With the 2014 release of Kin (←→), Pat Metheny adds one more notch—another restlessly searching album that marks the zone between all jazz, all rock and all-world music—to his belt of aesthetic enterprises filled with zeal and innovation.
For a jazz pianist, New York-based Helen Sung certainly fits into the “deserves to be better known” category. For those who do know and appreciate her art, Sung’s club gigs are adventurous, disarming, and always have an unexpected surprise or two. It was at one of these small club dates where I caught her during a late set in the summer of 2013 with much of the same band that accompany her on Anthem For A New Day, her glossy and rewarding debut record for Concord Jazz.
A Manhattan backdrop substitutes for prairie land and open sky on Jazz Country, the big-hearted hybrid album from singer Amy Cervini that’s as endearing and tender as a vocal recording can be in 2014. She smartly transcends genre boundaries or anything else that gets in the way of the purity of a song. The spare musical accompaniment by guitarist Jesse Lewis and bassist Matt Aranoff frame Cervini’s renditions of these classic American songs simply and earnestly, underscoring her candor and crystalline delivery.
Powerhouse records were released in 2013 from some of the most respected jazz musicians (Wayne Shorter, Tomasz Stanko and Chucho Valdes could take the top spots on an alternate list), but my choices for top jazz releases in 2013 were shaped by newer voices and rising stars, all of them uniquely notable for their artistry and leadership.
1. Terri Lyne Carrington, Money Jungle: Provocative In Blue (Concord Jazz)
Like hands and gloves, brass music and Christmas were made for each other. This new album from the always imaginative Canadian Brass is an affectionate tribute to the classic animated TV specials that continue to delight young and old during the holiday season.
Ever since he released his debut recording, Consequences, on Posi-Tone Records in 2008, British pianist John Escreet has persisted in pushing at boundaries. On his subsequent rhythmically adventurous recordings you can hear the influence of avant-pianist Andrew Hill and former teacher Jason Moran, but as beguiling as those recordings were, they were more like really good sketch books with one or two amazing tunes with ideas for days and musician line-ups where everyone, none more so than the pianist, played their ass off.