By Steve Weinstein
By Bryan Bierman
By Lindsey Rhoades
By Chaz Kangas
By Ben Westhoff and Sarah Purkrabek
By Jena Ardell
By Jesse Sendejas Jr.
By Katherine Turman
It wouldnt be exaggerating much to say that Jason Morans only competition in the Fifth Annual Village Voice Jazz Critics Poll was Jason Moran. Ten, his first trio album in seven years, won Album of the Year in a landslide, but thats not all. The pianist figured prominently on the runner-up, Rudresh Mahanthappa and Bunky Greens Apex, and Charles Lloyds Mirror, which finished fourthonly a surprise No. 3 showing from rising guitarist Mary Halvorson kept him from a hat trick. Add Paul Motians Lost in a Dream, on which Moran and saxophonist Chris Potter are virtually the veteran drummers co-leaders, and that gives the 2010 MacArthur Fellow four appearances in the Top 10a fete unprecedented in this polls short history and unlikely to be equaled anytime soon.
I wanted this years poll to do the impossible, to go some way toward restoring my faith in the democratic process following Novembers dismal midterm elections. And in its modest way, it did. With Moran and drummer Nasheet Waits varying the dynamics and dancing around the beat while bassist Tarus Mateen holds fast to it, Ten easily passes the most crucial test facing any piano-trio album: You never find yourself wishing for horns. Its an extremely worthy winner, and listening to it again as I write, not only do I feel guilty about its absence on my own ballot, I find myself applauding my colleagues for showing smarts I evidently lack.
Since the polls 2006 inception, Ive come to think of my wrap-up as akin to a State of the Union. Starting with that first years overwhelming evidence of the mainstream widening to accommodate Ornette Coleman without him so much as meeting it halfway, the results of each subsequent poll have revealed an encouraging new trend: in 07, something approaching equality for jazz women behind winner Maria Schneider; in 08, how this countrys changing ethnic demographics are letting jazz go global without leaving home; last year, signs of a long-needed infusion of young blood. This year? Well, Ten is the second consecutive piano-trio winner, following Vijay Iyers Historicity, and joining it in the Top 10 are Keith Jarretts duets with bassist Charlie Haden, and solo efforts by Iyer and Geri Allen. But a list dominated by pianists strikes me as coincidence rather than as a harbinger of anything in particular.
What might be more significant is that with the majors having all but abandoned jazz until further notice, independents are enjoying a boom, albeit one probably more aesthetic than financial. Pi Recordings claimed four spots in the Top 20, as many as Blue Note and Nonesuch combined placed in the Top 50, the only majors to appear there. ECM enjoyed its usual good showing, although this years overall winner might be Clean Feed, a relatively new Portuguese label fast becoming this eras Soul Note/Black Saint in terms of both quality and prolificacya staggering two dozen of its 2010 releases received votes, led by Chris Lightcaps Big Mouth at No. 12 and Bay Area bassist Lisa Mezzacappa, who tied singer/songwriter Gregory Porter for Best Debut. But along with the perseverance of these indie labors of love, the logical takeway from a Top 10 featuring two women, as well as four musicians under 40 (including Mahanthappa and Iyer, both native-born Americans of Indian descent), is that the trends suggested by previous years results genuinely were trends, not just blips. Which Id say confirms this annual surveys worth beyond providing readers and participants alike with a catch-up shopping list.
Quick comments on this years Top 10:
1. Jason Moran Ten (Blue Note) Along with dips into the Bernstein, Bert Williams, and Jaki Byard songbooks, highlights include the latest in Morans ongoing series of Gangsterism pieces reconciling jazz and hip-hops different ways of attacking the one, and extended variations on Crepuscule with Nellievirgin territory and maybe even sacred ground, given that Monk himself pointedly refrained from ever improvising on it.
2. Rudresh Mahanthappa & Bunky Green Apex (Pi) Although its cross-generational rather than cross-cultural, like Mahanthappas 2008 encounter with Kadri Golpalnath, what saves this alto-saxophone confrontation from becoming your typical hard-bop donnybrook are suggestions of Eastern chant that now seem intrinsic to Mahanthappas identity, and maybe intrinsic to the 75-year-old Greens as well, via Coltranes direct influence on his generation.
3. Mary Halvorson Quartet Saturn Sings (Firehouse 12) Quartet and trio actually, though its the hurtling intelligence of Halvorsons writing on the tracks with horns that marks her transition from the cutting edges favorite sidewoman to one of todays most formidable bandleaders.
4. Charles Lloyd Mirror (ECM) He appealed to 60s hippies as Coltrane without the mathematics and perceived black militance. Older and something of a grand mannerist now, he wants nothing more than to break your heart. And damn if he doesnt on a gorgeous I Fall in Love Too Easily and a cover of the Beach Boys Caroline, No that might seem like pandering coming from anybody else.
5. Henry Threadgill Zooid This Brings Us to, Vol. 2 (Pi) As close as hell ever come to permitting a jam, with looping extended solos compensating for less compositional motion and color than on Vol. 1.