Top 5 Jazz Releases to Look Forward to in 2023
What life takes away, it gives back in a different form.
In 2022, we bid goodbye to jazz greats like Pharoah Sanders, Joey DeFrancesco and Ramsey Lewis, but at the same time, ushered in the rise of a new generation of artistes such as Domi & JD Beck, Song Yi Jeon and Wonmi Jung.
With the ebb and flow of time, the jazz scene continues to evolve, which to some extent, is gratifying for longtime fans, but is also refreshing for newer listeners who have just started dipping their toes into this genre.
Instead of confining themselves to one single category, more artistes are proving that great music is all-encompassing and accepting – that self-expression can mean reinterpreting Nirvana songs into a jazz piano run, or even throwing caution to the wind and coming together as a duo, trio or quartet to experiment with different sounds.
As Duke Ellington said, “I think the music situation today has reached the point where it isn't necessary for categories. I think what people hear in music is either agreeable to the ear or not.
“And if this is so, if music is agreeable to my ear, why does it have to have a category? It either sounds good or it doesn't.”
So, here’s a look at the top five jazz releases to look forward to in 2023.
FRED HERSCH AND ESPERANZA SPALDING – ‘ALIVE AT THE VILLAGE VANGUARD’
Pianist Fred Hersch has played a major part in influencing the contemporary jazz scene. Applying his classical training to his flair in improvisation, he studied at the New England Conservatory under John Arthur “Jaki” Byard before becoming a jazz piano instructor himself.
Hersch’s signature style is delicate and poetic, drawing crowds to his performances at the Village Vanguard, a popular venue in New York known for its excellent acoustics.
With five albums recorded during his Village Vanguard sessions (either as a solo performer or as part of a trio), Hersch comes back to kick off 2023 with yet another offering, this time as a duo with bassist/vocalist Esperanza Spalding.
Throughout his career, Hersch has played together with fellow contemporaries like guitarist Bill Frisell, trumpeter Enrico Rava and singer Norma Winstone, to name a few.
However, his repertoire extends beyond jazz, having also performed with artistes from classical (Dawn Upshaw, Nadja Salerno-Sonnenberg) and Broadway (Audra McDonald) backgrounds.
Whether as a solo performer, as the leader of a jazz trio, or deep in dialogue with his duo partners, Hersch’s work is exquisite.
In Alive At The Village Vanguard, Hersch and Spalding reconvene at the famed venue, taking the stage with no set arrangements.
Following the album’s release, the duo performed for a week at the Village Vanguard, and set off on a three-week US tour.
Speaking to the media about the album, Hersch says, “This recording sounds like you’re in the best seat in the Vanguard for a very live experience. You can really feel the vitality of the room, of the audience, and of our interplay.
“We decided on the word ‘alive’ for the album title as you can really feel the intimacy and energy of the performances.”
For Spalding, this isn’t the first time she’s performed with Hersch, but to her, each time brings about a sense of new excitement.
“Playing with Fred feels like we’re in a sandbox. He takes his devotion to the music as serious as life and death, but once we start playing, it’s just fun,” she comments.
“I like to live on the edge in my music, but I find myself trying things that I usually wouldn’t when I play with him, finding new spaces to explore in the realm of improvised lyrics.”
The first track, “But Not For Me”, sets the tone for the album, showcasing Hersch’s flawless playing and highlighting Spalding’s vocals.
“I don’t think anybody’s heard Esperanza sing like this. She’s a fearless vocalist, and is one of the biggest talents I know,” Hersch enthuses.
Expect to hear more, like the duo’s staple “Dream Of Monk”, as well as a new twist on classics like “Girl Talk” and “Little Suede Shoes”.
BRAD MEHLDAU – ‘YOUR MOTHER SHOULD KNOW: BRAD MEHLDAU PLAYS THE BEATLES’
Credit: Elena Olivo
Jazz pianist Brad Mehldau might have studied under Fred Hersch, but he soon developed his own style to become one of the most notable jazz masters in the 1990s.
Known for his hands-on melodies and accompaniments, Mehldau integrated elements of pop, rock and classical music into his writing and playing, resulting in a cross-genre amalgamation.
It’s jazz, but without being restricted by its limitations – instead, Mehldau’s simultaneous playing of different melodies with separate hands has become his signature move, and one that his fans continue to look forward to at every performance.
Mehldau is well-versed in both acoustic and electronic music, the former as a solo or trip performer, and the latter in collaboration with drummer Mark Guiliana as a synth duo.
Most of Mehldau’s performances include at least one popular cover, where he reinterprets popular music, the most memorable ones being Radiohead’s “Exit Music”, Nirvana’s “Smells Like Teen Spirit”, and The Verve’s “Bittersweet Symphony”.
In February, Mehldau is slated to release his reinterpretation of The Beatles.
Since their debut six decades ago, the band’s music has shaped the essence of rock and pop music.
They have attracted not just admirers from around the world, but even fans in the form of other successful musicians and artistes, from the likes of Beach Boys’ Brian Wilson, keyboardist Rick Wakeman, Alice Cooper, and of course, Mehldau himself.
Titled Your Mother Should Know: Brad Mehldau Plays The Beatles, the live solo album (recorded in 2020 at Philharmonie De Paris) features nine songs by John Lennon and Paul McCartney, and one by George Harrison.
Although other Beatles songs have long been staples of Mehldau’s solo and trio shows, this new album contains songs that he has not previously recorded.
David Bowie’s “Life on Mars?” is an apt choice for the final track, drawing a connection between the Fab Four and the other iconic artistes that came after their rise to fame.
CHRIS POTTER – ‘GOT THE KEYS TO THE KINGDOM: LIVE AT THE VILLAGE VANGUARD’
It’s said the saxophonist Chris Potter is the most influential sax player after jazz master Michael Brecker.
Regarded as a genius, Potter had already been invited to perform together with high-calibre musicians even before he turned 20.
In 1991, he came in third at the Thelonious Monk Institute of Jazz International Saxophone Competition, after Joshua Redman and Eric Alexander.
A prolific musician, Potter has released over 20 albums as a leader, and performed as a sideman on more than 150 more, playing together with jazz greats such as Dave Holland, Paul Motian, Pat Metheny and more.
Potter’s works are quite diverse, often encompassing a combination of jazz, contemporary, avant-garde, funk rock, chamber and electronic.
Fans often have a hard time trying to guess the direction he intends to go in next, but that is also part of his allure as each release brings forth a surprise.
As a regular at the Village Vanguard, Potter has recorded multiple bodies of work at the venue, both as soloist and as part of a band. This time, he teams up with an all-star ensemble in a set of covers for Got The Keys To The Kingdom, recorded live in February 2022.
Mirroring his own style, Potter tends to favour musicians who are as flexible and diverse as he is, and for this album, a quartet of old friends, including pianist Craig Taborn, bassist Scott Colley and drummer Marcus Gilmore, converge to record an album for the first time.
The tracklist comprises six joyous songs, from reimagined folk tunes to powerful spirituals to uncommon jazz choice, defying convention and allowing the band to explore less familiar melodies but with equally astounding results.
Granted, they’re not tunes that people usually play (even Potter has admitted this himself), but will stay fresh in your mind after you revel in the sheer performance techniques and stage presence.
JOHN MCLAUGHLIN – ‘SHAKTI 50TH ANNIVERSARY’
It’s hard not to marvel at John McLaughlin’s impeccable dexterity when he plays the guitar, even more so considering the fact that he is over 80 years old.
Born into an era of guitar heroes like Jimi Hendrix, Eric Clapton and Jimmy Page, McLaughlin has rightfully earned his place as “the man who knows all of guitar”, according to his fans.
Also fondly known as Mahavishnu John, McLaughlin is known for using non-Western scales and unconventional time signatures, placing a bulk of emphasis on Indian music.
“John McLaughlin has given us so many different facets of the guitar. And introduced thousands of us to world music, by blending Indian music with jazz and classical. I'd say he was the best guitarist alive,” praised the late Jeff Beck.
Two of the most important bands that shaped McLaughlin’s career in the 1970s were the Mahavishnu Orchestra and Shakti.
While the Mahavishnu Orchestra focused on explosive performances that combined electric jazz and rock with Eastern and Indian influences, Shakti’s direction was prominently classical Indian fusion, where McLaughlin played a custom steel-stringed acoustic guitar that featured two tiers of strings over the soundhole, akin to a sitar.
From 1976 to 1977, the band released three albums: Shakti With John McLaughlin, A Handful Of Beauty and Natural Elements.
After a 20-year hiatus, McLaughlin and original Shakti member Zakir Hussain (who played the tabla) decided to reform the band, calling it Remember Shakti. A number of newcomers joined the band, including award-winning singer and composer Shankar Mahadevan.
This time, McLauglin incorporated electric guitars and synthesisers into the band’s music, further blurring the line between genres.
In 2020, the vocal and synth-heavy Is That So? was released with Remember Shakti playing as a trio.
Recently, it was announced that a brand-new album would be released at the end of 2022 in conjunction with Shakti’s 50th anniversary, with an extended lineup that includes violinist Ganesh Rajagopalan and kanjira player V Selvaganesh.
“The family is getting together again. I am ready for the love that will be there aplenty,” Zakir comments, with a smile.
As the band gears up for its anniversary tour, McLauglin shares, “I don’t know how many older tunes we’ll play, but the shows will represent a musical history dating back 50 years to the Shakti music of today.”
We’re already looking forward to it!
GILAD HEKSELMAN, WILL VINSON, NATE WOOD – ‘TRIO GRANDE 2.0’
Despite originating from Israel and London respectively, guitarist Gilad Hekselman and saxophonist Will Vinson have made a name for themselves in New York’s jazz scene.
Regarded as the top pioneers in their respective instruments, both men are also respected for their compositions.
Adept as guitarist and bassist, Hekselman is exceptional at multi-part counterpoint performances, which has led him to form groups with other wind instrument players, guitarists, as well as drummers.
Vinson, on the other hand, had previously invited Hekselman and drummer Antonio Sanchez to form a trio, culminating in an album called It’s Alright With Three, which features eight tracks.
Even without a bassist, the trio’s rapport was solid, and they put out Trio Grande in 2020. At the height of the pandemic, they were never able to go on tour to promote the album, and Sanchez decided to focus on his personal musical career instead.
This led Vinson and Hekselman on a search for a new drummer, and they finally formed Trio Grande 2.0 with Nate Wood.
As a multi-instrumentalist, Wood had pulled off an impressive stunt a few years prior, playing the drums, bass and synthesiser simultaneously in his electronic solo project titled Four.
After graduating from the California Institute of Arts specialising in bass and drums, Wood also attended LAMA College for Music Professionals, where he studied under Ralph Humphrey and Joe Porcaro.
He then joined jazz fusion Kneebody as bassist, but continued to experiment with his drumming techniques.
As part of Trio Grande 2.0, Wood’s role makes more sense as all three are able to share multiple responsibilities, with Hekselman taking up the guitar harmony and bass, Vinson on the saxophone, synth and piano, and Wood handling drums and bass.
This versatile combination enables them to weave a more complete sound as a band, evident from their performances while on tour at the end of 2022. As they seamlessly swap roles, one can only stare and wonder how there are only three performers on stage.
This year, we expect to see even more great releases from this talented trio – when that happens, you’ll be the first to read about it on Sound of Life!
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Writer | Michelle Tan
Having spent the past decade turning her passion into profession, Michelle is a freelance writer/translator based in Malaysia. Her lifelong dream is to become an urban hermit.
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