up his sound and created a truly picturesque set of 10 songs played with refinement and admirable restraint. The tribute to Alfred Hitchcock shows up on titles like "Vertigo", Spellbound", and the title piece. Very atmospheric music. 

Ralph Alessi, "Baida" (ECM 2013): The music is lovely, laid back, and nicely played by Alessi on trumpet, Jason Moran on piano, Drew Gress on bass, and Nasheet Waits on drums. But its the names of the tunes that capture one's imagination and funny bone: "Chuck Barris", Gobble Goblins", "In-Flight Entertainment", Throwing Like a Girl to name a few. 

• Modern Abstract Jazz

Steve Coleman and the Five Elements, "Functional Arrythmias" (Pi 2013): The most approachable CD I have heard from Coleman, the master of the microtone. Its definitely a modern abstract outing but holds together nicely for me with melodies that were distinctive, angular at times, but never harsh to these ears. I suggest this for folks who want to step outside a bit without going over the edge. Miles Okazaki's guitar play is a definitely highlight. 

Pat Metheny, "Tap: Book of Angels Volume 20" (Tzadik 2013): All of the music is by John Zorn, who gave Metheny the choice of any of the Book of Angels songs for the CD. Metheny plays everything here but the drums, which are handled by Antonio Sanchez. so there are guitars of all kinds, piano and keyboards, marimba, bells, and other assorted sounds throughout overlayed upon each other. It's harsh at times, flowing at others, and at all times it's compelling music. First rate. 

John Zorn, "The Mysteries" (Tzadik 2013): This CD is quiet, lyrical, and charming, as played by Bill Frisell on guitar, Carol Emanuel on harp, and Kenny Wollesen on vibes. This is the spiritual side of Zorn, and this CD could also represent a number of his other recordings this past year that I could have chosen here ---"Dream Machines", "Filmworks XXV: City of Slaughter", and "Mysteries." They all were mystical outings of beauty. 

• New Sounds of New Age Jazz

The Necks, "Open" (Northern Spy Records 2013): This is extremely far from the ordinary. To some it is incredibly boring music, to others it's trippy music. It's one 68:05 minute piece of ambient sound, music that very slowly unwinds, so that it almost sounds like it is never changing. In fact it subtly unravels as the dynamics between the players morphs slowly but steadily. It's not really music that you sit and listen to intently, it's more like music that is subliminal a slowly washes over you. Not sure how to explain it.  

• Latin Jazz

Omar Sosa, "Eggun: The Afro-Lectric Experience" (Ota Records 2013): This is Sosa's label on which he has released a number of fine latin tinged recordings in various combinations. This one has a core of six players featuring Sosa on keyboards, Joo Kraus on trumpet and Peter Apfelbaum on saxes; with additional support on various tracks by Lionel Louke on guitar and a number of other guitarists and percussionists. Its a tribute of a sort to "Kind of Blue", not in the melodies but in the spiritual feels and texture of that recording. Eggun is driven by the sounds, textures, interplay, and harmonic sensibility of Miles and Gil Evans, and has composed 15 tunes reflecting those spirits nicely. 

In my next post I will count down from 25 to 1 of my top choices of the year. Stay tuned. 

Begin the Countdown

Last year I came up with seven categories that served as organizing principles and guideposts for how I hear the music that I hoped would help others understand more or less what to expect from each CD. For that effort, presented on December 12, 2012, I equated the texture and feel of the music to paintings. The categories were:

• Straight Ahead, Right Down the Middle, Mainstream Jazz
• Modern Mainstream Jazz
• Modern Lyrical Jazz
• Modern Impressionistic Jazz
• Modern Abstract Jazz
• New Sounds of New Age Jazz
• Latin Jazz

I will use those definitions again for these listings. [For fun, I also posited another scale during the year equating music to film characters, the James Bond to Lisbeth Salander scale, that could equally apply.]

Okay, so after sorting and sifting and noodling, and then doing it all again, I pulled out 65 CDs that I felt comfortably calling my favorites for the past year. Then after even more noodling and sorting, I actually came up with a very comfortable top 25, those I most enjoyed. Before listing my top 25, which will come in a subsequent post, here is a list of the 22 piano solos or trios from the remaining 40 that represent the "honorable mentions".

• Straight Ahead, Right Down the Middle, Mainstream Jazz (Bond, James Bond)


• Gerry Gibbs Thrasher Dream Trio, "Gerry Gibbs Thrasher Dream Trio" (Whaling City Sound 2013): No thrashing at all, just some tightly played originals and covers by Gibbs and his more famous partners, Ron Carter and Kenny Barron. 
• Harold Mabern, "Live at Smalls" (Smalls Live 2013): Doesn't get more mainstream than hearing an old master like Mabern on tunes like "Alone Together" or "Road Song", let alone a really fun version of "Sesame Street." Seven tunes give everyone a chance to stretch it out and enjoy themselves. 
• Jimmy Amadie Trio, "Live at the Philadelphia Museum of Art" (TPRecordings 2013): Sadly Amadie recently passed away, but not before he played this concert, his first in on the order of 30 years or so. His back story is amazing, and so too is his play. Pure mainstream jazz on 12 classics. Mainstream music does not get any better than this. 
• 
  
• Modern Mainstream Jazz



• Steve Kuhn, "The Vanguard Date" (Sunnyside 2013): Technically I suppose this is a re-issue, but whatever the case its one great outing, with Ron Carter and Al Foster there to make up a classic trio. Its not pure mainstream/down the middle -- there is too much wonderful free-flowing improvisation for me to put it there. Kuhn never disappoints. 
• Bob James, "Alone" (Red River 2013): Yes that Bob James. He is a heck of a pianist as he has demonstrataed in the past when not playing "soft jazz", and as he shows here with some wonderfully soft and lyrical takes on standards, his own songs, and some from modern pop. Very nice. 
• Alan Broadbent, "Heart to Heart" (Chilly Bin Records 2013): Downbeat gave it five stars. It's that good. It's a demonstration of what a piano can do in the hands of an outstanding player. Beauty abounds.  
• The Aperturistic Trio, "Truth and Actuality" (Inner Circle Music 2013): James Weidman on piano, Steve Williams on drums, and Harvie S on bass provide a nice set of modern jazz music in a classic piano trio. 
• Lisa Hilton, "Getaway" (Ruby Slippers 2013): Lisa Hilton has not gotten the credit she deserves as a solid modern jazz pianist and hopefully this will open some minds to her music. With Nasheet Waits on drums and Larry Grenadier on bass, this is a modern set of compositions by Hilton herself. Very upbeat, very classy. 
• Modern Lyrical Jazz

• Marc Cary, "For the Love of Abbey" (Motema 2013): Cary worked with Abbey Lincoln for years and this solo piano outing conveys his love in some beautiful, lyrical versions of her songs. It's magical music. 
• Julian Waterfall Pollack, "Waves of Albion" (Berthold Records 2013): Simply beautiful display of touch and sensuality. A few originals, a few traditional songs like "Shenandoah" and "Amazing Grace." This came real close to the top 25, it's fantastic.
• Alessandro Lanzoni Trio, "Dark Flavour" (CamJazz 2013): From the young artist series by CamJazz, a trio that sounds like they've been at it for a while. Lovely music, taste, and sensitivity, and interesting takes on Monk to boot.  
• Ramberto Ciammarughi, "New Music for Two" (CamJazz 2013): With Miroslav Vitous on bass and Gerald Cleaver on drums, this is a very beautiful and classy live concert full of moving passages and creative improvisations.   
• Modern Impressionistic Jazz


• K-Trio, "Meatball Evening" (Dimma 2013): There's a pretty lively jazz scene in Iceland and K-Trio is at the heart of it. It's a bit abstract, a bit moody at times, and a lot of fun is had by all. 
• Aaron Parks, "Arborescence" (ECM 2013): Not the Parks we know from his more mainstream outings, this one is more in the realm of creative modern classicism, and its a beauty. By the way, a more mainstream Parks can be found on his website in a free download-only concert from Japan, and it too is recommended. [And another by the way, by the time all my lists are completed, I believe i will have had 12 ECM productions on them. It was a heck of a year for the label.]
• Iiro Rantala, Michael Wollny, Leszek Mozder, "Jazz at Berlin Philharmonic I " (ACT 2013): Some solos, some duos, and one trio with all three players at once pouring their hearts into a mix of jazz classicism. Jazz variations of Bach, a rhumba by Chick Corea, Svantetic from Komeda and a number of originals. Beautiful music. 
• Sunna Gunnlaugs, "Distilled" (Sunny Sky Records 2013): Perfectly balanced trio with husband Scott McLemore on drums and Porgrimur Jonsson on bass. Another Icelander, perhaps the most famous in the jazz world. This is beautiful stuff full of magic and sensuality. 
• Tingvall Trio, "In Concert" (Skip Records 2013): Another one of the modern piano trios that are popping up in Europe and following the path blazed by est and others. The trio have several other CDs out, each of which is great, and this captures them live playing some of their best tunes. 
• Modern Abstract Jazz


• Eric Revis, "City of Asylum" (Clean Feed 2013): Creative abstractions with Kris Davis on piano and Andrew Cyrille on drums.
• Matthew Shipp, "Piano Sutras" (Thirsty Ear 2013): Shipp was prolific in 2013. This is a solo outing of 13 small compositions that can be at times angular, at others lyrical, and always fascinating. It's definitely outside the box, but also it's definitely Shipp, and that's good. 
• Craig Taborn, "Chants" (ECM 2013): Not sure if this should be in the modern impressionistic group or this one. Either way it is an exercise in creative listening among three partners that we should be glad to be in on. Engaging, mellow and interesting. 
• Hot Eskimos, "Songs from the Top of the World" (JR Music 2013): Another young jazz trio from Iceland rethinking a number of modern pop tunes from groups like the Sugarcubes and from Bjork. But if you didn't know the sources, and I don't, you'd be fine. It's another in the line of modern piano trios seeking new sources and ideas to bring to the table.
• In the Country, "Sunset Sunrise" (ACT 2013): Yet another in the fine line of European piano trios, Very expressive players with a sweeping vision of their jazz.   
• New Sounds of New Age Jazz (Lisbeth Salander)
• none
• Latin Jazz
• none

My next post will be of the other 18 "honorable mentions". 

2013 Favorites from the Archives

Today I have eight selections from the archives.  After numbers one through three, the rest are not in any particular order. So here they are:

#1 Ben Webster, "Ben Webster in Norway" (Storyville 2013): I can't get enough of Ben Webster and his big round and rich tenor sound. In 2012 there were the Stan Tracey Trio, UK Live 1967 Volumes 1 and 2 (Jazzhus 2012), which also included Ronnie Scott on several tunes that was fantastic. This year it's this release from 1970, eleven songs with a Norwegian piano trio playing classics from Duke Ellington ("In a Mellotone", "Cotton Tail", "How Long Has This Been Going On", and "Satin Doll") along with hits like "I Got Rhythm" and "My Romance." Perfect listening.

#2 Tommy Flanagan and Jaki Byard, "The Magic of 2 - Live at the Keystone Corner (Reservoir 2013): A recording from 1982 brings together two classic pianists on eleven songs for the ages. Six solos, three by each player, and five duos where the two trade ideas back and forth, with a little swing, a little  bop, a little stride, and a lot of imagination. Infectious and exciting, that night was "Just One of those Things" and now "Our Delight" to be able to sit in on. Beautifully packaged with a booklet and essays by Todd Barkan (the producer), Dan Morgenstern, Renee Rosnes and Bill Charlap, Howard Mandel, and Diane Byard. Great fun.

#3 Oscar Pettiford, "Lost Tapes: Germany 1958/1959 (Jazzhaus/SWR Music 2013): This is another is the series of lost tape findings from Germany, and a particularly strong outing. Pettiford was coming off successful stints with Charlie Parker and Dizzy Gillespie, and was reinventing the use of the bass as far more than a timekeeper in jazz. Here he has sessions with some of the leading European players of the time -- Hans Koller and Rolf Kuhn are the most notable names -- and a number of high profile ex-pats like Kenny Clarke and Lucky Thompson. Lots to love here, including Pettiford taking up the cello several times, Thompson's play on "Sophisticated Lady", the clarinet of Rolf Kuhn, and late in the set the play of Kenny Clarke on drums. The lost tapes sets have been great and this one shines the most brightly so far for this listener. (Note: another fine set that came out late in the year featured the Modern Jazz Quartet.)

Numbers 4 through 8 are as follows:

Tony Bennett and Dave Brubeck, "The White House Session, Live 1962" (Columbia 2013): Bennett and Brubeck at the height of their powers in what turns out were careers of long and extended power. I would have rated this more highly had they played together more; the classic Brubeck quartet opens with four pieces followed by six from Bennett before they join for the last four. Still, hearing live versions of songs like "Just in Time", "One for My Baby", "Take Five", and others is a delight to the senses.

Duke Ellington, "The Duke at Fargo 1940" (Storyville 2013): A two-CD set captures the Ellington Band on the road as a true dance band during a U.S. tour. The sound is amazingly good for the period and the recording captures the excitement of the evening pretty nicely. Lots of music, lots of great solos.

Multiple Composers and Players, "Jazz on Film Recordings 1957-62) French New Wave" (Jazzwise Jazz on Film Records 2013): This is the third box set of film scores produced by Jazzwise Magazine in England and it is a smashing set. Running down the music:  "No Sun in Venice" The Modern Jazz Quartet; "Lift to the Scaffold" Miles Davis, "Les Liaisons Dangereuses " and "Des Femmes Disparaissent" Art Blakey and the Jazz Messengers, "Breathless" Martial Solal, "Un Temoin Dans La Ville" Barney Wilen, and "Eva" Michel Legrand. Comes with a nice booklet describing each film and score with a complete list of the players and photos. Lots of terrific music and musicians.  

Lester Young, "Boston 1950" (Uptown 2013): Uptown keeps finding and producing wonderful live sets from the clubs, and this one features Young at the Hi-Hat in Boston, with players like Horace Silver or Kenny Drew on piano, Connie Kay on drums, and Jesse Drakes on trumpet. Includes the radio introductions from Symphony Sid.

Thelonious Monk, "Paris 1969" (Blue Note 2013): A late career recording of a pretty standard set of twelve songs by Monk, all nicely played. With Charlie Rouse still on tenor, but with a French bass and drummer until Philly Joe Jones sits in and raises the stakes towards the end. Monk sounds great to me and pretty engaged. First rate outing.

My Favorite Vocal Jazz CDs in 2013

I have sorted through the piles and from them selected my favorite jazz CDs of 2013, categorizing separately vocalists as well as re-releases or historical CDs. So to kick things off, here are my favorite 9 vocal CDs of 2013, After numbers one through three the remaining six are in no particular order.

#1 Chicago Jazz Orchestra, with Cyrille Aimee, "Burstin' Out" (Origin 2013): Cyrille Aimee is spectacular, with a host of awards from prestigous competitions including the Montreux Jazz Festival in 2007, the Sarah Vaughan International Jazz Vocal Competition in 2012, and a bronze at the 2010 Thelonious Monk Competition. Her "Live at Smalls" recording was a favorite of mine a couple of years ago. Now with the backing of  a stellar jazz orchestra she is simply out of sight, singing and scatting her way into my heart. Lots of classic sounds, and a lot of smiles will be yours.

#2 Roberta Gambarini, "The Shadow of Your Smile" (Groovin High 55 Records 2013): Had to purchase this as a Japanese import but well worth it. Gambarini has been my favorite female singer since her initial release, and her recordings with Hank Jones were sublime. Her she doesn't miss a beat with the wonderful backing of George Cables on piano, John Webber on bass, Victor Lewis on drums, and Justin Robinson on alto sax and flute. Style and grace to burn on such classics and "Fly Me To The Moon", Someone to Watch Over Me", "Satin Doll", and many many more, fourteen songs in all.

#3 Cecile McLorin Salvant, "Womanchild" (Mack Avenue 2013): Heaps of praise have been awarded to this CD during the past year for the 2010 Thelonious Monk competition winner. Poise, elegance, and an voice that oozes personality, swagger, and a freshness that is truly impressive. Old songs like  "St. Louis Gal" and "Jitterbug" charm, ballads like "I Didn't Know What Time it Was" melt in her mouth, and her blues wring every drop of emotion from the lyrics. Fantastic -- really easy to join this bandwagon.

As for the rest, numbers 4 through 9, there are no slouches here either just a lot of wonderful music. In no particular order:

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• Tierney Sutton, "After Blue" (BFM 2013): Twelve songs by Joni Mitchell, the last a pastiche of "Free Man in Paris" with Vernon Duke's "April in Paris."
• Barbara Morrison featuring Houston Person, " A Sunday Kind of Love" (Savant 2013): Perfectly balanced music from two classic musicians.  
• Giacomo Gates, "Miles Tones" (Savant 2013): Impeccable taste, ten Miles tunes by a laid back and relaxed Gates in stunning fashion. 

• Madeleine Peyroux, "The Blue Room" (Universal 2013): Sneaks up on you after a couple of listens that she can do this, infuse country with a jazz inflection. Ten songs, many associated with Ray Charles. Saw this one live at the Montreal Jazz Festival and the love shook the house.
• Gregory Porter, "Liquid Spirit" (Blue Note 2013): Big time third recording from Porter, almost as much rhythm and blues as jazz but who cares? the titel of the last song "I Fall in Love Too Easy" says it all -- its easy to love this music. 
• Judy Wexler "What I See", (Jazzed Media 2013): Rich and sensuous singing, lovely arrangements. Her fourth and her best. Too talented to be such a hidden gem. 

No Small(s) Thing

More new CDs from Smalls Live. Two that I am enjoying today.

Rodney Green Quartet, "Live at Smalls" (Smalls Live 2013), with Green on drums, Seamus Blake on tenor sax, Luis Perdomo on piano, and Joe Sanders on bass. Four leaders, four masters working as a team. Perdomo is one of my favorites and his play is infectious and driven, but in fact the real driving is done by Green on the drum set and Sanders full throats bass. Seven extended tracks allow everyone their time in the limelight without excessive noodling. Great.

David Berkman, "Live at Smalls" (Smalls Live 2013) fettering Tom Harrell on trumpet, Ed Howard on bass, and Johnathan Blake on drums. Berkman is one of those pianists that should have a higher profile, off of CDs like "Live at Smoke" (Challenge 2009), "Leaving Home" (Palmetto 2002) and most recently a solo CD "Self Portrait" (Red Piano Records 2012). Here he teams with the inestimable Tom Harrell on the frontline on six pieces including a special "Body and Soul" and "Sweet and Lovely." Harrell modulates his sound beautifully and never overwhelms the rest of the contributions of the team, and Berkman comfortably takes his place as both leader and when comping. Another hit for Berkman and for Smalls.




Two others also were just released, one a solo outing by guitarist Peter Bernstein, the other a sextet led by trombonist Frank Lacy.

Rhapsody in Blue Like You've Never Heard It!

While I was sorting through my collection to pull out the 2013 CDs that I may be listing among the best of the year I pulled out "Rhapsody in Blue Live", Scottish National Jazz Orchestra featuring Tommy Smith and Brian Kellock (Spartacus Records 2009), realizing I had to post about this incredibly imaginative, joyful, 54 minute reworking/arrangement of the Gershwin masterpiece.

Now I have Gershwin's own solo version of "Rhapsody in Blue", the LaBeque sisters' two-handed piano version, Stefano Bollani and Riccardo Chailly's recent ECM outing, the NBC Symphony Orchestra version, and about a dozen others. But with minor variations here and there, these all hew pretty closely to the original score.

Not the Scottish National Orchestra version. It's 54 minutes of pure joy and imagination. It opens up the score to all sorts of changes, retains the key sections but rearranges them, enhances them, re-orchestrates them for different instruments, adds more syncopation, and generally creates a new listening experience that is firmly hitched to the original. No matter what is added, augmented, or improvised upon, one is never too far from the original structure, so that one is always comfortable with the reading. Assuming you can handle not starting with the clarinet glissando!

Had I been writing in 2009 this would have been in my top 10 for sure. Not for the purists of course, but for anyone who loves creative thinking and imagination. It's fantastic.

It's Been a While

Dear Readers: 

I stopped writing back in September, exactly three months ago today. My reasons were many. 

First, I had a lot going on in September and not as much time to write as in previous months. And then once I took some time away, so many CDs had come in and were backed up that I got paralyzed, not knowing where I wanted to start. 

But really those were convenient excuses for what was really ailing me, which became clear once a few weeks went by and I didn't return to the blog. Frankly I was bored with myself; not with the music but with my reactions and writings. It felt like I liked a lot of what I was hearing but nothing was standing out to me as head and shoulders above the rest. My ability to differentiate between various artists and CDs seemed to be slipping away; too much was beginning to sound similar within the sub-genres of my mind. I was liking an awful lot of what I was hearing and wasn't sure why -- was it a lack of discernment on my part, was I buying safely and not exploring, was I just tired? And I was tired of the same adjectives and adverbs too boot -- how many ways are there to say lyrical or exciting or coloration after all?  

So I stayed away from writing and just listened to the music, forgot about thinking about the music in any critical way and just absorbed it, enjoyed it. I explored, I read what others were saying, I ordered things that sounded interesting in advertisements, blogs, and reviews, and kept the hope alive that I would sometime return to writing with a renewed sense of what I was doing. And maybe some new perspectives on what I was saying and the words I was using. 

I thought about what my original mission statement was -- to identify for other listeners like me what I liked and might be overlooked  -- CDs by new names, CDs by veterans who I thought were not appreciated, CDs from outside the U.S.

My biggest problem though was my feeling that I was liking too much and not loving enough music, that I was overwhelmed by the quantity and losing track of the quality. That nothing and everything stood out at the same time. But maybe it was true, that there is a lot of good music being produced. I was supported in that viewpoint by reading what others were saying about new CDs, many of which I had purchased, and finding that so many were written about positively. Evidently I am not alone in finding that there is truly a lot of good music being produced, on commercial labels and by self-producing musicians. 

I think I am back, I think that I know what I heard in the last three months that stood out from the pack, and what within the pack was also special. The test will be looking back on the year and identifying my favorites for 2013 and seeing if I really know what I like and what I love. 

I hope I still have some followers. Thanks for sticking with me. And happy holidays too. 

David Sampson