Top 10 CD's of 2009

Ciao, Tutti!

Okay, I wonder how long it'll be until I can't do this sort of thing anymore. I mean, aren't CD's becoming obsolete? That's what I've heard, anyway. I'm not used to being considered a dinosaur; I still love to hold the hard copy in my hand. And, let's face it: iPod quality files sound like farts. Seriously. Especially when heard through ear buds.

Anyway, in recognition of the CD's fading glory, I'm adding some new sections to this top 10 list: my top concerts and top tracks. Yes, tracks. That's what the world has come to. I still think of the CD as an art form unto itself, but I'm apparently in the minority here. I've been told it's the songs that matter, not the CD as a complete package.

But whoever told me that is WRONG!

And here we go:

Sam's Top 10 CD's of 2009

1) Abdullah Ibrahim - Senzo This year I was so pumped up because I didn't feel pressured into putting a jazz CD high on my top 10 list, since now I'm more "open-minded." But then Abdullah Ibrahim had to go and make the most beautiful piece of art you can buy in shrink wrap from 2009, topped only by his quite literally breathtaking concert I saw in June. Ibrahim's percussive and expressive solo piano record is a continuous piece of music - if you listened without knowing anything about it, you'd think it was a 60-minute song. In reality there are 23 individual compositions, making an average length of under 2 minutes per song. Ibrahim masterfully strips each piece down to its bare essentials, and once the idea is played out he simply moves on to the next seamlessly. The ideas do not get trite at any point as one might expect from an hour of solo piano, as Ibrahim changes the rhythmic feel and harmonic tonality whenever necessary to produce a rich variety of sounds. Themes appear and reappear throughout the transitions, so the performance does have the sense of being unified to the point where one can lose himself in it. Still, if you don't have enough time to listen through the whole thing there are individual songs that stand out as excellent stand-alone pieces. Basically what I mean to say is, this CD has everything.

2) Joe Henry - Blood From Stars I am a huge Joe Henry fan, as you probably know, so it shouldn't be much of a surprise to hear me say that this CD is one of the best pieces of artwork put out this year. Hell, I put "Civilians" as number 5 a couple years ago, which I am now willing to concede was a mistake in judgment. But not only is "Blood From Stars" a masterful musical production, it is probably the best example of Joe Henry's music to date (yes, even better than "Scar"). The musical journey Henry started with the masterpiece "Scar" is shown in "Blood From Stars" to be moving farther and into new meaning. The main advances in this CD have to do with form and rhythm. Henry has never been much of a rhythmic singer, but he brings out the percussive aspects of his orchestra here. This fits in well with what he does with form, which is to hint with rhythmic activity at a larger concept, then bides his time as the listener eagerly waits for the bubble to pop. Thus Henry draws dynamic emphasis to the dramatic sections of the pieces. The forms themselves aren't all that innovative, but the presentation makes every note serendipitous. Then Henry writes moving and creepy background lines in the strings and horns (on one track it sounds like a train!). Not to mention the signature transitions and use of interesting samples. The only fall-backs are the few tunes that lapse into "Civilians"-like familiarity, but even so, the CD as a work of art is nothing short of brilliant in my mind.

3) White Rabbits - It's Frightening This sextet's controlled heavy rock sound was bewildering to me. Really. When I first heard "Percussion Gun," I didn't know what I was hearing. The pounding double tom toms seemed to be playing one rhythm, the singer singing to another. And then the guitar came in, somehow in the right place, and it all made sense. They knew what they were doing, but they were going to let me guess until the peak of the lyrics came in ("and I know which way to run") when I couldn't help but nod my head and say aloud, "this is awesome!" The same effect is present for "Lioness," but in a different way, when the band drops out besides the diminished and out of place piano mid-way through the piece, except the piano isn't really diminished or out of place, as the bass later reveals. White Rabbits is so aware of its themes throughout "It's Frightening" that it can pick them apart, separate them, then bring them together at will, whenever they want emphasis. It's so well-composed in this way that I keep finding new things to listen for as I listen again and again. The second half of the CD is more like their first record, "Fort Nightly," which is not as innovative as the first half but still a good listen. This was by far the best find of 2009.

4) Brother Ali - The Truth Is Here/Us Quickly followed by the second-best find of 2009. "The Truth is Here" and "Us," both released this year, show different sides of the Twin Cities rapper. EP "The Truth is Here" has some of the best beat-making I've ever heard, as hi-lighted by the jazzy "Real as Can Be" and the funky "Baby Don't Go," not to mention the cool use of samples (probably from movies, but I dunno) between and during songs. "Us," on the other hand, is a full-length that features a better performance from the front man, Ali himself. As a full-length rap album there are some songs that aren't necessary, but in general Ali pours his heart into each song, rapping about displaced immigrants, a childhood with divorced parents, the pain of losing a first love (where it actually sounds like he's going to break down crying), and being in love with a girl still devastated by an abusive relationship. Brother Ali has the strongest love of just about anyone, and he's not afraid to lay it out there for everyone to hear. One wouldn't normally associate love (of God, of art, of his brothers, of his family, of life) to be the subject of rap songs, but Ali makes it sound as if it shouldn't be any other way.

5) The Lonely Island - Incredibad No one seems to take this record seriously. I don't blame them; it is a comedy CD, after all. But Andy Samberg, Jorma Taconne, and Akiva Schaffer certainly took this project seriously and made good use of the resources available to them through Saturday Night Live. They did not fall prey to thinking that just because they could write some funny lyrics that their job was done. They created a project that could be listened to again and again because the music was actually pretty good. "Santana DVX?" That beat is amazing. "Like a Boss?" Ditto. "I'm on a Boat?" What more need be said? I do miss "Stork Patrol," which didn't make the record, but regardless. The point of this project, and the real innovation, is the knee-slapping comedy, but that didn't stop the Lonely Island from writing some good music to go with it.

6) Antony and the Johnsons - Crying Light Antony's innovation is like Bill Frisell's innovation: it's his personal sound that's so different, not what he's playing. In Antony's case, it's his voice. Take a listen and you'll know what I mean. There isn't a person in the world who sings like that besides him. It puts some people off (my brother, my father), but the fact of the matter is that Antony has an amazing singing voice and remarkable control. Then you combine it with his vision for songwriting, which in this case is nearly like a chamber orchestra but with an occasional jazz instrument, and you have a unique sound. Antony's instrumentations are really coming from his head, not directly from his training; some of these combinations are not combinations I've ever heard in another context. He really sings and writes with his heart. My only complaint is the lack of rhythm; the CD is generally calm and never rocks out. Even so, songs like "Aeon" add a mild punch, the harshly picked electric guitar taking the place of a drum set.

7) Arvo Part - In Principio If you skip Estonian composer Arvo Part's awkward title track, "In Principio" is probably my favorite classical production right now. Part has a knack for understanding how the timbres of the string orchestra work with the church choir, and the sounds blend together to make often religiously toned chords. Part is, in truth, most interested in chords; except for "Mein Wei" there is really not much rhythmic variation (a lot of quarter notes). A lot of these chordal discoveries, however, are stunning, either through use of canon or through a chord-building technique he reputedly invented. Just make sure to skip the beginning, which is melodramatic and flat.

8) Baroness - Blue Record I just got this, so it might move a little up or down by the time I've really had a chance to digest it. Yet with the amount I've listened to this record I might argue I've digested it enough. This punk-metal band is more than meets the ear - not only can they demonstrate that they can really sing, but they demonstrate that they can really play! The lyrics are really inconsequential compared to the instruments, and the pieces are presented nearly symphonically in their form and construction, with the development of motives as the main tool for musical generation. Not only that, but the CD holds together nicely through a constant development of the "Bullhead" theme we hear in the opening track that features guitars singing so sweetly they sound almost like saxophones at first.

9) John Hollenbeck Large Ensemble - Eternal Interlude Of all the CD's I've heard this past year, this has got to be one of the most ambitious, a quality that works for and against one of my favorite composers, John Hollenbeck, in "Eternal INterlude." The opening track, "Foreign One," is one of the best of the year without a doubt - certainly the best in jazz - and is serviced by the dichotomy between the piano and vibraphone along with the held trombone section changing the chords ever so suddenly, not to mention the masterful sax solo by Tony Mallaby and drum solo by Hollenbeck himself. The title track, "Eternal Interlude," teeters on suffering from taking itself too seriously - While 17 minutes was plenty of time for his "Blessing," when there is only one idea to develop it has the tendency to become tedious. But the CD is strengthened by drummer-like qualities: long builds, sudden spaces where the orchestra drops out, and pounding rhythms. John Hollenbeck is always a cerebral listen, and his vision comes through clearly in this new CD.

10) Dave Douglas - A Single Sky Another jazz big band record, this Frankfurt Radio Band production is a polar opposite of Hollenbeck's Large Ensemble in its insistence on remaining true to tradition. The voicings, the hits, the dividing of the sections, all are nothing new to the jazz fan's ear. The pieces have normal jazz forms, AABA, that are stretched out over 10:00 pieces, focussing more on the groove and the solos than the writing or the thematic concepts, as Hollenbeck does. What's so unique about this record is the juxtaposition of Douglas's writing style with the traditional concept of writing for a big band. For example, in Jim McNeely's stunning arrangement of Douglas's "A Single Sky" throws the whole of the brass section into each hit with a passion, much different from the relaxed, laid-back original sextet version. The fact that it's a German big band is apt: the sound is almost always huge, often featuring two horn sections doing separate things along with a soloist. Douglas's playing holds the concept together, since without great soloists how could compositions focused on the solo work? If you're a fan of Douglas's writing, this CD is an interesting and fun take on it.

Thanks for bearing with me through the list, guys. A few notes of warning, though, on records you should stay away from at all costs, or CDs that didn't make the list and why!

The Black Lips - 200 Million Thousand was the biggest wast of money in my entire life. I paid to listen to a band who didn't know how to record (oh, boy, volume clipping, my favorite), sing, or play their instruments. And it's supposed to be "indie." I don't want to pay a bunch of idiots who don't know what to do. If you already own this record, I apologize on the band's behalf. They suck. Flat out.

Animal Collective - Merriweather Post Pavilion was a good Cd filled with good music that just sounds too harsh. I can't listen to more than 2 or three songs at a time until the intense treble starts to burn my ears. Power to you if you can take it better than I can - as I said, there's a lot to this CD. But even so, I can't imagine it holding up as a CD. Everything is built off a triplet feel and major keys. It gets old. But, hey, this CD is the #1 on quite a few lists, so grab a listen for yourself before you judge.

Dirty Projectors - Bitte Orca is a good disc. I don't have anything bad to say about it except it's just not my style. "Cannibal Recourse" rules as a song, if you can ignore the singers being out of tune. But I fail to see what's so innovative and influential about them, though it's certainly true they have their own unique sound. Just not for me.

The Dodos - Time To Die was the biggest disappointment of the year. Last year I had Visiter as #1, and this disc isn't enough to make the list, despite the addition of a vibraphonist, which you would think would clinch the deal. But this CD doesn't move forward from Visiter at all; in fact, it scots back into predictable rhythms and boring forms. If you have a craving to hear new Dodos, go hear them live. They play a great show.

Grizzly Bear - Veckamist is part 2 of my 2 part series on disappointing records. It probably would have made the list above Dave Douglas if it weren't for sell-out pop song "Two Weeks," which makes me want to tear my hair out if I can't get to the remote in time. "While You Wait For The Others" is a pretty amazing song, but I've found it doesn't stand the test of time, and it hasn't even been that much time. Compared to the amazing innovation of "Yellow House," or even the mediocre innovation of "A Single Sky," "Veckamist" is nothing more than a disappointment.

Phoenix - Wolfgang Amadeus Phoenix is a Cd I don't have much to say about because I haven't listened much. I tried. "1901" and "Listomania" received such acclaim that I figured I didn't listen right the first time I heard them. Then I listened again and realized I still hate them, despite what people say. I can't even remember why.

The XX - I have to mention them because they played New Year Eve at Flaming Fire's installation art gallery, and they have blown up with their self-titled debut record. "Crystalized" is a great song. The record itself is pretty boring and low key. I don't argue against it, but I can't see anything special about it.

James Carney - Ways and Means; Vijay Iyer's new CD are both projects I haven't had the liberty of listening to yet. I look forward to it.

Memory Tapes - Memory Tapes would have been #11. They often use cheap tricks to build pieces, but their sound is developed and their ideas are interesting and catchy. "Bicycle" is a pretty good song, as is "Plain Material." Sort of dance, sort of electronica, they make a fun listen.

Okay, if you read this far, I thank you from the bottom of my heart. But you didn't, because you're not insane and you have things to do in 2010.

Happy New Year,

-Sam goldsmith