What goes into a blog post? Helpful, industry-specific content that: 1) gives readers a useful takeaway, and 2) shows you’re an industry expert. Use your company’s blog posts to opine on current industry topics, humanize your company, and show how your products and services can help people.

Dino Massa returns to Kansas City to perform original music with Christopher Burnett and an ensemble of all-star KC-based jazz musicians.– Get Tickets at Eventbrite!

MEDIA KIT “Liberty Memorial – Kansas City” by Duane Hallock
– Get Tickets at Eventbrite! Artists Recording Collective LLC CONTACT: (913) 250-5141 or operations@artistsrecordingcollective.biz

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GET TICKETS NOW! www.BurnettPublishing.com – I am honored to announce that I have been asked to administrate and serve as the director of the 2019 Charlie Parker Student Music Boot Camp on Saturday, August 17 at the historic Gem Theater.

FREE: DOWNLOAD BOOT CAMP GUIDEBOOKDownload CLINICIANS + KEYNOTES I have already confirmed the following clinicians who will work with the campers:

Bill Crain, saxophone; Stanton Kessler, trumpet; Jason Goudeau, trombone; Roger Wilder, piano; Charles Gatschet, guitar; Bill McKemy, bass; Clarence Smith, drums; Greg Carroll, vibes; and, Queen Bey, vocalist/ historic interview.

GET TICKETS NOW! Confirmed keynotes are:

Dr. Dan Thomas, master class about Charlie Parker and his impact upon music and Dan’s career.

Dr. Ryan Heinlein, master class about basic jazz improvisation approaches.

It will be pretty cool! More details to come.

JUST FRIENDS (Take 2/ Alternate Take) from Charlie Parker with Strings. Charlie Parker – alto saxophone; Mitch Miller – oboe; Bronislaw Gimpel, Max Hollander, Milton Lomask – violins; Frank Brieff – viola; Frank Miller – cello; Myor Rosen – harp; Stan Freeman – piano; Ray Brown – double bass; Buddy Rich – drums; Jimmy Carroll – arranger and conductor KC-WIDE ANNUAL CELEBRATION The Charlie Parker Celebration is an annual multiple day KC-wide festival held in the Kansas City area since 2014. It celebrates all aspects of Parker, from live jazz music and bootcamps, to tours of his historic sites in and around the city, to the exhibits at the American Jazz Museum.

Charlie Parker, ‘Yardbird’, (1920-1955), African American jazz saxophonist in 1947. Professor Bobby Watson is serving as a primary consultant for this project.

Thanks again to Jamey Aebersold and Jazz Books for the jazz materials for each of the campers.

Thanks to Tom at Meyer Music for your great support again this year.

Look for registration information soon.

Help us spread the word!

“BIRD LIVES!”

All the best, Cb

THE PRINCE OF JAZZ … Charlie Parker exhibit at the American Jazz Museum in Kansas City ABOUT CHARLIE PARKER The only child of Charles and Addie Parker, Charlie Parker was one of the most important and influential saxophonists and jazz players of the 1940’s.

When Parker was still a child, his family moved to Kansas City, Missouri, where jazz, blues, and gospel music were flourishing. His first contact with music came from school, where he played baritone horn with the school’s band. When he was 15, he showed a great interest in music and a love for the alto saxophone. Soon, Parker was playing with local bands until 1935, when he left school to pursue a music career.

From 1935 to 1939, Parker worked in Kansas City with several local jazz and blues bands from which he developed his art. In 1939, Parker visited New York for the first time, and he stayed for nearly a year working as a professional musician and often participating in jam sessions. The New York atmosphere greatly influenced Parker’s musical style.

In 1938, Parker joined the band of pianist Jay McShann, with whom he toured around Southwest Chicago and New York. A year later, Parker traveled to Chicago and was a regular performer at a club on 55th street. Parker soon moved to New York. He washed dishes at a local food place where he met guitarist Biddy Fleet, the man who taught him about instrumental harmony. Shortly afterward, Parker returned to Kansas City to attend his father’s funeral. Once there, he joined Harlan Leonard’s Rockets and stayed for five months. In 1939, Yardbird rejoined McShann and was placed in charge of the reed section. Then, in 1940, Parker made his first recording with the McShann orchestra.

During the four years that Parker stayed with McShann’s band, he got the opportunity to perform solo in several of their recordings, such as Hootie Blues, Sepian Bounce, and 1941 hit Confessing the Blues. In 1942, while on tour with McShann, Parker performed in jam sessions at Monroe’s and Minton’s Playhouse in Harlem. There he caught the attention of up-and-coming jazz artists like Dizzy Gillespie and Thelonious Monk. Later that year, Parker broke with McShann and joined Earl Hines for eight months.

The year 1945 was extremely important for Parker. During that time he led his own group in New York and also worked with Gillespie in several ensembles. In December, Parker and Gillespie took their music to Hollywood on a six-week nightclub tour. Parker continued to perform in Los Angeles until June 1946, when he suffered a nervous breakdown and was confined at a state hospital. After his release in January 1947, Parker returned to New York and formed a quintet that performed some of his most famous tunes.

From 1947 to 1951, Parker worked in a number of nightclubs, radio studios, and other venues performing solo or with the accompaniment of other musicians. During this time, he visited Europe where he was cheered by devoted fans and did numerous recordings. March 5, 1955, was Parker’s last public engagement at Birdland, a nightclub in New York that was named in his honor. He died a week later in a friend’s apartment.

Charles “Yardbird” Parker was an amazing saxophonist who gained wide recognition for his brilliant solos and innovative improvisations. He was, without a doubt, one of the most influential and talented musicians in jazz history.

OFFICIAL WEBSITE CharlieBIRDParker.com

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Photo: In-Service Workshop Clinic at KMEA BurnettPublishing.com – Type the words “jazz transcriptions” into the Google search engine and it will return nearly 4 million hits in less than one second.

jazz transcriptions – Google Search Why is it important to transcribe jazz solos? There are several benefits to transcribing improvised jazz solos and studying those accurate transcriptions done by others as well.

Transcribing jazz solos by professional improvisers is similar to jazz as learning vocabulary lists is to reading and writing a spoken language.

A Cautionary Note on Learning Solos:

“…it can destroy your development. It can take years to find yourself because of this. You’ve got to get through all that mess, if you’re lucky, to find yourself. Kids are practicing and learning Coltrane solos. What do you want to learn Coltrane’s solo on “Giant Steps” for? What are you supposed to find out? To engage and look at it and study it, yes, but to engage in it physically is contaminating yourself. You start practicing something, and practice don’t make perfect, practice makes permanent. You start putting things in yourself, and it’s going to take time to get things out of yourself. You might need a big enema for that.” — Henry Threadgill, BBC Interview with Ethan Iverson

(re-posted from http://www.thekevinsun.com/p/jazz-transcriptions.html)

There are so many choices on the Internet, where do I start? Here is one of my favorite jazz solo transcriptions websites (and why):

Solo Transcriptions (Sax) – saxopedia * This site is a varied repository of jazz stylists and lists 1780 solo transcriptions that are available somewhere on the Internet. The list also includes solos for flute, clarinet and EWI. * In addition to saxophone transcriptions it lists transcriptions for other instruments commonly played in modern jazz too.

MENU Find transcriptions by instrument using the menu. * Home * Transcriptions + Sax + Trumpet + Guitar + Piano + Bass + Other instruments

Some Suggestions … Be methodical in studying transcriptions! 1. Listen to the transcribed jazz master artist playing the solo. 2. Use YouTube.com – it is a great resource for all of the jazz music you could listen to in a thousand lifetimes – IT’S FREE to use and the owners of the music do actually get paid a royalty when their music is played. 3. Example use of YouTube (or any other music service): If you are studying a particular jazz solo transcription, find that artist and rendition on YouTube then study how that master is playing the solo. 4. Play along with the transcribed artist. You may even want to start by learning the solo phrase-by-phrase. 5. Imitate that transcribed artist’s jazz style and musical interpretation to begin with toward developing the skills that will inherently make up the different various facets of your own jazz artistry. 6. If the recording tempo is too fast for you to play along with the artist, use a slow-down app to slow the music down. 7. Among the most important things to get from studying transcriptions of jazz solos performed by professional improvisers are: (1) experiencing their excellent note choices, (2) hearing the great characteristic sound of their instruments, and (3) learning the jazz style the player is using.

Recommended Listening … Any of the players on these lists are worth your attention! * Wikipedia jazz saxophonists … * Wikipedia jazz trumpeters … * Wikipedia jazz trombonists … * Wikipedia jazz pianists … * Wikipedia jazz guitarists … * Wikipedia jazz bassists … * Wikipedia jazz drummers … * Wikipedia jazz vibraphonists …

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Jazz Artistry Now – 2018 marks the 17th year I have submitted a “Top Jazz” recordings list for consideration.

PARAMETERS This is the same list submitted to the Jazz Journalists Association and posted to my long-time “Musings In Cb” blog as well. The list contains links to the recordings or published reviews.

Readers are encouraged to listen and enjoy these records for themselves.

The parameters of this list conclude that all of these recordings are objectively brilliant in artistry and scope.

Therefore I do not rank them – it’s all great work.

Jazz Artistry Now only reviews work that we justly believe to be in the 4.0- to 4.5- out of 5.0-star range.

You will find music by widely-publicized jazz musicians and not-so-well-known alike. That’s cool.

I always include recordings released on our Artists Recording Collective label because we believe the inherent nature of acceptance into the collective ensures the quality of music we release is organically among the best recordings produced each year.

There is also a mixture of “types” of jazz among the music listed here – from melodic and traditional-sounding music to progressive, improvised and abstract experimentations. That’s cool too.

Again, we hope that you explore these particular works along with your normal listening playlists.

Thanks for reading.

~ Christopher Burnett, a JAN editor, writer, and a professional voting member: Jazz Journalists Association

[ JAN ‘Best of Jazz’ 2018 Reviews ] 1. Rez Abbasi 2. As Is 3. Satoko Fujii Orchestra New York 4. Sharel Cassity & Evolve 5. Teddy Wilson Mosaic Box Set 6. Jon Irabagon 7. Alchemy Sound Project 8. Jeff ‘Siege’ Siegel Quartet 9. Charles Pillow

JAN REVIEW SCALE

JAN uses a 5-point scale for reviews. We only review music we think is in the 4.0 to 4.5 out of 5 stars range. So, all of the music reviewed here is the best of the best in our editorial and collectively informed opinions.

Our highest review rating is 4.5 because objective reality remains that nobody is 5 stars. We know that some writers and publications give fives. But, is there really a five-out-of-five recording, though? We say not. So, if we write about yours, or your client’s recording, it is likely among the best music being released by any scale.

When JAN publishes a review, the recording is representative of the best jazz artistry now.

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www.JazzArtistryNow.com

[ ARC Records 2018 Stellar Releases ] * Dan Arcamone * James Armstrong * Greg Carroll + Mike Pagan * Alchemy Sound Project * Jeff ‘Siege’ Siegel Quartet

CHRISTOPHER BURNETT PERSONAL PICKS! * Logan Richardson …state of the art alto saxophonist whose original voice has matured and moved the music forward into this Century. * Ernest Melton …a young prodigy who is a refreshing throwback to the era when the essence of the music was learned from elders on the bandstand and many hours in the personal woodshed. * Sean Conly …hey, everybody – modern jazz sounds like this. * Dan Arcamone …genius is often bandied about in jazz, but in the case of this thoughtful and formidable artist, I say not – he is a ‘genius.’

Voting Member of the Jazz Journalists Association

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POST PRODUCTION We finished the recording sessions on Monday and Tuesday – today is a post-production meeting with our engineer and technical producer.

https://burnettmusic.biz/wp-content/uploads/2018/10/D024713C-A403-4DF0-A2D4-17DF480087A4.mov

// I’m very pleased with the “best of” what we captured and admittedly I’m very “picky.”

Thanks again to the members of CbQ – you are “musical wizards” indeed.

Also see – ChrisBurnettQuartet.com

Thanks to the +5 wind players who really did great work and added another element of beauty to the music. I’m grateful to hear my arrangements come to life and having been played so professionally.

Thanks to artist David Terrill for sketching one of the sessions – looking forward to seeing your finished creations.

Thanks again to Stanton Kessler, our sessions producer and Bill Crain, our recording engineer and owner of BRC Audio Productions. The best.

Thanks to my bro and our longtime true family friend, Reverend Will Thornton of JBT Productions for photographing the Monday session.

Thanks to Steve Pepoon and Mary Stephenson whom I have known since grade school through high school while growing up in Paola, Kansas for coming to the Monday session. It is a personal treat to have shared this process with you!

And, a very, very special thanks to my partner in life, spouse and best friend, Terri Anderson Burnett who has actually co-produced all of my recording projects since the first session on December 18, 1979.

Stay tuned for more project updates and release information

All the best, Cb

www.BurnettMusic.com

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OCTOBER RECORDING SESSIONS

We are very pleased to announce that the recording sessions at BRC Audio Productions will begin in October.

The music will be released commercially on the Artists Recording Collective label.

We will produce a limited quantity of audiophile quality vinyl records.

And we will release digital albums via our subscription service only.

THE PROJECT

With the standards project, I selected 17 of my favorites by other composers along with 4 of my own original works to record with Christopher Burnett Quintet and five guest musicians (CbQ+5).

I’m using the additional instruments to supplement the music, but a primary consideration is to retain the jazz quintet aesthetic and feel of the music too.

My jazz ensemble has been performing this music each month for the entire year during our residency at Black Dolphin in Kansas City.

Our music has developed the aesthetic of a working group, rather than an assemblage of great players getting together for a special occasion or event.

We’ve brought Stanton Kessler on board to serve as our technical producer as we did with the “Echoes of Europe” project.

Along with our engineer, Bill Crain, his expertise as a recording artist and producer will no doubt help keep us on point during the sessions.

There are three recordings by CbQ+5 to be released on the ARC label:

“Standards Vol. 1”
“Standards Vol. 2”
“Standards Vol. 3”

THE MOTIVATION

Jazz was born in New Orleans about 100 years ago (early 20th century), but its roots can be found in the musical traditions of both Africa and Europe.

In fact, some people say that jazz is a union of African and European music.

(from Jazz In America)

Considering the fact that Jazz music is over 100 years old, it’s also logical to contend that the body of documented works is relatively enormous.

And thus, the number of masterworks worthy of consideration is significant as well.

I believe significant artistic, economic, and educational opportunities are missed if we do not license, record, arrange and perform these works (along with our own original compositions).

To play Jazz repertoire in conjunction with new works has been my artistic goal from the beginnings of my career.

This also realizes my belief that in order to modernize the economic infrastructure for Jazz artists, we have to do business that supports the music in more ways than playing casual gigs that don’t always provide living wage opportunities to contemporary artists. So…

By paying for licenses to record and arrange these masterworks, I’m contributing to the Jazz economy.
By paying musicians to perform contracted services to document the music on recordings, I’m contributing to the Jazz economy.
By paying for recording studio services from a fellow arts business, I’m contributing to the Jazz economy.

We will never see the industrial infrastructure and organizational systems that I perceived were once found when the American Federation of Musicians served to stabilize and provide an economic standard on most local music scenes.

However, I’m observing more artists and business people working today in our modern era are conducting themselves in similar entrepreneurial fashion.

There’s lots of hope!

THE THESIS

I have at least 50 Jazz masterworks that I really love for various reasons.

As a composer, naturally, I hope to record my own original compositions.

But, I also want to record the work of other composers I grew up listening to as a jazz artist and student of the music.

Ultimately, it comes down to the music itself and the artists performing it.

Kansas City is a truly deep scene in many ways and it may be largely overlooked by the major media markets.

The musicians I perform with are on a level with the state of the art today.

And, I really enjoy the artists who are on the call sheet below for this project, both as musicians and humans.

STANDARDS VOL. 1 (ARC-2925) SESSIONS CALL SHEET

**Mock-up of Track 7

“Quiet Nights of Quiet Stars (Corcovado)”

by AC Jobim/G. Lees

arr. Christopher Burnett**

https://burnettmusic.biz/wp-content/uploads/2018/09/Corcovado-CbQ5.mp3

https://burnettmusic.biz/wp-content/uploads/2018/10/20BF69EC-5C2A-448B-B5D4-3B7DFAC85F61.mp4 Lyrical Context: “Quiet Nights Of Quiet Stars (Corcovado)”

*Quiet nights of quiet stars

quiet chords from my guitar Floating on the silence

that surrounds us*

*Quiet thoughts and quiet dreams

quiet walks by quiet streams*

*And a window looking on the mountains

and the sea, how lovely*

*This is where I want to be

here with you so close to me*

*Until the final flicker

of life’s ember*

*I who was lost and lonely

believing life was only*

*A bitter tragic joke, have found with you,

the meaning of existence, oh my love*

NOTE: My arrangement is an instrumental rendition. The English lyrics of Corcovado* as recorded by Frank Sinatra are posted here for context.

THE MASTERWORKS

The composers and their respective works I have selected to record with CbQ for each volume of the “Standards Project” are as follows:

John Coltrane

o “Giant Steps” and “Grand Central” * Chick Corea

o “Windows” * Miles Davis

o “Boplicity” * Paul Desmond

o “Take Five” * Gil Evans

o “Boplicity” * Benny Golson

o “Along Came Betty” * Herbie Hancock

o “Dolphin Dance” * Jimmy Heath

o “C.T.A.” * Joe Henderson

o “Black Narcissus” and “Recordame” * Antonio Carlos Jobim

o “Corcovado” and “Triste” * Bronislau Kaper

o “Invitation” * Sonny Rollins

o “Airegin” * Wayne Shorter

o “Nefertiti” * Stanley Turrentine

o “Sugar”

NOTE: It must be noted that the absence of Charlie Parker and his music is glaring indeed. But, I’m planning another project that is devoted solely to presenting some of my favorites from among Mr. Parker’s work from my perspective. Stay tuned for that.

VINYL AND DIGITAL

**140g VINYL LP – ONLY 300 UNITS

PRE-ORDER SALES AVAILABLE SOON**

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Background Like most saxophone instructors, I’m often asked for listening recommendations from students in my studio, during masterclasses or when giving clinics at schools.

First, making a list of recommendations is as subjective as it gets because there are so many noteworthy jazz saxophonists (living before and during our times) that any such list is sure to leave out artists worthy of consideration.

So, my list is geared to my current studio saxophonists and is intended for them to simply have a starting point. Even considering that it will take you quite a while to get through the music posted by this blog.

Recommended Process I recommend that each artist is listened to thoroughly – meaning: buy several definitive recordings, study transcriptions of compositions and improvised solos, as well as actually playing along with their recordings to get as close to a “feel” of their artistic language directly from their recorded artistic voice as possible. If the artist is living, see if you can take a lesson with them even if it is via Skype or Facebook video stream.

Here are videos of some of my favorite jazz saxophone artists and why. I’ve listed them in two categories – Jazz Legacy Players and Living Jazz Players.

Jazz Legacy Players The jazz legacy players listed here are no longer living. However, I believe that all of us playing modern jazz saxophone today are descendants of these artists. Check out the music and see if your conclusions are similar. Thanks for engaging this great and worthy music at such a detailed level.

Alto Saxophonists ARTIST: Julian “Cannonball” Adderley

ALBUM: The Cannonball Adderley Quintet – Inside Straight (Full Album)

LABEL: Fantasy

NOTES: Recorded at Fantasy Studios in Berkeley, CA on June 4, 1973

Tracklist:

A1 Introduction by Bill Hall

A2 Inside Straight (J. Adderley, N. Adderley) 0:20

A3 Saudade (Walter Booker) 3:42

A4 Inner Journey (Hal Galper) 11:41

B1 Snakin’ the Grass (Galper) 20:18

B2 Five of a Kind (N. Adderley) 26:53

B3 Second Son (Galper) 32:30

B4 The End (J. Adderley, N. Adderley) 39:01

Personnel:

Julian ‘Cannonball’ Adderley (as)

Nat Adderley (cornet)

Hal Galper (e-p)

Walter Booker (b)

Roy McCurdy (dr)

King Errisson (perc)

ARTIST: Paul Desmond

ALBUM: Dave Brubeck Quartet – Jazz Impressions of Japan (Full Album)

LABEL: CBS

NOTES: Recorded on June 16–17, 1964 at CBS in New York City

Tracklist:

01 “Tokyo Traffic” 00:00

02 “Rising Sun” 05:53

03 “Toki’s Theme” 10:36

04 “Fujiyama” 12:47

05 “Zen Is When” 17:52

06 “The City Is Crying” 20:48

07 “Osaka Blues” 26:51

08 “Koto Song” 32:03

Personnel:

Dave Brubeck (p)

Paul Desmond (as)

Eugene Wright (b)

Joe Morello (dr)

ARTIST: Charlie Parker

ALBUM: Charlie Parker with Strings

ARTIST: Ornette Coleman

ALBUM: The Shape of Jazz to Come

Tenor Saxophonists ARTIST: John Coltrane

ALBUM: Giant Steps

NOTES: Provided to YouTube by Warner Music Group ℗ 1960 Atlantic Recording Corporation for the United States and WEA International Inc. for the world outside of the United States.

Personnel:

John Coltrane (ts, comp)

Tommy Flanagan (p)

Paul Chambers (b)

Art Taylor (dr)

Engineer: Phil Iehle

Engineer: Tom Dowd

Producer: Nesuhi Ertegun

Tenor Saxophone: John Coltrane

Composer: John Coltrane

ARTIST: Dexter Gordon

ALBUM: Sophisticated Giant

NOTES: Provided to YouTube by Sony Music Entertainment. Track – Red Top which was actually written by KC’s own, Ben Kynard and Lionel Hampton ℗ 1977, 1979 Columbia Records, a division of Sony Music Entertainment

Personnel:

Dexter Gordon — tenor and soprano saxophone

Frank Wess — alto saxophone, flute, piccolo

Woody Shaw — trumpet, fluegelhorn

Benny Bailey — lead trumpet, fluegelhorn

Slide Hampton — trombone, arranger

Wayne Andre — lead trombone

Howard Johnson — tuba, baritone saxophone

Bobby Hutcherson — vibes

George Cables — piano

Rufus Reid — bass

Victor Lewis — drums

Producer: Michael Cuscuna

Composer: Lionel Hampton

Executive Producer: Maxine Gregg

Composer: Ben Kynard

Recording Engineer: William (“Rock Pygmy”) Wittman

ARTIST: Joe Henderson

ALBUM: Joe Henderson Big Band

TRACK: Recordame

ARTIST: Michael Brecker

ALBUM: Michael Brecker

TRACK: Nothing Personal

Living Jazz Players Alto Saxophonists: Bobby Watson, Vincent Herring, Steve Coleman, David Binney, Greg Osby, Steve Wilson, Logan Richardson, Patrick Cornelius, Tia Fuller, Braxton Cook …

Tenor Saxophonists: Mark Turner, Chris Potter, Joshua Redman, Chris Cheek, Donny McCaslin, George Garzone, Ravi Coltrane, Erica Lindsay …

Conclusions

Again, this list is not exhaustive and simply a microscopic sampling of even my own full list of favorite players. I will make a point to post my recommendations more regularly.

♦

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As we approach concluding the second decade of the 21st Century, our family is coming to another place of appreciation for the information available to humanity via digital technologies and the Internet.

Arguments used to be made that access to so much information would be overwhelming and chaos would be commonplace.

Actually, having access to so much information is just simply different in context.

We’ve had access to enormous amounts of information prior to the advent of the public Internet. We accessed only those things we wanted to utilize and typically only when we needed to utilize them.

The same thing is beginning to happen now. Nobody reads every post on social media platforms. We choose.

Another example is that music students have access to several lifetimes worth of information because of digital distribution (University of Helsinki study).

Here are three of our favorite websites:

o The Woodwind Fingering Guide

o JazzStandards.com

o Learn Jazz Standards

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[flowplayer src =”https://burnettmusic.biz/wp-content/uploads/2018/01/BEE6F723-3740-422B-8CE6-E3E4A1D35915.mov”]

Mr. Christopher Burnett
2018 KMEA ISW Clinician FOR IMMEDIATE RELEASE BurnettMusic.com – We are pleased to announce that Christopher Burnett has been selected as one of the Kansas Music Educators Association 2018 In-Service Workshop Clinicians. Mr. Burnett’s Saturday morning clinic session will present useful information applicable for large ensemble and private teaching contexts. Details follow:

Clinic Session – Inculcating the Practical Factors of Applied Music Performance
Clinician – Christopher Burnett (Conn-Selmer Artist/Clinician)
Date – Saturday, February 24, 2018
Room – 203 Birch
Time – 8:00 a.m. to 8:50 a.m.

CREDITS: This program has been made possible through a grant from Conn-Selmer, Inc. The Tune Shop, Inc. is the participating Conn-Selmer dealer.

NOTE: Handout materials PDF will be available at the KMEA ISW website Clinicians page and available to download at the event from BurnettPublishing.com/kmea/

Visit ISW.KMEA.ORG

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Jazz Artistry Now – 2017 marks the 16th year I have submitted a “Top Jazz” recordings list for consideration.

PARAMETERS

This is the same list submitted to the Jazz Journalists Association and posted to my long-time “Musings In Cb” blog as well. The list contains links to the recordings.

Readers are encouraged to listen and enjoy these records for themselves.

The parameters of this list conclude that all of these recordings are objectively brilliant in artistry and scope.

Therefore I do not rank them – it’s all great work.

Jazz Artistry Now only reviews work that we justly believe to be in the 4.0- to 4.5- out of 5.0-star range.

You will find music by widely-publicized jazz musicians and not-so-well-known alike. That’s cool.

There is also a mixture of “types” of jazz among the music listed here – from melodic and traditional-sounding music to progressive, improvised and abstract experimentations. That’s cool too.

Again, we hope that you explore these particular works along with your normal listening playlists.

Thanks for reading.

~ Christopher Burnett, a JAN editor and professional voting member: Jazz Journalists Association

FOUR STARS +

Fred Hersch – OPEN BOOK
Common Quartet – THE HIVE
Brian Landrus Orchestra – GENERATIONS
Bobby Watson – MADE IN AMERICA
David Binney – THE TIME VERSES
Dan Arcamone – EVOLVE
Dino Massa Kansas City Quintet – ECHOES OF EUROPE
Dan Arcamone – EVOLVE
Sam Boshnack Quintet – NELLIE BLY PROJECT
David Valdez – SHADES OF HAPPINESS
Ryan Anselmi – MOVIN’ ON
Ryan Anselmi – LOOKOUT ROAD
Michael Todd – RAIN ON US
William Flynn – TRAVELER
Jeff “Siege” Siegel – KING OF XHOSA
James Armstrong – THE ANCIENTS
Stanton Kessler – SKYWATCHER
Airmen of Note – VETERANS OF JAZZ
One O’Clock Lab Band – LEGACY: NEIL SLATER AT NORTH TEXAS
Anat Cohen Tentet – HAPPY SONG

REVIEW SCALE

When JAN publishes a review, the recording is representative of the best jazz artistry now.

BurnettMusic.BIZ: Recent Episodes

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