Preston Frazier’s countdown of the best jazz of 2022 includes Michael Leonhart, Bobby Broom, Simon Phillips, Michael Leonhart, Jeff Denson, Mark Wade and others:
MICHAEL LEONHART ORCHESTRA – THE NORMYN SUITES (JAZZ): The constant in every Leonhart project is his excellent gift of melody and ability to draw the listener in. Leonhart’s horn chart is sparkling and powerful, and frequent collaborator JSWISS provides a power rap to move the song further forward. This Best Jazz of 2022 honoree is dedicated to Leonhart’s dog, who recently departed, and serves as a testament to connection and love. Special guests like Bill Frisell, Elvis Costello and Larry Goldings never distract or overwhelm Leonhart. He is a remarkable arranger and bandleader, melding heady pieces to create a cohesive and emotionally compelling album. The Normyn Suites becomes yet another example of why Michael Leonhart is among the best jazz composers and arrangers today.
BOBBY BROOM – KEYED UP (JAZZ): The opening chords of “Second Thought” confirms instantly that Bobby Broom continues to elevate his acumen. He brings along long-term band members Kobi Watkins (drums) and Dennis Carroll (bass) for yet another spirited ride of contemporary jazz, with pianist Justin Dillard joining them for a daring adventure through time-tested jazz standards. With a recording career dating back to the early 1980s, Broom is as skilled an arranger as he is a guitarist. The interplay between Broom, Dillard, Watkins and Carroll makes me truly believe in telepathy. Additionally, space is granted for Bobby Broom to stretch his legs on songs like “Humpty Dumpty” (check out Dillard’s electronic keyboard solo) and “Driftin’.” Broom and his band will awe you while leaving a smile on your face.
JOHANNES WALLMANN – PRECARIOUS TOWERS (JAZZ): Johannes Wallmann is still picking up steam after 10 albums. My next Best Jazz of 2022 pick puts his new Chicago-based band through a rigorous workout. The title track is filled with rhythmic twists and turns, yet struts with a funky melody and able solos by Wallmann on piano and featured alto saxophonist Sherel Cassity. “McCoy,” a tribute to McCoy Tyner, is an elegant sendoff but doesn’t rely on the predictable. Vibraphonist Mitch Shiner adds nuance to the more-than-able rhythm section of John Christensen and Devin Drobka. The album-closing “Saturday Night Meat Raffle” will have you grinning with its vivid vibe passages and expressive drumming. Johannes Wallmann and his band pack a lot of good stuff in Precarious Towers. So much so that repeated listening is a requirement. That’s the hallmark of a great album.
MARK WADE TRIO – TRUE STORIES (JAZZ): The album starts with one of two originals, “I Feel More Like I Do Now.” Tim Harrison’s acoustic piano sets the central theme, quickly shifting with the time-signature changes. Wade’s bass solo is as expressive as ever, and Scott Neumann’s snare and rim work add to the dynamics. The song harkens back to jazz classics of yore, setting a high bar. Another favorite is “The Soldier and the Fiddle,” as a seemingly simple introduction centered on Wade’s single repeating bass note gently gives way to his glorious solo. A solo by Harrison only adds to the ascent of this song, which is said to be inspired by Igor Stravinsky. I can not make that music connection, but I will attest to the fact that it seems to evolve and unfold with every listen. Indeed, True Stories becomes more rewarding each time.
SIMON PHILLIPS – PROTOCOL V (JAZZ FUSION): Hard to believe it’s been five years since the last Protocol studio album. Phillips later released an excellent box set, but Protocol itself has been dormant. This Best Jazz of 2022 entry finds guitarist Alex Sill, saxophonist Jacob Scesney and keyboardist Otmaro Ruiz joining Phillips and long-time bassist Ernest Tibbs. Sill follows a line of brilliant players, demonstrating his chops on “The Long Way Home,” yet Simon Phillips’ expertly arranged songs find space for Scesney during moments like “Isosceles.” Check out Ruiz on “When the Cat’s Away” to hear how Phillips is able to combine the best from each of these soloists. There is plenty here to keep the die-hard drum fanatic happy (in particular on “Undeviginti”), but Protocol V is a true band collaboration – and a welcome return from a true musical maverick.
CATHERINE RUSSELL – SEND FOR ME (JAZZ/VOCALS): Accomplished song stylist Catherine Russell changed things up just a bit with Send For Me. The Steely Dan band vocalist certainly didn’t need to fix anything regarding her prior releases, but this eighth studio project has a bigger feel. Produced by Russell with long-time collaborators Katherine Miller and Paul Kahn, Russell’s classic-yet-expansive vocals are enhanced by the horn section on “Send for Me” – a song closely associated with Nat “King” Cole. Her bluesy take adds elements to the song I’ve never noticed before. “Going Back to New Orleans” is another favorite, with strutting rhythm, touches of banjo and tuba all supporting Russell’s laidback vocal. Along the way, Catherine Russell transports listeners to other locales with delightful vocals and stunning arrangements. I guess some things never change.
ADAM LARSON – WITH LOVE, FROM CHICAGO (JAZZ): Saxophonist Adam Larson has accelerated his creative ventures as of late. He’s not one to let the grass grow under his feet, but instead has seemingly increased his recording output as With Love, From Chicago was the first of three planned projects. Larson engages the astute drummer Dana Hall (check out the drums on “Angolan Babys”) and double bassist Clark Sommers, who shines throughout. These Chicago musicians provide a swagger fitting Adam Larson’s warm yet challenging compositions as well as the carefully selected covers. Other highlights include Adam Larson’s take on John Wojciechowski’s “Twirl” or his driving tenor work on Sommers’ composition “Kansas to Chicago.” If you’re a fan of challenging instrumental jazz, check out With Love, From Chicago.
MICHELE THOMAS – THE ASSUMPTION (JAZZ/VOCALS): This crowd-funded release was a labor of love from start to finish, as Michele Thomas takes on mature themes such as the Black Lives Matter movement and the nation’s mistreatment of women. Divided into three chapters, The Assumption us accessible yet musically challenging, building like a spiraling and enticing play. “I Know Because You Told Me So,” co-written with Damian Espinosa, is a stunning end to chapter one. Thomas added lyrics to the John Coltrane composition “Spiral,” making clever use of her stellar band and lyrical prowess. The final chapter concludes with a cover of Blind Faith’s “Can’t Find My Way Home,” with yet another stunning vocal delivery. Bold in concept and brilliant in execution, The Assumption finds co-producer Darren Scorza working with Michele Thomas to produce an album of originals and covers that dazzle from beginning to end.
THOUGHTCAST – NIMBUS IN MOTION (FUSION JAZZ): Leader and bassist Graydon Peterson along with his inspired band deliver adventurous, layered and powerful songs. He uses touches of electronics and pedal effects to provide nuanced and contemporary sounds. At the heart of this Best Jazz of 2022 honoree are forward leaning compositions, such as “Feeling Unprepared” and “For the Drum,” but it’s the band that carries out Peterson’s grand vision. Drummer Ben Ehrlich swings with wild abandon on “For The Drum.” Peterson’s approach to “The Bellhop” is memorizing, and trumpeter Jake Baldwin and keyboardist Joe Strachon add vivid touches of musical color throughout. Nimbus in Motion is a great listen from start to finish.
JEFF DENSON, BRIAN BLADE + ROMAIN PILON – FINDING THE LIGHT (JAZZ): This LP is the result of a few gigs drummer Brian Blade played with bassist Jeff Denson backing Joel Harrison. They decided to expand on their chemistry, initially enlisting guitarist Romain Pilon for 2019’s trio-recorded Between Two Worlds. The follow up is challenging and enthusiastic. “Daily Jubilee,” with Blades’ faux shuffle, Pilon’s challenging fretboard runs, and Denson’s meaty bass, is endearing and densely packed. Pilon’s blues and dark “Terre” is perhaps my favorite song on Finding the Light. Bassist Denson starts the slow-burning fire with his expressive bass intro, only to have his challenge met by Blade’s brush work and Pilon’s meaty picking. This track – like Finding the Light – is the musical equivalent of a fine bourbon. Hopefully, they will take this on the road at some point.
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