1. David S. Ware, Shakti (Aum Fidelity)
2. Miguel Zenón, Esta Plena (Marsalis Music)
3. Gerald Clayton, Two-Shade (ArtistShare)
4. Vijay Iyer Trio, Historicity (ACT)
5. Steve Lehman Octet, Travail Transformation & Flow (Pi)
6. Herculaneum, Herculaneum III (Clean Feed)
7. David Binney, Third Occasion (Mythology)
8. Edward Simon Trio, Poesía (Cam Jazz)
9. Darcy James Argue’s Secret Society, Infernal Machines (New Amsterdam)
10. SFJazz Collective, Live 2009: The Works of McCoy Tyner (SFJazz)
11. Julian Lage, Sounding Point (Decca/Emarcy)
12. Ben Wendel, Simple Song (Sunnyside)
13. Kurt Rosenwinkel Standards Trio, Reflections (Wommusic)
14. Abdullah Ibrahim, Senzo (WDR/Sunnyside)
15. Keith Jarrett, Testament (ECM)
16. Stefon Harris’s Blackout, Urbanus (Concord)
17. John Patitucci, Remembrance (Concord)
18. Marcus Strickland, Idiosyncrasies (Strick Muzik)
19. John Hollenbeck Large Ensemble, Eternal Interlude (Sunnyside)
20. Linda Oh Trio, Entry (ind.)
21. Fred Hersch Plays Jobim (Sunnyside)
22. Samuel Blaser, Pieces of Old Sky (Clean Feed)
23. Henry Threadgill’s ZOOID, This Brings Us To, Volume 1 (Pi)
24. Nicole Mitchell’s Black Earth Strings, Renegades (Delmark)
25. Claudia Acuña, En Este Momento (Marsalis Music)
Bob Putignano WFDU, Blueswax, Hittin’ the Note, Westchester Herald, www.SoundsofBlue.com
1. Eric Clapton & Steve Winwood ‘Live from Madison Square Garden
2. Enrico Crivellaro ‘Mojo Zone’
3. Derek Trucks ‘Already Live’
4. Delbert McClinton ‘Acquired Taste’
5. Brian Bromberg ‘Is What It Is’
6. Carl Verheyen ‘Trading 8s’
7. Felix Cabrera Band ‘Live at the Turning Point with Jimmy Vivino’
8. Cold Blood ‘Live Blood’
9. Zora Young ‘Sunnyland’
10. Terry Blersh (self titled)
Recently, Chris Kelsey wrote a blog entry that brings to light a question of the difference between jazz “journalism” and jazz “writing.” (September 5: http://chriskelsey.com/blog/) This is my response.
Journalism, by definition, requires that certain rules of reportage be heeded. Right. OK. That holds true if a story were being written that necessitated arranging facts in order to build a story. I have done that before; there was absolutely no room for poetry. But as far as jazz “criticism” goes, “criticism” does not fit well within the category of journalism.
“Criticism” itself needs to be defined in order for the word to make any sense in its application. In the online dictionary source I use, the first ranked definition of criticism is: “the act of passing judgment as to the merits of anything.” This is a broadly based, but perhaps a good way to begin to deal with the idea of criticism in general.
I am proud, and profoundly moved, to announce the birth of Tess Mary Adler, July 21, 2009. Six pounds and five ounces at birth and already growing before our eyes. Normal new-parent stresses aside, father, mother and baby are doing fabulously well. Pic below the fold.
Lee Konitz, recipient of the JJA’s 2009 Lifetime Achievement in Jazz Award wrote on July 2:
I want to thank you and your Jazz Journalists Colleagues for your acknowledgment of my life’s work. A great honor, to be sure.
My really greatest achievement is still being around to say thanks!! I’m playing more than ever — the travel is difficult (for everyone) but that’s what we’re paid for, after all.
I intend to continue playing nice, spontaneous variations on nice songs as long as possible. So, many heartfelt thanks.
Love, Lee
Roswell Rudd, named Trombonist of the Year by the JJA, wrote on June 26:
The special folks who have been able to experience
music performance and write about it in such a way that it continues the sound
(from sublingual to lingual)
I’ve always admired this
And you support us in so many ways
The annual awards get together is just one other
It’s great to see yourself and others who are skilled this way
