By Bob Ruggiero
By Hilary Hughes
By Peter Gerstenzang
By David R. Adler
By Devon Maloney
By Brian McManus
By Jessica Hopper
By Harley Oliver Brown
Photos in Black, White and Gray
Referencing Gigi Gryces alto sax and Lucky Thompsons tenor, Byars finds new niches in bebop, picking up 50s threads that got pummeled by hard bop, discarded by the avant-garde, then buried under whatever passes for post-bop these days. Much as bebop developed underground in places like Mintons where musicians played for each other, the same dynamic developed at Smalls in the 90s, connecting a new generation to unreconstructed veterans like Frank Hewitt and on to the foundations of modern jazz. Tapping into the process, Byars sounds fresh even while working in such a well-worn form. A MINUS
That Devilin Tune: A Jazz History [1895-1950]
Miles Davis reduced jazz history to four words: Louis Armstrong Charlie Parker. Ken Burnss 10-hour Jazz didnt go much further than adding Miles Davis. Martin Williamss canon-establishing five-CD Smithsonian Collection of Classic Jazz was more judicious, but he disposed of the origins problem by contrasting two takes of Maple Leaf Ragone by Scott Joplin, the other by Jelly Roll Morton. Compiler Allen Lowe takes the contrary approach, picking records for the questions they raise. Hes repackaged his book into four boxes totaling 36 CDs and 854 songs. Researchers will want the first box, which doesnt get to Armstrong until the last cut. Fans might start with the third, which announces Swing is here and never lets up. A
The Claudia Quintet
I cant conceive of calling this post-jazz or post-rocktwo filing suggestions for John Hollenbecks ensemblebut post-minimalism would make sense: The beats are similar, and the melodies emerge in soft tones, pixilated and dithered like the artwork. But the self-imposed limits have been discarded for real-world complexity: resonant acoustic instruments, shifting time, even passages where Matt Moran talks and Chris Speed squawks. Only a dead-ender wouldnt call it jazz. A MINUS
The Neil Cowley Trio
A rock-ribbed acoustic-piano trio, full of thumping chords, pogoing beats, assured elaboration, and calculated tension and release, showing they know English folk musicfrom Pink Floyd to Coldplay, anywayand hoping to please as much as to dazzle. Ends with a whiff of electronics, remixing a fast one. A MINUS
Happy Apple Back on Top
Bad Plus drummer Dave Kings other power trio, with Erik Fratzkes bass plugged in and Michael Lewis leading on one sax or another. Given their Minneapolis address, its tempting to call them the Hüsker Dü of free jazz, assuming you can manage the translation. It is jazz, after all, and while they like rock grooves more than most, they never leave it at that. A MINUS
Matt Lavelle Trio
Avant like it ought to be: sharp, shocking, bursting with creative ideas. Bassist Hilliard Greene and drummer Michael T.A. Thompson are worth tracking on their own, but Lavelle has a unique twist: playing three songs each on flugelhorn and bass clarinet, an unprecedented mix. His bass clarinet is utterly distinctive, its normal airiness choked down to short trumpet-like bursts. His native trumpet returns on one track, amid shouts of Sí Se Puede. Right they can. A MINUS
A 30th-anniversary bash for the Johannesburg venue, and a triumph for the trumpeter/vocalist who put his homelands music on the world stage in the 1960s. This works as an informal career summary, its two discs allowing him to stretch out and work the crowd and even preach a little, knowing theres more than celebrating left to do. A MINUS
Yerba Buena Stompers
The Yama-Yama Man
Second-generation revivalism, inspired less by King Oliver (whose two-cornet, banjo, and tuba lineup set the mold) than by Lu Watterss Yerba Buena Jazz Band, which invented trad jazz. The Stompers John Gill started by ransacking those charts for such unambitious delights as Dawn Club Favorites and New Orleans Favorites. Running low after four albums, theyre finally forced to dig deeper, such as the 1908 title song. Watters should be proud; Oliver might wonder about the backward thinking. I just get off on the ebullient good humor that has always been the heart of jazz. A MINUS
Chris Potter Underground
Follow the Red Line: Live at the Village Vanguard
Adam Rogerss guitar snaking over Craig Taborns blippy Fender Rhodes and Nate Smiths drums makes for a fresh update on the old organ trioespecially when the pace slows, Taborn looks to be as far ahead of the field as Jimmy Smith was in 1958. Potter can play soul jazz, but hes most impressive when he kicks out the jams, raising r&b honking to a higher plane. A MINUS
John Sheridan and His Dream Band
Swing Is Still the King
Pianist Sheridan and his band of Arbors all-stars arrange a batch of Benny Goodmanlinked songs in their own style, where the atmosphere is cool and the swing is gravity-free. Rebecca Kilgore enters on the fourth song and sings most of the rest, turning old chestnuts into delectable treats. A MINUS
Assif Tsahar/Cooper-Moore/Chad Taylor
They mean Postmodern Primitives, but have the good sense to look for another term. Cooper-Moore is central: His homemade string instrumentsdiddley-bow, mouth bow, bangoadd a hillbilly twang to Harry Partch tonality, and he sings one, Ol Saint Peter, which is more campfire tale than hymn. The others are bemused, with Taylors possibly digital beats sometimes sounding like balafon, and Tsahar putting his new-thing sax on the back burner until the closer, comping and cooing on bass clarinet and pulling out the old didgeridoo. A MINUS
Fay Victor Ensemble
Cartwheels Through the Cosmos
She reminds people of Betty Carter, perhaps because so few jazz singers ever look to break new ground. Victors voice is relatively unmannered, but one trait she does share with Carter is her ability to command a band worth listening to with or without her: Guitarist Anders Nilsson is always up to something interesting, while bassist Ken Filiano and drummer Michael T.A. Thompson have a knack for showing up unheralded on good albums. The songs explore the cosmos, but the closer homes in on earth. A MINUS
David S. Ware Quartet
Reportedly the finale of the most formidable quartet since Coltranes, with stars William Parker and Matthew Shipp and a series of drummers marking epochs within the era. One more live shot to go with Live in the World. A MINUS
Chris Potter 10
Song for Anyone
Ten musicians, with flute-clarinet-bassoon among the winds, and guitar joining the violin-viola-cello-bass for strings. It seems like every jazz musician aspires to compose and arrange on a large canvas, but more often than not, ambition gets the best of them. Potter only manages drab, static backgrounds, then chews them up with his tenor sax. With chops like his, why bother? B
New Constellations: Live in Vienna [Accurate]
Jah-driven funk, severely bent but rarely broken.
The Blueprint Project
People I Like [Creative Nation Music]
The guest rhythm section takes a mischievous turn: Han Bennink.
Two Rivers [Pi]
One Iraqi, the other American, played out in mutual respect as jazz, not war.
Sonic Openings Under Pressure
Muhheankuntuk [Clean Feed]
Writhing, snaking improv lines against David Pleasants densemetriX beat, with a momentary torrent of rap.
Matt Chamberlain/Bill Frisell/Tucker Martine/Lee Townsend Floratone [Blue Note] Disembodied grooves veiled with guitar tones; future music intended as folk.
Paul Zauners Blue Brass
An Austrian trombonist and connoisseur, collecting fine songs from Africa and Afro-America and burnishing them to a fine luster.
Tango Bitter Sweet [Justin Time]
Cosmopolitan folk music, too pat for jazz, too danceable for chamber music.
Satoko Fujii Quartet
Godzilla tries to waltz, succumbs to toxic heavy metals.
Universal Syncopations II [ECM]
Funk horns and multiple drummers whitewashed by heavenly voices.