Best Albums Of 2013

JazzWrap looks back at a phenomenal 2013.

Another exciting year. We have seen the growth of recent talent into what will be significant voices of the future. And the continue leadership of the elders. We remember those who have shaped the scene and left us way too soon but what they've taught us lives on through us.

Below are some of the albums that have had a significant effect on me over the last year. In no real order except the first two because they would not stop playing on my stereo, ipod and inside my head.

I hope you get a chance to hear some of this amazing music over the next few months. And we all hope the music just keeps getting better and braver over the next year. Enjoy.

Album Of The Year: Sunna Gunnlaugs: Distilled

Mary Halvorson: Ilusionary Sea
Jakob Bro: December Song
Mostly Other People Do The Killing: Slippery Rock!
Soren Gemmer: At First
Jason Moran/Charles Lloyd: Hagars Song
Cakewalk: Transfixed
Nicole Mitchell: Aquarius
Mikrokolektyw: Absent Minded
Nick Hempton: Odd Man Out
Wadada Leo Smith/Angelica Sanchez: Twine Forest
Kris Davis: Capricorn Climber
Fred Hersch/Benoit Delbecq: Funhouse
Zero Centigrade: Selce
Sava Marinkovic: Nowhere Near
Soweto Kinch: Legend Of Mike Smith
Luis Lopes: Live In Madison
Susana Santos Silva/Torbjorn Zetterberg: Almost Tomorrow
Soren Dahl Jeppesen: Pipe Dreams
Christian McBride: Out Here

Wadada Leo Smith: Occupy The World/Twine Forest

Wadada Leo Smith (trumpet)
Angelica Sanchez (piano)
Twine Forest (Clean Feed; 2013)

Wadada Leo Smith (trumpet)
Tumo Orchestra
Occupy The World (Tum Records; 2013)

Intimacy and intricacy are the best ways to describe two recent collaborations from Wadada Leo Smith this year. The first, with Tumo Orchestra and then in a duo session with pianist Anglecia Sanchez.

Occupy The World is another epic orchestral work with lots of improvisation and intense mood setting movements. Inspired by the global Occupy movement from the past few years, this session is not as enveloping as last years Ten Freedom Summers but it is just as broad in scope.

"Queen Hatshepsut" inspired by the Egyptian queen of the same name, is a piece flows up and down with rough chords from both Smith, the string section and Kantonen's fierce and sublime piano performance. The title track has various stages of deep reflection, as in the middle sections filled with atmospherics and free float trumpet lines.

In a similar inspirational voyage, Smith explores more intimacy with Angelica Sanchez on Twine Forest. The two have worked together for years, Sanchez is part of Smith's Golden Quartet and Organic group. Surprising that this is their first outing as a duo. Either way, it's bright, personal and highly captivating.

"Retinal Sand" sees Sanchez experimenting with the insides of the piano strings and Smith swirling with haunting accuracy. In addition to explosive outburst that blend seamlessly with the rolling and very punctuated notes from Sanchez. "In The Falls Of" while being improvised shapes itself into a lovely almost romantic ballad. The notes are soft with a melody and sparseness that stretches the piece and the imagination making for a devotional experience.

Two excellent sessions featuring similar deep, inspiring thoughts but with very clear distinction and execution. Wadada Leo Smith makes clear that with Occupy The World and Twine Forest, he is one of the most creative and prolific composers among his elder statesman colleagues on the scene today.

Mary Halvorson: Illusionary Sea

Mary Halvorson (guitar)
Illusionary Sea (Firehouse 12 Records; 2013)
Jonathan Finlayson (trumpet)
Ches Smith (drums)
John Hebert (bass)
Jon Irabagon (alto sax)
Ingrid Laubrock (tenor sax)
Jacob Garchik (trombone)

With Illusionary Sea, Mary Halvorson has taken another leap forward in both her compositions and leadership. This expansive septet rich combines the versatile structure of the New York scene to date. Halvorson's jazz and rock aesthetics blend seamlessly into the tradition and always exploding free forms of her bandmates--with wondrous results.

At times the combination raised eerie images of the Count Basie's Band led by Sonny Sharrock. Halvorson gives her friends/band mates all the freedom they need to mold her compositions. This is present on the fun and vivid "Four Pages Of Robots." A rousing mixture of jagged tempos, scattered percussion and later, blues elements. These are juxtaposed against Halvorson's investigative chords that splice there way into the piece when you least expect it. Superb.

While complex themes are always a trademark of Halvorson's work, "Nairam" is something different in the Halvorson cannon. It's contains all the usual twists and turns in the structure. But this piece is more lyrical and compassionate. It's a composition that could easily have words applied to it and still remain emotionally resonant. Garchik and Finlayson raise above on this number but Halvorson's direction and steady chords are what draw you to the undercurrent of the song. A highly effective piece.

There's so much within Illusionary Sea to explore that we could write about every track. But its really important for you the listener to absorb this on your own. It's one of the best Mary Halvorson records to date. That includes her work with her own bands as well as with other various groups. With Illusionary Sea, Mary Halvorson has shown another enthusiastic step beyond the critical praise (she richly deserved) into one of the most important leaders and musicians in the current working scene today. Highly Recommended. And one of JazzWrap's albums of the year.

Mostly Other People Do The Killing: Red Hot

Mostly Other People Do The Killing (quartet)
Red Hot (Hot Cup Records; 2013)
Jon Iragbagon (sax)
Kevin Shea (drums)
Peter Evans (trumpet)
Moppa Elliott (bass)

David Taylor (trombone, bass)
Rob Stabinsky (piano)
Brandon Seabrook (banjo, electronics)

Nice way to begin and end the year--with new albums by MOPDTK. At the beginning of the year I was talking about their 80s influenced Slippery Rock! This time around, they will frustrate their detractors even further with Red Hot--a bizarre and wonderful experimentation with New Orleans and Kansas City style jazz. Sound is traditional. The vision is way beyond.

The quartet is expanded to a sextet which provides a lot more opportunities for creativity and extended solo work. "Zelienople," is a raucous 30s anthem filled with some aggressive performances by Shea, Evans and the horn section. This is juxtaposed by the fun filled lines from Seabrook on banjo Stabinsky rollicking piano. Great stuff.

Melding the avant garde into this kind of venture seem dangerous. But it works extremely well on "Red Hot" and "King Of Prussia." Both vicious number for different reasons. "Red Hot" features a bluesy vamp melody wrapped by electronic one tone static. A difficult an strange occurrence at first but then you realize the inventiveness. "King Of Prussia" is a ballad filled everything lovely and distracting. Irabagon's playing is bold and very enveloping.

Remember that drunken new years eve party. Actually maybe you don't. Well "Orange Is The New Town" probably was playing in morning hours during your waking dream state. Beautifully executed with some slow emotional notes by Stabinsky and closing with a large dose of echoing chaos.

Everything lets loose on the finale "Bird In Hand." A rapturous number that will have thinking of a joyous night at the Cotton Club. The entire ensemble features throughout. It's fun, uplifting and a great way to close out a very adventurous record.

With Red Hot, MOPDTK have done another twisted and victorious job with building on tradition while making you rethink it as well. Excellent way to close out the year.