The jazz community was more active this year than in recent memory, or so it seems. That is because of the number of new albums that Phil’s Picks received this year from various jazz labels and acts. In all, more than 30 jazz albums in 2022. That is a much larger number of albums than ever received in the jazz category by Phil’s Picks. The jazz covered this year ranged from Afro-Latin to big band to more intimate music, meaning there was quite a bit for jazz fans to take in this year, too.
As with each other Phil’s Picks list, this list features the year’s top 10 new albums in the given category and five honorable mention titles, for a total of 15 records. This list was anything but easy to assemble considering just how many albums were received this year. No disrespect is meant to any act featured in this list, as each has its own positives.
Without any further ado here is Phil’s Picks 2022 Top 10 New Jazz Albums.
PHIL’S PICKS 2022 TOP 10 NEW JAZZ ALBUMS
Danilo Perez – Crisalida
Taurey Butler – One Of The Others
Tom Collier – The Color of Wood
Yellowjackets – Parallel Motion
Doug MacDonald and L.A. All-Star Octet – Overtones
Doug MacDonald – I’ll See You In My Dreams
Amos Gillespie – Unstructured Time
Chris Torkewitz – NY Ensembles
Matt Hall – I Hope To My Never
Nicholas Payton – The Couch Sessions
Bobby Watson – Back Home In Kansas City
San Nelson’s New London Big Band – Social Hour
Lisa Hilton – Life Is Beautiful
Paxton/Spengler Septet – Ugqozi
Tony Monaco – Four Brothers
That’s it for this list but as the final hours of the day tick away there is still so much left to do. There is still World Music to focus on and the year’s top new indie albums and albums overall, plus all of the year’s top new movie and TV content. Pray for me and stay tuned!
Late this past August, legendary jazz outfit Yellowjackets released its latest album, Parallel Motion through Mack Avenue Music Group. The band’s 23rd (yes, 23rd) studio recording, it was released Aug. 26, less than two years after the release of the band’s then latest album, Jackets XL. That record was itself quite the appealing presentation, being well-deserving of all of its accolades. This record is just as deserving of praise in its own right, as its featured musical arrangements make clear. They will be discussed shortly. For all that the album’s musical content does to make it appealing, the lack of any background information on the songs does detract from the album’s engagement and entertainment to a point. That detraction is not enough to doom the album but is still of some concern. This will be addressed a little later. The record’s production works with its content to put the finishing touch to its presentation and make the album all the more appealing. When it is considered alongside the musical content, the whole therein makes the album overall yet another mostly successful offering from Yellowjackets.
Parallel Motion, the latest album from veteran jazz collective Yellowjackets, is another mostly successful offering from the group. Its success comes in large part through its featured musical arrangements. The nine total songs that make up the record’s body are diverse throughout. The album’s title track, for instance, is an enjoyable modern jazz work that also shows some influence from the likes of Weather Report. That influence is especially evidenced through the pairing of Russell Ferrante’s work on piano and Bob Mintzer’s work on saxophone. There is something about the sound and style that the duo exudes that points right back to Weather Report’s music. Drummer Will Kennedy’s very tight, short beats point even more to that influence, making for even more interest.
‘Onyx Manor,’ which immediately follows, changes things up quite noticeably, this time offering audiences something of a more hip-hop infused approach and sound. Kennedy and Ferrante lead the way in this nearly nine-minute opus. The fun, mid-tempo edge that the pair gives the song even throws in some vintage funk and R&B influence along the way to make for even more interest. It is completely unlike ‘Parallel Motion’ and the album’s other entries, and no less entertaining and engaging, too. It is just one more example of the diversity in the album’s musical arrangements and the enjoyment that said diversity brings.
‘Resilience,’ which comes late in the album’s run, is yet another example of the noted diversity in the album’s musical content. This five-minute-plus opus lends itself to comparison to works from the band’s 1997 album, Blue Hats. That is evidenced through the collective of the group’s performance. Mintzer’s work on the saxophone and Ferrante’s light performance on piano joins with Kennedy’s steady time keeping to make the song such a fun, light composition. Even with its stylistic similarity to works from Blue Hats, it still boasts its own unique identity that makes for its own engagement and entertainment. When it is considered along with the other songs examined here and with the rest of the album’s entries, the whole makes clear, the diversity in the album’s musical content. That diversity and the general effect therein forms a strong foundation for the album’s presentation.
As much as the album’s musical content does to make it so enjoyable, the lack of any background on the songs weakens that foundation to a point. Some brief discussions on the songs’ histories are provided in information provided to the media, but even in that case, it is limited. To that end, audiences will be able to enjoy each of the album’s songs, regardless, but only to a point. This critic has pointed out countless times that with any instrumental music (jazz and otherwise) there is always an influence and a story. Having that story, even in the album’s liner notes, adds so much to the engagement and entertainment. Not having that information allows enjoyment only on a surface level. To that end, the lack thereof does not doom the album, but it certainly does not do any favors for the overall engagement and entertainment. Keeping that in mind, there is still at least one more positive to note in the album’s presentation, that positive being the album’s production.
The production that went into the album’s is important to examine because of its role in the album’s general effect. As noted, the songs featured throughout the album are diverse from one another. Their sounds and styles are all unique. That means that plenty of attention had to be paid to each song to ensure the best is brought out in each unique work. Whether in a quiet, relaxed work, such as ‘Early’ (which closes the album), a slightly more up-tempo but still relaxed work, such as ‘Samaritan’ or even something slightly livelier, such as ‘Challenging Times,’ the best is brought out in each work. The band, which self-produced the album, ensured each musician got his own moments in the proverbial spotlight in each song. The result is that each musician’s work expertly compliments that of his counterparts from beginning to end. In turn, the emotional impact of each song is fully felt. When the resulting positive general effect herein is considered along with the effect of the songs’ diversity, the whole results in the album being a mostly successful and enjoyable Yellowjackets offering.
Parallel Motion, the latest album from the veteran jazz outfit Yellowjackets, is a mostly positive offering from the group. Its appeal comes largely from its musical content, which offers plenty of diversity for audiences to enjoy. While the musical content that makes up the record’s main body forms a strong foundation for the album, the lack of any background on that content weakens that foundation to a certain point. That detraction is not enough to doom the album, but certainly does not help it any. The production of the album’s musical content works with said material to round out the album’s most important elements. Their pairing of the content and its production creates a largely positive general effect that will ensure even more, listeners’ engagement and entertainment. When this is kept in mind, the result is that the album becomes another largely successful offering from the group and another welcome addition to this year’s field of new jazz offerings.
Parallel Motion is available now through Mack Avenue Music Group. More information on Parallel Motion is available along with all of the band’s latest news at:
Independent jazz artist Amos Gillespie is scheduled to release his new album, Unstructured Time Friday. Gillespie will release the nine-song record on his own through CD Baby. According to information provided about the presentation, its overall theme is that of finding peace “in a loud world.” The 45-minute work will certainly bring its audiences their own peace. One of the songs that serves to establish that peace comes early in the album’s run in the form of ‘Like a Blossom.’ It will be discussed shortly. ‘Silence Is Your Own,’ the record’s penultimate entry, is another way in which the record’s overall theme is presented, and well at that. It will be discussed a little later. Much the same can be said of ‘Fewer Words,’ another of the album’s entries. Each of the songs noted here is important in its own way to the whole of Unstructured Time. All things considered, they make the album in whole a successful new offering from Amos Gillespie and his fellow musicians that any jazz fan will find enjoyable.
Unstructured Time is a positive offering from independent saxophone player Amos Gillespie. It is a presentation that will appeal to most jazz fans. That is proven from the record’s opening to its end with songs that at times, lend themselves to comparisons to works from Yellowjackets and at other times, to works from ages long gone. The whole is a presentation that will bring peace to any listener in a loud and busy world. That is proven in part in one of the album’s early entries, ‘’Like a Blossom.’ Vocalist Alexandra Olsavksy and guitarist Casey Nielsen lead the way in this gentle, flowing composition. Their work alongside that of pianist Paul Bedal almost immediately creates a sound and stylistic approach that is comparable to works from Yellowjackets circa 1998, the year when the group released its album, Club Nocturne. The gentile nature of the composition is so relaxing in itself. It also serves well to help translate the message in the song’s theme of the delicate and fleeting nature of life.
The message is even pointed out in the song’s final line, which states, “Time is short and fleeting like a blossom.” Understanding this, the rest of the song’s lyrics make more sense. Olsavsky sings of finding peace because of that fleeing nature in the song’s lead verse, “Fighting fires with hoses from a garden/Driving on a patrol in the desert/Giving time to people/Taking a chance/Cleaning floors and staring in the distance/Closing off all the playgrounds from the children/Turning off all the lights at a fair/Seeing only shadows playing games/Why does normal feel so far away?” This opening segment comes across as an examination of everything that happened as a result of the COVID-19 pandemic. The patrol cars in the desert could easily be authorities driving streets made empty by federal lockdowns, for instance. The shadows playing games is right in line with that. From there, Olsavsky sings about going through the motions, such as “Throwing out the garbage in an alley/Staying late and baking bread at a store/Washing clothes and linens/Making the beds/Taking a breath for a stranger.” From there, the rumination continues just as deeply before she reminds listeners that “grains of sand are falling in the hour” and that they need to listen “to a little light from within.” The bigger picture here is that with all of the difficult situations happening in life, it makes a person realize that one should appreciate the everyday things that we do, even if they might be monotonous. This is just this critic’s interpretation. Taking this seeming message into account along with the noted general approach taken in the song’s musical arrangement, the whole makes this song such a wonderful addition to the album. It is just one of the songs that presents the overall theme of finding peace in this world. ‘Silence Is Your Own’ is another excellent example of the noted theme.
The musical arrangement featured in ‘Silence Is Your Own’ is another gentle, flowing work. Unlike that of ‘Like A Blossom,’ this work is much simpler. Olsavsky leads the way again. This time, her impressive vocal talents are paired with Bedal’s work on piano to lead the way. Drummer Gustavo Cortinas’ subtle cymbal rolls and time keeping adds its own touch to the whole. All things considered here, the composition conjures thoughts of a quiet countryside on a warm spring morning, the sun slowly rising. That picture works well with the song’s lyrical theme, which centers on the topic of making time for one’s own self and just relaxing.
Olsavsky most clearly delivers the song’s theme late in the song as she sings, “Find some distance/From all of what makes you who you are/Pack it all up and throw it far/Try to let go/What do you know of yourself?/Find some distance/From all of what tries to name your place/In your face/Let your mind set/Like the winter sun/Spring is near/A gorgeous springtime/Sleeping in for a day/Dreams fly in on a window shade/For now it is alright/Staying out of sight.” This is a clear translation of the noted theme. It encourages listeners to take time for themselves, to get away from everything and everyone and to just find that inner peace. This is all too important a message today, especially what with the increasing focus on one’s mental health. To that end, it further delivers the record’s overall theme quite well. What’s more, when this accessible message and delivery thereof is considered along with the song’s equally engaging and entertaining musical arrangement, the whole makes the song that much more enjoyable. It makes the song yet another example of what makes the album in whole successful.
‘Silence Is Your Own’ is just one more example of what makes Unstructured Time enjoyable. ‘Fewer Words’ is yet another notable way in which the record’s theme is presented, and its musical arrangement is just part of what helps it deliver that message so well. The musical arrangement featured in this song is intriguing in what seems like such a contrast in styles. Cortinas delivers a sort of Dixieland swing style approach through his performance on the drums. Olsavsky pairs with Gillespie and fellow saxophone player Andy Schlinder to give the song more of a straightforward swing style sound and approach. Bedal builds on that approach through his performance on the piano, while also adding a bit of a modern jazz swing. Simply put, there is a lot going on here in this composition, but it still works so well. Each performer compliments his/her fellow performers, making sure not to overpower one another along the way. The result is yet another notable musical addition to Unstructured Time.
When that light musical arrangement is paired with the song’s lyrical theme, the whole makes for even more interest. In the case of the lyrical theme of ‘Fewer Words,’ it is an indictment of sorts, of the news media. This plays into the album’s bigger overall theme by encouraging listeners to tune out, not give so much credence to all of the media’s words. Right in the song’s lead verse, Olsavsky mentions the back and forth of the two sides, all of the “he said/she said” and being “confused about where we’re all at.” These are such true statements delivered in such simple and accessible fashion. All things considered here, the message of being bothered by the loud nature of the news industry plays directly into the album’s bigger theme of finding peace in a loud world. The whimsical nature in which it is delivered along with the song’s musical arrangement makes it all the more engaging and entertaining, and in turn shows how it helps make the album in whole successful. When it is considered along with the other songs examined here and with the rest of the album’s entries, the whole makes Unstructured Time a wonderful new work from Amos Gillespie and company that any jazz fan will enjoy.
Amos Gillespie’s new album, Unstructured Time, is a strong offering from the up-and-coming jazz saxophonist/composer. Its success comes through its musical and lyrical content alike. The songs featured in this recording makes that clear. When they are considered along with the rest of the album’s songs, the whole makes the album a presentation that any jazz fan will appreciate.
Unstructured Time is scheduled for release Friday. More information on the album is available along with all of Gillespie’s latest news at:
Saxophonist Bob Mintzer is a hard-working musician. Between all that he does as a member of the famed fusion group Yellowjackets, and with the WDR Big Band, Mintzer keeps himself quite busy and has for years. This past Friday, some of that work that Mintzer has done with the latter group was released in the form of the collective’s new album, Soundscapes. The 10-song record — released through MCG Jazz — is a presentation that will appeal widely to jazz fans. That is due in no small part to the record’s featured arrangements. The arrangements in question will be discussed shortly. The liner notes that accompany the album add to the enjoyment of those arrangements. They will be discussed a little later. The songs’ sequencing rounds out its most important elements and will also be discussed later. Each item noted is important in its own way to the whole of the record’s presentation. All things considered, they make the album a successful, enjoyable new offering from all involved that any jazz fan will enjoy.
Soundscapes, the new album from Bob Minzter and the WDR Big Band is a presentation that will appeal widely to any jazz fan. That is due in no small part to the album’s featured arrangements. The arrangements are all original works from Mintzer and company. They are also diverse. According to Mintzer, that diversity is intentional. “My mission in creating the music here was to make a warm, beautiful sound, with the occasional smattering of complexity amongst singable melodies, interlocking rhythmical counterpoint, and an amalgam of grooves from around the world,” said Mintzer in a recent interview about the album. He added, “There is no particular theme, no singular message, other than to highlight the great artistry of the band and use composition to create a soundscape of color, texture, and sparkle, with the primary focus being teamwork, empathy and celebration.” Those statements are illustrated and echoed throughout each of the featured arrangements. From the modern sounds of ‘One Music,’ to the more Afro-Latin-tinged approach and sound of ‘Canyon Winds’ to the more relaxed, vintage approach and sound of ‘Whack’ and more, the record features a diverse range of sounds. The use of the keyboards and bass in ‘Whack’ goes back to the days of Weather Report. Meanwhile, the smooth sound of the sax and horns in ‘New Look’ is more of a smooth big band type composition. There really is just so much for jazz fans to appreciate from the group in every one of the featured arrangements, as is shown here. The foundation that the arrangements’ diversity creates is reason enough for audiences to hear this album. It is just one reason for audiences to give the album a chance. The liner notes that accompany the album add to its appeal.
The liner notes that fill the album’s companion booklet are thorough to say the very least. The background that they present for each song serves well to create even more appreciation for the songs. Case in point is the background offered for ‘the Conversation.’ According to the information on this song, the title has nothing to do with a general conversation, but rather the musical conversation – that back and forth – between the WDR Big Band’s horn section and guest percussionist Marcio Doctor.Mintzer points out the intentional Afro-Latin approach taken in this song, in the liner notes and the role that Doctor played in the song.
The liner notes for ‘Whack’ find Mintzer pointing out that most of this arrangement apparently came about through a certain improvisational manner. Mintzer goes so far as to call the process experimental as he discusses the arrangement’s creation. Additionally, he praises the musicians for their abilities and what they bring to the arrangement in whole. That and more that is noted here shows in its own way, the importance of the album’s liner notes.
Yet another example of the importance of the album’s liner notes is the explanation of ‘Herky Jerky.’ Mintzer opens up here and admits that the arrangement is based lightly on a certain Gershwin hit. That song will be left for audiences to discover on their own so that they are not directly influenced to listen for that song here. However, when audiences hear the song for themselves, they will definitely hear the influence in the staccato style notes (also addressed in the liner notes) played here. This is yet another example of the importance of the liner notes featured with Soundscapes. That is because of the background that it offers. That background (just as with the background offered for the other songs) encourages audiences’ engagement and entertainment even more, and succeeds in doing so, too. Keeping that in mind, there is no doubt in reading any of the liner notes, that they play a pivotal part to the album’s presentation. Even being as important as they are to the album’s presentation, they are just one more part of what makes the album succeed. The songs’ sequencing rounds out its most important elements.
Soundscapes’ sequencing is important to note because of the way in which it ensures the songs’ energies are balanced. The relaxed vibe of the album’s opener, ‘A Reprieve’ is one of only three points throughout the album in which those energies pull back. From there, the record’s energy remains relatively high up until the much more subdued, late entry, ‘One Look’ that the album pulls back. It comes at an interesting point, considering that the album’s energy increases again in the penultimate entry, ‘One Music’ before the album closes out on another relaxed note, ‘VM.’ It might have made a little more sense to place ‘New Look’ a little sooner in the record’s 42-minute run. That aside, it still does help to break things up and keep things interesting in turn. Keeping that in mind, the album ensures in its own way, audiences’ engagement through the impact of the sequencing on the album’s energies. When this is considered along with the role of the album’s liner notes and its featured arrangements, the whole makes the album a strong, successful new offering from Mintzer and company.
Bob Mintzer and the WDR Big Band Cologne’s new album, Soundscapes, is a positive new offering from the collective. It is a work that will appeal widely to jazz fans across the board. That is due in no small part to the album’s featured arrangements. The arrangements are diverse in their energies, sounds, and stylistic approaches. That diversity is reason enough for audiences to hear the album. The background that the liner notes (another of the album’s most important elements) offers, leads to enhanced appreciation for the arrangements. That increased appreciation also leads to more engagement in the album. The songs’ sequencing puts the finishing touch to the album’s presentation. It does that by keeping the record’s energy running fluidly from one song to the next while also keeping the stylistic approach and sounds of the arrangements changing from one to the next. It brings everything full circle and completes the album’s presentation, ensuring once and for all, the album’s success. It makes the album unquestionably one more of the year’s top new jazz records. Soundscapes is available now. More information on this and other titles from MCG Jazz is available online at:
Guitarist Dave Stryker apparently likes to keep himself busy. Just last year, he worked with members of the WDR Big Band and Yellowjackets saxophonist Bob Mintzer on the record Blue Soul. Additionally, he released the latest addition to his Eight Track series, and a holiday compilation in 2019. As a matter of fact, going all the way back to his1988 debut record First Strike, Stryker has gone no more than two years between new albums, both as a band leader and as a member of a given group. One would think that considering this, Stryker would have burned himself out by now. His latest album, Baker’s Circle seems to say otherwise, though. Released March 5, Baker’s Circle shows Stryker is still at the top of his game, along with his fellow musicians – Mayra Casales (percussion), McClenty Hunter (drums), Jared Gold (Organ), and Walter Smith III (tenor saxophone) – with little if any sign of slowing down. This 10-song record impresses in part because of its featured songs, which will be discussed shortly. The songs’ sequencing builds on the foundation formed by the songs themselves and will be examined a little later. The album’s production rounds out its most important elements and will also be discussed later. Each item noted here is key in its own way to the whole of the record. All things considered, they make Baker’s Circle another viable candidate for a spot on any critic’s list of the year’s top new jazz and blues albums.
Dave Stryker’s latest album, Baker’s Circle is an enjoyable presentation that any jazz enthusiast will find engaging and entertaining. That is due in no small part to the album’s featured songs. The songs in question are a mix of Stryker’s originals and a series of covers. What’s important to note here is that in regards to the covers, they touch on more than one style of music. The collective takes on a jazz standard in Cole Porter’s ‘Everything I Love,’ a well-known R&B song in a cover of Marvin Gaye’s ‘Inner City Blues’ and a pop song in the cover of Leon Russell’s ‘Superstar.’ There is even a cover of Stanley Turrentine’s ‘Trouble (No. 2)’ here as part of the whole. Given, covers make up the majority of the record (seven of the record’s 10 total songs are covers), but there is still a trio of original tunes here. The originals are engaging and entertaining in their own way. ‘Tough,’ the first of the originals and the album opener, blends Stryker’s subtle guitar work with the work of Hunter and Gold to really give the song a big band feel and sound even with so few instruments. The eventual addition of Smith’s work on saxophone — which at times sounds like it’s been layered — adds even more to the composition’s appeal. It adds even more to that big band vibe in its own right, too. That is a tribute to the work of the musicians and those behind the glass. It is a great modern jazz piece that will still entertain jazz aficionados across the board. ‘El Camino’ by comparison, has a bit more of a bluesy approach and sound. That is evident through the organ, guitar, and Latin percussion. ‘Dreamsong’ is even more bluesy than ‘El Camino.’ Smith takes center stage on this one while Hunter’s subtle time keeping partners with him and Gold to flesh out the song even more. The three originals collectively make for plenty of engagement and entertainment within themselves. When they are considered with the arrangements featured in the covers, the arrangements in whole give listeners plenty of reason to take in this record. The arrangements are, collectively, just one part of what makes the album successful. The song’s sequencing adds to that appeal.
What is important to note about the sequencing of Baker’s Circle is that it keeps the record’s energy relatively stable throughout its 57-minute run time. While ‘Tough’ is subtle in its approach, Stryker’s performance on guitar opens the album on a high-energy note. Audiences will note that from there, the energy gradually pulls back until it reaches its most relaxed point in ‘Everything I Love.’ ‘Rush Hour,’ the album’s midpoint, picks things back up with its hybrid bop/free jazz style approach. So through the first half of the album, what audiences get is a record whose energy gradually and deliberately lessens up until its midpoint. ‘Superstar,’ which immediately follows, is a direct contrast to ‘Rush Hour’ with its gentle, danceable slow jazz groove. Stryker and company once again pick the energy right back up immediately after in ‘Baker’s Circle.’ ‘Inner City Blues’ keeps the groove going before the album pulls back once again in the even slower ‘Love Dance’ before giving way once more to something more energetic in ‘Trouble (No. 2).’ Looking back, it is evident that there was a deliberate approach taken to the sequencing of Baker’s Circle’s songs. It starts off strong before gradually pulling back. Once it reaches a certain point, the album picks back up, ensuring listeners’ engagement even more. The energy pulls back again from that second crest before gradually picking back up again to close out the record. The clear thought put into this sequencing paid off, as it, again, pays off in its own way. The overall result here is that the sequencing does its own share to keep listeners engaged and entertained as the songs themselves. Keeping all of this in mind, there is still one more item to examine in addressing what makes this album work. That item is the record’s production.
The production here is important to discuss because it is that work that ensures the songs impact well not only because of how they are sequenced, but also because of how they sound. That painstaking work paid off, too. Whether in the album’s more relaxed moments or its busier songs, the instrumentation in each arrangement was so well-balanced. The slower, more “reserved’ songs allow the subtleties in the drums, guitar, and saxophone to really shine through while the busier songs make sure that none of the musicians overpower one another. The overall result here is that each arrangement is fully immersive. To that end, the production of Baker’s Circle proves just as important to the album as its content and related sequencing. All things considered, they make the album a viable candidate for a spot on any critic’s list of the year’s top new jazz albums. That is the case even though the majority of the record is composed of covers.
Dave Stryker’s latest album, Baker’s Circle, is an enjoyable new offering from the veteran guitarist. It is a presentation that his fans will appreciate just as much as those of the acts whose music is covered here. That is due in no small part to the songs and the arrangements connected with each. The sequencing of those songs adds even more appeal to the album thanks to the obviously intentional order. It ensures the record’s energy rises and falls just enough at the right points. The production of the songs ensures that each song sounds the best that it can, bringing everything full circle. Each item noted is important in its own way to the whole of the album. All things considered, they make Baker’s Circle an enjoyable listen for any jazz fan. The album is available now. More information on the record is available along with all of Dave Stryker’s latest news at:
The musical universe spawned so much great music this year. From rock to rap to pop to country, jazz, and even family music, the musical universe gave audiences a lot to like about 2020. For all of the entertaining and engaging music that was released this year some proved to be the best of its given categories. Not all of that music could be the best of the best though. Only certain records could obtain that title, and they come this year from a wide range of genres. The Okee Dokee Brothers and their new album Songs For Singin’ are here among the best of the best in Phil’s Picks 2020 Top 10 New Albums of the Year. They are joined by new albums from the likes of Sons of Apollo, Ricky Byrd, and The Devonns among others. Topping this year’s list of the best of the best is Jessie Wagner’s new album Shoes Droppin’.
As with every other list from Phil’s Picks, the Year’s top new albums list features the year’s Top 10 new albums and give honorable mentions for a total of 15 titles. Without any further ado, here is Phil’s Picks 2020 Top 10 New Albums of the Year.
PHIL’S PICKS 2020 TOP 10 NEW ALBUMS OF THE YEAR
Jessie Wagner – Shoes Droppin’
Chris Stapleton — Starting Over
Sons of Apollo – MMXX
Yellowackets – Jackets XL
U.D.O. – We Are 1
Ricky Byrd – Sobering Times
Deep Purple – Whoosh!
The Devonns – The Devonns
Nine Inch Nails – Ghosts V
Nine Inch Nails – Ghosts VI
Joe Bonamassa – Royal Tea
The Okee Dokee Brothers – Songs For Singin’
The Tibbs – Another Shot Fired
Ala.ni – ACCA
Ben Harper – Winter is for Lovers
Now that all the music lists are done, it is on to the DVD and Blu-ray releases. Up first in that side of things is the year’s Top 10 New Documentaries. Stay tuned for that.
Jazz fusion group Yellowjackets’ latest full-length studio recording Jackets XL is some of the band’s best work to date. Released this past September, the album is also the best of this year’s new jazz and blues albums. That is proven in part through the record’s featured arrangements, which will be addressed shortly. The sequencing of those arrangements couples with the works to make the album even more appealing. This aspect will be discussed a little later. The record’s production puts the final touch to the presentation that is Jackets XL. It will also be discussed later. All three elements are, in their own way, important to the whole of this record. All things considered, they make Jackets XL a successful new effort that jazz fans will enjoy just as much as Yellowjackets’ established fan base.
Yellowjackets’ latest album Jackets XL is a strong new offering from the veteran jazz fusion group. The arrangements that make up the body of the one hour, nine minute record for the foundation for this widely appealing presentation. The arrangements are so notable because they take the quartet in various directions rather than just sticking to its familiar electronic approach. Right from the record’s opening, audiences are treated to a modern big band jazz composition whose up-beat arrangement immediately ensures listeners’ engagement an entertainment. The horns and the drums make a great foundation for the arrangement while the bass work of Dane Alderson adds its own welcome accent to the work, not just in his solos, but throughout the course of the six-and-a-half-minute composition. The whole of those and other elements makes the song in whole a great start to the album and just one of the most notable of the record’s arrangements.
While the album’s opener takes the band in a new direction (and brings listeners along for the ride), the band also brings something a little bit more familiar in terms of the arrangements in ‘The Red Sea,’ which is early in the album’s run. The nearly eight-minute composition takes audiences back to the sounds of its self-titled 1981 album that really set such a tone for this group from that moment on. The light keyboards and the tight time keeping pair with the more subtle addition of the big band, to maintain the song’s own unique identity separate from its counterparts. It is important to note again, the subtlety of the big band element in this composition. It is there, but is less prominent. It is more of a “supporting element” here, used to add a little something extra to the band’s more familiar sound, and it succeeds in its use here, too. The whole of the arrangements within the bigger composition makes the song in whole another prime example of why the album’s musical arrangements so important to its presentation. ‘Revelation,’ which closes out the album, brings listeners to Yellowjackets’ more recent era, and is one more way in which the album’s arrangements show their importance.
The arrangement featured in ‘Revelation’ is reminiscent of works featured in Yellowjackets’ 1998 album Club Nocturne. That is evidenced in the use of the piano and drums, primarily. The addition of the big band element to the composition adds a new twist to the song, enhancing the arrangement even more. Its own unique identity in the bigger picture of the album shows even more, the diversity in the album’s musical arrangements, and in the bigger picture, why the album’s arrangements are important to its presentation. When these examined arrangements are discussed along with the rest of the album’s works, the record’s musical content forms a strong foundation for its presentation. When the arrangements are considered along with their sequencing, the album’s foundation is strengthened even more.
The sequencing of Jackets XL’s arrangements is important because it is this element that ensures the record’s energy remains stable throughout. The sequencing featured here is important because a close listen reveals some clear attention to detail. The energy clearly changes between the album’s opener and its follow-up, ‘Dewey.’ The latter of the pair is so laid back by comparison. It gives audiences a very funk style composition in comparison to the big band swing of the album’s opener. From there, ‘Mile High’ and ‘The Red Sea’ change things up and pick the energy back up in their stylistic change before ‘Even Song,’ the album’s midpoint, pulls things back even more noticeably. It serves as a good way to break up the album and keep things interesting. After things pick right back up in ‘One Day,’ ‘Tokyo Tale’ pulls the album’s energy back once again, breaking things up once more the album’s energy rises yet again in ‘Imperial Strut.’ The energy falls once more in ‘Coherence,’ the album’s penultimate song, before the record closes out on one more high note in ‘Revelation.’ Looking back through the album, what can be obviously heard is that the album’s energy rises and falls in all of the right points. At the same time, the stylistic approaches change just enough throughout the album’s 10 total songs to keep things interesting in this fashion, too. All things considered, the sequencing of the arrangements featured in Jackets XL works with the featured arrangements to give listeners even more to enjoy. Even keeping all of this in mind, the arrangements and their sequencing are just a portion of what makes Jackets XL such a success. The record’s production rounds out its most important elements.
The production presented in Jackets XL is important to examine because of the fact that between the big band element and Yellowjackets’ own instrumentations, there is a lot going on throughout this record’s arrangements. The horns add accents at some points, and serve as the center of other arrangements. The keyboards, sax line and others all switch up along with the big band throughout. That means that a lot of music is going on in each song. That means that a lot of attention to detail had to take place in balancing dynamics and general instrumentation. Audiences will be pleased to know that the painstaking efforts that were undertaken in this aspect paid off. No one instrument or group of instruments overpowers the others at any point in the album’s run. The result is that the album’s arrangements sound just as good because of this aspect as for their instrumentation. Along with that, the sequencing of those arrangements plays its own important part to the album’s whole. When all three elements are considered together, they make the album in whole a work that is a standout offering in this year’s field of new jazz and blues albums and from the band itself.
Yellowjackets’ new album Jackets XL is an impressive return for the veteran jazz fusion outfit. It is a work that stands out among the band’s own catalog and among this year’s field of new jazz and blues albums. That is proven in part through its arrangements, which do well to show the band’s past and present. The sequencing of those arrangements adds even more appeal to the album because it changes the songs’ stylistic approaches and sounds just as much as the songs’ energies expertly. The production of the album’s featured songs puts the finishing touch, making sure each instrument and performer’s part is balanced just as expertly within each composition. Each item addressed here is important in its own way to the whole of the album’s presentation. All things considered, they make Jackets XL a welcome addition to the music libraries of Yellowjackets’ fans and jazz aficionados alike. They make the album the best of this year’s new jazz and blues albums and potentially one of the best new albums of the year overall. Jackets XL is available now. More information on Jackets XL is available along with all of the band’s latest news at:
Jazz and blues fans have had a lot to like this year. That is because this year has produced so much enjoyable and memorable music from the two genres, which are so closely aligned. From Yellowjackets’ new album Jackets XL to Joe Bonamassa’s new album Royal Tea to he Rev. Shawn Amos’ latest album Blue Sky and more, this year has seen so much great music released. That being said, with the year winding down, critics are already releasing their lists of the year’s top new albums in these categories. This critic is joining those ranks with a list of the best of the year’s new jazz and blues albums.
As with each list released by Phil’s Picks, this list features the Top 10 new albums from the two genres and five additional honorable mention titles for a total of 15 albums. Without any further ado, here is Phil’s Picks 2020 Top 10 New Jazz and Blues Albums.
PHIL’S PICKS 2020 TOP 10 NEW JAZ & BLUES ALBUMS
Yellowjackets – Jackets XL
Joe Bonamassa – Royal Tea
Lisa Hilton – More Than Another Day
The Rev. Shawn Amos & The Brotherhood – Blue Sky
Analog Players Society – Soundtrack for a Nonexistent Film
Melody Gardot – Sunset In Blue
Dion – Blues With Friends
Ronie Earl & The Broadcasters – Rise Up
Shadow & The Thrill – Sugarbowl
Diana Krall – This Dream Of You
Sugar Ray & The Bluetones – Too Far From The Bar
Carol Welsman – Dance With Me
The Rough Guide to the Roots of Country Blues
The Roots of Blues
The Rough Guide to Spiritual Blues
Next up from Phil’s Picks is the Top 10 New World Music Albums from 2020. Stay tuned for that.
From the mainstream to the underground, from the worlds of jazz and blues to the worlds of pop and rock, audiophiles have been given quite a bit this year to appreciate. Up-and-coming blues-rock band The Record Company and veteran jazz outfit Yellowjackets joined World Music act Yiddish Glory to prove to be some of this year’s best new music.
Experience Hendrix, LLC’s new Jimi Hendrix album Both Sides of the Sun, composer Klaus Schultz and veteran performers Elvis Costello & The Imposters also provided some memorable new music along with Ben Harper & Charlie Musselwhite, Ry Cooder and Femi Kuti.
Considering how many top notch records were released this year, developing this year’s list was not easy by any means. The acts noted previously all turned out some very impressive offerings.
After much analysis and consideration, this critic has placed atop the year’s top new albums list is the long-lost album from John Coltrane, Both Directions At Once. The record stands out as a shining beacon that music lovers across the board should hear at least once, regardless of their familiarity with Coltrane and his body of work.
Second in this year’s list is taken by Yiddish Glory’s new album The Lost Songs of WWII. Listeners learn some very important history about Jewish music, culture and history through this album that should be in so many listeners’ libraries.
Third place in this year’s list goes to composer Klaus Schultz and his new album Silhouettes. The otherworldly compositions featured in this record are stunning in their presentation. They conjure thoughts of some of Nine Inch Nails master mind Trent Reznor’s most powerful instrumental works crossed with just a touch of John Williams sensibility. It really is a powerful presentation that crosses genres and deserves so much attention.
The remainder of this year’s list features new albums from the likes of Ben Harper & Charlie Musselwhite, Femi Kuti and The Record Company just to name a few acts. As always, the list’s top 10 titles are the best while the five that follow are honorable mention titles. Without any further ado, here for your consideration is Phil’s Picks 2018 Top 10 Albums of the Year.
PHIL’S PICKS 2018 TOP 10 NEW ALBUMS
John Coltrane — Both Directions At Once
Yiddish Glory — The Lost Songs of WWII
Klaus Shultz — Silhouettes
Ben Harper & Charlie Musselwhite — No Mercy in this Land
The Jamie Lawrence Sextet — New York Suite
Jimi Hendrix — Both Sides of the Sky
Femi Kuti — One People, One World
Ry Cooder — Prodigal Son
Yellowjackets — Raising Our Voice
The Record Company — All Of this Life
Billy Gibbons — The Big Bad Blues
Elvis Costello & The Imposters — Look Now
Onyx Collective — Lower East Suite Part Three
Nathaniel Rateliff & The Night Sweats — Tearing at the Seams
Joe Bonamassa — Redemption
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Jazz and the blues are among the great genres of music to ever grace the world’s airwaves. From the days of the “chitlin circuit” that featured so many of the greatest blues musicians of all time, to the fusions sounds of Weather Report, Yellowjackets and others to the more modern jazz and blues of Joe Bonamassa and The Jamie Lawrence Sextet, both genres have produced an infinite number of timeless, influential albums and songs.
That is why as with past years, Phil’s Picks is featuring again, a list of the year’s top new jazz and blues albums. The two genres are being combined as they are invariably connected to one another. It has not made crafting this year’s list any easier than in year’s past. Keeping that in mind, there are no bad albums here.
Taking the top spot in this year’s list is the long lost studio recording from John Coltrane, Both Directions at Once. Up until this year, the recording had been long thought lost to time, and its “resurrection” of sorts this year is welcome. The arrangements show a unique side of the famed saxophonist and his fellow musicians featured throughout.
Second Place in this years list goes to Yellowjackets’ new album Raising Our Voice. This record is everything that the jazz outfit’s fans have come to expect with a little something extra thanks to the record’s guest vocalist.
Third Place belongs this year to The Jamie Lawrence Sextet and its debut album New York Suite. The record’s arrangements throw back to some very interesting influences while also using those influences to generate an identity of their own in the process.
Also featured in this year’s list are new releases from the likes of Joe Bonamassa, The James Hunter Six, The Rev. Peyton’s Big Damn Band and Ben Harper & Charlie Musselwhite just to name a handful of other acts.
As always, the list features 15 total acts and titles. The first 10 records are the Top 10, while the five that follow are honorable mention titles. Without any further ado, here is Phil’s Picks’ 2018 Top 10 New Jazz & Blues Albums.
PHIL’S PICKS 2018 TOP 10 NEW JAZZ & BLUES ALBUMS
John Coltrane — Both Directions at Once
Yellowjackets — Raising Our Voice
The Jamie Lawrence Sextet — New York Suite
Ben Harper & Charlie Musselwhite — No Mercy in This Land
Ry Cooder — The Prodigal Son
Onyx Collective — Lower East Suite Part Three
The Rev. Peyton’s Big Damn Band — Poor Until Payday
Joe Bonamassa — Redemption
Beth Hart & Joe Bonamassa — Black Coffee
James Hunter Six — Whatever It Takes
Tony Bennett & Diana Krall — Love Is Here To Stay
Gary Moore — Blues & Beyond
Brian Bromberg — Thicker Than Water
Kamaal Williams — The Return
Victor Wainright & The Train — Victor Wainright & The Train
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