Preston Frazier’s Best of 2022 (So Far) includes records from Ben Craven, Mark Wade Trio, Joe Bailey and others:
ART GRIFFIN’S SOUND CHASER – THE SEVEN AGES OF STARLIGHT (PROG ROCK): This 2022-released ensemble album, lead by multi-instrumentalist Art Griffin, was recorded over a two-year period. Despite the number of all-star players included, this LP is a cohesive, inventive, and influential project – just like Griffin’s debut from 2016. Fleshing out his progressive vision are special guests including Styx drummer Todd Sucherman, guitarist Jamie Glaser (Anderson-Ponty band) and Michael Sadler of Saga. Steve Negus (drums), Kelly Kereliuk (guitars), and violinist Victoria Yeh along with Griffin (keys and bass) provide the majority of the heavy musical lifting, making songs like “Ride to Valhalla” and “Spanish Galleon” among the best progressive-rock release so far this year.
JEFF YOUNG – WHERE THE OCEAN MEETS THE SEA (ROCK): How composer, keyboardist and singer Jeff Young was able to record yet another fine album in between his sideman gig with Jackson Browne is beyond me. A consummate craftsman, Young’s new compositions touch on R&B and rock. His lyrics are contemporary and deep (“Live the Life You Want”), and his collaborations are equally musically rich (“It’s Not Over,” a co-write with Michael Landau). Sure, a bunch of Young’s talented friends appear (Val McCallum, Mitchell Froom, Will Lee and Toss Panos, for example ), but they are icing to Jeff Young’s very substantial cake.
JOE BAILEY – DEVIL IN THE WHITE CITY (PROG ROCK): There is a lot musically and lyrically happening throughout this Best of 2022 (So Far) entry, but it all melds together. “Holmes Sweet Holmes” is a great example of the compelling album dynamics, with a Richard Wright-like piano intro and analog synth parts before the full-band effect kicks in. It’s at this point that I needed to remind myself that Joe Bailey played every instrument, as the playing and arranging are top-notch. Songs like the concluding “Begging of the End” are in keeping with the rest of the album, meeting the high standards of musicianship previously established. If you are expecting a positive lyrical turn, however, there is no such thing. Devil in the White City is a throwback to progressive epics that were best listened to in their entirety. It is a dark, yet highly rewarding experience.
MARK WADE TRIO – TRUE STORIES (JAZZ): The album kicks off with one of two originals, “I Feel More Like I Do Now.” Tim Harrison’s acoustic piano sets the main theme, which quickly shifts with the changes of time signature. 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. One of my favorite songs on the album is “The Soldier and the Fiddle.” It’s a seemingly simple introduction, which is centered on Wade’s single repeating note on the bass gently giving way to his glorious solo. That’s followed by a solo by Harrison which adds to the song’s ascent. This Mark Wade composition is said to be inspired by Igor Stravinsky. I can not make that music connection, but I will attest to the fact that “The Soldier and the Fiddle” is a piece that seems to evolve and unfold with every listen. Indeed, this album becomes more rewarding after each listen.
MICHAEL LEONHART ORCHESTRA – THE NORMYN SUITES (JAZZ): The constant in every Michael Leonhart project is his excellent gift of melody, and ability to draw the listener in. “Shut Him Down,” the album opener co-written with guest vocalist Elvis Costello, combines all Leonhart’s melodic gifts with Costello’s powerful and expressive baritone. Leonhart’s horn chart is sparkling and powerful, and frequent collaborator JSWISS provides a power rap to further move the song forward. The Normyn Suites is dedicated to Leonhart’s dog who recently departed, and serves as a testament to connection and love. Michael Leonhart’s “The Normyn Suite #2 (Love and Loss)” was constructed during the dog’s final days and displayed a range of emotions and musical dynamics. Guitarist Bill Frissell is prominent on “Waking For Sedation,” and keyboardist Larry Goldings also lends his magic. These special guests never distract or overwhelm Leonhart’s composition. He is a remarkable arranger and bandleader, melding heady pieces to create a cohesive and emotionally compelling album. These 17 songs are yet another example as to why Leonhart is among today’s best jazz composers and arrangers.
JOHANNES WALLMAN – PRECARIOUS TOWERS (JAZZ): Jazz pianist, composer and educator Johannes Wallmann seems only to be picking up steam 10 albums into his career. Precarious Towers puts Wallmann’s 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 while featuring alto saxophonist Sherel Cassity. “McCoy,” a tribute to McCoy Tyner, is an elegant sendoff to the legend but doesn’t rely on the predictable. Vibraphonist Mitch Shiner adds nuance to the more-than-able rhythm section of John Christensen on bass and Devin Drobka on drums. Wallmann’s piano solo is touchingly inspired as well. The album closer, “Saturday Night Meat Raffle,” will have you grinning from ear to ear with its vivid vibe passages and expressive drumming. Johannes Wallmann and his band pack a lot of good stuff into this Best of 2022 (So Far) entry. So much so that repeated listening is a requirement. That’s the hallmark of a great album.
BEN CRAVEN – MONSTER FROM THE ID (PROG ROCK): Ben Craven is the best one-person band this side on Lindsey Buckingham. Sure, he’s an excellent composer and an effective singer, but he also knows how to make records. All his albums seem greater than the sum of their parts, and Monsters From the Id is no exception. Craven goes old school, with two epic compositions comprising one side of the album each. “Die Before You Wake” and “Amnis Flows Aeternum” could have easily been on a Pink Floyd album, given their soaring guitars, pounding bass, and expansive vocals. Craven spent an equal amount of effort on his lyrics, creating a dark and foreboding world to accompany his driving melodies. No details are overlooked, and there are edited versions of both songs, which provide a more radio-friendly feel. I highly recommend the CD/DVD version so that you can be fully immersed in the sonic wonder.
SUSIE BLUE AND THE LONESOME FELLAS – BLUE TRAIN (ROOTS MUSIC): The opening notes of “I Wanna Rock” set the pace. Solitaire Miles’ vocals and the guitars provide a mesmerizing blend. Add in Schneider’s enticing tenor solos and Alger’s clear and direct guitar work, and Susie Blue and the Lonesome Fellas are off on a rollicking journey. “Sweet Baby of Mine” touches on blues and jazz equally. Vocally, Miles holds her reins tight, creating anticipation that the song’s lyrics feed on. “One Way Ticket to the Blues” effectively utilizes the train theme with its muscular Hammond organ and vibrato guitar. Miles and the backing vocalists create imagery which is clear, and highly entertaining. Blue Train, which has 16 songs, effectively and effortlessly shifts moods and themes. Susie Blue and the Lonesome Fellas effectively transport the listener to another time and place on Blue Train, a collection of beautiful songs driven by the heart, passion and skill of Solitaire Miles.
SONNY SINGH – CHARDI KALA (FUSION JAZZ): Ozomatli bassist Wil-Dog Abers provides his gifted ear as a producer to the debut album of Sonny Singh. Chardi Kala combines challenging rhythms with eclectic music and lyrics, some of which are pulled from Gurbani, which is Sikh devotional poetry. Singh’s vocals are unmistakably nuanced and robust, even if you don’t speak the language or understand the context. Singh’s prowess on trumpet moves his compositions to another level, and he and Abers bring in a cast of musicians befitting these challenging compositions. Check out the single, “Mitar Pyare Nu” and the title track. Chardi Kala will free your mind.
SIMON PHILLIPS – PROTOCOL V (FUSION JAZZ): Hard to believe it’s been five years since the last Protocol studio album. Phillips released an excellent box set that covered his Protocol output and rarities a year or two ago, but the band itself has been dormant. At the same time, Phillips engaged in production duties such as the grand Darwin albums, among others. Protocol V is a continuation of Phillips’ jazz-fusion ambitions with another fine lineup. This time, guitarist Alex Sill, saxophonist Jacob Scesney and keyboardist Otmaro Ruiz join Phillips and long-time bassist Ernest Tibbs in furthering the legend of the Protocol band. There is plenty here to keep the die hard drum fanatic happy (in particular on “Undeviginti”), but this album isn’t just a solo work but a true band collaboration. It all comes together to create a welcome return of true musical maverick.
LOBATE SCARP – YOU HAVE IT ALL (PROG ROCK): It’s hard the believe that You Have It All is only Lobate Scarp’s second full album release. The band’s latest incorporates challenging yet hooky prog rock melodies with dazzling playing and grounded, thoughtful lyrics. Roy Okumoto of Spock’s Beard provides shimmering keyboards on the leadoff track “Conduit” and the album’s first of two epics. Billy Sherwood and Jon Davison of Yes contribute vocals to “You Have It All,” but the principal band members are in no way guests on their own project. Adam Sears’ vocals and keyboards are front and center throughout the album, with a Neal Morse quality. Expertly produced and engineered, You Have It All makes a bold statement, combining complex yet assessing songs with expert and passionate playing and modern production. Coming 10 years after the band’s debut with Time and Space, this final Best of 2022 (So Far) honoree is well worth the wait.
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