Rolling Jazz Thread 2021

I've only heard the Impulse! albums (and wrote about them myself a while ago); now I want to check them out. There's a trio disc on ECM, recorded live in 1972, that Iverson doesn't cover because it wasn't released until a couple of years ago. I've heard that; it's good.

One approach was taken by Keith Jarrett in consort with Charlie Haden, Paul Motian, and Dewey Redman.

i don't mean to be a pedant, but doesn't iverson mean "concert" here? or have i been getting that wrong all this time

Um,...

That paste had some garble ("for a better transcription click here"--wish I had): I corrected most of it, but missed one capital Y ending, and may have missed "consort" when the original was "concert" dunno tweets can be hard to look up, but see the whole essay in the link sorry. Speaking of Twitter:

Franklin Bruno
@humanfranklin
Schoenberg's harmony textbook isn't quite what I was expecting: "Let the pupil know that every living thing has within it that which changes, develops, and destroys it. Life and death are both equally present in the embryo. In between is time."

"Consort" is in the original, okay by me. (The Paul Winter Consort etc.)

Duly noting Junior Mance's passing here, as well as that of two jazz vocalists, Janet Lawson and Carol Fredette, both of whom had been living at The Actor's Home in New Jersey.

New Joshua Abrams album on Rogue Art, Cloud Script, sounding excellent this morning - and what a band! Gerald Cleaver, Ari Brown, and Jeff Parker. Decidedly more traditional approach than the recent Natural Information Society material (ie there are heads and solos, including a drum solo) but just as captivating as those great records. Parker in particular sounds fantastic - check out his gnarly solo on "Collapsing Novelty." Pity the LP appears to be sold out everywhere already.

^ I wish Rogue Art had a digital download presence on Bandcamp and weren't CD only (as far as I recall).

This is my kind of actual modern fusion, in terms of where soul/funk and jazz and open-minded pop/rock meets--lots of great players on this in add'n to the co-billed, incl. Sam Gendel and Rob Moose; very excited to hear the whole thing in mid-March, and this lead single sounds awesome, with nice touches incl. electric sitar as featured on D'Angelo's Black Messiah:

https://www.youtube.com/watch?v=dQTtUmmjqbI

Haven't even listened to this yet and I'm very excited based on the lineup, dang.

I've been having a good time today listening to Junior Mance records, and related ones from that Mickey Roker interview that James linked in the other thread (Shirley Scott, Walt Dickerson).

Ok that's a little more, idk, tasteful and ECM-ish than I was expecting? It's nice though, still curious to hear the album. But there's only about 10 secs of Chris Dave sounding like Chris Dave. Although I guess that's why he's Chris Dave, because he's a tasteful musician and doesn't always have to sound like Chris Dave.

Charles Lloyd, who mostly leaves me cold, has a new album coming out March 12. The first single is a version of Ornette Coleman's "Ramblin'," one of my favorite OC tunes because Change of the Century was the first album of his I heard and it cracked my head wide open. And this version, with Bill Frisell on guitar, is surprisingly hot. So now I think I might have to hear the whole record.

https://www.youtube.com/watch?v=rGVIrck0pNI

Cool, I'll check out in due course. Last year's 8: Kindred Spirits was solid, albeit overlong.

As I say, I'm not a big fan, but his Blue Note albums have generally been better than his ECM albums were.

a new Trio Tapestry album (Joe Lovano/Marilyn Crispell/Carmen Castladi) Garden Of Expression is out on ECM.

Lloyd always seemed to me a little bit like a so-so musician who found a way to ride the hippie train. Also not a big fan. He has his moments though.

I liked Kindred Spirit but yeah it went on

I enjoyed Lloyd's duet album with Billy Higgins, Which Way Is East? Admittedly, it's more a document of them pursuing whatever eclectic ideas cross their minds than a conventional jazz record. I never heard Lloyd's early, "hippie jazz".

The late '60s albums on Atlantic are his best work by far. (With Keith Jarrett, Cecil McBee, and Jack DeJohnette, how could they not be?)

Mentions of Lloyd remind me of my Rolling Jazz 2019 post:
Looking for Charles Lloyd on Bandcamp, found Manhattan Stories (2014), comprised of
two 1965 New York Concerts, Disc 1 recorded at Judson Hall & Disc 2 recorded at Slugs' Saloon.
A remarkable and previously unrecorded quartet featuring three jazz giants: guitarist Gábor Szabó, bassist Ron Carter and drummer Pete La Roca.
'It was a specific time and place'; Lloyd told Manhattan Stories annotator Don Heckman. 'We all felt like the boundaries were being dissolved and we could do or try anything. This is a music of freedom and wonder -- we were young and on the move.''
Which is just what the sample track, "Sweet Georgia Brown," sounds like (17' 49", but quite spritely). Especially digging the interplay of guitar and sax, bass and cymbals, also succinct solos, esp. PLR's and Szabo's---the latter bright and brittle, autumn leaves, but def not drifting. What other Szabo should I check? Used to see his LPs...
https://charleslloyd.bandcamp.com/
(That was first reposted on the Szabo thread I later found, good 'un too.)

Very much enjoying Dyads, a double bass/tenor sax (or clarinet) duo between Michael Formanek and his son, Peter. I expected a bit of a self-indulgent family affair, but it held my attention throughout its 1h12 duration.

Very much enjoying _Dyads_, a double bass/tenor sax (or clarinet) duo between Michael Formanek and his son, Peter. I expected a bit of a self-indulgent family affair, but it held my attention throughout its 1h12 duration.

Derrida interviews Coleman in 1997 (around the time of his Lincoln Center concert w orchestra, trio w Haden & Higgins. and Prime Time): they talk about "the language of the other," incl. dealing with colonialism, gender, group behavior, other kinds of determinism. incl. music as and of language---both speaking English. but orig. transcript was lost, so this is translated "back" from the French translation (wonder where the tape is. or maybe the recording was in stenography) It's not very long, is very Ornette:
https://www.ubu.com/papers/Derrida-Interviews-Coleman_1997.pdf

And this is from The New Yorker---no indication here., but print ed. said it's streaming on the Criterion Channel, I think (never seen it, thought about getting a Blu-Ray player when read that there's more footage in that format):

Ornette: Made in America
Shirley Clarke’s 1985 documentary about the crucial jazz innovator Ornette Coleman unites an impressionistic portrait with an overview of his life, work, and ideas. It also poses painful questions about a mid-career artist whose restless curiosity is yoked to the glory and burden of a public persona. The film’s collage-like composition is anchored by Coleman’s 1984 visit to his home town of Fort Worth, where he receives official tributes and performs with the city’s symphony orchestra. Dramatizations of his youth, filmed performances from the sixties onward, and discussions with him and other musicians and associates (including William Burroughs and Brion Gysin) mesh with Clarke’s diverse video manipulations and rapid-fire editing, which evoke the visions and fantasies from which Coleman’s music arises. (His discussion of an earlier plan for sexual abstinence is as chilling as it is revealing.) Clarke relates Coleman’s grandly transformative multimedia projects (including one involving satellite transmissions) to her own; his troubled effort to rehabilitate a Lower East Side building highlights the free-flowing connection between art and life.

— Richard Brody

Found the print: yeah, Criterion Channel.

It's available on DVD (Blu-Ray seems a little harder to come by) but doesn't say anything about extra footage.

Seems like the Blu-Ray supposedly had for instance an extra or longer interview with Denardo. according to whatever magazine.

Chicago Reader's Jonathan Rosenbaum had one caveat: The film's biggest limitation may be its focus on a single piece, "Skies of America," through many performances and incarnations over a seven-year period, which stretch geographically from Fort Worth and Berkeley to Morocco and Italy—a good idea in theory, but the third-stream trappings of the piece make it less than ideal for this kind of workout. Sounds even better to me!

This is mostly about Clarke's adventures in film, overall, esp The Connection, which I know only from music incl. in and associated with it, but what I've seen of and read about her other work def. has jazz appeal:
https://www.nytimes.com/2012/04/29/movies/the-shirley-clarke-project-by-milestone-films.html?pagewanted=all

Oh yeah---re her work with Ornette. wiki sez: The opening of the now-defunct Caravan of Dreams nightclub serves as a catalyst for (Made In America's) production, but Shirley Clarke had actually been working on the film for a span of over 20 years. The 1968 footage with Ornette, his young son, Denardo, and frequent collaborator Charlie Haden was filmed by Clarke for a separate film that never came to fruition.[2]

The Caravan of Dreams is a whole story in itself, incl. the associated record label; I still have some of their newsletter catalogues.

The recent book on Ornette, The Territory and the Adventure, deals quite a bit with the Caravan; the author worked there for several years.

I love Ornette and saw that film in a theatre, but unhappily I only remember some brief unfortunate animated bits where Ornette's picture bounces around the screen.

I always just listened to Mary Halvorson for the playing but after paying for Artlessly Falling and getting the booklet, I started paying attention to some of her lyrics. I'm almost shocked at how good they are (at least from my v inexpert pov) - I honestly didn't expect one of the leading guitar virtuosi of the time would also have this command of poetic imagery; it adds a whole other layer to my enjoyment of the album.

Smell of grease and mint.
Glissando female laughter.
Thirsty one spinning
tops. Gold outline of her neck,
crimped at its deepest plastic.

As cartoon backdrop:
lemon trees darkening, wish-
bones bit from a life.
Private crisis of the now.
These indolent visions, parched.

I remember her old out-rock band People (duo w/ Kevin Shea from Storm and Stress on drums) having some good lines (w/ her on vox instead of someone else singing as in Code Girl, of course)

Ha, so she can sing too!

Ha, I only just noticed that the poetic form of the text of each lyric is indicated in the bottom right of the pages - that one is a double tanka.

https://www.actmusic.com/en/Artists/Diego-Pinera/Odd-Wisdom/Odd-Wisdom-CD

I quite like this one from Uruguayan drummer Diego Pinera.

the he brings some awful vox to one of the tracks and it spoils my mood!

a good one from last year I've not seen hardly mentioned anywhere was the Anthony Pirog/Michael Formanek/Ches Smith album Pocket Poem.

Another track teased from the upcoming Pino/Mills + Gendel album, this one backed by digital tabla in slinky sevens:
https://www.youtube.com/watch?v=nq4hSD1LvAo

I've only just realized how good Pirog is, even after having seen him perform live only once or twice.

Yeah we were digging AF over on Robert Wyatt: Classic or Dud?:

He's good on that Code Girl album--sounds old, but vivid, to lingering impression after tracks are over---and alb is all good, by far the best Halvorson set I've heard so far, maybe because she's an accompanist here, to singers and instrumental "chamber" (but non-antiseptic) jazz combo & soloists.
Seems like this might pertain:

― dow, Tuesday, 5 January 2021 19:45 (one month ago) link

i was a little cooler on the album overall, maybe it needs a few more spins to grow on me, but agree that Wyatt is fantastic on it

― nobody like my rap (One Eye Open), Tuesday, 5 January 2021 19:50 (one month ago) link

It's a great setting for him and he sounds perfect on it even if I am not as high on as I was the first Code Girl record, but agreed I need some more time with it

― chr1sb3singer, Tuesday, 5 January 2021 20:47 (one month ago) link

I thought Amirtha Kidambi's vocals were very strong too, think she's the main singer other than Wyatt, although tenor saxophonist Maria Grand also gets voice credit on the bandcamp page. MH writing and picking but not singing is okay by me; People was like a Portlandia take off on jazz school nerds, although as such, could be entertaining, but it goes on a while. Anyway, this one is soooo much better, and whole thing is here:
https://maryhalvorson.bandcamp.com/album/artlessly-falling

Seems like this might pertain: Oops, meant to delete that along with something that did pertain to the Wyatt thread, but not this one so much.

Oh, tbc, I listened to the whole album a lot over the last year; I think I nominated it for the ILM poll. I just finally bought it on the last Bandcamp Friday. (I already owned the previous Code Girl album.)

Yeah, I figured you were pretty well familiar with it, that was just a link and reminder for those who are always trying catch up w bandcamp, like me.

Ah, yeah, right on

Grand must be doing backing vocals e.g. on the refrain of "Mexican War Streets (Pittsburgh)". Kidambi was the only credited vocalist on the previous Code Girl and the non-Wyatt lead vocals on this album sound like the exact same voice to me.

Going back to back to this Nicholas Payton album where he plays trumpet and Rhodes simultaneously, it's really pretty stunning how un-gimmicky it is. Also just a perfect sounding record. The Tiny Desk version is really good too.

https://open.spotify.com/album/3FXM1Oj2O936SuRHSl6Oc6?si=ANh9m0kRR8id3tdjjiq9SA

Saw he has a quarantine album but haven't checked it out yet.

Ok the quarantine album is a big nope

Tipitina's tv is showing New Orleans music docs all weekend plus on Mardi Gras. James Booker, Henry Butler, and brass bands ones may appeal to some on this thread

https://www.youtube.com/watch?v=LwflNeY0HPM

Is it just me or is Jakob Bro almost inaudible on his latest for ECM, Uma Elmo? I assume this was a deliberate choice on his and Manfred Eicher's part, but the end result sounds like a duo between Arve Henriksen and Jorge Rossy, which is fine but false advertisement imo.

He's there, he's just the least interesting part of each track.

That Roy Brooks record is HOT. Liked the Jeff Parker but can't really remember anything about it - must revisit.

Not heard of them before, but Web Web and Max Herre (Web Max) has a new album that is an ode to the spiritual jazz of Yusef Lateef:

https://webweb.bandcamp.com/album/web-max

Listening to two albums from 2000 and 2001, Boom Bop and Trance Atlantic (Boom Bop II) by guitarist Jean-Paul Bourelly, whose work I have never previously connected with — he's a sort of psychedelic blues guitarist who floated between jazz world and the Black Rock Coalition in the '90s, never fully putting one foot firmly in either camp. These two discs are sort of acid blues mixed with North African music, but Archie Shepp and Henry Threadgill are there, too, and Reggie Washington is on bass. Really good stuff, kind of Laswell-ish without Laswell. Both available on Bandcamp: http://bourelly.bandcamp.com

Yeah this Roy Brooks one is sick.

Totally fun 2021 reissue from Downtown NYC '96,keeping me on my toes

Sleevenote 2
Working with Spanish Fly was an extraordinary experience for me as I most often work with classical music in my choreography. Their music, however, has the perfect pulse for a ballet. It's charged with an "in
Your face" attitude mixed with a sense of yearning. I began to see Images of characters right away. “Night Creatures” we called them.
Young people sliding up Avenue A, full of quirks and obsessions.We gave them names: the Snake Lady. the Sisters, the Lovers. These Characters became our guides. They lead us to Our themes and choices of style.
Lighting designer Mark Stanley created a set of massive Venetian Blinds which opened to reveal the dancers. This gave the work a
sense of spying, of voyeurism.
credits
released April 1, 2021

Steven Bernstein . trumpet, slide trumpet, cornet, crooning
Marcus Rojas : tuba, tubapercussion, tubasinging
Tronzo : slide guitar, cup guitar, prepared guitar
with Ben Perowsky : drums, percussion

FLY BY NIGHT" COMMISSIONED BY THE SAN FRANCISCO BALLET ASSOCIATION.
CHOREOGRAPHED BY CHRISTOPHER D'AMBOISE.

PREMIERED FEBRUARY 28,1996 AT CENTER FOR THE ARTS AT YERBA BUENA GARDENS.
BACKGROUND VOCALS ON TONGUE SANDWICH:
SPANISH FLY, HAL WILLNER, VICKI STANBURRY, LAURIE GALLUCCIO, AMANDA REISMAN
https://stevenbernstein.bandcamp.com/album/fly-by-night

Well, the dance was in Yerba Buena, yeah, but you know where the music is coming from---now I'm craving some Lounge Lizards, Jazz Passengers reissues---also something new from John Lurie World Orchestra.

Listening to two albums from 2000 and 2001, Boom Bop and Trance Atlantic (Boom Bop II) by guitarist Jean-Paul Bourelly, whose work I have never previously connected with — he's a sort of psychedelic blues guitarist who floated between jazz world and the Black Rock Coalition in the '90s, never fully putting one foot firmly in either camp. These two discs are sort of acid blues mixed with North African music, but Archie Shepp and Henry Threadgill are there, too, and Reggie Washington is on bass. Really good stuff, kind of Laswell-ish without Laswell. Both available on Bandcamp: http://bourelly.bandcamp.com

Boom Bop was wonderful. Thanks for the tip!

I can't say it better than this guy does on Bandcamp:
Philip Graham---Oh how I do love this stately, swinging tumble of harmony and melody. The album seems like a slowed down, trippy echo of Duke Ellington’s “The Second Line” from New Orleans Suite.It's not really all that slow: every track has satisfying internal dynamics, which go with the mixing of emotions, rhythms, incidents, shades of this and that--yeah, Ellingtonia and NOLA and Downtown hipsters have come this far:
'Tinctures in Time' is the first original music Steven Bernstein has ever written for the Millennial Territory Orchestra, which prior to this recording had exclusively been a vehicle for his arrangements of other people's songs, from Count Basie to Prince. Most of the album was composed in 2019, a tough period for Bernstein: Henry Butler had recently passed, and there was a series of serious injuries and death in his immediate family. Like a lot of people do, Bernstein got through it by working. "I was spending a lot of time on planes, going to visit people in hospitals," he says. "So what else am I going to do with my time? I ended up with all this music."

"The tincture of time" is a phrase Bernstein's father, a doctor, uses for when there's nothing to be done but wait for something to heal; the relevance of time as healer for Bernstein himself is clear. He altered the phrase so it makes a little reference to a favorite Sly Stone tune. And "tinctures," Bernstein says, also refers to "things that people take to give feelings of euphoria." It's why he also calls this collection of compositions "cannabis music." But it's not some foggy notional bank of sands through the hourglass: everybody's very responsive, just never hyper (a tad outcat at times).Enough funk in there, also a soul anthem, not oversold, and sometimes I think Ben P. is playing a tabla?
Steven Bernstein - Trumpet, Slide Trumpet & Flugelhorn
Curtis Fowlkes - Trombone
Charlie Burnham - Violin
Doug Wieselman - Clarinet, Tenor Saxophone
Peter Apfelbaum - Tenor Saxophone
Erik Lawrence - Baritone Saxophone
Matt Munisteri - Guitar, Banjo
Ben Allison - Bass
Ben Perowsky - Drums
https://stevenbernstein.bandcamp.com/album/tinctures-in-time-community-music-vol-1

https://artsfuse.org/244710/the-2021-jazz-critics-poll-only-the-best/

James Brandon Lewis Red Lily Quintet, Jesup Wagon (Tao Forms) 388.5 points (53 ballots)
Vijay Iyer-Linda May Han Oh-Tyshawn Sorey, Uneasy (ECM) 225 (34)
Floating Points, Pharoah Sanders & the London Symphony Orchestra, Promises (Luaka Bop) 195 (28)
Charles Lloyd & the Marvels, Tone Poem (Blue Note) 182.5 (25)
Wadada Leo Smith’s Great Lakes Quartet, The Chicago Symphonies TUM 169 (24)
Henry Threadgill Zooid, Poof (Pi) 164 (32)
Ches Smith & We All Break, Path of Seven Colors (Pyroclastic) 143 (23)
Artifacts [Tomeka Reid-Nicole Mitchell-Mike Reed], . . . And Then There’s This (Astral Spirits) 132 (24)
Sons of Kemet, Black to the Future (Impulse!) 123 (21)
William Parker, Mayan Space Station (AUM Fidelity) 117.5 (23)
Kenny Garrett, Sounds From the Ancestors (Mack Avenue) 116 (19)
Anna Webber Idiom (Pi) 113 (17)
Irreversible Entanglements, Open the Gates (International Anthem) 98 (17)
Johnathan Blake, Homeward Bound (Blue Note) 91.5 (17)
Various Kimbrough (Newvelle) 89 (12)
Amir ElSaffar Rivers of Sound, The Other Shore (Outnote) 83 (12)
Archie Shepp & Jason Moran, Let My People Go (Archieball) 76 (12)
Makaya McCraven, Deciphering the Message (Blue Note) 76 (11)
William Parker, Migration of Silence Into and Out of the Tone World (Centering/AUM Fidelity) 76 (9)
Craig Taborn, Shadow Plays (ECM) 74 (10)
Anthony Braxton, 12 COMP (ZIM) 2017 (Firehouse 12) 72 (9)
Sylvie Courvoisier & Mary Halvorson, Searching for the Disappeared Hour (Pyroclastic) 71.5 (18)
Julian Lage, Squint (Blue Note) 70 (16)
David Sanford Big Band Featuring Hugh Ragin, A Prayer for Lester Bowie (Greenleaf Music) 70 (9)
Adam O’Farrill, Visions of Your Other (Biophilia) 69 (14)
Bill Charlap Trio, Street of Dreams (Blue Note) 69 (13)
Ben Goldberg, Everything Happens to Be (BAG Productions) 68 (13)
Wadada Leo Smith-Jack DeJohnette-Vijay Iyer, A Love Sonnet for Billie Holiday (TUM) 67 (13)
Pat Metheny, Side-Eye NYC (V1.IV) (Modern) 66 (10)
Miguel Zenón-Ariel Bringuez-Demian Cabaud-Jordi Rossy, Law Years: The Music of Ornette Coleman (Miel Music) 63.5 (12)
Steve Coleman and Five Elements, Live at the Village Vanguard Volume II (MDW NTR) (Pi) 63.5 (10)
Hafez Modirzadeh, Facets (Pi) 60 (10)
Dave Holland, Another Land (Edition) 59 (12)
Andrew Cyrille Quartet, The News (ECM) 58.5 (12)
Jason Moran, The Sound Will Tell You (Yes) 58 (10)
Joe Lovano & Dave Douglas Soundprints, Other Worlds (Greenleaf Music) 57 (10)
East Axis [Matthew Shipp-Allen Lowe-Gerald Cleaver-Kevin Ray], Cool With That (ESP-Disk) 56.5 (11)
Brandee Younger, Somewhere Different (Impulse!) 54.5 (12)
Patricia Brennan, Maquishti (Valley of Search) 52.5 (11)
Damon Locks & Black Monument Ensemble, Now (International Anthem) 50.5 (8)
Dr. Lonnie Smith, Breathe (Blue Note) 50 (8)
Chick Corea Akoustic Band, Live! (Concord Jazz) 50 (6)
The Cookers, Look Out! (Gearbox) 49 (7)
Natural Information Society & Evan Parker, Descension (Out of Our Constrictions) (Aguirre/Eremite) 49 (6)
Nicholas Payton, Smoke Sessions (Smoke Sessions) 47 (6)
(tie). Tim Berne-Chris Speed-Reid Anderson-Dave King, Broken Shadows (Intakt) 44 (7)
(tie). Caroline Davis, Portals, Volume 1: Mourning (Sunnyside) 44 (7)
Matthew Shipp, Codebreaker (Tao Forms) 43 (7)
Gerry Gibbs Thrasher Dream Trios, Songs From My Father (Whaling City Sound) 42 (9)
Darius Jones, Raw Demoon Alchemy (A Lone Operation) (Northern Spy) 41 (7)
Rara Avis (Reissues/Archival)

John Coltrane, A Love Supreme: Live in Seattle (1965, Impulse!) 184 points (on 77 ballots)
Lee Morgan, The Complete Live at the Lighthouse (1970, Blue Note) 74 (39)
Julius Hemphill, The Boyé Multi-National Crusade for Harmony (1977-2007, New World) 74 (31)
Roy Hargrove & Mulgrew Miller, In Harmony (2006-07, Resonance) 64 (34)
Hasaan Ibn Ali, Metaphysics: The Lost Atlantic Album (1965, Omnivore) 61 (27)
Roy Brooks, Understanding (1970, Reel-to-Real) 55 (30)
(tie) Louis Armstrong, The Complete Louis Armstrong Columbia & RCA Victor Studio Sessions 1946-66 (Mosaic) 28 (11)
(tie) Charles Mingus, Mingus at Carnegie Hall [Deluxe Edition] (1974, Atlantic) 28 (11)
Sheila Jordan, Comes Love: Lost Session 1960 (Capri) 27 (15)
Art Blakey & the Jazz Messengers, First Flight to Tokyo: The Lost 1961 Recordings (Blue Note) 27 (14)
Vocals

Veronica Swift, This Bitter Earth (Mack Avenue) 17
(tie) Gretchen Parlato Flor (Edition) 9
(tie) Sara Serpa, Intimate Strangers (Biophilia) 9
(tie) Jen Shyu & Jade Tongue, Zero Grasses: Ritual for the Losses (Pi) 9
(tie) Jazzmeia Horn and Her Noble Force Dear Love (Empress Legacy) 7
(tie) Esperanza Spalding, Songwrights Apothecary Lab (Concord) 7
(tie). Mary LaRose, Out Here (Little (i) Music
(tie) Kate McGarry + Keith Ganz Ensemble, What to Wear in the Dark (Resilience) 6
(tie) Theo Bleckmann and the Westerlies, This Land (Westerlies Music) 4 (tie) Samara Joy, Samara Joy (Whirlwind) (tie) Roseanna Vitro Sing a Song of Bird (Skyline) 4
Debuts

1) Patricia Brennan, Maquishti (Valley of Search) 21
2) Samara Joy, Samara Joy (Whirlwind) 11
3) Sara Schoenbeck, Sara Schoenbeck (Pyroclastic) 9
4) Malcolm Jiyane Tree-O, Umdali (Mushroom Hour Half Hour) 4

Latin

1) Miguel Zenón & Luis Perdomo, El Arte Del Bolero (Miel Music) 23
2) Arturo O’Farrill, . . . Dreaming in Lions . . . (Blue Note) 21
3) Eliane Elias, Mirror Mirror (Candid) 8
4) (tie) Carlos Henriquez, The South Bronx Story (Tiger Turn) 7
4) (tie) Ches Smith & We All Break, Path of Seven Colors (Pyroclastic) 7
6) (tie) Rubén Blades y Roberto Delgado & Orquesta, Salswing! (Rubén Blades Productions) 4
6) (tie) Arturo O’Farrill & the Afro Latin Jazz Orchestra, Virtual Birdland (Zoho) 4

Shared
BY: FRANCIS DAVIS

oops, sorry about Jazz Critics poll layout. That's top new albums, followed by other categories- reissues/archival; vocals; debuts; Latin jazz

Shall I start a new thread?

Yes, please!

There already is one.

Rolling Jazz Thread 2022