{"id":2029,"date":"2020-11-27T22:47:17","date_gmt":"2020-11-28T04:47:17","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=2029"},"modified":"2020-11-27T22:47:20","modified_gmt":"2020-11-28T04:47:20","slug":"kiwanuka-2019-list","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/kiwanuka-2019-list\/","title":{"rendered":"Brian Kiwanuka\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 Brian Kiwanuka\u2019s 2019 list. This list originally appeared at <a href=\"https:\/\/nextbop.com\/blog\/brian-kiwanuka-favorite-jazz-albums-2019\">Nextbop<\/a>.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">10. Brandee Younger \u2013 <em>Soul Awakening<\/em> (Self Release)<\/h2>\n\n\n\n<iframe loading=\"lazy\" width=\"350\" height=\"720\" style=\"position: relative; display: block; width: 350px; height: 720px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/album=3762315289\/size=large\/bgcol=ffffff\/linkcol=0687f5\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>The harp is a spellbinding instrument and throughout <em>Soul Awakening<\/em> Brandee Younger is a sorceress. The harpist\u2019s playing is never anything other than gorgeous and she has extremely strong chemistry with Ravi Coltrane (tenor saxophone), who is featured on \u201cSoulris\u201d and \u201cLover\u2019s Prayer\u201d. Younger is a versatile player, being just as good at covering soul tunes (Marvin Gaye\u2019s \u201cSave The Children\u201d) as she is as at taking on spiritual jazz compositions (Alice Coltrane\u2019s \u201cBlue Nile\u201d). This is a fine record that is sure to earn Younger more than a few new fans. Read my full album review <a href=\"https:\/\/nextbop.com\/blog\/harpist-brandee-youngers-latest-album-soul-awakening-reviewed\">here<\/a>.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">9. Dave Douglas, Uri Caine &amp; Andrew Cyrille \u2013 <em>Devotion<\/em> (Greenleaf)<\/h2>\n\n\n<iframe loading=\"lazy\" width=\"350\" height=\"786\" style=\"position: relative; display: block; width: 350px; height: 786px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/album=1022859788\/size=large\/bgcol=ffffff\/linkcol=0687f5\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p><em>Devotion<\/em> is a fruitful collaboration between Dave Douglas (trumpet), Uri Caine (piano) and Andrew Cyrille (drums). Each of these musicians has been around the block more than once, however, their experience has not produced complacency. The three veterans combine to create a fine record of skillful, immediately accessible, playing that is aided greatly by the melodic strength of the Douglas compositions. Caine starts the album with bright and expressive piano playing with a Monk-ish bounce on \u201cCurly\u201d, an impressive drum and piano duet. The fat tone of Douglas\u2019 trumpet takes center stage on \u201cD\u2019Andrea\u201d, providing a catchy theme that is sure to draw listeners in. \u201cPrefontaine\u201d provides one of the record\u2019s finest moments by way of Douglas\u2019 pensive playing being well met by Caine\u2019s pristine accompaniment in an entrancing spacious atmosphere. Whether one is coming for the melodies or the sheer technical ability of the players, it will be hard to be left disappointed by <em>Devotion<\/em>.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><\/h3>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">8. Tyshawn Sorey &amp; Marilyn Crispell \u2013 <em>The Adornment of Time<\/em> (Pi)<\/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_czYzQIxY5jg\"><div id=\"lyte_czYzQIxY5jg\" data-src=\"\/\/i.ytimg.com\/vi\/czYzQIxY5jg\/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\/czYzQIxY5jg\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/czYzQIxY5jg\/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 is a magnificent example of what can happen when two stellar improvisers come together. Tyshawn Sorey (drums, percussion) and Marilyn Crispell (piano) are masters of ominous subtlety, space and dissonance. Sorey begins proceedings with the knock of hollow wooden percussion and then adds on thunder-like rumbling and light chimes to create a mesmerizing atmosphere. The crystalline tone of Crispell\u2019s piano dances around the chimes, but as things go on, the pianist moves her tone to more foreboding territory. The dynamics of the duo are stunning throughout this completely improvised live set \u2013 especially in a reactive sense. The way they build tension is marvelous. For example, around the 8-minute mark, it\u2019s hard not to be impressed when Sorey morphs his kit to evoke the sound of a stampede and Crispell follows suit. Even with all the dissonance, there are moments of otherworldly beauty. Near the 51-52 minute mark, gorgeous piano playing evocative of Debussy\u2019s \u201cClair de Lune\u201d creates a lovely passage while Sorey compliments the pianist with delicate bells. Throughout the hour it\u2019s astonishing how easily Sorey\u2019s various techniques \u2013 whether stomping or whispering \u2013 can pull a listener into the duo\u2019s vast dark environment. <em>The Adornment of Time<\/em> captures two established names of the avant-garde having an undeniably strong connection. Read fellow writer <a href=\"https:\/\/postgenre.org\/staging\/4567\/author\/rshepherdmusic\/\">Rob Shepherd<\/a>\u2019s full album review <a href=\"https:\/\/postgenre.org\/staging\/4567\/review-tyshawn-sorey-marilyn-crispells-the-adornment-of-time\/\">here<\/a>.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">7. Taylor Ho Bynum \u2013 <em>The Ambiguity Manifesto<\/em> (Firehouse 12)<\/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_njN9tVpIWRY\"><div id=\"lyte_njN9tVpIWRY\" data-src=\"\/\/i.ytimg.com\/vi\/njN9tVpIWRY\/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\/njN9tVpIWRY\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/njN9tVpIWRY\/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>Cornetist Taylor Ho Bynum\u2018s previous album as a bandleader, <em>Enter The Plus Tet<\/em>, was a fantastic example of the heights that can be reached in an experimental big band. On <em>The Ambiguity Manifesto<\/em> Ho Bynum\u2019s compositional brilliance shines again in a band mostly composed of members of his previous group: Ingrid Laubrock (tenor\/soprano sax), Jim Hobbs (alto sax), Bill Lowe (trombone), Mary Halvorson (guitar), Tomeka Reid (cello), Ken Filiano (bass), Tomas Fujiwara (drums) and new addition Stomu Takeishi (electric bass). There is a duality to the record, with tracks like \u201center ally\u201d and \u201cally enter\u201d and \u201creal\/unreal (for ursula k. le guin)\u201d and \u201cunreal\/real (for old music)\u201d being interesting distorted reflections of one another in more than just name. Ho Bynum\u2019s cornet work is characterized by a distinctively nimble and scratchy approach, but that doesn\u2019t mean he doesn\u2019t know how to swing, as opener \u201cneither when nor where\u201d proves. The tune has a catchy five note theme and carefully balances soulful horns with the searching explorations of Halvorson and Reid. Later on, the mood of the band completely switches in the darkness of \u201creal\/unreal (for ursula k. le guin)\u201d. Dexterous percussive work by Fujiwara is backed by eerie textures courtesy of Reid\u2019s cello and the horn section. The song is a great example of how Ho Bynum skillfully evolves his pieces \u2013 it begins melancholic and ends in euphoria. This is followed by the cavernous electronic waves and raging horns of \u201c(g)host(aa\/ab)\u201d, a track that closes out with incredible solos by Laubrock and Halvorson. <em>The Ambiguity Manifesto<\/em> is another success for Ho Bynum.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">6. Kris Davis \u2013 <em>Diatom Ribbons<\/em> (Pyroclastic)<\/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_og7Qr6kOk4c\"><div id=\"lyte_og7Qr6kOk4c\" data-src=\"\/\/i.ytimg.com\/vi\/og7Qr6kOk4c\/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\/og7Qr6kOk4c\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/og7Qr6kOk4c\/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>Those that only follow pianist Kris Davis\u2019 studio work might be surprised at the personnel of <em>Diatom Ribbons<\/em>. Although artists like Ches Smith (vibraphone) and Marc Ribot (guitar) are often found in the experimental scene Davis often occupies, Esperanza Spalding (vocals) and Terri Lyne Carrington (drums), both usually operate in more straight-ahead settings. However, a look at Davis\u2019 recent out of studio excursions gives the full picture \u2013 she played with both women in various stunning tributes to the late pianist Geri Allen. They are joined by Val Jeanty (turntable), Trevor Dunn (electric\/acoustic bass), Tony Malaby (tenor sax), JD Allen (tenor sax) and Nels Cline (guitar). The guitarist stars in \u201cRhizomes\u201d, a track with an atmospheric opening that is eventually driven into rocking territory by Carrington and Cline, who has a stunning extended solo. \u201cThe Very Thing\u201d is another standout moment \u2013 the combination of Spalding\u2019s gorgeous voice and Davis\u2019 beautiful cascading piano works wonders. There is an immediate accessibility in \u201cThe Very Thing\u201d and other parts of <em>Diatom Ribbons<\/em> that may draw in those who were not too keen on Davis\u2019 past work. However, this is not to say that the pianist has held back or sacrificed her brilliance for the sake of immediacy \u2013 the strength of this album suggests exactly the opposite.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">5. Yazz Ahmed \u2013 <em>Polyhymnia<\/em> (Ropeadope)<\/h2>\n\n\n\n<iframe style=\"border: 0; width: 350px; height: 654px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3343109794\/size=large\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless><a href=\"https:\/\/yazzahmed.bandcamp.com\/album\/polyhymnia\">Polyhymnia by Yazz Ahmed<\/a><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p><em>Polyhymnia<\/em> is Yazz Ahmed (trumpet, flugelhorn) building on the foundation of the critically acclaimed <em>La Saboteuse<\/em> by taking it into a much larger setting. Her striking combination of Arabic melodies and jazz fusion now features over 20 musicians. Each track is dedicated to iconic women throughout history, with standout tracks \u201cLahan al-Mansour\u201d and \u201cRuby Bridges\u201d dedicated to the first Saudi Arabian female film director and the first African-American child to desegregate William Frantz Elementary School in Louisiana. While the former composition is more Arabic-influenced and the latter is more soulful, there is common ground between the two in that both have stellar horn arrangements. The solos, especially those by Ahmed and pianist Alcyona Mick, are top-notch. Read my full album review <a href=\"https:\/\/nextbop.com\/blog\/trumpeter-yazz-ahmeds-ropeadope-debut-polyhymnia-reviewed\">here<\/a>.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">4. Tomeka Reid Quartet \u2013 <em>Old New<\/em> (Cuneiform)<\/h2>\n\n\n\n<iframe loading=\"lazy\" width=\"350\" height=\"753\" style=\"position: relative; display: block; width: 350px; height: 753px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/album=2230337036\/size=large\/bgcol=ffffff\/linkcol=0687f5\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>Although this quartet\u2019s rhythm section, which consists of Tomas Fujiwara (drums) and Jason Roebke (bass), is consistently strong, the main attraction is an exhilarating combination of strings. Cello and guitar are not typical partners in jazz, but it would be hard to find two players more up to the task than Tomeka Reid (cello) and Mary Halvorson (guitar). The clash and synergy between Halvorson\u2019s warped eccentric approach and the harsh wooden sound of Reid\u2019s cello is fascinating. The album wastes no time, with opener \u201cOld New\u201d being one of its best tracks. Featuring an extended battle between Reid and Halvorson that is full of wildly unpredictable improvisation, the tune is the perfect introduction to the band. The Tomeka Reid Quartet\u2019s 2015 debut was a standout record of its year and <em>Old New<\/em> maintains that high standard. These are captivating Reid compositions that interestingly combine abrasive avant-garde improvisational styles and thematic passages that could fit in in more straight-ahead sessions.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">3. Jaimie Branch \u2013 <em>FLY or DIE II: bird dogs of paradise<\/em> (International Anthem)<\/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_a6ceFg0-JJM\"><div id=\"lyte_a6ceFg0-JJM\" data-src=\"\/\/i.ytimg.com\/vi\/a6ceFg0-JJM\/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\/a6ceFg0-JJM\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/a6ceFg0-JJM\/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>Two years ago trumpeter Jaimie Branch announced herself as a band leader with <em>FLY or DIE<\/em>, a great record defined by a unique compositional voice that found a healthy balance between more bopping elements and the avant-garde. <em>bird dogs of paradise<\/em> builds on the <em>FLY or DIE<\/em> style, again featuring a band built around the interaction between trumpet, cello (Lester St. Louis), double bass (Jason Ajemian) and drums (Chad Taylor). This time around Branch does not just confine her expression to her horn, her singing is key in the album\u2019s finest moment, the political epic \u201cprayer for amerikkka pt. 1 &amp; 2\u201d. The tune moves from a downtrodden bluesy space to almost being a rock tune, but maintains the jazz adventure that defines Branch\u2019s work. The band\u2019s knack for finding irresistible rhythms is in tact as well, with the seamless duo of \u201cbird dogs of paradise\u201d and \u201cnuevo roquero est\u00e9reo\u201d both having amazing grooves. <em>bird dogs of paradise<\/em> is the opposite of a sophomore slump \u2013 it\u2019s confirmation that Branch is going to be a name to look out for in the jazz world for a long time.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">2. Irreversible Entanglements &amp; Pat Thomas- <em>5.4.18<\/em> (Cafe OTO)<\/h2>\n\n\n\n<iframe loading=\"lazy\" width=\"100%\" height=\"300\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/569813088&#038;color=%23ff5500&#038;auto_play=false&#038;hide_related=false&#038;show_comments=true&#038;show_user=true&#038;show_reposts=false&#038;show_teaser=true&#038;visual=true\"><\/iframe><div style=\"font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;\"><a href=\"https:\/\/soundcloud.com\/cafeoto\" title=\"cafeOTO\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\" rel=\"noopener noreferrer\">cafeOTO<\/a> \u00b7 <a href=\"https:\/\/soundcloud.com\/cafeoto\/ds135-irreversible-entanglements-and-pat-thomas-5418-sample\" title=\"DS135 - Irreversible Entanglements and Pat Thomas - 5.4.18 [sample]\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\" rel=\"noopener noreferrer\">DS135 &#8211; Irreversible Entanglements and Pat Thomas &#8211; 5.4.18 [sample]<\/a><\/div>\n\n\n\n<p><\/p>\n\n\n\n<p>Irreversible Entanglements is a band that stands firmly in one of the key aspects of of black american music \u2013 some of the best recordings have been political and confrontational. <em>5.4.18<\/em> is an extremely passionate live set wherein Camae Ayewa (poetry), Luke Stewart (bass), Tcheser Holmes (drums), Aquiles Navarro (trumpet) and Keir Neuringer (alto saxophone) continue to deliver the high quality free jazz poetry that captivated the avant-garde jazz world on their debut in 2017. The fierce playing here creates the perfect environment for Ayewa\u2019s gripping spoken word, which snarls through the evils of racism, capitalism and imperialism. In the last portion of the session the group is joined by British pianist Pat Thomas, whose relentless approach takes them to the next level. Thomas\u2019 strong performance is more than appropriate for a set that was dedicated to the legendary pianist Cecil Taylor, who sadly passed away on the same day. Read my full album review <a href=\"https:\/\/nextbop.com\/blog\/irreversible-entanglements-pat-thomas-5-4-18-album-review\">here<\/a>.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">1. Tomas Fujiwara \u2013 <em>7 Poets Trio<\/em> (Rogueart)<\/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_SdWzc2KrEj4\"><div id=\"lyte_SdWzc2KrEj4\" data-src=\"\/\/i.ytimg.com\/vi\/SdWzc2KrEj4\/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\/SdWzc2KrEj4\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/SdWzc2KrEj4\/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>A band consisting of only drums (Tomas Fujiwara), cello (Tomeka Reid) and vibraphone (Patricia Brennan) is not a traditional set up, but with how well this trio plays, one could be forgiven for thinking this combination is commonplace. Reid, Fujiwara and Brennan are exceptional throughout <em>7 Poets Trio<\/em>, producing sounds that range from bouts of abstract improvisation to moments of sublime beauty. These compositions are Fujiwara at his best. \u201cBlend \/ KP\u201d begins the album with a surreal combination of bowed vibraphone and cello and ends with a powerful atmosphere with brilliant solos. The almost 19 minutes of \u201cBlend \/ KP\u201d alone are worth the price of admission, and the rest of the album is just as good. Read my full album review <a href=\"https:\/\/nextbop.com\/blog\/tomas-fujiwaras-7-poets-trio-album-reviewed\">here<\/a>.<\/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 Brian Kiwanuka\u2019s 2019 list. This list originally appeared at Nextbop. 10. Brandee Younger \u2013 Soul Awakening (Self Release) The harp is a spellbinding instrument and throughout Soul Awakening Brandee Younger is a sorceress. The harpist\u2019s playing is [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":2051,"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":30,"_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-2029","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-collage4.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-wJ","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":202,"url":"https:\/\/postgenre.org\/staging\/4567\/five-genre-defying-selections-from-newport-jazz-festivals-first-wave-of-2020-performers\/","url_meta":{"origin":2029,"position":0},"title":"Five Genre-Defying Selections from the Newport Jazz Festival\u2019s First Wave of 2020  Performers","author":"Rob Shepherd","date":"February 11, 2020","format":false,"excerpt":"The historic Newport Jazz Festival has released a list of 36, out of approximately 60, groups which will appear across its four stages at Fort Adams this summer. 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