A Jazzy Way
Anadon turns her back on her native Portugal and takes a bite of “Old Devil Moon” and a dozen more show tunes and vocalese skits. Her Women of the World band, with Japanese Tomoko Ohno on piano and Israeli Anat Cohen on clarinet and tenor sax, are no less at home—more proof that sometimes immigrants discover wonders we take for granted, making them the best Americans. A MINUS
Fred Anderson & Hamid Drake
From the River to the Ocean
The grizzled AACM saxophonist has never sounded more congenial. Life’s been good lately: He got a fresh start when the Social Security checks started arriving and his virtual
son developed into one of the world’s outstanding percussionists. This makes five straight winners, the novelty this time being the addition of guitarist Jeff Parker. A MINUS
Buenos Aires Tango Standards
The Argentine bassist’s Avantango pushed his national heritage to extremes, dramatizing tango’s twists and turns. This second album takes a different tack, eschewing bandoneón and violin in favor of a standard jazz quintet. The standards are more orthodox, but subtler and less jagged, opening up the melodies, as jazz is wont to do. A MINUS
Billy Bang Quintet Featuring Frank Lowe
Above & Beyond
The fire-breathing tenor saxophonist was down to one lung here, so out of breath by the end of the gig that the promoter wanted to call an ambulance. Lowe died a few months later, leaving this as his last testament—all upbeat, with hard piano and swinging fiddle. Lowe makes up in clarity what he lacks in volume, his pleasure staving off the pain. A MINUS
Kahil El’Zabar’s Infinity Orchestra
His 25 years’ worth of trips to the Bordeaux Jazz Festival pay off, with the locals—including turntablists, rappers, and 12 percussionists—expanding El’Zabar’s trio, a/k/a the Ethnic Heritage Ensemble, to 39 pieces. The big band doesn’t blow hot and brassy. Rather, they fill in details so subtly that it takes a while to realize how far they’ve expanded El’Zabar’s world-brotherhood shtick. A MINUS
David Murray Black Saint Quartet
Begins and ends with two Ishmael Reed lyrics sung by Cassandra Wilson: The title cut, tied to Murray’s soundtrack for the Marco Williams film Banished, recalls atrocities between 1890 and 1930, when rioting white mobs drove thousands of black Americans from their homes, clearing out whole neighborhoods; the closer conjures up an ancient Cassandra as “The Prophet of Doom.” In between, Murray waxes poetic—lamenting the past, redeeming the present, offering hope for the future. A
Before the East takes over with two originals and Coltrane’s “India” (the latter a last session with father Dewey), Redman has some fun with the West, including a rollicking “I’m an Old Cowhand.” He earns his right to play soprano sax on three cuts, and the last time his tenor was this robust was when he played Lester Young in Kansas City. AMINUS
Fresh Sound New Talent
The debut album from a Kansas City alto saxophonist starts a cappella, then takes flight over free rhythms acutely accented by Mike Pinto’s vibes. Next up is a wry-toned ballad with Mike Moreno’s guitar filling in. Step by step, Richardson works around the edges, showing everything you can do with an alto sax except sit on it. A MINUS
Sonic Liberation Front
Change Over Time
Their third album offers more of the same mix of Afro-Cuban Lucumi rhythms, avant-garde daring, and communal popcraft. Drummer Kevin Diehl studied with Rashied Ali before taking up the bata drums and launching his revolution. This time the songs don’t go much beyond chants (compared to their sweet and sour Ashé a Go-Go), but the avant-ethnic fusion is still potent, and Dan Scofield’s sax rises to the call. A MINUS
The Tierney Sutton Band
On the Other Side
She declares her pursuit with eight songs featuring “happy” in the title, plus “You Are My Sunshine,” “Smile,” and “Great Day!”—more fascinated with the search than the attainment, which she has reservations about anyway. Maybe that explains the odd song out, “Haunted Heart”: The whole album feels haunted, from its tentative opening, “Get Happy,” to its wistful closer, “Smile.” Last time her shtick was “I’m with the band”; this time the band’s with her. A MINUS
Albert van Veenendaal/Meinrad Kneer/Yonga Sun
Predictable Point of Impact
Dutch piano trio, mostly hard rhythmic stuff, which Kneer’s bass and Sun’s percussion are clearly up for. Van Veenendaal’s prepared piano offers some surprises, especially when the group slows down a bit. Dutch avant-garde jazz is known for biting humor—here, the joke is edge and energy you can still tap your toes to. A MINUS
Jewels and Binoculars
Ships with Tattooed Sails
Michael Moore plays more alto sax and less clarinet on this trio’s third volume of wordless Dylan songs, which should give them a harder edge. But the trio—which includes Lindsey Horner on bass and Michael Vatcher on drums—sounds more serene than ever, a feat of meticulous balance. The two previous volumes picked off the more obvious tunes, so most here slip past me unrecognized, doing what filler should do: holding the album together around landmarks like “It’s Alright Ma (I’m Only Bleeding),” one of three tracks with Bill Frisell, whose Americana interests are right at home. A
Another Ken Vandermark vehicle, or actually two. He wrote a batch of dedications to beats and raw power—evocations of Coxsone Dodd, King Tubby, Lee Perry, Burning Spear, Miles Davis, Hank Shocklee, the Stooges—and took them first to Oslo, then to Chicago. Nate McBride, in his Spaceways Inc. electric-bassist mode, made both trips. In Oslo, Lasse Marhaug’s electronics plug into the rhythmic team of Ingebrigt Haker Flaten and Paal Nilssen-Love, a powerhouse platform for Vandermark’s tenor sax. But the Chicago group has an extra dimension in Jeff Parker’s guitar. Some Vandermark band names are obscure, but this one is just what it claims. A
A Life in the Day of B19: Tales of the Tower Block
Kinch’s previous Conversations with the Unseen littered its tasty sax-blowing with rap skits. This time he reverses the ratio, burdening both: The raps are saddled with an ambitious narrative concept that’s peculiarly British and left waiting a second volume to resolve (not that you care), while the grime beats stunt the instrumentals. He’s conscious enough that he has one character urging him to “put down the microphone and stick to the sax.” But the irony is wasted in this shotgun wedding. B MINUS
William Parker/Hamid Drake
First Communion + Piercing the Veil 
Riddim exercises and intimate exotica, doubling a studio reissue with a live warm-up.
Joe Morris/Ken Vandermark/Luther Gray
Abstract guitar leads spur tenor-sax improvs recycling one piece six ways.
Peter Brötzmann Chicago Tentet
American Landscapes 1
Big birds have deep, rumbling hearts . . .
State of the Union
[Fresh Sound New Talent]
Framing a voiceover critique of (political) stupidity with somber free jazz, forcing musicians (and us) to think.
As Is . . . Live at the Blue Note
Fluid quintet showcases the bassist’s songbook, plus funky “Caravan.”
Once More with Feeling [1960s-’70s]
Prolific studio pro offers a taste of old-fashioned clarinet.
Tord Gustavsen Trio
Low-key, precise, sensible, satisfying—archetypal ECM piano.
[Fresh Sound World Jazz]
Piano trio, transported with Afro-Latin beats, oud, and melodica.
Ethnic Heritage Ensemble
Hot ‘n’ Heavy
A quartet now, with Fareed Haque’s guitar adding pan-ethnic groove to hot trumpet, heavy sax, and El’Zabar’s pan-ethnic beats.
Back on the Corner
Redeems his Miles Davis debut by jettisoning the keyboards and trumpet.
Kieran Hebden/Steve Reid
If Hebden’s laptop fails the Turing test for improv, it’s for lack of competition.
Nicole Mitchell/Harrison Bankhead/Hamid Drake
Indigo Trio/Live in Montreal
Fred Anderson’s rough-tumbling rhythm section, iced with flute.
Peter Brötzmann Chicago Tentet
American Landscapes 2
. . . which swell over time, pumping longer and louder.
Charles Mingus Sextet with Eric Dolphy
A rough and amusing draft for Town Hall Concert and all those Euro bootlegs Sue Mingus fumes over.
75th Birthday Bash Live!
History repeats, tragedy and farce in no particular order.
Beyond the Wall
Crawling up Mount Coltrane, making fake vistas look painful.
Love Is What Stays
Lost his hip, leaving sensory deprivation and orchestral torture.