{"id":1998,"date":"2020-11-25T13:07:55","date_gmt":"2020-11-25T19:07:55","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=1998"},"modified":"2020-11-25T13:12:06","modified_gmt":"2020-11-25T19:12:06","slug":"shepherd-2019-list","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/shepherd-2019-list\/","title":{"rendered":"Rob Shepherd\u2019s Favorite Jazz Albums of 2019"},"content":{"rendered":"\n<p>As the PostGenre Team is working on their list(s) of Favorites from 2020, here is a flashback to Rob Shepherd&#8217;s 2019 list. This list originally appeared at <a href=\"https:\/\/nextbop.com\/blog\/rob-shepherd-favorite-jazz-albums-2019\">Nextbop<\/a>. <\/p>\n\n\n\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;-Perhaps the most interesting takeaway from 2019 is the number of artists adapting music from the past into something new. Many of the past year\u2019s releases have attempted to apply fresh approaches to a number of other musical forms including gypsy jazz, big band, electronic music, folk music, third stream, and more.&nbsp;<em>-Rob Shepherd<\/em><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">10. James Carter \u2013&nbsp;<em>Organ Trio: Live from Newport Jazz<\/em>&nbsp;(Blue Note)<\/h2>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_MBGZ6x7Q6rc\"><div id=\"lyte_MBGZ6x7Q6rc\" data-src=\"\/\/i.ytimg.com\/vi\/MBGZ6x7Q6rc\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/MBGZ6x7Q6rc\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/MBGZ6x7Q6rc\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p>Since the 1990s, James Carter has been among the best when it comes to saxophone technique and technical prowess. Additionally, he has a distinct and recognizable sound that is full of vitality and excitement. On this most recent album, recorded live from the 2018 Newport Jazz Festival, Carter and his organ trio \u2013 Alex White on drums and Gerard Gibbs on the Hammond B3 \u2013 bring this vigor to covering six pieces by guitarist Django Reinhardt. The pure energy of their performance renders pieces written over seventy years ago to sound like new. In full disclosure, I attended the performance which ultimately became this recording. Blue Note did a stellar job in capturing the saxophonist bandleader\u2019s electric set from that afternoon.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">9. Joel Ross \u2013&nbsp;<em>KingMaker<\/em>&nbsp;(Blue Note)<\/h2>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_FZeEzcL7Fuc\"><div id=\"lyte_FZeEzcL7Fuc\" data-src=\"\/\/i.ytimg.com\/vi\/FZeEzcL7Fuc\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/FZeEzcL7Fuc\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/FZeEzcL7Fuc\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p>Speaking of Newport, vibraphonist&nbsp;Joel Ross&nbsp;was omnipresent at this past summer\u2019s festival by the sea, performing in at multiple sets. These included one with Makaya McCraven\u2019s band, another with In Common, and a third as part of a late-night show with Nate Smith\u2019s Kinfolk. The fourth was with his \u201cGood Vibes\u201d group \u2013 the group featured here \u2013 with saxophonist&nbsp;Immanuel Wilkins, bassist&nbsp;Benjamin Tiberio, pianist&nbsp;Jeremy Corren, and drummer&nbsp;Jeremy Dutton. To those who had been following his trajectory, Ross\u2019 fantastic range and talent came as no surprise. Despite this, the brilliance of his debut was still unexpected to even the most attentive of fans. With 11 of its 12 tracks original compositions, one might anticipate Ross to take the spotlight but&nbsp;<em>Kingmaker<\/em>&nbsp;is truly a team effort with the other members of \u201cGood Vibes\u201d. It is reverent towards music that has come before, including Blue Note\u2019s long history of stellar vibraphonists, while paving a new way forward.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">8. Resavoir \u2013<em>Resavoir<\/em>&nbsp;(International Anthem)<\/h2>\n\n\n<iframe loading=\"lazy\" width=\"350\" height=\"470\" style=\"position: relative; display: block; width: 350px; height: 470px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/album=276148849\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>International Anthem has showcased some of the most interesting artists over the last five years. Many of these have been by \u201cbeat scientists\u201d like Makaya McCraven, or Jeff Parker who splice live recordings with studio beats and sounds. On&nbsp;<em>Resavoir<\/em>, producer\/arranger Will Miller adopts similar processes to turn big band music on its ear. Influenced as much by indie rock, hip hop, pop, soul and R&amp;B as jazz, the Chicago based large ensemble is not subject to easy categorization. \u201cTaking Flight\u201d featuring guest Brandee Younger on harp is particularly awe-inspiring.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">7. The Comet is Coming \u2013&nbsp;<em>Trust in the Lifeforce of the Deep Mystery \/ The Afterlife<\/em>&nbsp;(Impulse!)<\/h2>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_G55GspnNkBo\"><div id=\"lyte_G55GspnNkBo\" data-src=\"\/\/i.ytimg.com\/vi\/G55GspnNkBo\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/G55GspnNkBo\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/G55GspnNkBo\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p>This selection technically consists of two releases, the former from March and the latter from September, but should be viewed as a single work. Addressing the fleetingness of life and the afterlife, both can also be seen as follow-ups to&nbsp;The Comet is Coming\u2019s first album, 2016\u2019s&nbsp;<em>Channel the Spirits<\/em>\u2019 depiction of Armageddon. The two also further cement the London based trio as a spiritual successor to Sun Ra. Just as Sun Ra would draw upon many different musical strains \u2013 electronic and acoustic \u2013 to create something not heard anywhere else, these recordings forge through a wide variety of genres including rock, EDM, psychedelic rock, soul, funk, and jazz to forge a distinctive sound that is highly original and futuristic.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">6. Kendrick Scott Oracle \u2013&nbsp;<em>A Wall Becomes a Bridge<\/em>&nbsp;(Blue Note)<\/h2>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_tKkG_54hCg4\"><div id=\"lyte_tKkG_54hCg4\" data-src=\"\/\/i.ytimg.com\/vi\/tKkG_54hCg4\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/tKkG_54hCg4\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/tKkG_54hCg4\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p>There are many ways to interpret the title of this 12-song cycle by drummer&nbsp;Kendrick Scott&nbsp;and his Oracle band, namely pianist&nbsp;Taylor Eigsti, guitarist&nbsp;Mike Moreno, woodwind player&nbsp;John Ellis, bassist&nbsp;Joe Sanders, and special guest turntablist DJ&nbsp;Jahi Sundance. One could interpret it as political commentary or also as Scott\u2019s overcoming of creative block in forming its pieces. While there is truth to both viewpoints, it is perhaps best seen as a crossing point between electronic music and acoustic jazz. While the mixing of the two genres is a heavily treaded ground, such efforts generally lean more towards one direction or the other.&nbsp;<em>A Wall Becomes a Bridge<\/em>, by contrast, pulls from the history of both to find a new path across. The music is organic, profound, and powerful.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"has-text-align-left wp-block-heading\">5. Matana Roberts \u2013&nbsp;<em>Coin Coin Chapter Four: Memphis<\/em>&nbsp;(Constellation)<\/h2>\n\n\n<iframe loading=\"lazy\" width=\"350\" height=\"470\" style=\"position: relative; display: block; width: 350px; height: 470px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/album=3882932945\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>Folk music in its strictest sense is the traditional works of a people in a given country or region. This definition does not easily apply to the United States, a nation in which many cultures maintain their core while also acquiring concepts from other traditions. Instead, a true American folk musician should amalgamate various influences. Viewed properly, \u201csound quilter\u201d\/woodwind player\/vocalist Matana Roberts is the quintessential American folk musician. As on the preceding three Coin Coin volumes,&nbsp;<em>Memphis<\/em>&nbsp;weaves various threads of other American music \u2013 spirituals, bluegrass, blues, spoken word, and jazz \u2013 to tell a cohesive story. In the process, she employs nontraditional jazz instrumentation including fiddle, accordion, electric guitar, oud, and jaw harp to craft music that is haunting, beautiful, and memorable.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">4. Jan Garbarek and The Hilliard Ensemble \u2013&nbsp;<em>Remember Me, My Dear<\/em>&nbsp;(ECM)<\/h2>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_TOtySsR846Y\"><div id=\"lyte_TOtySsR846Y\" data-src=\"\/\/i.ytimg.com\/vi\/TOtySsR846Y\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/TOtySsR846Y\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/TOtySsR846Y\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p>In 1994, Norweigan saxophonist Garbarek and early music vocalists from the Hilliard Ensemble released&nbsp;<em>Officium&nbsp;<\/em>, fusing jazz with Gregorian chant to produce an ethereal sound not previously heard elsewhere. Writer Marius Gabriel described it as \u201cwhat Coltrane hears in heaven\u201d and it remains one of ECM\u2019s finest.&nbsp;<em>Remember Me, My Dear<\/em>captures the same group, this time on the final tour before the Hilliard Ensemble\u2019s disbanding in 2014. Although hardly the only follow-up, it is the one closest to capturing the magic of the original. It is a fitting celebration of both&nbsp;<em>Officium\u2019s<\/em>&nbsp;25th anniversary and the label\u2019s 50th. The otherworldly sonic qualities of this release are simultaneously ancient and contemporary, timely and timeless.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">3. Linda May Han Oh \u2013&nbsp;<em>Aventurine<\/em>&nbsp;(Biophilia)<\/h2>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_MWuvYeAdlYw\"><div id=\"lyte_MWuvYeAdlYw\" data-src=\"\/\/i.ytimg.com\/vi\/MWuvYeAdlYw\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/MWuvYeAdlYw\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/MWuvYeAdlYw\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p>Like the shimmering translucent mineral from which&nbsp;<em>Aventurine<\/em>\u2019s name is derived, bassist&nbsp;Linda May Han Oh\u2019s latest adds a new sparkle to the longstanding Third Stream blend of classical and jazz. Combining three different types of quartets \u2013 jazz (May Han Oh, saxophonist&nbsp;Greg Ward, pianist&nbsp;Matt Mitchell, and drummer\/vibraphonist&nbsp;Ches Smith), string, and vocal, the bandleader is able to extract and synthesize the finest parts of all three groups.&nbsp;<em>Aventurine<\/em>&nbsp;does not force either jazz or classical together, but rather creates a middle ground.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">2. Noah Preminger \u2013&nbsp;<em>Zigsaw: The Music of Steve Lampert<\/em>&nbsp;(Self Release)<\/h2>\n\n\n<iframe loading=\"lazy\" width=\"350\" height=\"470\" style=\"position: relative; display: block; width: 350px; height: 470px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/album=1245938833\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>Dreams are a strange thing. Sometimes they reflect normal occurrences from our lives. Far more frequently, however, they consist of a union of the usual and the unusual in which the line between the two is blurred or even nonexistent. On&nbsp;<em>Zigsaw<\/em>, criminally underrated composer Lampert produced a singular 49-minute piece focused on dreams which similarly intersperses familiar and foreign sounds. Even the title, a portmanteau of zigzag and jigsaw, evokes this view of pieces being placed together but not in a traditional straight or coherent line. Bringing this artistic vision to life is a top-caliber group of&nbsp;Noah Preminger&nbsp;on tenor sax, trumpeter&nbsp;Jason Palmer, pianist&nbsp;Kris Davis, drummer&nbsp;Rudy Royston, alto saxophonist&nbsp;John O\u2019Gallagher, bassist&nbsp;Kim Cass, and Rob Schwimmer on the clavinet and Haken Continuum synthesizer. The end result is a music of paradoxes: electric and acoustic, avant-garde and highly listenable, revolutionary and traditional.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">1. Mark de Clive-Lowe \u2013&nbsp;<em>Heritage I and II<\/em>&nbsp;(Ropeadope)<\/h2>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_lVkoc9FX_ic\"><div id=\"lyte_lVkoc9FX_ic\" data-src=\"\/\/i.ytimg.com\/vi\/lVkoc9FX_ic\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/lVkoc9FX_ic\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/lVkoc9FX_ic\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p>Over the past decade, there have been two major trends in jazz. One has combined the music with more \u201cpopular\u201d music, most notably electronic, hip hop, or R&amp;B. The other has been to merge it with world music, particularly that of non-Western cultures. It is very rare for the two approaches to meet together with jazz in a unified work. With&nbsp;<em>Heritage<\/em>,&nbsp;Mark de Clive-Lowe&nbsp;obliterates this imaginary divide. The New Zealand based pianist\/composer\/producer utilizes his background as an electronic and jazz musician and the traditional music of his mother\u2019s homeland, Japan, to develop a gorgeous two album masterpiece. The synthesis of such diverse styles at the hands of the wrong artist could result in a muddled mess. Instead, with assistance from woodwind players&nbsp;Josh Johnson&nbsp;and&nbsp;Teodross Avery, bassist&nbsp;Brandon Eugene Owens, and percussionists&nbsp;Carlos Nino&nbsp;and&nbsp;Brandon Combs, de Clive Lowe\u2019s music is personal and touching. Despite its name,&nbsp;<em>Heritage<\/em>&nbsp;is not solely focused on the past. It is a deep exploration of not just where the artist comes from, but also who he is. Sincere, heartfelt, and joyous,&nbsp;<em>Heritage<\/em>&nbsp;sends a clear message that although our background influences who we are, it does not define us.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>As the PostGenre Team is working on their list(s) of Favorites from 2020, here is a flashback to Rob Shepherd&#8217;s 2019 list. This list originally appeared at Nextbop. &#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;-Perhaps the most interesting takeaway from 2019 is the number of artists adapting music from the past into something new. Many of the past year\u2019s releases have [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2015,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"iawp_total_views":62,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[17],"tags":[],"class_list":["post-1998","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-lists"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/BeFunky-collage-4.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-we","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":11651,"url":"https:\/\/postgenre.org\/staging\/4567\/best-2025\/","url_meta":{"origin":1998,"position":0},"title":"PostGenre&#8217;s Best of 2025","author":"PostGenre Writing Staff","date":"December 9, 2025","format":false,"excerpt":"Deeming any album the \"best\" of a given year is inherently fraught with problems. First, there are the logistical issues. Generally, thousands of recordings are released annually. Given that a year has only 8,760 hours, it is logistically impossible to listen to everything. Often, classifications can help limit the scope.\u2026","rel":"","context":"In &quot;Best of Lists&quot;","block_context":{"text":"Best of Lists","link":"https:\/\/postgenre.org\/staging\/4567\/category\/lists-2\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2649.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2649.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2649.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2649.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":7350,"url":"https:\/\/postgenre.org\/staging\/4567\/best-2023\/","url_meta":{"origin":1998,"position":1},"title":"PostGenre&#8217;s Best of 2023","author":"PostGenre Writing Staff","date":"December 27, 2023","format":false,"excerpt":"Below are the albums we collectively felt were the best of 2023 (technically from Thanksgiving 2022 to Thanksgiving 2023). Ties are ordered alphabetically by the leader\u2019s last name. Following the list are honorable mentions; recordings multiple members of our small group thought worthy of merit but did not make the\u2026","rel":"","context":"In &quot;Best of Lists&quot;","block_context":{"text":"Best of Lists","link":"https:\/\/postgenre.org\/staging\/4567\/category\/lists-2\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/12\/original-4AA5FD17-5CE0-4D46-9496-99CA70683F50.jpeg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/12\/original-4AA5FD17-5CE0-4D46-9496-99CA70683F50.jpeg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/12\/original-4AA5FD17-5CE0-4D46-9496-99CA70683F50.jpeg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/12\/original-4AA5FD17-5CE0-4D46-9496-99CA70683F50.jpeg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":5345,"url":"https:\/\/postgenre.org\/staging\/4567\/postgenres-best-of-2022\/","url_meta":{"origin":1998,"position":2},"title":"PostGenre\u2019s Best of 2022","author":"PostGenre Writing Staff","date":"December 14, 2022","format":false,"excerpt":"From the mixes of a beat scientist to a double work with a string quartet, our team's selections for the best albums of 2022 reflect the vibrancy of the contemporary improvised music scene. Some works pull your heartstrings, others are incredibly cerebral, yet others are super funky and make you\u2026","rel":"","context":"In &quot;Best of Lists&quot;","block_context":{"text":"Best of Lists","link":"https:\/\/postgenre.org\/staging\/4567\/category\/lists-2\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/12\/BeFunky-collage20.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/12\/BeFunky-collage20.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/12\/BeFunky-collage20.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/12\/BeFunky-collage20.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":561,"url":"https:\/\/postgenre.org\/staging\/4567\/rob-shepherds-favorite-jazz-albums-of-the-2010s\/","url_meta":{"origin":1998,"position":3},"title":"Rob Shepherd&#8217;s Favorite Jazz Albums: 2009-2019","author":"Rob Shepherd","date":"December 24, 2019","format":false,"excerpt":"Editorial Note: Although PostGenre is the home of more than just \"jazz\" music, much of \"jazz\" consists of an amalgamation of various styles and approaches to music. This list, a republication of one that appeared on Nextbop on December 24, 2019, particularly shows the eclecticism of much of today's \"jazz.\"\u2026","rel":"","context":"In &quot;Lists&quot;","block_context":{"text":"Lists","link":"https:\/\/postgenre.org\/staging\/4567\/category\/lists\/"},"img":{"alt_text":"best of 2010s","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/Rob-Shepherd-Favorite-Jazz-Albums-Decade.jpg?fit=1024%2C475&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/Rob-Shepherd-Favorite-Jazz-Albums-Decade.jpg?fit=1024%2C475&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/Rob-Shepherd-Favorite-Jazz-Albums-Decade.jpg?fit=1024%2C475&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/Rob-Shepherd-Favorite-Jazz-Albums-Decade.jpg?fit=1024%2C475&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":3523,"url":"https:\/\/postgenre.org\/staging\/4567\/postgenres-best-of-2021\/","url_meta":{"origin":1998,"position":4},"title":"PostGenre&#8217;s Best of 2021","author":"PostGenre Writing Staff","date":"December 14, 2021","format":false,"excerpt":"Immediately following the year that artificially paused many releases, in 2021, the floodgates broke loose. It was nearly impossible to keep track of all recordings released between this Thanksgiving and the prior one. And, even ignoring this, the quality and volume made it especially difficult to rank even the ones\u2026","rel":"","context":"In &quot;Best of Lists&quot;","block_context":{"text":"Best of Lists","link":"https:\/\/postgenre.org\/staging\/4567\/category\/lists-2\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/12\/BeFunky-collage-7.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/12\/BeFunky-collage-7.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/12\/BeFunky-collage-7.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/12\/BeFunky-collage-7.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2360,"url":"https:\/\/postgenre.org\/staging\/4567\/chacona-best-of-2020\/","url_meta":{"origin":1998,"position":5},"title":"John Chacona\u2019s Best Albums of 2020","author":"John Chacona","date":"January 17, 2021","format":false,"excerpt":"Here it is, a \"Best Of\" list for the worst of years. Alright, that's a bit jokey; the fact is that 2020 produced an extraordinary efflorescence of great music. Lilacs out of the dead land of pandemic-ravaged, polarized America. This list was culled from a larger list of superb recordings,\u2026","rel":"","context":"In &quot;Lists&quot;","block_context":{"text":"Lists","link":"https:\/\/postgenre.org\/staging\/4567\/category\/lists\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/chacona-list-2020.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/chacona-list-2020.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/chacona-list-2020.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/chacona-list-2020.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/1998","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/comments?post=1998"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/1998\/revisions"}],"predecessor-version":[{"id":2019,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/1998\/revisions\/2019"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/2015"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=1998"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=1998"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=1998"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}