Your musical year, 2008?

[A Lark Ascending]

Answer as you please...as a listener, musician, impresario, record label owner...

I find every year has its own shapes and enthusiasms.

The thing that strikes me about my listening this year is how little newly issued music I went for. Partly a result of not getting to many concerts. Also a bit of weariness at some of the people I've really enjoyed on the UK scene in recent years going a bit too much for the youth/punk/electronica/indie market.

Earlier in the year a period of immersion in Ellington led into a wonderful investigation of pre-bop jazz which I've only previously toyed with. The 'That Devilin' Tune' series really helped there; also led me into some of the byways of the bop years and ultimately into the 'cool' 50s (with help from the Gioia book). An autumn wallow in classic jazz guitar also proved a delight; and, more tentatively, I've enjoyed exploring some of the more 'out' jazz of Braxton and the like (though it will never be centre ground for me).

Folk music reappeared at various points in the year, mainly thanks to the amazing burgeoning of young performers willing to play without recourse to added effects (drum machines, rock beats etc). Some marvellous English releases this year.

But the big revival was classical music - something I fell into in the late 70s alongside jazz and folk, focused on almost completely in the 80s and then allowed to be an occasional visitor as jazz retook centre stage. The revival of the Lyrita label spearheaded a lot of English listening. But starting last Xmas I found myself drawn to baroque and early music in a way I'd never experienced before. Messiaen made big inroads in August, a lot of Russian as the year ended.

Having been scared off contemporary classical in the early 90s by a combination of the obscure and unapproachable of hardline modernism and the saccharine nature of some of the more melodious new classical music, an article in Gramophone in May got me exploring again. It was great to find composers who I could both understand and relate to - Lindberg, Adams, Sallinen, Takemitsu, Higdon - and some modern classics that I'd never been interested in before (Glass, Reich).

So all in all, another rich and rewarding year.

Where did 2008 take you?

Edited December 20, 2008 by Bev Stapleton

[BeBop]

365 days on the road, I'd like to say that music took a back seat, but, unfortunately, the backseat was always otherwise occupied. So music was just an unexpected pleasure, whenever we crossed paths. I could never anticipate when or where it might next appear: an old man and his son playing/singing in Arabic on a streetside; an actual concert in a zocalo or square; a bunch of schoolkids on a ferry; a parade...

On one level, it wasn't always good, but on another it was always great.

[stuartjewkes]

This has been a good year for music. I have purchased many many new albums and I have enjoyed a lot of them.

Some of my favourites released this year:

Hot Bone - Tour EP

of Montreal - Skeletal Lamping

No Age - Nouns

MGMT - st

Stray Dog Cafe - The Experiment Requires You To Continue

Monster Island - Sunken, Public, Squares

The Fall - Imperial Wax Solvent

Boris - Smile

Fleet Foxes - st

Fiery Furnaces - Remember

Animal Collective - Water Curses

Sunroof!/Kemialliset Ystavat split on Fat Cat

Antony And The Johnsons - Another World

Bang On A Can All Stars - Music for Airports live

Deerhoof - Offend Maggie

Family Taboo - Demons Reactivated

findlay_hunter_rennie - st

James Blackshaw - Litany of Echoes

Nadja - Desire In Uneasiness

Shit & Shine - Kuss Mich, Meine Liebe

TV On The Radio - Dear Science,

Messiah Complex - Altered State of Conciousness

[The Magnificent Goldberg]

It's been a different kind of year for me. Had it not been for Dan Gould's sales in September and November, I'd have bought comparatively few Soul Jazz albums.

I've placed the focus this year on three kinds of music I didn't have all that much of.

Swing I began to get a bit more into swing last year and that culminated with buying the Lionel Hampton Victor recordings Mosaic box in December. I've listened to that a HELLUVA lot this year and it's set the tone to a large extent. Three Lucky Millinder Classics covering 1941-1950 in January, and the Roy Eldridge Verve Mosaic box in the summer emphasised that. But I thought I was still only scratching the surface, so I went on a little swing binge last month, too and got a box of Fletcher Henderson, a couple of the 9 CD set of Teddy Wilson's Brunswick recordings, the first of three by the McKinney's Cotton Pickers, and the Prez Keynote sessions. Wow! ALL of this stuff blew me away completely! (Which is not to say that it's all good, but there's so much material that IS good in there.)

Latin-American and Latin-African I moved a bit beyond Mongo and Pucho, starting off with Cal Tjader, which I've enjoyed a lot. Then another binge in November moved me into Eddie Palmieri, Ray Barretto and Tito Puente. To me, Puente is much lighter than the others, looser, more relaxed and I like this a lot because it's a step or so towards Latin-African, which is VERY LOOSE INDEED! And in my November binge I managed to find a number of early (sixties and seventies) Latin-African albums I didn't know about.

Township jazz/jive About half of my South African, non Reggae, albums have been bought this year. Robbie Jansen recent albums have overwhelmed me. But the historical material by Ntemi Piliso has also made a big impact on my understanding of the different threads in this music. Zacks Nkosi rules, however.

And of course, Concha Buika released a new album this year. And it's her best, I think.

MG

[poetrylover3]

It was a great year for new music for me. I immersed myself in the Dave Holland Big Band and Toshiko Akiyoshi's Let Freedom Swing, and loved Keith Jarrett's Standards Trio releases:My Foolish Heart & SEtting Standards; Eliane Elias: Here Is Something For You; Brian Blade and The Fellowship Band-Season of Changes; Horace Silver Live At Newport 1958. I was also wild about Sonny Rollins Road Shows, Volume 1. Reissues of The Toshiko Akiyoshi Lew Tabackin Big Band and Woody Herman on Mosaic Select and Count Basie/Lester Young on Mosaic were outstanding. Ella Fitzgerald: Live At Mr Kelly's was a great time.

Early in the year I took advantage of BMG's apparently inadvertent discounting of its box sets to acquire the Coltrane Quartets; Live At The Village Vanguard; Charlie Parker Master Takes on Verve; Billie Holiday on Verve; Frank Sinatra-The Capitol Singles, The Reprise Collection; Jimmy Smith-Retrospective; Ray Charles: The Birth of Soul.

In live music, I got the opportunity to hear the Heath Brothers (what a thrill! Jimmy Heath is one of my all time favorite musicians); Santana; Return To Forever. In 2009 I plan to hear Pat Martino, Dave Holland, the Blue Note 70th Anniversary tour.

THere were many artists and albums that were new to me including-Gene Ammons:Boss Tenor; Bill Evans: The last Waltz; Kenny Wheeler: Gnu High; Bill Charlap's Gershwin Tribute album;Paul Bley: Solo In Mondsee; Sonny Clark-Leapin and Lopin..

I listened to very little classical with the exception of the new Hilary Hahn release and a Martha Argerich-Live At Lugano set.

In pop music I mainly acquired some classic Otis Redding and remastering of older material.

While I had a few disappointments, overall this has to rate as one of my best collecting years.

Best Wishes to all for a joyful Holiday Season and all the best in the coming year.

Peace,

Jeff Tedford aka Blue Trane

[AndrewHill]

Yeah, it was a great year for reissues, especially BN RVG's until the latest news from EMI concerning their massive deletion plan. However, Concord has strongly launched a superb RVG Prestige series and (with some reservation) the Keepnews Collection.

Personally, it was also a great year finding second-hand cd's, like this one local store obtaining a good amount of Verve Elites and Pacific Jazz titles.

I don't know about next year...I think the purple patch has certianly passed.

[Dan Gould]

I'd have to say that musically, 2008 was memorable for discovering Johnny Adams. It started right about this time last year when I visited the folks and picked up a cheap LP copy of Room with a View of the Blues, when I listened to it in January I was blown away. The good thing about sleeping on an artist is that eventually, you correct that mistake, and despite limited funds I've recently added

Greatest Blues Album (a compilation from his 80s-90s output)

One Foot In The Blues (with Dr. Lonnie Smith)

Twilight Zone (not the full title but its a superb CD of Percy Mayfield tunes)

Last year I discovered Junior Parker and he immediately shot to the top of the list of greatest singers - much to my surprise and delight, he's got company there now in the person of Johnny Adams.

[The Magnificent Goldberg]

I'd have to say that musically, 2008 was memorable for discovering Johnny Adams. It started right about this time last year when I visited the folks and picked up a cheap LP copy of Room with a View of the Blues, when I listened to it in January I was blown away. The good thing about sleeping on an artist is that eventually, you correct that mistake, and despite limited funds I've recently added

Greatest Blues Album (a compilation from his 80s-90s output)

One Foot In The Blues (with Dr. Lonnie Smith)

Twilight Zone (not the full title but its a superb CD of Percy Mayfield tunes)

Last year I discovered Junior Parker and he immediately shot to the top of the list of greatest singers - much to my surprise and delight, he's got company there now in the person of Johnny Adams.

Johnny Adams sings on one or two cuts of an LP I have by Alvin "Red" Tyler. I'll pull it out and have a particular listen.

MG

[papsrus]

As Bev and some others may know, my musical journey is probably a bit different from most members here. The short version is that I've been rediscovering music since about 2005 after ignoring it for decades.

This year has largely been about discovering music from roughly the middle part of the last century back toward the early part of the century, and is decidedly tilted toward what Bev I think affectionately referred to as "dead Americans."

I joined in drinking from the fountain of Ellington, everything from early small group recordings to his later suites, all of it wonderful. Then Basie, of course, and the various sidemen who worked with each. Lots of tributaries flowed toward the likes of Rex Stewart, Paul Gonsalves, Hodges of course, Lester Young, Ben Webster. And before too long the whole early part of the last century began opening up.

While I had certainly listened to many of these artists before, I'm listening to them now with very different ears.

Highlights in this regard: Allen Lowe's wonderful History of Jazz set; Ellington small groups Mosaic; Louis Armstrong's Hot Fives and Sevens; and more recently vocalists Sinatra and Holiday; and the Lester Young-Basie Mosaic. Lately I'm listening to some early Goodman -- both big band and small group -- and Fletcher Henderson. I'm just now getting around to Coleman Hawkins' early period, and some players like Johnny Dodds and Jimmy Noone.

In a slightly different vein, I've also focused this year a little bit on Charlie Parker, particularly his live recordings of the late 40s; and Dizzy; and Mary Lou Williams. Don Byas was another gem who emerged for me this year.

And I began to discover or more thoroughly explore the likes of Lee Morgan, Gene Ammons, Turrentine, Hubbard, Lou Donaldson. A good dose of Blue Note and some Prestige, I guess.

A final area of interest for me this year has been the (mostly) contemporary Chicago new music scene, via Delmark and Nessa, but I've barely scratched the surface there. Matana Roberts (whom I first became aware of last year); Chicago Underground Trio; Chicago Luzern Exchange with Keefe Jackson; Jason Ajemian. And Chuck Nessa's reissue of Roscoe Mitchell's "Nonaah." Powerful, challenging and beautiful.

It's been a great year musically, but the music I'm listening to now, by and large, is quite different from what I was listening to even as recently as a year ago. Yet common threads run through all of it, and as the journey moves on, they become clearer and clearer. Kinda like life in general.

Edited December 21, 2008 by papsrus

[.:.impossible]

As Bev and some others may know, my musical journey is probably a bit different from most members here. The short version is that I've been rediscovering music since about 2005 after ignoring it for decades.

This year has largely been about discovering music from roughly the middle part of the last century back toward the early part of the century, and is decidedly tilted toward what Bev I think affectionately referred to as "dead Americans."

I joined in drinking from the fountain of Ellington, everything from early small group recordings to his later suites, all of it wonderful. Then Basie, of course, and the various sidemen who worked with each. Lots of tributaries flowed toward the likes of Rex Stewart, Paul Gonsalves, Hodges of course, Lester Young, Ben Webster. And before too long the whole early part of the last century began opening up.

While I had certainly listened to many of these artists before, I'm listening to them now with very different ears.

Highlights in this regard: Allen Lowe's wonderful History of Jazz set; Ellington small groups Mosaic; Louis Armstrong's Hot Fives and Sevens; and more recently vocalists Sinatra and Holiday; and the Lester Young-Basie Mosaic. Lately I'm listening to some early Goodman -- both big band and small group -- and Fletcher Henderson. I'm just now getting around to Coleman Hawkins' early period, and some players like Johnny Dodds and Jimmy Noone.

In a slightly different vein, I've also focused this year a little bit on Charlie Parker, particularly his live recordings of the late 40s; and Dizzy; and Mary Lou Williams. Don Byas was another gem who emerged for me this year.

And I began to discover or more thoroughly explore the likes of Lee Morgan, Gene Ammons, Turrentine, Hubbard, Lou Donaldson. A good dose of Blue Note and some Prestige, I guess.

A final area of interest for me this year has been the (mostly) contemporary Chicago new music scene, via Delmark and Nessa, but I've barely scratched the surface there. Matana Roberts (whom I first became aware of last year); Chicago Underground Trio; Chicago Luzern Exchange with Keefe Jackson; Jason Ajemian. And Chuck Nessa's reissue of Roscoe Mitchell's "Nonaah." Powerful, challenging and beautiful.

It's been a great year musically, but the music I'm listening to now, by and large, is quite different from what I was listening to even as recently as a year ago. Yet common threads run through all of it, and as the journey moves on, they become clearer and clearer. Kinda like life in general.

That's really cool paps. What was the catalyst that sparked your interest in music so suddenly and dramatically?

[BeBop]

Hmmm. I see a pattern developing here. How many people's musical years were defined by recordings, rather than live music (or playing)? I'm decidedly in the LIVE and PLAYING camp. Though much of my year - as random as it was - was non-jazz, I think of jazz as being particularly advantaged in the live situation - the spontaneity versus the multi-take, edited studio/live-to-recording version

Comments?

[The Magnificent Goldberg]

I think that's true, Bebop. It depends to some extent on where you live. In the South Wales Valleys something like ten percent of the population seem to be members of rock groups - I was told by an authoritative source a few years ago that there were about 1,400 groups in the Ebbw and Rhymney Valleys alone. So the makeup of live performances is unlikely to favour Jazz, Blues, Reggae, Gospel, Mbalax or any other kind of African music, even to the extent of one gig a year.

MG

[A Lark Ascending]

Hmmm. I see a pattern developing here. How many people's musical years were defined by recordings, rather than live music (or playing)? I'm decidedly in the LIVE and PLAYING camp. Though much of my year - as random as it was - was non-jazz, I think of jazz as being particularly advantaged in the live situation - the spontaneity versus the multi-take, edited studio/live-to-recording version

Comments?

I know you're right that live jazz has something that recorded jazz doesn't. But it's not an option for everyone. I live a good distance from the closest places that play jazz (and they are 95% home grown concerts), most of which happen on week nights where my job (and sheer exhaustion) prevents me from making the drive. For international musicians you're talking 90 minutes plus each way. So most of my live listening tends to be in intense bursts at festivals or where a concert a bit further afield coincides with a Saturday or a holiday. Every September I look at the regular Nottingham/Sheffield programmes (both about 45 minutes drive away - public transport doesn't happen to my little country town late at night) and mark half a dozen I'm definitely going to attend. This autumn I made none!

As regards classical music, I prefer to listen at home rather than the concert hall.

Edited December 21, 2008 by Bev Stapleton

[papsrus]

That's really cool paps. What was the catalyst that sparked your interest in music so suddenly and dramatically?

Interestingly enough, it was Coltrane's "One Down, One Up, Live at the Half Note" that kicked the doors open for me again. That incredible recording shot me like a cannon through all things Coltrane, to Dolphy, Mingus, Monk, then a semi-obsession with Braxton before moving pretty directly to more contemporary artists like Melford, Douglas and pretty much the whole New York downtown thing, Berne, Friedlander, etc. As you can see, that trajectory ignored almost all of what I've been listening to this year.

And I enjoy toggling between older and newer music and discovering those common threads I referred to.

Hmmm. I see a pattern developing here. How many people's musical years were defined by recordings, rather than live music (or playing)? I'm decidedly in the LIVE and PLAYING camp. Though much of my year - as random as it was - was non-jazz, I think of jazz as being particularly advantaged in the live situation - the spontaneity versus the multi-take, edited studio/live-to-recording version

Comments?

I thought of mentioning live music, but it has sadly been a tiny part of my listening this year. Part of that is my own fault, because I've not ventured out into nearby metropolitan areas that do have at least some jazz clubs, although with mostly local bands. Nonetheless, there is a scene and I need to make the effort, and intend to this coming year. But part of it is because there's just not a lot of opportunity to listen to good, live music here.

I did catch Branford Marsalis earlier this year in duet with his piano player (forget the name). The rest of the band got snowed in in Atlanta, so that was kind of a bust. ... Speaking of which, Atlanta shut down its music festival, so there are really no regional summer festivals worth a damn that I can get to easily now. I was lucky enough to attend the last big one two years ago and see Tolliver, Mahanthappa, Bobby Hutherson, Bad Plus, among others.

[WorldB3]

On the playing camp I consider myself a hobbyist. Even though I have been playing since I was a teenager I gave up any type of serious musical goals 15 years ago but I still put time in. I work 50 hrs a week and have an hour commute each way so sometimes I only get an hour to practice but I keep it. This year I kind of took time off from the Piano and really focused on sight reading for the Guitar and voicings/ comping. Even if its with just playing with other dudes and Real Books once a month or with play along CD’s I would really focus on making other sounds good and making it sound like I am not changing chords when I do which is something I learned to appreciate all those years playing piano. The learning process and the knowledge gained while being totally fun also makes me appreciate others playing that much more. With how crazy the world and economy got this year I felt totally blessed to have free time and money to spend on playing my own music.

On seeing live music it was great to have Yoshi’s open in SF. Sure it’s a bit on the expensive side but it’s by far the best sounding room in the Bay Area.

On the listening side I think my love ECM grew even more. They had a great year with new releases but the Touchstone series was incredible. I knew the mid 70’s was the golden era but a lot great stuff came out in the 80’s also.

The Black Saint/Soul Note catalog that hit Emusic was a total revelation as anything from that catalog had been out of print every time I looked until now.

I was continued to be blown away by some of the young talent on the new jazz scene, not only the chops but also their use of space. The Piano trio’s and releases by Avaishi Cohen and Marcin Wasilewski displayed depth and sonic textures in their music that you would expect to hear in musicians twice their age.

On the rock front thanks to Allen Lowe I became obsessed with Pat Hare and the Sun Record recordings and anything live with the Peter Green - Fleetwood Mac group. Both of them are truly deserving of the tag “Guitar God”.

[kh1958]

Recordings are a constant, so the year tends to be defined for me by the standout live performances I witnessed during the year.

It seems it was a good year for seeing alto saxophone masters in satisfying concerts:

Three sets by the Sonny Fortune Quartet (including Michael Cochran and Steve Johns) at Sweet Rhythm presented his enthralling mastery on alto, flute and soprano.

It was very good to hear Greg Osby and Nine Levels at Jazz Standard, a welcome return to recording activity by a favorite, easily recognizable player.

And old master Lee Konitz, with a trio of Italian musicians led by pianist Marco di Gennero, presented a pair of strong sets of standards at Smalls

Also, a nice year for drummer leaders.

Mike Clark, at the intimate Hotel Kitano, presented a fine group, with Mark Shim on tenor and Christian Scott on trumpet.

Bobby Previte, a long-time favorite, presented the excellent music from his new recording, Set the Alarm For Monday, in a very late and extended set at the Blue Note (with Bill Ware on vibes, Ellery Eskelin, and Brad Jones).

Cuban drummer Francisco Mela led a group featuring Jason Moran, also at the Blue Note.

In the realm of new music exceeding my expectations:

At Jazz Standard, Sara Serpa, whose voice is not only beautiful, but who also seems to be a capable leader and composer.

At some place called Nu Blue, a Norweigian group of jazz musicians (plus Craig Taborn), leg by Eivind Opsvik, with Hakaan Kornstad on tenor, provided some of the most compelling music I heard this year.

Recurring performances:

Mingus Big Band at Iridium--I only heard one set this year, coincidentially their last one at the Iridium.

Mike Stern--I never cared too much for him when I saw him with Miles Davis and Michael Brecker, but after hearing him a number of times now at the 55 Bar, either my tastes have changed or he's really grown over the years--this is a fantastic recurring gig, at a very small and friendly venue, with terrific sound.

I also quite enjoyed getting a chance to hear Melvin Sparks at the Blue Note, even though I doubted he had ever met his bandmates before, Wayne Horvitz and Sweeter Than the Day at the Stone, and the Terrance Blanchard "Tale of God's Will" portion of the Monterey Jazz Festival tour concert.

Finally, in blues, which I actually saw in the city where I live, 69 year old David Kearny, aka Guitar Shorty, performed an amazing nearly three hour set, easily the most inspired blues concert I've heard in many a year.

[Matthew]

The word that I would use to describe 2008 musically for me would be sad. For some reason, I seem to have lost contact with music, whether it was job upheavals, stress, or whatever, I do not seem to have the same feeling as I once had for music. It struck me forcefully in 2008 how my cd collection has a museum quality to it, how much it interests me "historically" but not on a emotional level. As a result, the time I spent listening to music went way down this year, and I must admit, I don't miss it all that much right now -- even though I'll probably listen to Zappa for most of the day. Hopefully, when life calms down, I'll be able to recapture some of that love of music, but for right now, I read a lot, every now-and-then pop in a cd, and long for the days when jazz mattered in my life.