Joe Chambers –
Samba de Maracatu (Blue Note): “On Samba de Maracatu, Chambers asserts himself more as a mallet player, particularly on the vibraphone. Throughout the album, he uses the vibraphone as the lead melodic and improvisational voice that often converses with Merritt’s piano accompaniments and solos. While Samba de Maracatu isn’t a Brazilian jazz album in this strictest sense, Chambers utilizes various rhythms and indigenous Brazilian percussion instruments on several pieces, including the title track, which references the syncretic Afro-Brazil rhythms that were originated in the north-east region of Brazil.” (http://www.bluenote.com/joe-chambers-samba-de-maracatu-out-feb-26/) Chambers offers three original songs and spreads out creating waves of music from comrades including Bobby Hutcherson’s ”Visions”, Horace Silver’s “Ecaroh” and Wayne Shorter’s “Rio” and also reaches out for a few deep standards including “You And The Night And The Music
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Oh and Sorey aren t mere collaborators or accompanists; they re educators and composers in their own rights. Of Sorey s drumming, Iyer cites a life-sustaining kind of magic. And of Oh s bass playing, Her awareness of and relation to pulse, it s like micro-detail, he says. Those qualities and more can be found on
Uneasy, the trio s first studio record, which drops April 9 on ECM Records. The album is a mix of topical material Children of Flint with Iyer originals ( Combat Breathing ) and standards ( Night and Day ) from deep in their wheelhouse.
Most importantly, Iyer considers the pair to be his musical family; together, they re his stronghold through a racially and sociopolitically turbulent time. And with the tragic Atlanta spa shootings in the rearview, the cover where the three musicians names float around an out-of-focus Statue of Liberty is a side-eyed glance at what it means to be an American.
Below are the results of NPR Music's 8th Annual Jazz Critics Poll (my 15th, going back to the poll's beginnings in the Village Voice). These are