Congratulations to both Darcy James Argue’s Infernal Machines (New Amsterdam Records) and the Darius Jones Trio’s Man’ish Boy (AUM Fidelity) on being voted one of JazzTimes‘ Top 50 New Releases of 2009, as compiled from year-end lists submitted by the magazine’s contributing writers and editors.
The latest can to be kicked around the jazz blogosphere (and beyond) is what records make the cut as the best of the decade.
As much as we enjoy the opportunity to reminisce about our first seven-plus years in business, and the 135 recordings we promoted for our clients in that span, we’re not quite ready to dip a toe in that nearly bottomless pool just yet.
But, we’re more than happy to shine a light on the recordings we promoted for our clients in 2009 (in order of their release).
Hopefully at least a few of these will end up on your year’s best list or at least your list for Santa.
David S. Ware
Shakti (AUM Fidelity)
Gerald Cleaver/William Parker/Craig Taborn
Farmers By Nature (AUM Fidelity)
Darcy James Argue’s Secret Society
Infernal Machines (New Amsterdam Records)
Michael Musillami Trio + 3
From Seeds (Playscape Recordings)
The Fully Celebrated
Drunk On The Blood Of The Holy Ones (AUM Fidelity)
Byzantine Monkey (Firehouse 12 Records)
Carl Maguire’s Floriculture
Sided Silver Solid (Firehouse 12 Records)
Joe Morris/Petr Cancura/Luther Gray
Wildlife (AUM Fidelity)
Tea Music (Allos Documents)
Taylor Ho Bynum & SpiderMonkey Strings
Madeleine Dreams (Firehouse 12 Records)
Fay Victor Ensemble
The FreeSong Suite (Greene Avenue Music)
Memphis (Playscape Recordings)
Canada Day (Clean Feed)
Darius Jones Trio
Man’ish Boy (AUM Fidelity)
Joe Morris Quartet
Today On Earth (AUM Fidelity)
Songs Of Synastry And Solitude (Tzadik)
Tapestries For Small Orchestra (Firehouse 12 Records)
Jason Bivins’ profile of guitarist/composer Mary Halvorson is now online at Dusted. The piece is part of the Web publication’s annual Destined section, which spotlights ten musicians to watch in the new year.
“This zeal for things that are ‘unsafe’ is what makes Halvorson’s music so fresh,” Bivins writes. “It’s nothing that’s especially tied in with genre – straying from one, embracing another – so much as it’s tied in with feel and with some strategies of avoidance…what’s most provocative about Halvorson is just this kind of tension, a sound that seems to embody all the open-ended possibilities of musical convergences, interstitial music, where boundaries get problematized, where scene insularity gets exploded (just listen to songs like ‘Sweeter Than You’ and ‘Too Many Ties’ from Dragon’s Head). At the heart of it all is the slightly raw, emphatic, unvarnished sound of Halvorson’s guitar.”