Best Ever Albums

Re: A Century of Jazz: Andrew Hill

Fischman — Wed, 28 Oct 2026 20:59:58 GMT

Author: Fischman

Posted: 10/29/2026 00:59

Frank Woeste - Pocket Rhapsody
Year: 2015
Style or Subgenre: Nu Jazz. Third Stream, Fusion

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Okay, so this was a shrocker.... in many ways.... all of them good!

This album kicks off with a serious groove, but when Woeste's piano arrives, it doesn't settle into the groove. Instead, he plays almost awkward rhythmic patterns that seem to have no business being there... but they do! Similarly, Woeste refuses to settle into any kind of traditional tonality, and again it works brilliantly. Long before the song is over, we've settled into Woeste's quirky, uncategorizable world.

But don't think you're ready to get comfortable or you know where things are going, because you don't. Every song on this album is different in every way: style, mood, rhythmic drive, tonality, instrumentation. And yet, as an album, it's completely coherent. We get all manner of acoustic and electric keyboards, trumpet, cello and violin, and guitar ranging from military to full on heavy metal... that's right, one song has a huge metallic riff (augmented by an equally heavy drum kit) that gives way to an even heavier, more distorted solo, and it's brilliant! Theres exploratory electronics, hip hop beats, new age impressionism,, Arabian modality, and more transitions than you can shake a prog stick at. And again, it all works.

One listen is probably too soon to male long term prognostications, but I'm gonna go put on a limb and say this album is destined to be a favorite.

Link

Re: A Century of Jazz: Andrew Hill

Fischman — Mon, 26 Oct 2026 22:04:56 GMT

Author: Fischman

Posted: 10/27/2026 02:04

Andrew Hill - Dance With Death
Year: 1980
Style or Subgenre: Post Bop

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Prior to hearing Dance With Death, I had yet to hear an Andrew Hill album I didn't absolutely love. Now having heard this album.... th streak remains intact; what a fantastic album!

If anything, Hill"s angular lines and unusual rhythmic structures have gotten more so. While it's two significantly different approaches to these musical elements, the attitude and ultimately the final output are similar to some of Thelonious Monk's more challenging lines.

It's interesting (even kind of fun) to try to follow Hill's overall musical argument. But a huge part of that fun is how the front line carries you along, skimming the tops of Hill"s vamping just enough to remain in touch with the foundation while leaving a load of melodious enthusiasm in your ear. I must say, the tone of Charles Tolliver's trumpet has never been clearer or more expressive. As a one time amateur trumpeter, I find his performance a step above marvelous. Tenor Joe Farrell is also at the top of his game, especially on the opening cut where he plays an astoundingly captivating soprano. And I seem to have stumbled upon another can't miss performance by drummer Billy Higgins, simultaneously propelling things forward while holding it all together as Hill explores his odd timbral and rhythmic textures. I've found a new top shelf jazz album, especially for 1980.

Re: A Century of Jazz: Andrew Hill

Fischman — Sat, 24 Oct 2026 09:14:58 GMT

Author: Fischman

Posted: 10/24/2026 13:14

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Abdullah Ibrahim - Water from an Ancient Well
Year: 1986
Style or Subgenre: Post Bop, Free Jazz, Global Jazz

This album is a genuine marvel. On the surface, there's nothing that sounds revolutionary or overly innovative, but it still sounds like nothing else before or since. It is surprisingly melodic and highly accessible, but will subtly and almost subconsciously challenge your preconceived notions of what music should sound like. The small ensemble sounds much bigger than it is. That ensemble isn't loaded with big names, but they bring a big, even iconic performance in delivering Ibrahim's musical vision in coherent and highly expressive style. Yes, a marvel it is.

Re: A Century of Jazz: Andrew Hill

Fischman — Tue, 20 Oct 2026 16:58:53 GMT

Author: Fischman

Posted: 10/20/2026 20:58

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Tom Harrell - Moon Alley
Year: 1986
Style or Subgenre: Post Bop
I really appreciated Tom Harrell's style the first time I heard it and, even though he has a large catalog, every album seems to have its own identity. On moon alley, I zero in on his genuinely beautiful playing, more so than I would expect given his tendency to be a little brassier than some. Along with that, this album shows particularly strong compositional skill from Harrell, who wrote five of the seven songs. His writing here delivers some especially tasty chord progressions, keeping my ear fully engaged from start to finish.

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Joe Zawinul - Dialects
Year: 1986
Style or Subgenre: Free Jazz. Fusion, Global Jazz, Hard Bop, Soul Jazz
I loved Joe Zawinul collaborations with artists from Miles Davis to Cannonball Aderly, and then his solo Fusion debut. So I was keen to see what he was doing a decade and a half later, and the title and album cover promised some great global jazz. Alas, this one didn't work for me so well. This is loaded with the most artificial sounding of 80s synthesizer, which to my ear is hard to reconcile with the expression of traditional indigenous identities (in addition to just sounding bad to begin with). Still a solid composer, still a skilled instrumentalist, and still a great concept, but the executions leads this to being an album I won't likely be revisiting.

Re: A Century of Jazz: Andrew Hill

Fischman — Wed, 14 Oct 2026 15:22:00 GMT

Author: Fischman

Posted: 10/14/2026 19:22

Quincy Jones - Big Band Bossa Bossa Nova
Year: 1962
Style or Subgenre: Crossover Jazz, Big Band, Latin Jazz

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After a recent listen to Lee Morgan's Cornbread, I was again struck by how much some songs (at least the head) sounded like 60s game show introduction tunes. Normally, that would be a quick disqualification, but Morgan and crew turn them into legitimate jazz and the album is actually one of my all time faves, often vying with The Sidewinder as my favorite album from my favorite trumpeter. That in mind, I went on a hunt for another album that might give me a similar vibe/listening experience. Now that's a pretty specific criterion, so I allowed some leeway (pun intended) in my search. I ultimately settled on an album I would have never approached otherwise. My familiarity with Quincy Jones is primarily as a producer of r&b flavored pop music, a realm I'm not all that kee on, so that made him suspect as a purveyor of real jazz. Add to that my relative lack of love for Brazilian subgenres, and this album has a lot to overcome with me.

But I do love to challenge my own biases from time to time, and given that this sounded like the best possible avenue to satisfy the current craving, I decided to give it a go despite my misgivings. Well, we didn't get off to a good start. The opening Soul Bossa Nova did indeed take me back to the time period in question, but only on account of recognizing it as theme music from Austin Powers. So it did give me that jaunty 60s vibe, but in a mocking sense rather than a serious one.

Nevertheless, the rest of the album became a surprisingly effective satisfaction for my unusually focused musical craving. Like those game show themes, the heads for each of the remaining tunes could easily evoke a game show vibe, and yet the songs turned into legitimate jazz, with some surprisingly effective improvisational soloing, especially from Phil Woods on alto and, to a slightly lesser degree, Clark Terry on flugelhorn (a great game show sounding instrument!). My only real complaint is that the songs were too short, most falling into the 2-3 minute range and only one topping 5 minutes. But then again, this was right in line with the type of music I was seeking. Still, some of those songs, and the quality of the soloing made me yearn for a little more development.

But in the end, the discovery was a success, and I may actually return to the album from time to time as my mood dictates. If you want something that is clearly jazz, but at the same time light and accessible, this is a great choice.

Re: A Century of Jazz: Andrew Hill

Fischman — Mon, 12 Oct 2026 16:51:10 GMT

Author: Fischman

Posted: 10/12/2026 20:51

Eastern Rebellion - Eastern Rebellion
Year: 1976
Style or Subgenre: Hard Bop, Post Bop

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This came by way of recommendation and I have to say, it's the best recommendation I've received in some time. That's all the more exciting because I'm usually more impressed than actually moved by pianist Cedar Walton, who leads this group. But here, I thrilled to his every note and more importantly to my overall enjoyment of this set, his compositions and arrangements. That said, this album wouldn't have immediately vaulted to the top of my appreciation hierarchy without more than solid input from the rest of the ensemble. Of particular note is sax man George Coleman, who plays with intensity bordering on ferocity, but always withing the scope of the song. He gives me both Joe Henderson and Hank Mobley vibes (sometimes at the same time) and since those are my two favorite sax players, it's no wonder I took to his work on this album. But even that wouldn't be worth such raves were it part of such brilliant interplay with Walton. Oh, and I was actually referred here as the result of having gushed about the drumming of Billy Higgins on a much earlier album... and if anything, his playing is even more impressive here. It is incredibly precise without every sounding mechanical or sterile. It is borderline frenetic without ever feeling unrestrained. In short, it propels the songs, keeping a sizzling forward momentum at all times but without fatiguing the listener. Truly wonderful stuff, all five lengthy cuts, without exception and without letdown.

Link

Re: A Century of Jazz: Andrew Hill

Fischman — Fri, 9 Oct 2026 18:46:29 GMT

Author: Fischman

Posted: 10/09/2026 22:46

Bobby Hutcherson - Stick Up!
Year: 1968
Style or Subgenre: Post Bop

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It's been a long while since I visited this fantastic album. Not sure why, because so much of this album sits right in my musical max love zone. On today's listen, I was immediately reminded that, while this is nominally a Bobby Hutcherson album, sax man Joe Henderson lets the listener know right off the bat he'll be doing a lot of the heavy lifting on this one; and he does it in classic, exuberant and flowing Henderson style. Whether blowing on latin jazz, hard bop, post bop or blues, whether he's grooving, exploring, or just swinging, he's always perfectly on point. For his part, the vibes of leader Hutcherson are also quite flowy throughout; even when going off the standard bop oriented script into more modern territory, his lines always have a certain elegance to them on this album. Interestingly, his most amazing performance comes on the 9 minute slow instrumental ballad, "verse" and its nice to see the leader get out front for a while... and totally nail it! Of course this album is going to be a winner for me just because pianist McCoy Tyner is on it. But the really cool thing about this listen from a point of view of getting to check out another wonderful Tyner performance, is that is usual thundering left hand is largely kept in check, and he also expresses a flow in sync with his ensemblemates. He even plays a ballad that is, I think, the most delicate work I've ever heard him bring forth, and it is in that realm, every bit as great as how perfectly he nails everything else he does. Will the wonders of this man never cease! This was Hutcherson's first album without drummer Joe Chambers at his side; a potential concern for me as a big Joe Chambers fan. But here again, the drums are superb throughout; Billy Higgins kicks off the first piece letting you know right away he's gonna be having fun with this one.... serious fun. When it's time, he reigns in that exubarance and provides a rock solid foundation for the group. Yeah, I love this album, and with (I'm guessing) about six years more of jazz listening under my belt since the last spin, I think I actually appreciate it even more than I did before. Totally top shelf stuff right here.

Link

Re: A Century of Jazz: Andrew Hill

Fischman — Sun, 4 Oct 2026 21:14:00 GMT

Author: Fischman

Posted: 10/05/2026 01:14

Chris Madsen - Threefold
Year: 2026
Style or Subgenre: Free Jazz. Post Bop

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After listening to almost 400 current year albums in 2025, a combination of work/family/community commitments... and sheer burnout, had me not only throttling back on my listening, but limiting that listening to old favorites and largely familiar artists. So here in October, I'm just now getting around to my first 2026 album, and it wasn't exactly an easy entry point. This chordless trio led by composer/Salman Chris Madsen roams pretty free for the most part and finding your footing isn't always easy. This is especially true on the opening cut, zdigital Harvest every the trio constantly teases up with a hint of a foundation here and there, but constantly shifting structures act like a sort of musical quicksand... and like quicksand, your best bet is to not struggle against it, but rather feel it out. Which i did.... on the second listen.

After that challenging opener, things settle in a little easier, song by song. To my ear, the album really hits its stride through its middle section. The fourth cut, Hidden Message, kicks off with 1:40 of dramatic drum solo after which the song gets surprisingly introspective. The following song, Dream Music, while still centered of free sax soloing, settles into an easily discernable jazz-blies form that delights the ear. Next comes the quite aptly named Revolving Door. But this isn't an automatic or continuously revolving door, but one that moves only with the randomized flow of traffic passing through it.

A free jazz trio, especially a chordless one, really requires a solid rhythm section, and this group is more than up to the task. Drummer Dana Hall, whether operating in a structured or unstructured moment is always on point and his delivery comes across as more thoroughly musical than merely percussive. Bassist Clark Sommers brings a rare level of expressiveness to upright acoustic bass, especially considering the largely free environment he inhabits.

This album was further out than I expected, but still managed to bring me home in a reassuring way. I'm very pleased with my first 2026 album listen.

Link

Re: A Century of Jazz: Andrew Hill

Fischman — Sun, 4 Oct 2026 09:08:06 GMT

Author: Fischman

Posted: 10/04/2026 13:08

Anita O'Day - Anita Sings for Oscar
Year: 1956
Style or Subgenre: Vocal Jazz

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I was pretty stoked when I got this recommendation for Saturday Night Vocals:
1. I'm not thoroughly familiar with Anita O'Day, but I've always been impressed with what I've heard
and
3. I absolutely love Oscar Peterson

.... but will they go together?

Well, I can comfortably say.... stoke validated!

I had a pretty good feel for O'Day's range, but Ihadn't realized what an agile singer she is. I always knew what an agile pianist Peterson is (probably the element of his playing I appreciate most). Well, but the two of them together and let the fireworks begin! Really, they take some corners at high speed and it's a wonder they don't fly off the rails. It's a wild, but really fun ride! And they throw in enough balladry to keep it all from being a relentless speed fesr, breaking things up nicely.

Peterson and O'Day... two very exciting peas in a pod night here. Top marks from the Fischman.

Re: A Century of Jazz: Andrew Hill

Fischman — Sun, 20 Sep 2026 12:11:30 GMT

Author: Fischman

Posted: 09/20/2026 16:11

Donald Byrd - Black Byrd
Year: 1972
Style or Subgenre: Jazz Funk

Once upon a time long ago in a galaxy far, far away, I was youtubing some music and "Flight Time" by Donald Byrd came up, so I decided to let it run. I thought that sound of a jet taking off was an odd way to start a jazz tune, but it quickly gave way to a cool, smooth, and most importantly, totally hooked melody! Thus, my love of jazz-funk was born. What's really cool about flight time is that it's fairly long at 8 1/2 minutes, and upon hearing that great initial melody, the natural question is "this is wonderful, but will it retain my attention my attention across its considerable length.... and "Flight Time" lands right on my happy runway every time! Today as I listened to this album for what must have been the hundredth time, around the 7 minute mark, as all the happy little neurons were bouncing about in my musical brain, I couldn't help but marvel at how that deep into what has become a jam session, every note of every lick in every solo was still bringing me wonder and amazement. Oh, and among those solos, Roger Glenn's flute is exceptional, really adding a fantastic additional dimension to this marvel. The next song, the title cut, is one of those songs I really shouldn't like, being a more straightforward funk affair with some vocals, but not really lyrics; just a couple lines repeated for atmosphere. But love it I do. As if I haven't been amazed enough, the third song, Love's So Far Away," comes in and really jazzes things up further; the overall groove of the album is maintained, but the vocals are faster, the interplay between soloists more intricate, and that electric bass, which has already been pretty astounding so far, really takes off! Incredible. I could gush about the whole album, but suffice it to say the whole thing is a finely funkified affair, the ultimate blend of composition, musicianship and super sweet ear candy. The arrangement and production are totally Mizell Brothers which on some later albums by Byrd and other artists might venture too far into smooth/commercial territory, but here, it's totally hot!

Shortly after discovering this, I would explore Byrd's back catalog and learn he came from a completely different era, starting off as a hard bop ninja, and me at the time growing into a hard bop fanatic, my appreciation for Byrd's career would really blossom, but that's a story for another day. The amazing thing is that, even with hard bop being my favorite genre, this Jazz-Funk classic remains my favorite Byrd.

Link

Re: A Century of Jazz: Andrew Hill

Fischman — Sun, 26 Apr 2026 18:23:26 GMT

Author: Fischman

Posted: 04/26/2026 22:23

... jazzing the journey into 1984...

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Ernestine Anderson - When the Sun Goes Down
Year: 1984
Style or Subgenre: Vocal Jazz, Blues
I landed on 1984 on Saturday night, so it was time to throw a vocal album into the mix. I loved my last Ernestine Anderson listen, so I was pleased to see she had an album in that year. Another treat this was. More blues than jazz really, this is a set of 12 bar tunes, but all delivered with Anderson's jazzy phrasing and swinging sensibility. Best of both worlds I say. I could listen to this anytime.

Link

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Weather Report - Domino Theory
Year: 1984
Style or Subgenre: Fusion
1984 turned out also to be a good time to pick up some unfamiliar Weather Report. There's really quite a variety on this album. This isn't just standard issue fusion at all, but a little bit of everything including the kitchen sing. Truth be told, the opening vocal number didn't knowck my socks off, but the message of trying tofind something new that hasn't been done already seems an appropriate kickoff for the experimentalism to follow. That said, for some reason, my highlight on the initial listen was a song called "The Peasant," with shades of Enya being the fusion element. Whooda' thunk it?

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Re: A Century of Jazz: Andrew Hill

Fischman — Sat, 25 Apr 2026 14:35:44 GMT

Author: Fischman

Posted: 04/25/2026 18:35

Jazzing on into 1983

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Aum - Belorizonte
Year: 1983
Style or Subgenre: Fusion

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Codona - Codona 3
Year: 1983
Style or Subgenre: Avant Garde, Spiritual Jazz

I actually stumbled on the Aum album when searching for my prog entries for 1983. It turns out this is an interesting jazz fusion album, so I figured I'd kill two birds with one stone and make it a 1983 Jazz entry as well. At first this comes across not so much as a classic fusion album, but more of a smooth jazz fusion album, which doesn't sound all that good on paper. But it really does take off and generate some genuinely interesting music with some latter cuts really appealing to the rocker side of my inner fusion fanatic. High recommendation for this obscure Brazilian band.

Link

Generally listed as avant garde jazz, the Codona album is every bit as much a spiritual jazz album; one that would make the likes of Pharoah Sanders and Alice Coltrane proud. Beyond categorization, I have to say this is probably the most enjoyable outing I've heard from the great avant garde trumpeter Don Cherry. His playing is just so totally on point throughout this album, it is a constant sound to behold. The variety on this album is also impressive, but I'm always looking forward to Cherry's next entrance.

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Re: A Century of Jazz: Andrew Hill

Fischman — Wed, 22 Apr 2026 20:34:43 GMT

Author: Fischman

Posted: 04/23/2026 00:34

... the jazz journey journeys into 1982...

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Bobby Shew - Play Song
Year: 1982
Style or Subgenre: Hard Bop, Mainstream Jazz
So here we have a flugelhornist playing catchy, melodic jazz that wouldn't be out of place in mainstream smooth jazz radio... sounds a lot like Chuck Mangione, eh?
Not so fast, Mr. Compare and Contrast! If there is a Mangione comparison to be made, it would be to his earlier, more core jazz oriented music, before he achieved pop success with jazz-lite. When Shew and his ensemble play a song, it's got, all that listenable catchiness belies some real depth in composition and instrumental skill. The title cut especially showcases Shew's expressiveness. He also brings a nice variety across cuts on the set. This album is enjoyable on multiple levels.

Link

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David Murray - Home
Year: 1982
Style or Subgenre: Avant Garde
While generally pegged as avant garde jazz, this must be the least challenging, most listenable example of the genre I've heard. I guess it does experiment and lean forward a bit, but it's generally tonal and straightforward in its musical elements, generally less far out that most Mingus compositions. A lot of it, like the groovy Choctaw Blues, which could give the old standard, Cherokee, a run for it's money, is just plain fun. Last of the Hipmen, in addition to just being a totally cool name for a jazz tune, is a highly acclaimed composition rightfully so. The other three cuts on the album all have unique character without ever getting awkward in a typical ear. A marvelous album that's a super listen from end to end.

Link

Re: A Century of Jazz: Andrew Hill

Fischman — Sat, 11 Apr 2026 11:43:06 GMT

Author: Fischman

Posted: 04/11/2026 15:43

... the jazz journey joins 1981...

Adele Sebastian - Desert Fairy Princess
Year: 1981
Style or Subgenre: Global Jazz, Spiritual Jazz
I have no recollection of how I learned of this album or how it came to be my first selection for the year 1981, but I'm thrilled it did because... damn! this is one fine album! Sebastian plays a beautiful flute, the compositions are marvelous, the improvisation excellent, and it's all wrapped up in a spectacularly global sound full of North African melodic and larger African percussion foundations. The album has a strongly spiritual jazz bent without leaving the real world. It is as easily listenable as a radio friendly smooth jazz outing, but keeps the challenge and staying power of deeper improvisational global jazz. A winner through and through this one.

Link

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Al Di Meola, John McLaughlin, and Paco de Lucia - Friday Night in San Francisco
Year: 1981
Style or Subgenre: Global Jazz, Acoustic Fusion
This meeting of multiple acoustic fusion wizards landing on my list yesterday coincidentally lined up with my having attended an all acoustic Di Meola concert the night before. This isn't the only time these three 6-string virtuosos got together, and while it's a marvel to behold, it can lead to some virtuosity overload. One must be in the right frame of mind to really appreciate this. Any one of these cats can deliver maximum virtuosity and musical complexity completely solo. Three of them almost seems redundant. For the most part, they support each other nicely, each bringing their unique flavor into an increasingly incredible stew of fretboard frenetics. It can be a joy at it's most musical though, and it has been a welcome part of my collection ever since I picked up my first vinyl copy in a used record store in the late '80s.

Re: A Century of Jazz: Andrew Hill

Fischman — Sun, 15 Mar 2026 12:50:34 GMT

Author: Fischman

Posted: 03/15/2026 16:50

... the jazz journey hits the '80s...

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Betty Carter - The Audience with Betty Carter
Year: 1980
Style or Subgenre: Vocal Jazz
I have two previous Betty Carter albums and love them both, but they didn't prepare me for this! This is a monster two album live set that is the sort of thing it can be surprising to hear actually get released. The songstress takes full control here and starts the sprawling set with a 25 minute vocal improv-fest... and it never gets old. The rest of the double album isn't as ambitious (how could it be?), but it is every bit as singular and a continuous testament to artistic integrity. Carter delivers tremendous variety without ever losing energy and, at the risk of sounding cliche, I'll say this is an exposition of an artist truly being her authentic self. It's definitely a winner.

Link

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Pat Metheny - 80/81
Year: 1980
Style or Subgenre: Post Bop, Avant Garde
I coincidentally went big again for my second 1980 selection as this Pat Metheny release is also a full double. Interestingly, it also kicks off with a cut running over 20 minutes, that also holds interest throughout its considerable length. Truth be told, the sax does get a little too avant-goosehonking for my taste at times, but overall, the composition and delivery are superb. Throughout the album, Metheny is in top melodic form, delivering one hummable tune after another along with his trademark tone and precision picking. This is essential Metheny for sure.

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Bonus content; my car of the year, the Lotus Esprit Turbo

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Re: A Century of Jazz: Andrew Hill

Fischman — Sat, 14 Mar 2026 16:48:52 GMT

Author: Fischman

Posted: 03/14/2026 20:48

...The jazz journey slides into 1979...

Jack DeJohnette - Special edition
Year: 1979
Style or Subgenre: Post Bop, Avant Garde
Jack DeJohnette is, if not my favorite drummer, at the very least in my top 3, but I have little music from him as leader. So it was easy to grab his Special Edition as one of my 1979 choices. In addition to DeJohnette being maybe the most musical percussionist I know, I love him for his versatility; he can play with literally anyone and elevate the music as a result. Here as leader, he goes mostly avant garde flowing out of a post bop foundation and gives us yet another release that is both excellent and unique. This album is quirkier/less straight ahead than I'm used to from DeJohnette, and took a couple extra listens to resonate, but I had zero qualms about taking the time and making the effort to do so, because DeJohnette never fails to reward, and that's the fact, Jack.

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Charles Mingus - Mingus at Antibes
Year: 1979
Style or Subgenre: Post Bop, Avant Garde
Alright, so this one is a bit of a cheat. Yes, it was released in 1979, but it was recorded in 1960. It makes an interesting contrast with the DeJohnette album above. Both can be categorized as bridging from post bop into avant garde, yet the two decade differential distinctly influences the approach and outcome, as does the distinct personalities of the leaders. This one is all Mingus, that's for sure. It seems every time I dig back into a Mingus album which may be a little less familiar to me, the more impressed I am with his body of work, and digging into this one is no exception.

I think of it like this. Here I am trying to pick up as much Czech as I can in preparation for a vacation in Czechia. As someone obviously fluent in my native English, and who has comfortably picked up enough Spanish, German, and French to travel to those places, I'm a little taken aback at how different Czech is. Which is not to say It's not a beautiful language; it most certainly is highly appealing to my ear. But it's different. Very different. I'm not just talking about how plurals are made or how verbs are conjugated here; Czech has its own, very distinct rhythm, a flow unique unto itself. This makes it a little more challenging, as well as a genuinely fascinating delight to listen to. So it is with Mingus. He speaks his own language. His work is totally unique and has its own, totally distinct shape and flow. It is a genuinely fascinating delight to listen to.

Bonus material- my car of the year, the Porsche 911 Turbo 3.3 Coupe

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Re: A Century of Jazz: Andrew Hill

Fischman — Tue, 10 Mar 2026 10:29:33 GMT

Author: Fischman

Posted: 03/10/2026 14:29

... the jazz journey rolls into 1977....with a bonus connection!

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Jean Luc Ponty - Cosmic Messenger
Year: 1978
Style or Subgenre: Fusion
This is a violin album for people who don't like violin. In addition to violin, Pony plays a lot of synth, and even when he's playing violin, it's run through enough effects that it doesn't really sound like a violin. But most importantly, this is great music. I haven't heard his whole catalog, but from what I have heard, this is one of Ponty's more tuneful albums, probably a great starting place for someone wanting to begin exploring fusion.

Link

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Joanne Brackeen with Ryo Kawasaki - Trinkets and Things
Year: 1978
Style or Subgenre: Post Bop
I can never get enough Joanne Brackeen. When I saw new-to-me this album as a '78 release, I had to slip it into this year's edition of my latest jazz journey. I was not disappointed. When soloing, she is as dynamic as ever. She is equally adept at providing a foundation for virtuoso guitarist Kawasaki's flights of fancy. And when the two get going together, it blows my musical mind in the best possible way. This may not be the most acclaimed entry in the Brackeen discography, but it is both unique in her output and as brilliant as ever. Interestingly, as I was listening to it for the first time, I couldn't help but recall a 2000 duo release from Dream Theater virtuosos John Petrucci (guitar) and Jordan Rudess (piano), which I had to slip back into the queue for comparison.

Link

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John Petrucci and Jordan Rudess - An Evening with John Petrucci and Jordan Rudess
Year: 2000
Style or Subgenre: Free Improv, Neo Prog
Upon pulling this out from my collection and listening to it immediately following the Brackeen/Kawasaki, I thought it provided a nice compare/contrast experience. The style here contrasts in sound, recording, and the specific direction the virtuosity takes. But the genre and sound contrasts sound superficial relative to the strong comparison in approach; both albums excel due to the incredible, uber-sympathetic interplay between the two musicians on each. Two instruments, one musical mind, one vision, and a fantastic album in each case.

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Bonus Material: My car of the year, the Mercury Monarch

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Accompanying anecdote: I purchased one of these (mine had a white vinyl landau top) in 1983. In reality, it was just a glorified Ford Granada, but it was astonishingly quite, smooth, and the 302 under the good gave it a surprisingly serious amount of get up and go. I loved the car. My girlfriend not so much. You see while the car was not quite land yacht huge, it was pretty big and in the two door version, those doors were quite long.... and quite heavy. I lived in a mountainous area and you always had to park on a hill, so that big ol' heavy door always wanted to fly open or fly shut, depending on which side of the street you were parked on. It seemed every time my girlfriend got in the car, the door tried to maim her; she subsequently named the car "Christine" after the sentient evil car in the Stephen King book/movie that was always trying to kill the protagonists girlfriend.

Re: A Century of Jazz: Andrew Hill

Fischman — Sun, 8 Mar 2026 11:38:55 GMT

Author: Fischman

Posted: 03/08/2026 15:38

... the jazz journey rolls into 1977....and it is one glorious stop!

Marian McPartland - Now's the Time
Year: 1977
Style or Subgenre: Mainstream Jazz
This popped up in my queue for my 1977 listen, which was great, as I'm always happy to listen to Marian McPartland' I love her piano playing. The interest factor increased as this is an all female quintet, rather unusual as late as 1977. And then the expectations went off the charts as I saw one of those women was Mary Osborne. I'm always on the lookout for Osborne as she is most definitely one of my favorite guitarists, any genre. Even with such elevated expectations this album did not disappoint. Here are exceptional presentations of many great standards spanning just over 80 minutes.... and as it turns out, some of Mary Osborne's most enjoyable work, which is really saying something. Her lines are sparkling clean, fluid and precise, and yet still chock full of expression. Lovely. Just lovely. Oh, and it's not just Mary and Marian making this a special album. Previously unknown to me (AFAIK) alto Vi Redd seriously adds to the expressiveness factor. Pioneering drummer Dottie Dodgion and bassist Lynn Milano on bass keep everything grounded but swinging nicely. Wonderful album. Strong keeper.

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Ella Fitzgerald and Joe Pass - Fitzgerald & Pass... Again
Year: 1977
Style or Subgenre: Vocal Jazz
For Saturday Night Vocals, I reached for the 2nd of three collaborations between veteran icon Ella Fitzgerald and guitar virtuoso Joe Pass. I hadn't heard this album before either and was once again blown away. The then 60 year old Fitzgerald is absolutely brilliant.... brilliant I say! Her combination of control and expressiveness is a sound to behold. Sitting in a support role, Pass isn't showing off chops, but his uber-clean technique is sheer perfection in supporting the top quality vocals. Yeah, another strong keeper here.

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Bonus material: my car of the year, the Rolls Royce Silver Shadow II

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Re: A Century of Jazz: Andrew Hill

Fischman — Sat, 7 Mar 2026 11:40:54 GMT

Author: Fischman

Posted: 03/07/2026 16:40

... the jazz journey hits 1976 with debuts by Pat and Jaco....

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Pat Metheny - Bright Size Life
Year: 1976
Style or Subgenre: Fusion, Contemporary Jazz
Modern guitarist Pat Metheny is often cited as one of those artists who's debut album remains their best, or at least the most essential. When I first heard Bright Size Life, I was 100% in agreement. There's certainly no denying either the skill or creativity that went into this album. Metheny joins well into the ECM fold here, and the fretless electric bass wizardry of Jaco Pastorius really helps make this special. Now if I'm honest, I have to say that over the years I've come to like a few Metheny albums more than this one, but that in no way diminishes this debut. It's as fresh and meaningful as ever.

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Jaco Pastorius - Jaco Pastorius
Year: 1976
Style or Subgenre: Fusion
1976 was an unbelievable year for Jaco Pastorius. Not only did he lend his amazing low end voice to Metheny's stunning debut, he also released his first true solo album, chock full of that wizardry and to this day considered one of the greatest bass virtuoso album of all time. Every technique known to the bass is on display here, all beautifully integrated into the song. This is the sort of thing that compels people to use the word "genius."

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Jaco Pastorius/Pat Metheny/Bruce Ditmas/Paul Bley - Jaco
Year: 1974
Style or Subgenre: Fusion
Some will say that the aforementioned Jaco is not really Jaco's first album. Indeed, two years prior, his name was listed first on another album also entitled Jaco. However, others will say that the 1974 release is really a Paul Bley album that just happens to carry Jaco's name. Certainly, Jaco is but one voice of four on this early release, another being Pat Metheny, so this is definitely the first time they recorded together. However confusing title and attribution may be, there's no confusing that this is a great fusion album with wide appeal and points to the greatness that would come from these two brilliant stringed artists.

Link

Bonus material: my car of the year, the Jensen Interceptor

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Re: A Century of Jazz: Andrew Hill

Fischman — Wed, 4 Mar 2026 19:56:28 GMT

Author: Fischman

Posted: 03/05/2026 00:56

... jazz time machine hits 1975...

Yosuke Yamasita - Breathtake
Year: 1975
Style or Subgenre: Free Jazz
34:13 of very nicely improvised, eminently listenable free jazz solo piano. I like.

Azimuth - Azimuth
Year: 1975
Style or Subgenre: Jazz Funk
This is the opposite of the totally free solo above, being some seriously groove laden jazz funk ensemble. I like just as much!

Variety is the spice of jazz for sure.

Bonus material: my car of the year - the Mercedes Benz 450SLC

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