The Jazz Review was one of the most fascinating journals in the history of music-writing. Its editors were Nat Hentoff and Martin Williams, two of the most insightful critics of its day (the late 1950s and early ’60s). But its main distinction was that it consisted almost entirely of jazz musicians, writing articles and reviews about other jazz musicians.
The best new jazz album of 2010 so far: the Ryan Keberle Double Quartet’s Heavy Dreaming (on the Alternate Side Records label). I’ve played it a dozen or so times in the month since I received an advance copy. It’s infectiously joyous, except when it’s movingly melancholic, and it’s head-spinning, too.
Consider this a wish list from someone who loves owning classic jazz albums reissued on clean, thick slabs of virgin vinyl, preferably cut at 45 rpm—but who’s weary of seeing the same titles pop up over and over again with each slightly new format (180g, 200g, single-sided 45, clarity, etc.). I understand the impulse: certain labels and titles have a mystique (e.g., Blue Note and Blue Train); they’re surefire winners; it’s an uncertain business, so go with the sure thing.
Toward the end of 2009, I read a lot about Darcy James Argue’s Secret Society, an 18-piece big band, and its debut CD, Infernal Machines, which was showing up on several best-of-the-year lists. But I never received a copy of the album and couldn’t figure out how to contact the label, New Amsterdam. Finally, I bought a copy from Downtown Music, a terrific alt-jazz record store in Manhattan, and, it turns out, the excitement is justified.