Terje rypdal whenever i seem to be far away - The 100 Jazz Albums That Shook The World - Jazzwise

Hendrix was known for a lot of beautiful chord embellishments on Little Wing, the grit of the solo in Voodoo Child screaming off of his strat pickups , his cover of the Dylan song All Along The Watchtower, and the backwards solo in Castles Made of Sand, but known as a great innovative guitar player over and over again . His short but explosive career influenced numerous artists for many years past his death and continues to influence musicians today. To make such a difference in such a short amount of time truly earns Jimi a spot as number two. But…then you may ask, “Who is deserving of number one?!”

 · From guitar faces to the different kinds of axes, here is the Top 10 Greatest Guitar Players . Squeezing the talent that’s blessed our ears for all these ye

By Stef

" To Women " is the title of a track of the recently reviewed duo album of Eve Risser and Kaja Draksler, two women who have coloured our musical universe in the past few years, with their personal and visionary approaches to their music and instrument. I wanted to add my comments on Joëlle Léandre's plea for more gender diversity and openness to more adventurous music with regard to the French "Victoires du Jazz" awards.

But before going into the gender debate, let's take a step back. Let's give a little perspective on bias.

This is my personal opinion. And it is true of any selection of art material. Earlier this year, the BBC produced a list with the 100 greatest comedies of all time . I am not a film critic, but anybody going through this list will immediately notice that its perspective is extremely narrow. With the exception of Jacques Tati and Pedro Almodovar, all these movies are coming from the US or the UK. Even if the US and the UK are great movie countries, this cannot be correct. There are at least another 100 movies from other countries that could figure on the list. What is the problem? The makers of the list are all Brits, and the likelihood that they have seen only English movies is much higher than the movies of let's say Emir Kusturica,  Jûzô Itami, Alfonso Cuaron, Bruno Dumont, Roberto Begnini, Anders Thomas Jensen, Aki Kaurismäki, Jean-Pierre Jeunet, and many others. 

So a lot of worthwhile information is not shared because the authors of the list are not even aware of what's happening out there, because they're culturally biased. They have a very narrow perspective from which to judge the world. It's the same with the Best Books of the year lists which are coming up in many newspapers. If you trust the The Guardian's list  of the 100 best novels ever written, 83 of them were written in English. This cannot be! This is impossible. By any measure. 

This is the same narrowness of perspective that we're fighting against. The editors of these lists are themselves blind to what determines their choices. They think they can judge in all honesty about movies and novels, unaware that they've missed some wonderful movies and books in other languages. Anybody looking at this list from outside the US or the UK will notice that this is almost by definition impossible. It is the narrow perspective of people living in their own narrow world evaluating a topic that is much vaster, and probably more interesting, than they are living in. Most people are blind to the biases of the group they belong too. And if the BBC and The Guardian already suffer from it, you can guess what lesser media will produce. It is extremely difficult for the dominant perspective to even reflect on this, and accept that there is a bias.  

Music, luckily, is less language sensitive. Yet the same thing happens, in terms of gender, in terms of geography. The ideal for us would be to throw our net as wide as possible and capture any kind of music, from any part of the world that fits with our exploratory and adventurouss tastes, and that we have the time to listen to it all and then to evaluate in earnest. In reality, we have a bias to listen with more attention to musicians we know, because we have seen them perform, because we have met them, because we have heard of them more than about others. As a result, proximity and familiarity will cloud judgment. 

We want to overcome these biases, and we welcome anybody to challenge us. Open ears also means to be open to sounds beyond what is expected, and cherishing the wonderful diversity of music that is out there. But broadening your own perspective takes effort. It requires a willingness to listen, a willingness to listen to what is outside your usual habitat. 

The amazing thing with the French "Victoires du Jazz" awards in question is that France has good musicians, both male and female, and some of them are really trend-setters today. 

Here is a list of all the women musicians we wrote about this year (and I may have missed some) and the list of musicians from whom we received music or saw perform without reviewing. 

When you look at the list, it is almost impossible that not one single woman would figure on the list of best albums of the year. Suppose that we came up with a list of European white males between 40 and 50 years old, something would be terribly wrong. I'm sure it won't. 

Here's "To Women". 

Women musicians reviewed during the year

Jaimie Branch
Susana Santos Silva
Alexandra Grimal (France)
Lina Allemano
Lotte Anker
Fiona Lee
Ikue Mori
Sylvie Courvoisier
Okkyung Lee
Maria do Mar 
Maria Radich 
Satoko Fujii
Kaja Draksler
Eve Risser (France)
Marina Džukljev
Mette Rasmussen
Mary Halvorson
Kate Gentile
Laura Cannell Sylvie Courvoisier
Elisabeth Coudoux
Magda Mayas
Marta Zapparoli
Ina Sagstuen
Natali Abrahamsen Garner
Rachel Musson
Lisa Mezzacappa
Silvia Bolognesi 
Mazz Swift
Emmanuelle Waeckerlé
Maya Homburger
Paula Shocron
Zena Parkins
Aine O'Dwyer
Eva Lindal
Catharina Backman
Carin Blom
Sofia Jernberg 
Tomeka Reid
Svetlana Spajic
Dragana Tomic
Isabelle Duthoit (FR)
Viv Corringham
Kris Davis
Joëlle Léandre (FR)
Angélica Castelló
Marcela Lucatelli
Angelica Sanchez
Jessica Kenney
Vilde Sandve Alnæs
Inga Margrete Aas
Gunda Gottschalk
Julia Robert 
Agnès Vesterman
Biliana Voutchkova
Irene Kepl
Sara Schoenbeck
Vanessa Rossetto
Nora Krahl 
Maria da Rocha
Carmen Rothwell
Julia Úlehla
Heather Leigh
Nicole Mitchell
Aki Takase
Ingrid Laubrock
Joana Gama
Yoko Ikeda
Aya Naito 
Jane Ira Bloom
Cristina Abati
Ig Henneman
Sylvaine Hélary (FR)
Sophie Bernado
Fanny Lasfargues
Pauline Oliveros
Anna Webber
Patricia Brennan
Dina Maccabee
Myra Melford
Geri Allen
Renée Baker
Elisabeth Harnik
Lauren Newton
Christine Abdelnour
Not (yet) reviewed

Ada Rave  
Airelle Besson (FR)
Alessandra Novaga  
Angharad Davies
Ann Noel  
Anneleen Boehme
Aude Romary (FR)
Audrey Lauro
Anat Cohen
Beatrice Dillon  
Camille Emaille  (FR)
Camille Thurman  
Céline Bonacina (FR)
Christine Wodrascka (FR)
Dana Jessen
Diane Moser
Ellen Andrea Wang
Ellen Arkbro  
Els Vandeweyer
Eva-Maria Houben  
Franziska Baumann
Géraldine Laurent (FR)
Monika Brooks  Laura Altman Hanna Paulsberg
Hélène Breschand (FR)
Hélène Labarrière (FR)
Irene Aranda
Lucia Martinez
Ingrid Schmolliner
Irene Kurka 
Izabela Kałduńska
Josephine Davies
Julia Reidy
Karoline Leblanc
Kate Carr
Kate Mohanty
Kathleen Tagg
Sarah Bernstein
Christina Stanley
Tara Flandriau
Lea Bertucci
Linda Catlin Smith
Linda May Han Oh
Maria De Alvear
Maria Merlino
Marianne Tilquin (FR)
Marta Sanchez
Martina Verhoeven
Miya Masaoka  
Moniek Darge
Natalia Kamia
Natalia Mateo
Natasha Barrett
Mimi Solomon
Olivia Block
Paula Shocron
Prune Becheau
Rosalind Hall
Judith Hamann
Fay Victor
Sarah Davachi
Sarah Hennies
Sarah-Jane Summers 
Silke Eberhard
Sophia Domancich (FR)
Sophie Agnel (FR)
Sophie Alour (FR)
Susanne Abbuehl
Tania Chen
Vanessa Rossetto
Yannick Peeters
Yoko Miura

Alison Blunt
Hannah Marshal
Ute Wasserman
JD Zazie
Andrea Neumann
Marylyn Crispell
Annette Krebs
Anna Kaluza
Liz Allbee

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John Surman - Tales Of The Algonquin - Deram
John Surman (bs, ss), John Warren (bs, f), Mike Osborne (as, cl), Alan Skidmore (ts, fl), Kenny Wheeler, Harry Beckett (t, flhn), John Taylor (p), Barre Phillips, Harry Miller (b), Alan Jackson and Stu Martin (d). Rec. 1971

As much Canadian John Warren’s album as fellow baritone player John Surman’s, this record said that Surman was a star in the ascendant. So many UK jazz albums could fill this slot but this gets the vote for its ecstatic, exuberant playing from Surman and company and amazing, challenging writing from Warren. This was a glorious testament to the new-found confidence of British jazz. Warren’s success lies in the way he remains within the big band tradition but extends it by incorporating elements of free playing, driving powerful polyrhythms and complex layering of his instrumental resources. An absolute and indisputable joy. (DH)

Oliver Nelson - The Blues And The Abstract Truth - Impulse!
Oliver Nelson (as, ts), Freddie Hubbard (t), Eric Dolphy (f, as, bcl), George Barrow (bar s), Bill Evans (p), Paul Chambers (b) and Roy Haynes (d). Rec. 1961

For almost all his career Nelson was a hugely talented journeyman musician who did everything well and not a great deal memorably. This is the exception. Helped by a cast that included Freddie Hubbard, Eric Dolphy and Bill Evans, Nelson delivered a set of profound meditations on the blues (including ‘Stolen Moments’) and then backed that up by playing the tenor saxophone with such force and inventiveness that he stood as an equal with the heavyweights listed above. In managing it even once he at least gave us a stone classic modern jazz blues and roots album that is free of all hard bop cliché. (KS)

Betty Carter - The Audience With Betty Carter - Betcar
Betty Carter (v), John Hicks (p), Curtis Lundy (b) and Kenny Washington (d). Rec. 1979

Listening to this album is a cathartic experience. ‘Sounds’ is a tour de force of scat through shifting tempos and meters that lasts 25 minutes where at one point, Carter, Hicks, Lundy and Washington each play in a different meter. The album highlight is ‘My Favorite Things’ taken at a brisk tempo with Hicks at his most explosive as his accompaniment blossoms into a counterline to Carter’s singing and by the coda who can say whether voice or piano predominates? To say this is one of the finest jazz vocal albums ever made is limiting; it numbers among the great contemporary jazz albums.
(SN) Re-released on CD by Verve

Art Tatum - The Genius of Art Tatum - Clef 1953
Art Tatum (p). Rec. 1953

For decades Tatum was every jazz pianist’s first choice as the greatest piano of all but by the early 1950s his public profile was still minute compared with some of his contemporaries. Norman Granz decided to fix that: between 1953 and Tatum’s death in 1956 Granz recorded well over 200 selections and issued them on Clef and Verve. Tatum’s popular and critical reputation has been secure ever since, his baroque creations simultaneously exciting and terrifying the listener. This first of the series is a solo recital. All the Tatum Clefs and Verves are now available on Granz’s last-owned label, Pablo. (KS)

Charles Lloyd - Dream Weaver - Atlantic
Charles Lloyd (ts, f), Keith Jarrett (p), Cecil McBee (b) and Jack DeJohnette (d). Rec. 1966

Voted “new star” by Downbeat in 1965, the emergence of the Charles Lloyd Quartet took jazz by storm in 1966, expanding musical horizons with a challenging eclectic amalgam of modal and free jazz with Eastern textures and Spanish soul. Dream Weaver also introduced Keith Jarrett and Jack DeJohnette to the world before Lloyd’s subsequent LPs Forest Flower and Love-In became two of jazz’s biggest sellers. However, this was the album that first got tongues wagging, echoing the free spirit of the psychedelic 1960s and landing them an early slot at The Fillmore. Miles noticed too, quickly snatching Jarrett and DeJohnette for his own jazz-rock experiments that ushered in the dawn of a new era. (JN) Reissued on CD by 32 Jazz as a twofer with Love-In.

Oscar Peterson - Night Train - Verve 
Oscar Peterson (p), Ray Brown b) and Ed Thigpen (d). Rec. 1962

By 1962 Peterson’s trio was one of the top draws in jazz worldwide and Peterson himself habitually won every jazz piano popularity poll going. Why? Well, the change in 1958 from piano-bass-guitar to piano-bass-drums had allowed him room to develop the group’s leaner, grittier side and emphasise melody rather than bullish pyrotechnics. Night Train is the epitome of this approach: cool, funky, incredibly concentrated and well thought-through, it hangs together as a perfect modernist tribute to the funky roots of jazz, covering tracks from ‘C Jam Blues’ to ‘Moten Swing’ and ‘The Hucklebuck’. Canadiana Suite may be Peterson’s creative high water point, but Night Train defines him. (KS)

‘Although it was called Oscar Peterson’s trio really it was the Ray Brown trio – you couldn’t take your ears off him’
– Guitarist Jim Mullen on Oscar Peterson’s Night Train (Jazzwise 74, April 2004)

Herbie Hancock - The New Standard - Verve
Herbie Hancock (p), Michael Brecker (ts), John Scofield (g), Dave Holland (b), Jack DeJohnette (d) and Don Alias (perc). Rec. 1996

From the opening ‘New York Minute’ this album bursts with energy and creativity. Hancock soars and Brecker burns. Yet while the playing is exemplary, the choice of repertoire makes this album stand apart. ‘New York Minute’ is from the Don Henley album The End of The Innocence and songs by the likes of Steely Dan, Peter Gabriel, Paul Simon and Prince make this one of the first albums after 1990 to return to songs from popular culture once more as a basis for jazz improvisation. Yet they all end up as impeccable, burning New York-style jazz of the highest order and press the green light for other artists to follow suit. (SN)

Roland Kirk - Rip, Rig & Panic - Limelight
Roland Kirk (f, mzo, stritch, ts), Jaki Byard (p), Richard Davis (b) and Elvin Jones (d). Rec. 1965

Many maintain that Kirk never made the perfect album: if so, this one comes closer than any other, mostly because Elvin Jones is consistently lighting a fire under the quartet generally and Kirk in particular. The multi-reed man is also self-evidently inspired by pianist Jaki Byard’s playing and is consistently taking risks in everything he’s doing. I Talk With The Spirits, his flute album, came next and gave the world ‘Serenade to a Cuckoo’, while 1968’s Volunteered Slavery allowed Kirk to assault Burt Bacharach among others while giving him a new audience, but this one is the stone jazzer’s delight. (KS)

Thelonious Monk - The Genius Of - Modern Music - Vol 1 - Blue Note 
Thelonious Monk (p), Idrees Sulieman/George Taitt (t), Danny Quebec West/Sahib Shihab (as), Billy Smith (ts), Gene Ramey/Bob Paige (b) and Art Blakey (d). Rec. 1947

These early Monk sides almost sank without trace when first issued as 78rpm singles, and it was only because of a LP selection under this title in the mid-1950s that more than a handful of punters took any notice. Blue Note, though, were so into Monk that they’d done these three sessions in little more than a month, just to get the first small-group versions of ‘Round Midnight’, ‘Ruby My Dear’, ‘Thelonious’ and ‘In Walked Bud’ among others. With the possible exception of Idrees, the soloists weren’t up to the pianist’s level. Yet the miraculous Blakey is at his early best. (BP)

Wayne Shorter - Speak No Evil - Blue Note
Wayne Shorter (ts), Freddie Hubbard (t), Herbie Hancock (p), Ron Carter (b) and Elvin Jones (d). Rec. 1964

Recorded a few months into his stint with Miles, this date finds Shorter on the cusp of his mature compositional and improvisatory styles and in the congenial company of Hancock and Carter, with Elvin Jones keeping it honest at the back and Hubbard providing his usual perfect foil at the front. In a sense this is Shorter’s essay on groove, but his angularity never makes it likely that the whole album would attain that ineffable level, or that he’d even want that. Herbie, of course, would do it without him a few months later on Maiden Voyage. So? Vive le difference, we say… (KS)

Feature Wayne Shorter – Music of the Spheres

Terje Rypdal Whenever I Seem To Be Far AwayTerje Rypdal Whenever I Seem To Be Far AwayTerje Rypdal Whenever I Seem To Be Far AwayTerje Rypdal Whenever I Seem To Be Far Away