Begrudgingly Submitted for Your Approval: My Top Ten List
SpongeBob (as “Grouchy Squidward,” mocking the real Squidward): “Everyone’s an idiot except me!”
The real Squidward (under his breath): “Well, it’s true!”
If it’s late November/early-December, then it’s time for us jazz writers to compile our end-of-the-year–Top-10-Albums-of-the-year list (as opposed to an actual Top-10-albums-of-the-year list, which would by necessity be compiled AFTER THE DAMN YEAR IS OVER!).
I tend to think it’s an exercise of limited efficacy. (Quick, what album did Leonard Feather choose as best of 1968? Nobody remembers or cares.)
I’ve always felt conflicted about putting artists in competition with one another, so I don’t usually make a Top 10 list.
However, when Francis Davis, who I esteem as a writer, asked me to participate in the Village Voice poll after I’d abstained for the last several of years, I acceded out of respect, knowing that I would be able to frame my choices on this blog – something I would not have been able to do in prior years.
And I would compile it according to my own rules.
Many writers have already posted their lists, on their blogs and elsewhere. Some albums are showing up on several lists. It’s almost like there’s, well, a critical consensus forming around them, which I find strange.
How can a consensus form in so short a time with so many albums in need of hearing? I suppose it’s possible that there was another Kind of Blue released in the last 12 months, but it’s gonna take a few years before it emerges from the pack.
In the old major label days — when there were fewer releases, and the market was dominated by the big boys — consensus picks could be somewhat expected. But given the preponderance of indie recordings, and assuming the critics are as free-thinking and independent as we’d like to believe they are, it should be expected that very few records show up any two lists.
Yet several do.
How, for example, does John Hollenbeck’s Eternal Interlude—a perfectly fine, skillfully written yet formally conventional big band album released on a small indie label — show up on so many lists, while Graham Collier’s directing 14 Jackson Pollocks—a visionary and inspired work that’s utterly unlike any big band album released since the death of Gil Evans (except for, I assume, those made by Collier himself) — has yet to appear on a single one that I’ve seen?
I decided if I’m to make a list, it will consist entirely of albums not chosen by anyone else. Given the wealth of fine music I’ve heard in the last year, that restriction is in no way confining.
Everything on this list is of exemplary quality on a level with the popular choices. Indeed, some showing up on multiple lists — Stefon Harris’ Urbanus, for instance — wouldn’t make my top 50, much less top 10. Different strokes, etc.
In the interest, then, of bestowing props upon some worthy musicians who as of this moment haven’t gotten their due (and keeping in mind that there are many others I might as well have picked), I give you my Top Ten Jazz Albums of 2009.
(They will likely appear in this order in the VV poll, but are not meant to be ranked in any way. Number Ten is as every bit as good as Number One.)
- Graham Collier, directing 14 Jackson Pollocks (jazzcontinuum)
- Dom Minasi, Dissonance Makes the Heart Grow Fonder (Konnex)
- Von Freeman, Vonski Speaks (Nessa)
- Gebhard Ullmann, Don’t Touch the Music (nottwo)
- Laurent Coq, Eight Fragments of Summer (88Trees)
- Myra Melford, The Whole Tree Gone (Firehouse 12)
- Rodrigo Amado, Motion Trio (European Echos)
- Fred Anderson, Staying in the Game (Engine)
- John Blum, Who Begat Eye (Konnex)
- Ellery Eskelin & Sylvie Courvoisier, Every So Often (Prime Source)
Anyone who wants to rag on me for deigning to make a list, feel free. I feel a little dirty as it is.
It goes without saying that I consider my own Not Cool worthy of inclusion, but I’ve been told that it’s on at least one other writer’s soon-to-be-published list, so it doesn’t qualify for mine. 
I need more time spent w/ NOT COOL before I feel comfortable consigning it to a list…
We have one “Top 10″ pick in common, but I wonder if you can guess which?
Comment by Derek — December 9, 2009 @ 2:27 pmThe Minasi?
Comment by Chris — December 9, 2009 @ 2:56 pmRed Herring Alert: The Myra Melford set isn’t scheduled for release until January 2010 (which is why I haven’t been able to find it yet). So feel free to pick another. I’ve yet to research the other titles but I’m looking forward to.
Comment by Bill Amutis — December 9, 2009 @ 3:08 pmThe Vonski, but I defintely dig the Minasi.
Comment by derek — December 9, 2009 @ 7:52 pmThe beauty of being a jazz janitor is never having to make lists but if one should be made, your criteria is as good as it’ll get.
The really goofy list mania turns on those ‘what I’m listening to now’ summaries I see some NYT clod trot out now and then. These people are so full of themselves like we’re all on the edge of our seats wondering about what NYT clod is perusing so we’ll all know what to do.
Comment by Chris Rich — December 10, 2009 @ 3:44 amUnless the author of such a list has heard every eligible album released during the year in question, his/her list is meaningless.
That said, show me a jazz writer who has heard* every album and I will show you a Leonard Feather pick that he was not in some way associated with.
* not superficially Yanowed.
Comment by Chris Albertson — December 10, 2009 @ 9:31 amGeez, guys, I think perhaps some lightening up is in order!
I happen to like reading others’ lists, because I am routinely turned on to albums I hadn’t heard and fall in love with. Hell, I might even find one like that on yours, Chris, however begrudgingly you put it out there.
I think we can all agree that NONE of us has heard every conceivable album. I would argue that that is entirely beside the point. “Best of” lists are opinions, like everything else offered up in the written word, no? And I for one LIKE hearing other people’s opinions. That’s why I read blogs like this one.
So if there are other’s out there who feel like I do, maybe you’d care to see my Top 10 Seattle Jazz CD’s of 2009. No, I haven’t heard every jazz CD put out by every jazz artist who lives in Seattle, But I can still share with you what I like. Maybe you’ll be turned on to something you didn’t know…
http://oneworkingmusician.com/top-10-seattle-jazz-cds-of-2009
Comment by Jason Parker — December 11, 2009 @ 6:23 amChris A. articulates the way I tend to feel about Top 10 lists, although things have changed a little in my mind with the advent of the internets. As I mentioned, being able to place my picks in context makes me feel like it’s not a total exercise in narcissism or arbitrariness. If I can get a couple more people to listen to the Collier or the Minasi who otherwise might overlook or ignore those discs, then it’s a worthwhile endeavor.
On the other hand, if the prime criterion is Which Disc Is Best, then it’s an “how many angels can dance …” kinda thing. We all know that the artist’s past reputation is a huge factor, as is the buzz surrounding an album as generated by bought-and-paid-for publicists, as well as other – non-musical – factors. The music itself is only a part, and sometimes not even the biggest part.
I like that you picked your own album, Jason. Any father who doesn’t think his kid is the most beautiful on the playground should turn in his minivan. I feel the same about my own recent disc, and cannot fathom why everyone else doesn’t feel the same way!
Comment by Chris — December 11, 2009 @ 6:39 am1.I’ll be backlinking your Minasi piece because it’s a twofer with Duck Baker and it so happens you have 1 of only two readable reviews on Duck. Mr. Minasi is no slouch either.
2. Did you know that “Squid” is the new economics blog slang for Goldman Sachs after the Rolling Stone Taibbi piece that describes GS as a giant Vampire Squid.
Comment by Chris Rich — December 11, 2009 @ 7:43 amHello,
Just a quick word to let you know that you are featured in our blogroll on Radio.Video.Jazz
Please check our site. If you like our work, do link back to us.
If you feel like contributing, let us know.
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Comment by JackRamon — December 11, 2009 @ 12:14 pm[…] Peter Hum, Jason Crane and RVAJazz. Tim Niland in three separate parts. More out-leaning lists from Chris Kelsey and Clifford Allen; a more straight-ahead list from Curt’s Jazz Cafe. Jason Parker gives us […]
Pingback by Newsweek, More Top Tens, Fatha’s Gift: The Friday Link Dump | My Blog — December 11, 2009 @ 3:42 pmI see nothing wrong with listing albums for any given year that one really likes — which is different, less arrogant, and perhaps even credible. At Stereo Review we were regularly called upon to come up with “best” lists, and I hated it. In fact, I thought we all regarded it as a silly chore, even the editors, even Francis.
Comment by Chris Albertson — December 11, 2009 @ 5:19 pmWhen I make a year-end list, it’s the best albums I heard that year. I don’t hear everything, and I don’t try to use a year-end list to contribute to, or create, a zeitgeisty narrative about the State Of The Music — it’s just a fistful of favorites.
I’ve heard two of the CDs Chris listed (and will be writing about one of the artists in question soon), and heard a different Rodrigo Amado disc this year, The Abstract Truth, which I liked quite a bit.
Comment by Phil Freeman — December 12, 2009 @ 9:15 pmLove your list Chris. Dom Minasi is one talented guitarist. Nice to see him and Von Freeman on there.
Comment by "Upper Room with Joe Kelley and Gi Dussault" radio show — December 13, 2009 @ 10:18 amAs much as I dislike lists — they mean omission most of the time… this one didn’t mention “Not Cool” for example — I kind of like this one… Hmmm, I wonder why… Seriously Chris, I’m very very proud and honored to be up here. Thanks a million and keep doing what you do (i.e. putting me in your lists).
Comment by Laurent Coq — December 16, 2009 @ 4:19 amThanks for all the comments. Much appreciated. When it comes down to it, almost very CD I heard last year was good. Like Laurent said, lists mean omissions, which is indeed the reason I find it nearly impossible to make them.
Comment by Chris — December 16, 2009 @ 4:13 pmI really appreciate your comments on “lists”…I’m not a fan myself-one reason being is that everyone but #1 ends up feeling a little bad…I would like an answer to your question about Graham’s record, which I admire. My guess for my luck this year would be that it is a combination of a very good recording, timing, and money spent on publicity (or blogging your ass off-as some are doing these days).Also, I would guess most of the journalists who put my new album on their top ten did not hear Graham’s, because it is a European release and they did not get a copy of it or he is not even on their “radar” (again-luck, timing and money!)…since it seems most reviewers concentrate on younger artists. John Hollenbeck
Comment by John Hollenbeck — December 21, 2009 @ 7:10 pmThanks, John. Your record is certainly worthy, of course, and I appreciate you taking my point in the spirit in which it was intended.
You’re probably partly right about the reasons Graham’s record didn’t get the attention, but I’m not gonna let the critics off easily. Graham sought me out and sent me a copy, not only of his record, but of his book. I cannot believe that I was the only one to whom he reached out. Far from it, I imagine. I suspect his album is probably still the pile of unlistened-to CDs on a lot of critics’ desks. That’s too bad.
That speaks to my central point, which is basically that too many critics don’t do their due diligence.
Comment by Chris — December 22, 2009 @ 12:41 pmFinally, a top-ten list that’s truly useful and, by definition (“not on anyone else’s), escapes the solipsism that is the ‘my top ten’ list. Bravo.
The need for such a list was underscored by my own experience of top-ten lists. I found in them much competence but not so much food for thought on brief first listen.
Great stuff.
Comment by Mark Elliot — December 23, 2009 @ 12:45 amThanks, Mark.
Comment by Chris — December 25, 2009 @ 8:16 am