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C. Michael Bailey’s Best Recordings of 2017
This year marks my 20th contributing to AAJ. Twenty years ago, I was 38 years old looking for an outlet for my music writing that had somehow avoided me until I came across an opportunity disguised as a call for articles from one Michael Ricci in Philadelphia. I emailed my review of Art Pepper's San Francisco Samba (Contemporary, 1997) and I have been contributing to AAJ since.
That said, I want to tip my hat to my fellow All About Jazz colleagues. Thank you for allowing this simple country druggist among you.
My Best Recordings of 2017 consists of 12 releases (one for each month). Nine of these are dedicated to jazz vocals/instrumentals and the remaining three to archival offerings.
That said, I want to tip my hat to my fellow All About Jazz colleagues. Thank you for allowing this simple country druggist among you.
My Best Recordings of 2017 consists of 12 releases (one for each month). Nine of these are dedicated to jazz vocals/instrumentals and the remaining three to archival offerings.
 Low Society Sanctified (Rezonate Records) |  Lyn Stanley The Moonlight Sessions, Volumes 1 & 2 ( A.T. Music, LLC) |  Kuniko Bach: Solo Works for Marimba (Linn Records) |
 Cheryl Bentyne Rearrangements of Shadows: The Music of Stephen Sondheim (Artist Share Records) |  Kellye Gray Rendering GRR8 Records |  Cecile McLorin Salvant Dreams and Daggers (Mack Avenue Records) |
 Andrea Claburn Nightshade (Lot 49 Labs) |  Robyn Spangler Something Cool: The Billy Barnes Sessions (O.P. Records) |  Tash Sultana Notion EP (Mom & Pop Records) |
 Thelonious Monk Les Liaisons Dangereuses 1960 (Sam Records) |  Wes Montgomery Smokin' in Seattle: Live at the Penthouse (Resonance Records) |  Art Pepper West Coast Sessions, Volumes 1-6 (Omnivore Records) |
Tags
Best of / Year End
Thelonious Monk
C. Michael Bailey
Michael Ricci
Philadelphia
Art Pepper
Low Society
Lyn Stanley
Thad Jones
Mel Lewis
Cheryl Bentyne
Kellye Gray
Cecile McLorin Salvant
Andrea Claburn
Robyn Spangler
Wes Montgomery
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Jazz combines creativity from the mind, heart, and the gut. It flourishes through structure and uses melody and rhythm to bridge the musician's creativity and the listener's imagination. I try to appreciate all forms of music and styles of jazz but find myself drawn to the “hot music” of the twenties through the early thirties, including its many contemporary incarnations
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