{"id":9879,"date":"2024-12-09T00:01:05","date_gmt":"2024-12-09T06:01:05","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=9879"},"modified":"2024-12-09T08:57:58","modified_gmt":"2024-12-09T14:57:58","slug":"best-2024","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/best-2024\/","title":{"rendered":"PostGenre\u2019s Best of 2024"},"content":{"rendered":"\n<p>The albums we collectively felt were the best of 2024 (technically from Thanksgiving 2023 to Thanksgiving 2024) show a beautiful range of diverse voices. I don\u2019t think any of us consciously chose our albums based on identifiers like race, gender, or nationality. The fact it is replete with musicians from around the globe &#8211; from Australia, Brazil, Ethiopia, Israel, Mexico, Spain, and the United States, among others &#8211; speaks to the way the musical form has proliferated and, to some extent, obliterated cross-cultural divides. A pleasant &#8211; though long overdue- surprise was the number of female artists in our list. This is probably the first year where all of our top three were albums by a female leader or co-leader.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>In our list below, ties are ordered alphabetically by the leader\u2019s last name. Following the list are honorable mentions; recordings &#8211; including archival ones &#8211; that multiple members of our small group thought worthy of merit but did not make our collective top ten. We are excited to again have friends and journalists Jim Hynes and Anthony Dean-Harris &#8211; check out his awesome radio show on KMHD &#8211; return for it as well. \u2014&nbsp;<em>Rob Shepherd<\/em><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>7 (tie). Hiatus Kaiyote &#8211; <em>Love Heart Cheat Code<\/em> (Brainfeeder\/Ninja Tune)<\/strong><\/p>\n\n\n\n<p><\/p>\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_5auslviJaHs\"><div id=\"lyte_5auslviJaHs\" data-src=\"\/\/i.ytimg.com\/vi\/5auslviJaHs\/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\/5auslviJaHs\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/5auslviJaHs\/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><\/p>\n\n\n\n<p>In their Brainfeeder label debut, the Australian quartet has released its tightest collection of songs since their debut. Less bogged down by exploration that could, at times, veer into downright wandering, the group has found their magnetic hooks, never loosens the reins, and steers properly into the right grooves. Hiatus Kaiyote has made the most infectious half-hour of 2024. &#8211; <em>Anthony Dean-Harris<\/em><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>7 (tie). Miguel Zenon &#8211; <em>Golden City<\/em> (Miel)<\/strong><\/p>\n\n\n\n<p><\/p>\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_BCgC1qvxhms\"><div id=\"lyte_BCgC1qvxhms\" data-src=\"\/\/i.ytimg.com\/vi\/BCgC1qvxhms\/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\/BCgC1qvxhms\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/BCgC1qvxhms\/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><\/p>\n\n\n\n<p>There is a tendency to view any major metropolis with either gray or rose-tinted glasses. The city that once stole Tony Bennett\u2019s heart is now derided by some others as an out-of-touch mecca of crime and homelessness that many are fleeing. The proximity of San Francisco\u2019s glimmering landmark to its infamous prison is perhaps the most symbolic of these extremes. However, neither perspective depicts a fully accurate picture. <em>Golden City<\/em>, Zen\u00f3n\u2019s SFJAZZ commissioned suite neither glorifies nor denigrates but instead shows a great love for the City by the Bay by exploring its beauty, even with its warts.<\/p>\n\n\n\n<p>The Caribbean hues of \u201cCultural Corridor\u201d celebrate the city\u2019s different cultural districts and how they coalesce into a diverse whole. But it\u2019s done without glossing over the racial injustice that existed, and to some extent, still does. \u201cActs Of Exclusion\u201d sonically explores the Chinese Exclusion Act of 1882, while \u201c9066\u201d reflects upon Japanese internment camps. The work carries these problems to the present struggles with gentrification on \u201cDisplacement and Erasure\u201d but also notes the&nbsp; \u201cPower of Community.\u201d It is all done with top-notch musicianship by an ensemble that features Miles Okazaki, Matt Mitchell, Dan Weiss, Chris Tordini, and Jacob Garchik. &#8211; <em>Rob Shepherd<\/em><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>7 (tie). Milton Nascimento and esperanza spalding &#8211; <em>Milton + esperanza<\/em> &nbsp;(Concord)<\/strong><\/p>\n\n\n\n<p><\/p>\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_ESkS-6z7DZY\"><div id=\"lyte_ESkS-6z7DZY\" data-src=\"\/\/i.ytimg.com\/vi\/ESkS-6z7DZY\/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\/ESkS-6z7DZY\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/ESkS-6z7DZY\/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><\/p>\n\n\n\n<p>Making an album with Nascimento is a dream come true for spalding, and with how impressive <em>Milton + esperanza<\/em> is, it definitely sounds like one\u2026 <em>Milton + esperanza<\/em> is a radiant collaboration of chemistry that could be cultivated only by deep mutual admiration. It\u2019s a fantastic album \u2013 a stunning reminder of spalding and Nascimento\u2019s talents that should please fans and newcomers alike. &#8211; <em>Brian Kiwanuka, an excerpt from his <a href=\"https:\/\/postgenre.org\/staging\/4567\/review-milton-esperanza\/\">more thorough review<\/a>.<\/em>&nbsp;<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>7 (tie). Mulatu Astatke &amp; Hoodna Orchestra &#8211; <em>Tension<\/em> (Batov)<\/strong><\/p>\n\n\n\n<p><\/p>\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_odqsMaqS2tY\"><div id=\"lyte_odqsMaqS2tY\" data-src=\"\/\/i.ytimg.com\/vi\/odqsMaqS2tY\/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\/odqsMaqS2tY\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/odqsMaqS2tY\/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><\/p>\n\n\n\n<p>Even into his eighties, the father of Ethio-jazz is still pushing the sensual and mystical aura of his art form into new territory. In this case, we find his vibraphone backed by the Hoodna Orchestra, a Tel Aviv-based Afro-funk ensemble. Originally focused on Fela Kuti\u2019s Afrobeat, the band\u2019s meeting with Astatke brings a pan-Africanism to the album, along with hues of psychedelic rock, funk, soul, and a tinge of Middle Eastern music. A piece like the late-night noirish \u201cHatula\u201d evokes not only the music Astatke helped invent, but also a klezmer-infused element. The transcontinental dialogues on <em>Tension<\/em> are, despite the album\u2019s suggestive title, not only compatible but complementary of one another. Further, the unique assortment of stylistic influences adds a timelessness to the record. The record incomprehensibly sounds simultaneously thoroughly contemporary and as though they were dug out of some crate digger\u2019s secret stash of long-forgotten treasures. &#8211; <em>Rob Shepherd<\/em>&nbsp;<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>6. Steve Coleman &#8211; <em>Polytropos\/Of Many Turns <\/em>(Pi)<\/strong><\/p>\n\n\n\n<p><\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"100%\" height=\"120\" style=\"position: relative; display: block; width: 100%; height: 120px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=3771370692\/album=2769810635\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>The epithet polytropos comes from the very first line of \u201cThe Odyssey\u201d and one translation, \u201cof many turns,\u201d is the subtitle of this double album from the protean Steve Coleman and Five Elements. Like the hero of Homer\u2019s epic poem, Coleman has voyaged widely since releasing the first Five Elements recording, <em>World Expansion<\/em> (JMT, 1986), thirty-eight years (can it be?) ago. Pay attention to that title, which could serve as a modus vivendi for Coleman\u2019s wanderings in search of extramusical systems to apply to his already singular compositional voice.<\/p>\n\n\n\n<p>This time, his focus is on how chain molecules structure themselves to form amino acids. Heady stuff, for sure, and understanding how Coleman adapted this knowledge to his music is beyond my purview. He\u2019s working on an exalted level of multidisciplinary synthesis here.<\/p>\n\n\n\n<p>That much is new, but all the familiar building blocks of Coleman\u2019s musical signature are present on <em>PolyTropos \/ Of Many Turns<\/em> \u2014the interlocking, layered rhythms inspired by Afro-Cuban systems, the sudden changes of direction, staccato melodic fragments (Coleman calls them glyphs) from which dazzling crystals of improvisation spread like lab-grown diamonds (or maybe chains of amino acids).<\/p>\n\n\n\n<p>On alto saxophone, Coleman\u2019s halogen-bulb tone is as strong and clear as ever. If&nbsp;anything, trumpeter Johnathan Finlayson matches him for quick reflexes and on-the-spot inventiveness. Bassist Rich Brown, an essential part of Toronto\u2019s undervalued music scene, is new to the ensemble; he joined the band for their 2024 tour of France from which these recordings were taken. Like&nbsp; Anthony Tidd, Brown often taps out the rhythmic code on which these compositions are built, bumping out the root with dublike solidity. The real hero of the recording, though, is drummer Sean Rickman who sprays accents around the beat while giving the music a bounce and lift that would be right at home in the go-go bands in which he plays. My foot tapped continuously for nearly the entire two-and-a-half-hour duration of the set.<\/p>\n\n\n\n<p><em>PolyTropos \/ Of Many Turns<\/em> feels less like a startlingly new direction for Coleman than a summation, consolidation, and distillation of everything he has learned over the decades, all refined to their purest essence. It\u2019s also a reminder that Coleman has authored the source code for much of the most exciting music being made today, an authentic world expansion. Yet even at sixty-eight, it\u2019s hard to imagine that the voyager finally reached his Ithaca. This man of many turns never stays in one place for long. &#8211; <em>John Chacona<\/em>&nbsp;<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>4 (tie). Jeremy Pelt &#8211; <em>Tomorrow\u2019s Another Day <\/em>(Highnote)<\/strong><\/p>\n\n\n\n<p><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_wj3OMcipezc\"><div id=\"lyte_wj3OMcipezc\" data-src=\"\/\/i.ytimg.com\/vi\/wj3OMcipezc\/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\/wj3OMcipezc\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/wj3OMcipezc\/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><\/p>\n\n\n\n<p>Nearly every year for over twenty years, trumpeter Jeremy Pelt has released a new album, always with a different concept in mind. This year, with percussionist Deantoni Parks sitting in for three songs, Pelt halfway made a house record and found even more places to go for the rest of it. Through it all, he consistently innovates and grabs attention as he has his whole career, resulting in one of his most fascinating albums in nearly a decade. &#8211; <em>Anthony Dean-Harris<\/em><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>4 (tie). Rita Pay\u00e9s &#8211; <em>De camino al camino<\/em> (Sony Espa\u00f1a)<\/strong><\/p>\n\n\n\n<p><\/p>\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_ZVEeAxeyAPU\"><div id=\"lyte_ZVEeAxeyAPU\" data-src=\"\/\/i.ytimg.com\/vi\/ZVEeAxeyAPU\/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\/ZVEeAxeyAPU\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/ZVEeAxeyAPU\/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><\/p>\n\n\n\n<p>Even listeners who know Rita Pay\u00e9s for her trombone skill or the soothing, often bossa nova-tinged albums alongside her mom, Elisabeth Roma, may be surprised by the artistic evolution in <em>De camino al camino<\/em>. Unlike the Catalan musician&#8217;s previous recordings, the album is entirely Pay\u00e9s originals, except for &#8220;Alma en Vilo&#8221;, composed by her brother, Eudald Pay\u00e9s. The result is a delightful mix of Pay\u00e9s&#8217; influences, two of the most evident being Latin American folk and jazz. One of the most potent examples is &#8220;Se Transformar\u00e1&#8221;, where the dazzling interplay between acoustic guitar and string quartet builds towards a great horn arrangement. Pay\u00e9s ties the composition together superbly with beautiful singing and a skillful trombone solo. &#8220;Tantas Cosas&#8221;, which has Pay\u00e9s poetically reflecting on life in light of becoming a mother, is less grand but equally powerful. Listening to the enchanting combination of graceful singing and intricately plucked and bowed strings, anyone would be forgiven for not guessing that this is the first time Pay\u00e9s has composed string arrangements for a recording. Every song on <em>De camino al camino<\/em> is impressive &#8211; the album is a spectacular example of a musician coming into their own. &#8211; <em>Brian Kiwanuka&nbsp;<\/em><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>3. Mary Halvorson &#8211; <em>Cloudward<\/em> (Nonesuch)<\/strong><\/p>\n\n\n\n<p><\/p>\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_cbhW2gUE-Pk\"><div id=\"lyte_cbhW2gUE-Pk\" data-src=\"\/\/i.ytimg.com\/vi\/cbhW2gUE-Pk\/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\/cbhW2gUE-Pk\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/cbhW2gUE-Pk\/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><\/p>\n\n\n\n<p>Mary Halvorson has one of the most recognizable instrumental voices in jazz. A perennial poll winner, she wields a flinty attack on her hollow-body Guild guitar like a paleontologist chipping away layers of rock to uncover the precious object within. This is remarkable, but don\u2019t let it distract you from her superpower, which seems to be as a composer and arranger for medium-sized ensembles.<\/p>\n\n\n\n<p>Her twin releases <em>Amaryllis<\/em> (Nonesuch, 2022) and <em>Belladonna<\/em> (Nonesuch, 2022) were impressive enough to top <a href=\"https:\/\/postgenre.org\/staging\/4567\/postgenres-best-of-2022\">PostGenre\u2019s list of the Best of 2022<\/a>. Yet somehow, <em>Cloudward<\/em> exceeds the high standard Halvorson has established for herself with a program of eight compositions that unfold with startling effortlessness and fluency. At every turn, Halvorson\u2019s compositional choices surprise and delight while sounding like they could unfold only this way. This is not simple music, yet it is as readable and easy to enjoy as a children\u2019s song.<\/p>\n\n\n\n<p>A lot of credit must go to the eye-popping ensemble from <em>Amaryllis<\/em> and <em>Belladonna<\/em> that returns intact on Cloudward: trumpeter Adam O\u2019Farrill, trombonist Jacob Garchik, and the rhythm section of bassist Nick Dunston and Halvorson\u2019s longtime collaborator drummer Tomas Fujiwara. The secret ingredient is vibraphonist Patricia Brennan, as distinctive a composer and player on her instrument as Halvorson is on guitar. With a dab of pedaled shimmer here or a prodding rhythmic figure there, Brennan makes the band sound bigger and more colorful. The combination of vibes and guitar gives Halvorson\u2019s music an aqueous pearlescence that can be ravishing. There\u2019s even a cameo from Laurie Anderson, who plays violin on one cut.<\/p>\n\n\n\n<p>In the rush to compile these year-end lists, it\u2019s easy to forget recordings that were issued in the first weeks of the new year. Though it was released when 2024 was only a couple of weeks old, there was no forgetting <em>Cloudward<\/em>, a title that appropriately describes the trajectory of Mary Halvorson\u2019s already memorable career. &#8211; <em>John Chacona<\/em><\/p>\n\n\n\n<p>Check out our interview with Mary Halvorson on Cloudward <a href=\"https:\/\/postgenre.org\/staging\/4567\/cloudward-mary-halvorson\/\">here<\/a> and Brian Kiwanuka\u2019s review of the album <a href=\"https:\/\/postgenre.org\/staging\/4567\/review-mary-halvorson-cloudward\/\">here<\/a>.&nbsp;&nbsp;<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>2. Patricia Brennan Septet &#8211; <em>Breaking Stretch<\/em> (Pyroclastic)<\/strong><\/p>\n\n\n\n<p><\/p>\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_ejTOidMh97E\"><div id=\"lyte_ejTOidMh97E\" data-src=\"\/\/i.ytimg.com\/vi\/ejTOidMh97E\/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\/ejTOidMh97E\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/ejTOidMh97E\/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><\/p>\n\n\n\n<p>The striking way vibraphonist Patricia Brennan incorporates horns into her compositional style takes her music to exciting new heights on <em>Breaking Stretch<\/em>. Knotty collective improvisation between trumpet (Adam O&#8217;Farril), alto (Jon Irabagon), and tenor sax (Mark Shim) leads towards an alluring descending theme on &#8220;Breaking Stretch&#8221;. A large part of the tune is incredible soloing by Irabagon and Shim. The title track shows that Brennan has a talent for writing engaging percussive horn parts, which is key to the power of &#8220;Palo de Oros (Suit of Coins).&#8221; Kim Cass&#8217; bass starts the tune off with a harmonic-drenched solo that introduces the motif, which is then played with alarming fury by the horn section as the rest of the rhythm section (Marcus Gilmore on drums and Hector Herrera on percussion) rushes in. The horns shift between blending together and countering one another in captivating ways, and Brennan&#8217;s solo is outstanding. Brennan&#8217;s septet does not falter throughout the album&#8217;s almost hour runtime. Regardless of whether the band is playing a moody, atmospheric lament (&#8220;Mudanza (States of Change)&#8221;) or doing the exact opposite while being driven by Herrera&#8217;s explosive percussion (&#8220;Los Otros Yo (The Other Selves)&#8221;), the performances are always top-notch. Breaking Stretch is a fantastic record that goes above and beyond expectations &#8211; a must listen for fans of creative music. &#8211; <em>Brian Kiwanuka<\/em>&nbsp;<\/p>\n\n\n\n<p>Check out our interview with Patricia Brennan on this album <a href=\"https:\/\/postgenre.org\/staging\/4567\/common-denominators-patricia-brennan\/\">here<\/a>.&nbsp;<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>1. Wadada Leo Smith and Amina Claudine Myers &#8211; <em>Central Park\u2019s Mosaics of Reservoir, Lake Paths and Gardens<\/em> (Red Hook)<\/strong><\/p>\n\n\n\n<p><\/p>\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_8rNn9PmP88o\"><div id=\"lyte_8rNn9PmP88o\" data-src=\"\/\/i.ytimg.com\/vi\/8rNn9PmP88o\/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\/8rNn9PmP88o\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/8rNn9PmP88o\/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><\/p>\n\n\n\n<p>For generations, musicians have attempted to transport listeners to locales through sound. Everything from Beethoven\u2019s <em>Symphony No. 6 in F Major, Op. 68 &#8220;Pastoral&#8221;<\/em>\u2019s depiction of the countryside to the steep peaks of John Denver\u2019s \u201cRocky Mountain High\u201d have evoked the grandeur and magnitude of specific places. One should be cautioned against thinking that <em>Central Park\u2019s Mosaics of Reservoir, Lake Paths and Gardens<\/em> is a similar work in its ability to share the natural magnificence of New York\u2019s great park. Make no mistake, you can see the shifting colors of the sky and the shimmer of light against water. You can feel the radiance of sunlight and the briskness of wind. But all of that is only part of the record.<\/p>\n\n\n\n<p>Instead, <em>Central Park<\/em> &#8211; including its rich use of space and silence &#8211; is a testament to the power of peace and reflection. The warmth of an upbringing in rural Arkansas and the rejoicing spirits of Albert Ayler and John Lennon are just as much at home in this splendorous environment as the album\u2019s namesakes. Each time you listen, deeper levels of subtleties and shades of beauty reveal themselves like the slowly opening pedals of a vibrantly colored flower. Such can come only from those who have fully immersed themselves in the power of music to the extent of these two living legends of the AACM. &#8211; <em>Rob Shepherd<\/em><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>Check out our conversations with both masters on this album <a href=\"https:\/\/postgenre.org\/staging\/4567\/tranquility-wadada-leo-smith-amina-claudine-myers\/\">here<\/a>.&nbsp;<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Honorable Mentions- The following are albums on the lists (10 choices) or extended lists (more than 10) of two or more writers, sorted alphabetically by the artist\u2019s last name. It seemed these recordings were worth honoring as well. We have also included archival recordings for this category:<\/strong><\/p>\n\n\n\n<p>Isaiah Collier &amp; The Chosen Few- <em>The Almighty <\/em>(Division 81) &#8211; check out our interview with Collier on this album, <a href=\"https:\/\/postgenre.org\/staging\/4567\/filter-isaiah-collier\/\">here.&nbsp;<\/a><\/p>\n\n\n\n<p>Alice Coltrane &#8211; <em>Live at Carnegie Hall<\/em> (Impulse!)<\/p>\n\n\n\n<p>Julian Lage &#8211; <em>Speak to Me<\/em> (Blue Note)<\/p>\n\n\n\n<p>Charles Lloyd &#8211; <em>The Sky Will Still Be There Tomorrow<\/em> (Blue Note)&nbsp;<\/p>\n\n\n\n<p><em>The Messthetics and James Brandon Lewis<\/em> (Impulse!)&nbsp; &#8211; check out our interview with Messthetics guitarist, Anthony Pirog, on this album, <a href=\"https:\/\/postgenre.org\/staging\/4567\/pirog-messthetics-jbl\/\">here.&nbsp;<\/a><\/p>\n\n\n\n<p>Sonny Rollins &#8211; <em>Freedom Weaver: The 1959 European Tour Recordings<\/em> (Resonance)<\/p>\n\n\n\n<p>Jenny Scheinman &#8211; <em>All Species Parade<\/em> (Royal Potato Family)<\/p>\n\n\n\n<p>Wayne Shorter &#8211; <em>Celebration Vol. 1<\/em> (Blue Note) &#8211; check out our interview with Danilo Perez and John Patitucci, <a href=\"https:\/\/postgenre.org\/staging\/4567\/laboratory-perez-patitucci\/\">at this summer\u2019s Newport Jazz Festival, on this album and the legacy of Wayne Shorter.&nbsp;<\/a><\/p>\n\n\n\n<p>Nala Sinephro, <em>Endless<\/em> (Warp)<\/p>\n\n\n\n<p>Ches Smith &#8211; <em>Laugh Ash<\/em> (Pyroclastic) &#8211; check out our interview with Ches Smith on this album, <a href=\"https:\/\/postgenre.org\/staging\/4567\/broken-trance-ches-smith-laugh-ash\/\">here.&nbsp;<\/a><\/p>\n\n\n\n<p>McCoy Tyner, Joe Henderson: <em>Forces of Nature: Live at Slugs 1966<\/em> (Blue Note Records)&nbsp;<\/p>\n\n\n\n<p>Immanuel Wilkins &#8211; <em>Blues Blood <\/em>(Blue Note)<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Stay tuned for individual lists by Anthony Dean-Harris and Rob Shepherd <\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The albums we collectively felt were the best of 2024 (technically from Thanksgiving 2023 to Thanksgiving 2024) show a beautiful range of diverse voices. I don\u2019t think any of us consciously chose our albums based on identifiers like race, gender, or nationality. The fact it is replete with musicians from around the globe &#8211; from [&hellip;]<\/p>\n","protected":false},"author":13,"featured_media":9878,"comment_status":"closed","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":452,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1201,17],"tags":[],"class_list":["post-9879","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-lists-2","category-lists"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/12\/img_0340-1.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-2zl","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":5345,"url":"https:\/\/postgenre.org\/staging\/4567\/postgenres-best-of-2022\/","url_meta":{"origin":9879,"position":0},"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":7350,"url":"https:\/\/postgenre.org\/staging\/4567\/best-2023\/","url_meta":{"origin":9879,"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":11447,"url":"https:\/\/postgenre.org\/staging\/4567\/review-time-traveler-brooks-barron-garnett\/","url_meta":{"origin":9879,"position":2},"title":"Jazz Detective Zev Feldman Begins Yet Another Journey with New Imprint, Time Traveler Recordings, and Resurrecting Three Largely Forgotten Gems from the Muse Records Catalog","author":"Jim Hynes","date":"October 20, 2025","format":false,"excerpt":"By now, most readers know that the Jazz Detective, Zev Feldman, does not limit his archival work to Black Friday and Record Store Day. Recently, he unveiled the terrific Charlie Rouse Brazilian recording, Cinnamon Flower (Resonance, 2025). As the archival consultant for Blue Note Records, he has another great one\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2105.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\/10\/img_2105.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2105.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2105.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":660,"url":"https:\/\/postgenre.org\/staging\/4567\/miles-davis-bitches-brew-50th-anniversary-celebration-part-four-non-jazz\/","url_meta":{"origin":9879,"position":3},"title":"Miles Davis\u2019 Bitches Brew 50th Anniversary Celebration- Part Four: \u201cNon-Jazz\u201d","author":"Rob Shepherd","date":"March 30, 2020","format":false,"excerpt":"This is the final segment of our four-part series celebrating the legacy of the landmark Bitches Brew on its Fiftieth Anniversary. Our prior pieces emphasized the album\u2019s compositions, production techniques, and recent \u201cjazz\u201d albums it influenced. Each adopts the list format and follows two general guidelines: that the artist presented\u2026","rel":"","context":"In &quot;Bitches Brew 50th Anniversary&quot;","block_context":{"text":"Bitches Brew 50th Anniversary","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/bitches-brew-50th-anniversary\/"},"img":{"alt_text":"Bitches Brew Non-Jazz","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_nonjazz.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\/2020\/03\/BB_mainart_nonjazz.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_nonjazz.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_nonjazz.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11651,"url":"https:\/\/postgenre.org\/staging\/4567\/best-2025\/","url_meta":{"origin":9879,"position":4},"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":2360,"url":"https:\/\/postgenre.org\/staging\/4567\/chacona-best-of-2020\/","url_meta":{"origin":9879,"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\/9879","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\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/comments?post=9879"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/9879\/revisions"}],"predecessor-version":[{"id":9893,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/9879\/revisions\/9893"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/9878"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=9879"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=9879"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=9879"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}