Sunday, December 27, 2020

Tim Berne and Matt Mitchell - Spiders (Out of Your Head Records, 2020)

Alto saxophonist Tim Berne and pianist Matt Mitchell combine for an excellent album of duets on this live recording that sees them pooling their resources and combining energies in a very impressive and memorable fashion. Both musicians are powerful players in their own right with strong technique and personality, but their is no issue of ego or boasting here, and the five selection program shows how compatible they can be. Mitchell plays in one of Berne's regular ensembles called Snakeoil, in addition to their duo performances, so both men are well attuned to each other, but still willing to let their inquisitive nature guide them through this program of all new Berne compositions recorded just before the lockdown closed live music venues in 2020. They delve deeply into the meaning and connections inherent in the individual compositions, using these properties to guide their interactions and improvisations. The music unfolds and reveals its secrets gradually, with careful precision and articulation allowing the selections to build upon one another while leaving room for interpretation and a logically unfolding narrative. The musicians develop gradually and engage one another, building raw and exciting conversations which coalesce in a riveting, yearning series of performances that use light and shade dramatically and the music flows organically in a suite like formation. Spiders -

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Friday, December 25, 2020

Charlie Parker - Bebop Live (ezz-thetics, 2020)

There were great plans to celebrate the centennial of Charlie Parker's birth, and most went by the boards in the wake of the global COVID-19 pandemic. Ezz-thetics Records assures the year will go out with a bang however, releasing this double disc set of some of Parker's choicest live performances capping their own Parker celebration begun this summer with releases of Parker's key studio recordings for Dial and Savoy. Much of the music on the collection come from his prime period in the late 1940's with a core collection of like minded musicians, refining the bebop idiom to a sharply honed edge. The performances themselves are relatively brief, with many not exceeding the three minute length of the 78 rpm recordings of the time. But what Parker and his associates do with this time is frequently astonishing, such as taking the head of Dizzy Gillespie's "Be Bop" and blowing it into orbit at an ungodly speed, leading to a stunning section of Parker and drummer Max Roach trading passages. They did have a core repertoire that leads to several versions of certain songs being recorded. But it is also interesting to see how Parker will attack these tunes as the musicians and venues change around him. The aforementioned "Be Bop" and "Salt Peanuts" with its attendant vocal chant are among the most favored compositions along with Parker's own "Scrapple From the Apple" with a brace of all Parker compositions played at Carnegie Hall 1949. The album ends with three performances from the famous Town Hall concert in 1945 bouncing us back in time chronologically but placing Parker and Dizzy Gillespie together for an incredible blow. This music has been around the block a time or two in many formats, so the remastering is most welcome, and this is probably the best quality we are going to get out of these recordings without the benefit of time travel. Bebop was still the jazz avant-garde at this point, but Parker and his cohorts play the music with such wit and skill that it would soon seep into every facet of the jazz world. Bebop Live - Squidco

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Monday, December 21, 2020

El Intruso Critics Poll 2020 Ballot

I was invited to take part in the 13th Annual International Critics Poll of the web journal El Intruso, and these were my selections:

Musician of the year: Tim Berne, Matt Lavelle, Dave Rempis
Newcomer Musician: Immanuel Wilkins
Group of the year: Irreversible Entanglements, Broken Shadows, Ballister
Newcomer group: A Love Supreme Electric, Threadbare
Album of the year: Anna Hogberg Attack - Lena (Omlott, 2020)

Composer: John Zorn, Brian Marsella
Drums: Paal Nilssen-Love, Chad Taylor, Chris Corsano, Ches Smith,
Acoustic Bass: Eric Revis, William Parker, Brandon Lopez    
Electric Bass: Steve Swallow, Jasper Stadhouders,
Guitar: Henry Kaiser, Ava Mendoza, Hedvig Mollestad
Piano: Matthew Shipp, Matt Mitchell, Kris Davis,
Keyboards/Synthesizer/Organ: Craig Taborn, Jamie Saft,
Tenor Saxophone: Chris Potter, Sabir Mateen, James Brandon Lewis,
Alto Saxophone: Anna Hogberg, Tim Berne, Francois Carrier,
Baritone Saxophone: Gary Smulyan, Dave Sewelson
Soprano Saxophone: Sam Newsome
Trumpet/Cornet: Jamie Branch, Nate Wooley
Clarinet/bass clarinet: Anat Cohen, Oscar Noriega, David Murray
Trombone: Steve Swell, Jeb Bishop
Flute: Nicole Mitchell
Violin/Viola: Mark Feldman, Regina Carter, Mat Maneri
Cello: Fred Lonberg-Holm, Tomeka Reid
Vibraphone: Joel Ross, Jason Adasiewicz, Patricia Brennan
Electronics: Craig Raborn, Jamie Saft, Rob Mazurek
Other instruments: Brandee Younger, harp; Cooper-Moore, diddley bow
Female Vocals: Moor Mother, Angel Bat Dawid
Male Vocals: Theo Bleckman, Dwight Trible
Record Label: Intakt, Pi Recordings, Tao Forms

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Saturday, December 19, 2020

Sabir Mateen - Creation (577 Records, 2020)

The great multi-instrumentalist Sabir Mateen stays entirely with tenor saxophone on this recording, performed along side Christopher Dell on vibraphone, Christian Ramond on bass and Klaus Kugel on drums. This wonderful cascade of music was recorded in October of 2012 at the A-Trane in Berlin. This is a continuous fully improvised performance, beginning with "Creation (part one)" which has rapid and skittish drumming, interwoven with vibes creating an anxious setting, nervous, pulsing drums and vibes, always in motion, Mateen enters with a raw rending sound tearing across the backdrop in an unyielding manner, splitting the musical atom. Playing in very high register and then dripping down low for flurries of notes, settling into a powerful and explorative collective improvisation, he develops deep creative infusion with the rest of the group, saxophone and drums in brief all out battle, squalling and rumbling before slowing down but never letting up in the relentless quest for improvisational knowledge. The band moves to a quieter interlude with very fine bass playing, light drums and an exquisite shimmering vibraphone solo. Mateen reenters and builds the pace and volume for "Creation (part two)" gradually adding high register squeals, and longer harsher tones, joining them together with dashes of notes to create an impressive and ever evolving soundscape of total improvisation. This lengthy improvisation evolves organically with all of the musicians listening deeply and responding to each other, spontaneously creating in the crucible of a live setting. Mateen steps aside as the rhythm trio navigates a tricky passage, playing in a more melodic and accessible fashion, before Mateen's spoken scat singing breaks through followed by his powerful saxophone. A drum solo feature erupts, rambunctious and exciting, peaking in a glorious section of roaring saxophone and scouring percussion, before gradually devolving into a quiet afterglow that is equally interesting as the musicians are improvising at a quieter volume and more relaxed pace, almost like and extended coda. "Creation (part three)"  is a bonus track, available on the digital format,  develops as the rhythm section grooves in very nice simmering fashion for a lengthy lengthy section before the saxophone enters and gradually probes and builds to liftoff. The quartet improvises as a free jazz collective, with everybody adding to the fire, and the pressure builds eventually becoming a mind melting passage of collective extemporaneous group play that takes flight to cosmic levels where Mateen's saxophone reaches higher and higher planes of sound amid unrelenting rhythm section urging that allows them to slip the bonds of time and space and create on a truly extreme level. This is one of Sabir Mateen's best albums, he hooks up with a sympathetic and challenging group of musicians, and performs with exceptional focus, skill, and enhanced energy. Creation -

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Friday, December 18, 2020

I.P.A. - Bashing Mushrooms (Cuneiform Records, 2020)

I.P.A. Is a powerful collective outfit featuring Atle Nymo on tenor saxophone and bass clarinet, Magnus Broo on trumpet, Mattias Ståhl on vibraphone, Ingebrigt Håker Flaten on bass and Håkon Mjåset Johansen on drums. Much like another Scandinavian supergroup, The Thing, I.P.A. was influenced by the American iconoclast Don Cherry, assimilating his bold approach into their original works. “Go Greta,” presumably written for the courageous environmental activist, has a charming theme that wouldn’t sound out of place on Eric Dolphy’s heroic Out to Lunch LP. The horns and vibes are intertwined over crisp drumming before opening up to allow saxophone and trumpet to fly unfettered. The horns play together majestically and are supported well by rock solid bass and drums, with a vibraphone solo taking the music in a different direction, vibes and drums create a deeply rhythmic setting that allows both musicians to lock in and play well, and then return to the choppy and memorable theme. The title track, “Bashing Mushrooms” charges out of the vast with fast and urgent playing, particularly from the horns, leading to swells of sounds really developing  an undulating and creative opening. The musicians work together well, creating a very colorful palate, as the trumpet emerges to solo with spitfire intensity buoyed by thick bass and kinetic drumming. Saxophone emerges, playing in a very exciting fashion reaching far and beyond, framed by vibes and drums, he blows hard into the upper reaches and overblowing, giving the music all he has and more. A quick return to the choppy theme and out ends this intense and exciting performance. “Barnen” has swaggering bass and drums to begin, with the horns developing a cautious and weary approach to the music,  creating and interesting push and pull dynamic. Surging rhythm supports and confronts a raw and strong saxophone, shedding peals of sound amid spare drops of vibraphone. The saxophone is well developed and constructed, built with a dark tone and patient intent, returning to the fray for a complex section of full band interaction. Trumpet takes his time,  developing a fast soaring solo over equally rapid drumming, setting the pace for everyone to come back to the enigmatic melody for a safe landing. The north of Europe has long been a hotbed for progressive jazz, and this group stakes their claim to this legacy with this solid album. Taking their inspiration from the heroes of the past and melding it to the progressive jazz of the present, the band has hit on a winning formula. Bashing Mushrooms -

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Monday, December 14, 2020

Film: Ivo Perelman: A Musical Storyteller (Leonel Costa, 2020)

A Musical Storyteller is a documentary about the life and music of Ivo Perelman, one of the most innovative saxophonists on the modern jazz scene. Over the course of an hour there are interviews with Perelman about a variety of subjects as well as interviews with many of the top musicians on the creative improvised music scene. Much like jazz hero Eric Dolphy, Perelman learned quite a bit from the natural world, particularly birds, and the film provides examples of his playing as the footage pans from an aviary to city scenes. He discusses his move to New York City and the energy that is brought forth by the musicians there, particularly his simpatico relationship with pianist Matthew Shipp. Shipp concurs during a brief interview, repeating that the process that Perelman brings to recording and performing is essential to his success. There is much discussion and performance footage of what he believes to be a formative performance with Flora Purim on vocals and Andrew Cyrille on drums. This was a very inside / outside meeting of the minds with interesting interview commentary from Perelman and Pruim putting things into context. This led him to  to re-investigate the music of his homeland of Brazil and there is some interesting footage of him sitting in with a traditional band while a local filmmaker discusses making a short film of the old meets new event. Further short interviews with well known musicians are presented, JoAnne Brackeen states that Perelman is a natural musician, who chooses compatible musicians to play with, using a unique voice. William Parker believes that spontaneous playing most important feature of Perelman's approach while another interviewee hears Ben Webster in his sound. An interview with his recording engineer in along side studio footage of Perelman with strings reveals his back to basics recording method into focus; playing freely, allowing the engineer to master the recording then picking the final tracks and pressing CDs. This simple method and his belief that musical partnerships become musical family, have lead to his prodigious output. Leo Fagin, owner of Leo Records has released over 50 Perelman CDs because he believes tthat the saxophonist never repeat, and always brings something new to the studio or stage. Furhter compliments from Whit Dickey, Joe Morris, Marilyn Crispell, and Gerry Hemmingway follow, interspersed with evocative footage of a solo dancer on a beach or in a studio accompanied by Perelman's saxophone. Summing up at the end of the film, he talks about the great saxophonists,  especially Ayler whom he feels a kinship with, and discusses  how he feels validated to be recognized, and the importance of the arts and its impact on the world and their struggle. This was an enjoyable and revealing film; so often we only know the musicians we are fans of by their recordings or social media presence, to have the time see them and to listen to them at length with their colleagues is a rare treat. Ivo Perelman: A Musical Storyteller - Leonel Costa

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Sunday, December 13, 2020

Chris Potter - There is a Tide (Edition Records, 2020)

The pandemic and subsequent lockdown has been difficult for all musicians, and Chris Potter felt it acutely as he was used to recording and touring by interacting with some of the best musicians in the world. So he decided to look inward, and to create a completely solo album, playing each and every instrument: saxophones, keyboards, guitars, drums, clarinet, bass clarinet, flute, alto flute, percussion and samples. Working in isolation it took him only six weeks to write and record this album, whose opening track, "I Had a Dream" shows the instrumental balance working, creating a light and airy sound with crisp drumming and lush keyboards and layered saxophones. The music flows cleanly forward, with a woven texture, until Potter steps out with a beautiful saxophone solo over minimal backing. He plays brilliantly, sculpting his feature to fit the landscape and to also be the key statement of the performance. The "full band" section has mixed reed instruments including some fine soprano saxophone, bass clarinet and flute, creating a memorable soundscape. "Rising Over You" develops a funky opening for bass and drums with some potent saxophone creating an interesting theme which gains speed and energy. The momentum builds, leading to a feature for Potter's clarinet, an instrument he doesn't often feature so it's a treat to hear him play and quite well within an arrangement that frames and supports him. Moving to tenor saxophone, he develops a more familiar steely tone, building an intricate and impressive solo using fast flurries of notes. Gentle flute introduces "As the Moon Ascends," adding the most gentle of accompaniment and reed instrument interplay as the song develops. The volume and intensity rise as drums and electric keyboards are introduced and the music develops layers upon layers of sound from soprano saxophone to bass and drums. Potter solos on soprano, slicing through the backdrop like a surgeon, and creating a very impressive and memorable feature for himself, before returning to the gentle melody for a graceful landing. This album works well, and it sounds quite positive considering the circumstances under which it was recorded. He arranges the compositions to flow gracefully and adds solos when necessary as they fit into the overall flow of the music. There is a Tide -

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Friday, December 11, 2020

Mars Williams Presents An Ayler Xmas Vol. 4: Chicago vs. NYC (Astral Spirits, 2020)

Nothing makes me gag quite like the cloying faux sentimentality of Christmas music. With the exception of outliers like The Kinks’ “Father Christmas” and The Pogues’ “Fairytale of New York” The only holiday music that I can wholeheartedly endorse is the yearly installment of Ayler Xmas albums led by saxophonist Mars Williams. Wedding traditional hymns and carols to the exploratory free jazz of Albert Ayler is not as strange as it may seem when you consider that many of Ayler’s best known themes were built from simple folk and gospel melodies. As Williams Xmas conception grew more popular, he was able to add performances and this album features two specific group performances from the 2019 tour in Chicago and New York. The first four tracks are from the Chicago performances with a group that includes Josh Berman on cornet, Jim Baker on piano, viola, and arp synth, Kent Kessler on bass, Brian Sandstrom on bass, guitar and trumpet, Steve Hunt on drums, with guests Katinka Kleijn on cello and Peter Maunu on violin. This group is extremely powerful, and reminiscent of the band that was recorded for Albert Ayler’s Village concerts in the mid-1960’s. Launching into the concert with a thrilling medley “The Hanukkah-Xmas March Of Truth/For 12 Days Of Jingling Bells/With Spirits In Chicago” which takes one of Ayler’s most apocalyptic themes, “The Truth is Marching In” with its massive, ever increasing saxophone led theme and yoking it to holiday music and then exploding it all into a wonderful free collective improvisation ia an audacious act, but then incorporating Ayler’s spiritual jazz theme “Spirits” to cohere the lengthy performance together makes it all the more special. “Heavenly Home and Bashing of the Bells” combines two Ayler compositions “Heavenly Home” and “Bells” with some wonderful percussion playing to create a succinct and lively medley. When they move to New York, the band shifts to Williams on saxophones with Steve Swell on trombone, Hilliard Greene on bass, Chris Corsano on drums, Nels Cline on guitar and and Fred Lonberg-Holm on cello. This smaller, more nimble group is able to take the music in exciting new directions as they take a crack at “The Hanukkah-Xmas March Of Truth/For 12 Days Of Jingling Bells/With Spirits In NYC” stretching it out to an epic near half hour, as Cline and Lonberg-Holm create excellent textures on their instruments, while Corsano and Green are a rhythm team that are in constant flux and response, and Williams as the sole horn is erupting in cascades of golden sound. This group closes the album with “Noel Omega/Change Has Come For The Three Kings Who Lit The Tiny Candles In NYC” which again demonstrates how a modern approach to the Ayler method of free improvisations from the merest wisps of melody can allow players the wide canvas they need to create thrilling music with exciting ensemble playing and uplifting solo sections. This album worked very well, and may be the best yet of the Ayler Xmas offerings that Williams has produced. Albert Ayler’s shadow is vast, but the musicians her honor him, and take the true spirit of Xmas back from the corporations and politicians by generously giving us wonderful music when we need it most. An Ayler Xmas Vol. 4: Chicago vs. NYC - bandcamp

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Thursday, December 10, 2020

A Love Supreme Electric - A Love Supreme and Meditations (Cuneiform Records, 2020)

In the early 2000’s guitarist Henry Kaiser was in a fascinating band called Yo Miles that revived the great music that Miles Davis made in the early 1970’s. This group brings the same electrified approach to two of John Coltrane’s most famous jazz suites: A Love Supreme and Meditations. In addition to Kaiser, the band consists of Vinny Golia on tenor, soprano and baritone saxophones, John Hanrahan on drums, Wayne Peet on Hammond B3 and Yamaha YC-45D organs and Mike Watt on bass. The group offers up generous readings of both suites, maintaining both a reverential and deconstructionist mode, beginning with “Acknowledgement” from A Love Supreme where the memorable theme and chanting of the title are retained, but the soaring use of electric guitar and bass take us to another plane entirely, leading into the meditative nature of “Resolution” which is anchored by excellent bass playing. Golia plays some extraordinary tenor saxophone on “Resolution,” developing a churning and dynamic feature statement, urged on by scouring electric guitar and drums, creating an early high point for the album. A brief and graceful performance of the closing track “Psalm” is well performed, built from a humble beginning to a soaring full band conclusion. The Meditations suite is when John Coltrane turned to full force free jazz with a new lineup and seemingly a new mission. This band captures that urgency and the frenetic pace of the source material, allowing the organ to develop a droning sound, which adds further texture and dynamics to the opening track “The Father, The Son and the Holy Ghost” as guitar meets squalls of saxophone and kinetic drumming to push the music forward. The organ and guitar are reminiscent of Coltrane influenced progressive fusion like Love Devotion Surrender and Love Cry Want, as the music moves into the more dynamic sections of “Joy” and particularly the sprawling exciting performance of “Consequences” and the hard won beauty of the “Serenity” finale. The band was really dialed into this, including reprise versions of “The Father, The Son and the Holy Ghost” and “Acknowledgement” which shows the they see the wealth of possibilities in Coltrane’s music, developing variations of their main performances that take the music in even further unforeseen directions. This album worked very well, the musicians clearly revere the music that John Coltrane created, but they are willing to make their own path and use their instrumentation to create a unique statement. A Love Supreme and Meditations -

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Monday, December 07, 2020

Cortex - Legal Tender (Clean Feed Records, 2020)

Cortex is one of the best progressive jazz bands on the jazz scene anywhere, melding the power of free jazz with the accessibility of melody and thematic performances. The band consists of Thomas Johansson on trumpet and percussion, Kristoffer Berre Alberts on saxophones and percussion, Ola Høyer on bass and percussion and Gard Nilssen on drums and percussion. "Anthem For The Uneasy" opens the album with quietly ominous drums rolling along side funerary horns. The music gains intensity as the drums become thundering then the saxophone breaks out. A raw and open section for saxophone, bass and drums galvanizes the group, becoming faster and more frenetic, before the full band returns to stormy theme. The full group theme on "Standby" has a strong bass and drum undercurrent, with fast and snappy playing, leading to a saxophone solo over crisp rhythm. Rough and potent sounds undulate among the ever changing bass and drum work, with trumpet adding punch to the theme restatement, and the band creating a high energy exit. "GTM" has a very fast swirling theme, Ornette like, leading to the first trumpet solo, fueled by rapid fire bass, both sounding exciting. The tune stretches out with collective improvisation from saxophone, bass and drums as well. Excellent drumming, both solo and in support throughout the performance. A well constructed thoughtful trumpet solo is the centerpiece of "I-95" with generous and firm support from the bass and drums. It all builds to a heavy payoff, but Johansson is still in control, though the massive drums are unrelenting. "10-4" is a real surprise, unaccompanied trumpet fluttering super fast creating an abstract solo of unexpected blowing sounds. The band comes on somber, setting up more excellent trumpet vocalizing over bass and drums building another fine feature, then a ripe full band send off. Høyer supplies a beautiful solo bass introduction to "Blue Gromka" meshing well with brushed percussion. Low key swing develops with trumpet soaring overhead, building a clean brassy sound. Alberts's saxophone solo is in the conventional manner as drums move to sticks and add more oomph, stating the swinging theme and out. "Loose Blues" is the concluding track, starting subtle with hollow drums and a low quiet theme, then silence. After a lengthy break, like a hidden track, the music resumes as the percussion kicks in with an extraordinary rhythmic beat, buoyant bass and strutting trumpet. Saxophone adds to the full frontal assault as the band barrels toward the track’s true conclusion. The music on this album widely varied and thoughtful, with a flexible rhythm section and an excellent front line that are very meticulous in their themes and solos, leading to another finely constructed album. Cortex - Legal Tender -

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Saturday, December 05, 2020

TEST and Roy Campbell (577 Records, 2020)

TEST was one of the great guerilla bands of the 1990's and early 2000's, playing anywhere from the subways of New York City to improvised upstate performance spaces and the Knitting Factory. I saw them in person and can confirm the power and majesty of their live performances. The band consisted of Sabir Mateen on alto saxophone, tenor saxophone, flute and clarinet, Daniel Carter on alto saxophone, tenor saxophone, trumpet and flute, Matthew Heyner on bass and Tom Bruno on drums. Joining them for this concert was trumpeter Roy Campbell who was a massive force of energy on the New York City progressive jazz scene, whether as a bandleader or as a member of exciting ensembles like Other Directions on Music. This concert was recorded live on April 16, 1999 at the Hint House, in Harlem, New York, and it is immediately clear that this isn't just a working band with special guest, but a truly synthesized unit that hits the ground running right away and doesn't let up for the length of one uninterrupted forty-seven minute performance. The music is revelatory, shocking really, when you hear a much loved band joined by another heroic musician who passed away far too young. The music is so fresh and alive, with the reeds of Sabir Mateen and Daniel Carter in an act of continuous motion, swirling and creating a riot of color along side the flexible rhythm section of Heyner and Bruno who keep the music boiling at a simmering heat. Campbell is is the perfect guest, supporting the band with supple brass playing and soaring to the top with powerfully muscular soloing. The whole set unfolds organically and develops naturally and in a truly free fashion, it is a joy to hear these wonderfully talented musicians take flight and fearlessly paint the sky with unfettered sound. TEST and Roy Campbell - Bandcamp

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Tuesday, December 01, 2020

NPR Music Jazz Poll ballot

I sent in my ballot for the annual NPR Music Jazz poll, hosted by Francis Davis with assistance from Tom Hull. The usual caveats about me being a fan/enthusiast and not a critic apply. I'm going to miss some great records that have come out this year, but there has been some extraordinary music despite the calamities musicians have faced, so I am thankful for their efforts, and grateful for the chance to have heard them.

*Your choices for this year’s 10 best New Releases (albums released between last December 1 and this, give or take) listed in descending order one-through-ten:

1. Anna Hogberg Attack - Lena (Omlott, 2020)
2. Luís Lopes Humanization 4tet - Believe, Believe (Clean Feed, 2020)
3. James Brandon Lewis / Chad Taylor - Live in Willisau (Intakt Records, 2020)
4. Larry Ochs / Aram Shelton Quartet - Continental Drift (Clean Feed, 2020)
5. Alexander von Schlippenbach - Slow Pieces for Aki (Intakt Records, 2020)
6. Matthew Shipp - The Unidentifiable (ESP-Disk, 2020)
7. Full Blast - Farewell Tonic (Trost, 2020)
8. Abbey Rader and John McMinn - Duo from the Heart (Abray Records, 2020)
9. Jon Irabagon - I Don't Hear Nothin' but the Blues Volume 3: Anatomical Snuffbox (Irabbagast Records, 2020)
10. Raoul Björkenheim - Solar Winds (Long Song Records, 2020)

*Your top-three Reissues or Historical albums, again listed in descending order:

1. Sun Ra Arkestra - Heliocentric Worlds 1 and 2 Revisited (ezz-thetics, 2020)
2. Horace Tapscott With The Pan-Afrikan Peoples Arkestra - Ancestral Echoes: The Covina Sessions, 1976 (Dark Tree, 2020)
3. Sam Rivers - Archive Series Volume 3: Ricochet (NoBusiness Records, 2020)

*Your choice for the year's best Vocal album

1. Angel Bat Dawid - Live (International Anthem, 2020)

*Your choice for the year's best Debut album

1. Immanuel Wilkins - Omega (Blue Note Records, 2020)

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