This is not a ‘Best Of’ list, just a selection of ten albums that have given me most pleasure over the past year. Together with a few words as to why. If there’s an underlying trend in my selection, its music that incorporates a degree of freedom but retains a sense of structure. A bit like a semi-abstract painting!
So if your tastes in any way align with mine, then you might find artists and music that are worth further investigation.
Quispel
Quintet – Dipsomania (Handsemmel / Cracked Anegg)
The quintet comprises Leonhard Skorupa and Michael Moore on saxophones
and clarinets, Asja Valcic cello, Robert Landfermann bass and Michael Vatcher
drums. Two Americans, one Austrian, one German and one Croatian. With composing
duties shared between the two reedsmen.
Dipsomania was recorded in Vienna. And even though
it’s an international band, there’s a touch of New Dutch Swing about some of
their pieces. Maybe not surprising since the two Michaels reside in The
Netherlands. They’re a band I would relish seeing live. Drunk or not.
Scheen
JazzOrchester & Cortex – Frameworks (Clean Feed)
Thomas has expanded the ensemble with the addition of his
bandmates from Cortex, namely saxophonist Kristoffer Alberts, bassist Ola Hoyer
and drummer Dag Erik Knedal Andersen. And solo duties are shared with members
of the Jazzorchester, including keyboard player Rune Klakegg who adds his
electric organ to the mix.
The album was recorded live at a theatre in Hamar, north of
Oslo in 2022. I wish I’d been there.
Kresten
Osgood Quintet – Live at H15 Studio (ILK)
And what a band. Erik Kimestad, trumpet, Mads Egetoft sax,
Jeppe Zeeberg piano, Matthias Petri bass and Kresten himself at the drums. They
address a mix of originals and compositions from the likes of Elmo Hope,
Clifford Jordan and Bert Wilson.
I felt exhilarated listening to the album, so the live
concerts must have been something special.
Max Nagl
Trio – Fauteuil (Jazzwerkstatt)
Max is one of the leading saxophonists on the Austrian
scene. Here he performs with his longstanding trio, featuring Clemens Wenger on
piano and Herbert Pirker at the drums. It’s their 4th album, and like most of
Max’s albums, there’s something theatrical about the music. It’s also eccentric
and eclectic and includes tributes to a New York arts centre and Viennese kebab
stands!
It was recorded in Clemens private music room two years ago,
with the pianist using an upright piano that often sounds ‘prepared’ in some
way. And Herbert Pirker keeping his bass drum in its bag, using chopsticks
rather than drumsticks.
And if you like Max’s music, make a point of checking out
his ten-piece ‘Ensemble’, particularly their live recordings at the Porgy &
Bess Club in Vienna.
Harry
Skoler – Red Brick Hill (Sunnyside)
Harry sticks to clarinet throughout. And he’s accompanied by
some of the leading names on the US scene, namely vibes player Joel Ross,
bassist Dezron Douglas and drummer Johnathan Blake. There are also guest appearances
from trumpeter Marquis Hill, pianist Christian Sands and harmonica player
Gregoire Maret.
Harry’s earlier recordings include tributes to Benny Goodman
and Charles Mingus. I haven’t heard all of his releases, but I get the
impression that Red Brick Hill is his most adventurous to date. Both in
the playing and the compositions.
The album was produced by Walter Smith III and recorded in New
York two years ago. It’s ‘a must’ for lovers of the clarinet.
Satori –
Weatherwards (Whirlwind)
Josephine’s music is inspired by the Shetland Islands, her place
of birth. And although she left the islands at an early age, they retain a hold
on her imagination. That said, there’s nothing overtly Scottish about the
music, although it somehow captures the wildness of those islands.
Satori’s three previous albums have featured just a trio of
sax, bass and drums. The addition of Alcyona on piano on half of the tracks
adds a different dimension to their sound. And the only change in personnel
from the live performance is that James Maddren occupies the drum stool. Let’s
hope the band visits Cambridge again soon.
HAEZZ – HAEZZ
(ORF Edition 01)
We’ve heard Martin on Jazz Today with the bands of Max Nagl,
Tobias with the quartet Polykleitos Dialog, but I can’t remember encountering
Stepan on record before. Regardless, they’re a tight trio, and give us an
enjoyable forty minutes of music. Well worth checking out.
And it’s clearly all happening in Vienna. This is the third
release recorded in that city in my selection.
Charlie
Kohlhase’s Explorers Club – A Second Life (Mandorla Music)
Which may account as to why I’ve not heard from the
saxophonist in some time. So it’s good to have him back. And it’s an all-star
lineup, with Charlie and Seth Meicht on saxes, Dan Rosenthal trumpet, Jeb
Bishop trombone, Josiah Reibstein tuba, Eric Hofbauer guitar, Tony Leva bass
and Curt Newton drums.
The album was recorded in Boston in 2022 just prior to Jeb
Bishop’s return to Chicago. It features a mix of originals from Charlie
alongside pieces by Roswell Rudd, Ornette Coleman, Elmo Hope and John Tchicai. Music
that moves from ballads to swing to freedom.
In fact Roswell and John were both mentors for Charlie and
he hopes to record albums dedicated to their music in the future. Here’s hoping
they both come to fruition.
Ruedi
Hausermann – Erste Annaherung (Rabbit Hill)
The album features four long pieces that combine the trio
with strings in a most creative fashion. And although Erste Annaherung
translates to ‘first approach’, Ruedi has been a mainstay of the Swiss scene
for many years, working in theatre, jazz and classical settings, always pushing
the boundaries. Here he picks up clarinets, flute and accordion and is more
than ably supported by his bandmates who get plenty of space to have their say.
It’s one of those albums that is difficult to categorise.
And sometimes difficult even to say why I like it. But it’s certainly stayed
with me since I first heard it. And Rabbit Hill is an imprint I’ve not
encountered before but one whose catalogue I’ll be investigating further. Nice
artwork too.
Tomeka
Reid Quartet – 3+3 (Cuneiform)
The album gives us three long pieces from Tomeka, two of
which begin in free territory before resolving into an infectious groove. And
her bandmates, all leaders in their own right, clearly relish the opportunities
afforded by both approaches.
Its adventurous yet accessible music. And an album that I
can see appearing on a lot of end-of-year lists. And deservedly so.
I usually append my selection with a number of other
albums I wouldn’t be without. However when my list topped fifty, I thought it best
just to focus on my favourite ten. Suffice to say, there’s a lot of good stuff
out there !
