My Favorite Things 2023
Ten Releases That Made My Year
Andy Hay—Children of the Sun
If the feeling of joy has a soundtrack in 2023, this is it. Drummer/artist Andy Hay's Children Of The Sun is a beautiful song cycle of spiritually-tinged, modal jazz with occasional vocals. At times, it evokes a Strata-East vibe, with explorations that float and spiral amidst solos that nod to John Coltrane and Pharoah Sanders. So the music is there, but if you want the whole experience, spring for the vinyl. I'm lifting Andy's own words from his Bandcamp site:
Hand-painted, dated, signed numbered album cover, original signed, dated wall art. Handmade book on session notes and contributions in writing from some of the musicians I've had the honor of making music with over the last three decades. No two album covers are identical, as is the wall art. Your copy will be unique to you. It will be shipped in a handmade box and first-class tracked royal mail worldwide. This protects your support and belief in me; all vinyl, music, and art arrive safely to you. —Andy Hay
You must hold one to appreciate it—this isn't just a record. This is a craft. More power to you, Andy!
Aleksi Heinola Quartet—Aleksi Heinola Quartet
I've been a fan of drummer Aleksi Heinola's work for a while and the Finland-based JazzAggression Records, for whom he's now recorded his second album as a leader. After Aleksi gave me a test pressing in late 2022, looking for feedback and perhaps some language they might use on a sleeve sticker, I rattled off a slightly hype-y but 💯 true:
"The spirit of vintage hard-bop is reimagined on the first great jazz record of 2023! Originals and compositions by Waldron, Shorter, Monk, and more travel new yet familiar paths as the Aleksi Heinola Quartet pilot the grooves with swing, style, and stellar musicianship."
A year later, I'm still playing the hell out of this album—it's like having a new, classic hard-bop record with all the upsides of a modern recording that never forgets where it came from. There's no artificial or forced attempt to update or modernize the sound—it happens organically, and the results speak for themselves in relentlessly groovy ways. Don't miss this record—if you've dropped a bunch of cash on anything in the Contemporary, Verve, or Blue Note reissue series over these last few years, this will likely be right up your alley.
King Crimson—Larks' Tongues in Aspic 50th Anniversary Edition
Lots to unpack here, literally. But a bit of context first. Larks' Tongues in Aspic was the first King Crimson record I owned, purchased from a Record World speed table for $2.99. On 8-track. I unwrapped it when we got into the car, and by the time we got home from the mall, my father was gnashing his teeth and gripping the steering wheel so hard, I'm glad I couldn't read his mind. He was probably torn between being impressed by my musical taste and wondering how much my mother would miss me if he acted on his impulses. As a prog rock fanatic, King Crimson was always in the mix somewhere, though, over time, I've come to recognize that it's been convenient and lazy to lump them in with the "prog" tag. King Crimson created lots of wonderful music, and the various combos invoked music equally varied. Here, with Larks' Tongues in Aspic 50th Anniversary Edition, I'm not only hearing this record for the first time, but it sounds completely familiar. I'm speaking specifically about Steven Wilson’s Atmos mix, which in places makes Crimso sound SO heavy that upon hearing it, all modern metal bands would drop into the fetal position and weep openly in the presence of such might. Then, they created a soundscape of such delicate beauty that I held my breath for fear of disturbing the moment. Steven Wilson's Atmos mix is revelatory. And that's just the core album; I haven't even fully digested the complete studio sessions, the instrumental mixes, and the WILD "Elemental Mixes," where King Crimson co-pilot/manager/engineer David Singleton went back to the multitrack tapes and brought out previously buried or under-emphasized elements, creating an entirely new mix and listening experience. And it's GRAND. This is about as far from the prog rock trope as you can get—there's not a wizard or elf in sight, and Gollum would be scared SH*TLESS by the sheer audacity of the Wetton/Bruford rhythm section. How Fripp manages to shred over those guys remains a mystery. I've long admired Fripp/Singleton's approach to the marketplace via their DGM operation, emphasizing a well-considered, thorough archival series spanning physical and digital products. Liner notes by longtime Crimson fan (and biographer) Sid Smith are SUPERB, reinforcing the lens through which the material is presented, offering perspectives from band members, and a deep well of historical knowledge. This isn't for casuals, but it's a must if you're a fan. Same if you're an Atmos music junkie—you HAVE to hear this!
J Jazz Vol. 4: Deep Modern Jazz from Japan - Nippon Columbia 1968 -1981
The artistry of the Japanese Jazz scene continues to open my ears, eyes, and mind, and the J-Jazz: Deep Modern Jazz From Japan series from the Barely Breaking Even label continues to guide the way. The story of the Aizawa Tohru Quartet and their self-released album, which they used as a business card to book gigs, initially intrigued me. Then J-Jazz Volume 1: Deep Modern Jazz From Japan 1969-1984 hooked me. And I have no interest in an intervention or breaking this addiction. My wife is all in on J-Jazz, too, and there's nothing quite like a journey of discovery with the one you love. Volume 4 recently dropped, and I won't insult its elder brethren by saying it bests or tops them- it's a horse of a different color. It's the first in the series to focus exclusively on a single label (Nippon Columbia), but don't let the monolabelism concern you—this collection covers plenty of stylistic ground, from small combo acoustic intensity to big band knockouts and psychedelic-tinged funk-fusion. But it's not a hodgepodge either—the brilliance of Volume 4 (and the entire series) is the genius curation combined with superb packaging. The thoughtful layout of the fantastic photos permeates the double gatefold (with an obi—a nice touch) and insert, and the magnificent writing will send you further down the J-Jazz rabbit hole. If you don't own the prior three volumes, you likely soon will. Ultimately, it's the well-chosen music, which all carries a distinctive Japanese swing despite hailing from different eras and varied-sized combos. There's a quality to the pulse that doesn't fall neatly into the usual blues and bop buckets. That unique vibe has a history, and this series tells it masterfully in words and music. If you buy via Bandcamp, you get digital downloads with your vinyl, which is my preferred modus operandi.
Art Pepper—The Complete Maiden Voyage Recordings
I hold three live Art Pepper releases at the top of my "essential live Art" list: the legendary 1977 Village Vanguard stand with Elvin Jones on drums, his lesser-known but OUTSTANDING Ronnie Scott's run in June 1980, and his three nights at the Maiden Voyage in 1981. They all had a similar release arc—a series of individual albums with selected tracks, then a box compiling every note—and Art's always entertaining, between-song banter. I had no idea there was so much additional material from the 81 gigs that remained in the vault—over half of this set is previously unreleased, and the seven sets appear in proper running order here for the first time. The music is the primary draw, but the photos, editorial, liner notes, and scans of art's notations about his performances elevate this package from great to essential. Laurie Pepper's narrative is an extension of Art's Straight Life, the autobiography she co-authored with him, providing a similarly stark, authentic portrayal of a complicated, brilliant, driven, and often insecure artist. Her first-hand account of the times, people, history, and art's mindset provide indispensable context. Those hearing this music without it are missing a great deal. And you're missing even more if you don't have access to Art's notes about these gigs, which he was able to review and complete before his death ten months later. They underscore his tenacity and neurosis in equal measure—Art had high standards for performance, so when he notes that a rendition or solo was either top-shelf or sub-par, it compels you to try and hear it as Art hears it. Forty-four high-quality pages are bound into this beautiful bookset, and flipping through while listening adds so much to the experience! Kudos to the team at Omnivore—if you're an Art Pepper fan, it's a must.
Frank Zappa—Over-Nite Sensation 50th Anniversary
Bias alert—I'm a Zappaphile. Confession alert—While most Zappa fans love this record, I gravitate towards the records on either side: his big band jazz throwdown The Grand Wazoo, which preceded it (and was the centerpiece of the Waka/Wazoo box, which was on last year's My Favorite Things list), and Apostrophe which may be my favorite Zappa studio album, ever. I've had less time with this release than others. Still, even with limited play time, the Atmos mix of the core studio album is already forcing a re-evaluation of this record—there's a LOT more going on than I'd ever noticed. And the live concerts have so much jaw-dropping musicianship that one playback isn't nearly enough. They're like the Airplane! Films in that when you revisit them, you catch even more you missed the first time. I also give high marks to the straightforward packaging (as with the King Crimson set), which dispenses with many unnecessary extras—no reproductions of backstage laminates, posters, or other nonsense, which adds cost, weight, and takes up space. Focus on the music and a quality booklet-photos of all of that with detailed liner notes (from my perspective) provide far more ongoing value than a replica <whatever>, poster, etc. I'll be enjoying this set for ages!
Andrew Hill—Dance With Death (Tone Poet Edition)
The Tone Poet series is a gift that keeps giving, and there isn't a dud amongst the 2023 titles. From my perspective, one stands a bit taller than the others, and that's Andrew Hill's Dance With Death. Dance With Death has languished in the darkness of obscurity for too long, and it's time to assume its rightful place as one of Hill's best records. The speculation and conspiracy theories about why this session was initially shelved are fun to read. However, Occam's Razor principle dictates straightforward explanations: audience tastes and marketing priorities at the time leaned more toward commercial/soul-jazz, and Dance With Death is neither. But if the idea of an incredibly inventive, inside/outside, post-bop album overflowing with brilliant musicianship, superb compositions, and top-shelf sonics is appealing, grab this LP immediately. Pianist/composer/bandleader/arranger Andrew Hill leads a crack ensemble of Charles Tolliver-trumpet, Joe Farrell-tenor/soprano sax, Victor Sproles-bass, and Billy Higgins-drums. There are highlights galore, such as the demented boogaloo-on-acid quasi-waltz of "Fish n Rice." "Dance With Death" is a mid-tempo banger that could be the soundtrack to an imaginary noir mystery film. That mystery is the implied complex fraction time signature that somehow resolves into a modified 4/4 groove—kudos to the Sproles/Higgins duo for keeping some semblance of order amidst that chaos. The session superhero is trumpeter Charles Tolliver, whose confidence, tone, and chops draw my attention time and time again, and when he locks horns with Farrell, watch out! Extra points here to Team Tone Poet for the updated artwork—the original 1980 photo is crap, geometric nonsense on the Japanese (and Heavenly Sweetness) reissues are ugly/lazy. Still, the new photo is classy, and the inside gatefold photos are excellent. Most importantly, the new mastering and cut by Kevin Gray is AMAZING- the sound leaps from my speakers, takes an already lively record, and gives it a quad espresso to boost its charms even higher. For those apprehensive about the edgy qualities in Hill's music, this is one of his most approachable titles and is recommended to any jazz fan with a sense of adventure. Nothing on Dance WithDeath will send the dog (or your spouse) scrambling under the bed for safety.
Little Feat—Dixie Chicken and Sailin' Shoes Super Deluxe Editions
When I first dug into these deluxe editions, I proclaimed that they were contenders for rock reissue of the year. Having spent much time with them, I feel even more strongly about my initial assessment. Little Feat is the preeminent American rock band as my fellow connoisseurs "in the know" will happily argue over a Thanksgiving dinner, Internet chatroom, or a drink-especially if you're buying! They are increasingly name-checked by bands old and new, drawing audiences across many demographics. If they're flying beneath your radar (or any radar), it's because "rock band" is probably too limiting a description—a convenient but lazy catchall for a group that successfully absorbed and transmogrified rock, R&B, jazz, blues, fusion, country. They can also jam on Eternity Street as their live sets reveal. They're not crazy, prolific genre-hoppers like King Gizzard & the Lizard Wizard, but Feat was perpetually tricky to pin down to any specific style. That flexibility worked for them in building a broad audience of fellow artist admirers, including Van Halen, The Byrds, Phish, Bonnie Raitt, Led Zeppelin, and Bob Dylan. But it also made finding a home at radio challenging-they were a little too funky for hard rock, too rocky for pure jazz/fusion audiences, and those same jazz/fusion chops made their R&B grooves a bit busy for Top 40. Besides, having a hotshot guitarist in Lowell George who kept his songwriting real enough to allow Country music influences but clever enough to capture Frank Zappa's attention makes an already difficult-to-describe sound even more complicated to categorize. Little Feat still had a couple of hits (most people have heard “Willin,'" even if they know Linda Ronstadt's version best), and their live shows probably built their audience as effectively as any studio work. These two triple LP/double CDs continue Rhino's Little Feat reissue program, which began with the unreleased live LP Electrif Lycanthrope from '74 and continued last year with the enormously expanded deluxe edition of their classic late 70s live album Waiting for Columbus. The packages include the original LPs (cut by Bernie Grundman and sounding better than ever), an LP of outtakes/alternates/works-in-progress (the alternate version of "Roll Um Easy" is one of my favorite previously unreleased tracks by any group ever), and an excellent live set. On Sailin’ Shoes, you get the earliest-known multitrack live gig from LA on 8/28/71, and Dixie Chicken includes a fantastic gig from Boston on 4/1/73. The packaging is excellent, with great liner notes and photos, and the vinyl pressings are top-notch. This is my highest recommendation, and while I've yet to hear the CD editions, my understanding from those who have is that the sound and packaging are also solid. Obligatory jazz content—percussionist Sam Clayton debuted with Little Feat on Dixie Chicken, and his brother-in-law is none other than tenor sax ace Curtis Amy!
Al Tanner Quintet—Happiness Is… Takin' Care of Natural Business…Dig?
Al Tanner Quintet's Happiness Is… Takin' Care of Natural Business…Dig? was previously unknown to me, but it has spent a LOT of time on my turntable this year. I hear echoes of Curtis Amy's Katanga!, though this record is its own beast. Pianist Al Tanner cut this March 3, 1967, modal session in San Francisco, with Roy Henderson-tenor sax, George Alexander-trumpet/flute, Edgar Williams-bass, and Bill "Smiley" Winters-drums, for the Touché label. Like many private, underfunded record labels—Touché issued only three records in its three-decade lifespan—this Al Tanner Quintet album never achieved widespread notoriety due to limited distribution, becoming another title on the seemingly endless list of buried jazz treasures. I don't want to spoil the excellent liner notes from Jazzman Gerald, which detail more of the story, but suffice it to say that the music is superb, the recording sounds fantastic, and the pressing is flawless. Not that I expect anything less from Jazzman, who've been curating excellent compilations and reissuing obscure rarities for many years. This Al Tanner Quintet also comes with a download code to get lossless FLAC/ALAC/WAV/AIFF files or MP3s from Bandcamp (thank you for that—other labels, please take note), which comes with a bonus track and an alternate take of "Kuba!", which is one of the best tunes on the record. Though right now, I'm obsessed with "The Magi." The vinyl is limited to 1,000 numbered copies. It says something that I bought this record after reading about it and hearing only a snippet, only to discover within an hour that Joe Harley (aka the Tone Poet) had done the same thing!
DISQUALIFIED BUT INCLUDING IT ANYWAY:
Yes—The Yes Album Super Deluxe Edition
I should disqualify this release from consideration since I wrote the liner notes to this edition—an honor and thrill beyond description. That said, after many reissues and re-releases, this one has it all and earns the moniker “definitive.” All of the included material beyond the core album makes for compelling listening, and I like this style of packaging that combines vinyl, multiple CDs, and BluRay. But the icing on the cake (and the reason I’m both disqualifying and listing it) is Steven Wilson’s Atmos mix of the core album. I’ve made this joke before, but after listening to the Atmos mix of “Starship Trooper” and the outro of “Yours Is No Disgrace” in particular, it’s no longer a joke—I hope your couch has seatbelts because the use of vertical space in this Atmos mix achieves liftoff. I let out an audible whoop of astonishment during my inaugural playback—I thought I had a grasp of what Atmos could do, but I was gobsmacked by what I heard. The Super Deluxe Edition of The Yes Album could make an Atmos believer out of the staunchest skeptic.
Oh, and the liner notes are pretty, pretty good. 😉