The 2014 Music and Myth Awards
2015 is here! With the 57th Grammy Awards fast approaching, it’s time for the yearly Music and Myth Awards (which I affectionately call the “Anti-Grammys”) For those who are just tuning in: the Music and Myth awards came to be as a result of my immense frustration with the National Academy of Recording Arts and Sciences omitting to nominate Patricia Barber’s outstanding Smash for best vocal record of 2013. I decided to start my own independent awards, coming in the form of written recognition of the world’s best vocal and instrumental records of the year. Last year, I chose Smash by Patricia Barber and Iva Bittova by the Czech musician of the same name.
The article will be divided into two parts: in the first, I will make my Grammy predictions in the best vocal jazz record and best instrumental jazz record categories (since those are basically the only ones I care about), after a careful analysis of the ten nominated records.
Last year I correctly predicted that Gregory Porter’s Liquid Spirit would get best vocal, but I picked Gerald Clayton’s Life Forum for best instrumental, which ended up going to Terri Lyne Carrington’s Money Jungle. As such, I have a 1-1 record so far. Let’s see how my predictions fare this year.
In the second part I will announce my choices for best vocal record and best instrumental record according to The Music and Myth, along with a short explanation of exactly why I picked those particular records (justification is definitely lacking when it comes to the Grammys).
Let’s clarify some things first: Even though my website is heavily jazz-oriented, The Music and Myth Awards are not restricted to jazz. However, creative complexity and what I like to call “narrative coherence” are definitely a factor, so don’t expect to find much dubstep, punk rock or gangster rap.
Now, some might question what even qualifies me to grant an “award”. I’m a science fiction writer and independent music journalist, what could I even have to offer? A quick google search for the word “award” gave the following result:
a prize or other mark of recognition given in honour of an achievement.
I have no physical prize to offer, but I do have my recognition, along with a music lover’s profound respect and admiration. Consequently, The Music and Myth Awards are as legitimate as any large-scale accolade. No distinction, large or small, can claim to be entirely objective. That is simply not possible. In the end, it’s just somebody’s opinion. And here is mine:
My major grief with the Grammys has been what I’ve perceived as a very narrow outlook on the musical landscape. If nothing else, my work with The Music and Myth has taught me that there is a vast number of enormously talented musicians out there. Yet, a quick glance at the yearly lists of Grammy nominees reveals the same names over and over again – for a whole decade. Not only that, you will often find a particular nominee on another nominee’s record, playing a certain instrument or featured as a special guest vocalist. As an example I will use four-time Grammy winner Dianne Reeves’ Beautiful Life. The record is produced by last year’s “best instrumental jazz record” winner Terri Lynne Carrington and features special appearances by last year’s “best vocal jazz record” winner Gregory Porter, Gerald Clayton (nominated last year), Esperanza Spalding (2013 winner) etc.
Brian Blade is nominated for Landmarks but also appears on Chick Corea’s Trilogy, alongside Christian McBride, who was nominated with his record last year. You get the picture…
Since the Grammy Awards are by far the biggest of their kind, this creates the impression that there is a small elite of musicians acting on some higher musical “plane”. That is simply not the case.
One other issue that I had last year was the lack of “new” music being considered, with many of the records (and one of the eventual winners) being cover- or so-called “tribute” records. I don’t presume to disqualify a record from consideration on the basis of it being a cover album, but even Al DiMeola admitted in an interview I did with him that it was much more difficult to summon up the creative force required to write completely new music than to develop existing melodies – and that was while he was promoting his own album of Beatles covers.
Again, I’m not stating that a cover record can’t be excellent, or worthy of the highest recognition, but I feel like creativity should definitely be a factor when considering the best of the best. That being said, let’s take a look at this year’s nominees and see if we can predict a winner.
Since we were speaking of covers, three-time Grammy award-winning pianist Billy Childs is nominated for Map to the Treasure, Reimagining Laura Nyro where a plethora of guest musicians (including Diane Reeves and Esperanza Spalding) are featured on the pianist’s arrangements, which certainly honor the legendary’s musician’s stellar compositions, but ultimately fail to really re-imagine them.
Also in tribute-land, the daring and charismatic René Marie pays homage to Eartha Kitt in I Wanna Be Evil, an outstanding tribute album, but just that. Tierney Sutton is once again present, this time with the tender Paris Sessions, an elegant, minimalist record featuring the singer’s marvelous voice on the backdrop of Serge Merlaud’s guitar and Kevin Axt’s bass. Meanwhile, Dianne Reeves’ Beautiful Life is gorgeous, but not groundbreaking and a bit too “calculated”.
I think the Grammy will go to Gretchen Parlato’s Live in NYC. This well-executed live recording brings forth some of Parlato’s best songs from her previous albums The Lost and Found and In a Dream. I can’t really explain why I feel Gretchen will take it, but it just “feels” like the music industry itself wants to grant her the award, just like last year “felt” like Porter’s year. The record is good and once you get accustomed to Gretchen’s unique delivery (which can be a bit of an acquired taste), you will discover depth, intelligence and most importantly, a strong sense of personal identity.
In the instrumental category we’ve got the raw and captivating Floating by Fred Hersch Trio, where the pianist returns to the studio to record perhaps his most sanguine outing. Jason Moran presents All Rise: A Joyful Elegy to Fats Waller, which is undoubtedly joyful and delightfully quirky but otherwise not outstanding. Enjoy the View deserves high praise for excellent compositions and fantastic interplay between Bobby Hutcherson, David Sanborn and Joey DeFrancesco, but lacks an overall narrative cohesion.
Personally, I would give the award to Brian Blade’s Landmarks, the most pensive and emotional of the records but I think the NARAS will use last year’s pattern, where they give the vocal award to the up-and-comer and the instrumental to the veteran, so I predict that Chick Corea’s Trilogy will be the winner (which is also great news for Brian Blade, who plays drums on that record). In all fairness, Corea’s monster three-record magnum opus is an imposing work and I think the NARAS will want to honor Corea as a sort of “lifetime achievement” Grammy after nominating him sixty-one times and granting him twenty little gramophones. Let’s see if I’m right!
Now, let’s take a look at the winners of the most coveted “boutique” award in the music industry. Interestingly, both records are special edition works and both are deserving of large-scale exposure, so let’s hope the musicians decide to go that route as well.
The Music and Myth Awards go to…
Best Vocal Record: The Song Project – Vinyl Singles Edition (Tzadik)
Sometime in late December I found out that John Zorn decided to release this limited edition vinyl and I breathed a sigh of relief. No other musical project has haunted me throughout last year like this one. So far, The Song Project existed only in the form of concerts, like this marvelous performance in Warsaw. It was killing me that these songs hadn’t been captured on record, because I was itching to give this project “best vocal record”. It just felt wrong to grant the award to anyone else. Even on paper it looks brilliant: John Zorn employs three world-caliber vocalists to write lyrics to some of his most melodic tunes and puts together an all-star band of the world’s most capable musicians to perform the tracks. Just look at this list of names: Marc Ribot, John Medeski, Trevor Dunn, Cyro Baptista, Joey Barron, Kenny Wollesen, Jesee Harris, Sofia Rei and freakin’ Mike Patton. The compositions are fantastic, the interplay borders on the paranormal and the delivery by the three vocalists is exquisite. Here’s what I wrote about it in my review:
It was love at first sound. How could it not be? The Song Project features a distinguished cast of performers from all over the musical spectrum, coming together to bring to life the tunes of one of the most accomplished, groundbreaking composers of all time.
Anyone who has to ask why John Zorn is a genius is probably not reading The Music and Myth. In The Song Project, the composer summoned three world-caliber vocalists to write lyrics to some of his greatest arrangements. What resulted was a new musical project of profound poignancy. Backed by an amazing band that features Marc Ribot, John Medeski, Trevor Dunn, Joey Barron, Cyro Baptista and Kenny Wollesen, vocalists Sofia Rei, Mike Patton and Jesee Harris each bring forth their own expressive insights. After a series of fantastic concerts, the composer fortuitously decided to capture the experience on vinyl, releasing a record simply titled The Song Project Vinyl Singles Edition under the self-run Tzadik label.
This record is definitely a worthy successor to Patricia Barber’s fantastic Smash as the Music and Myth’s Best Vocal Record and I can only hope that Zorn will decide to make this music available in other formats as well.
Best Instrumental Record: Horea Crisovan – My Real Trip (self-released)
To tell you the truth, I hesitated before deciding on this record. That’s not because I don’t consider it entirely deserving. It is, without a doubt, the best instrumental record I’ve come across this year (and I listen to a lot of music). The problem lies with Horea himself, or rather, with my relationship with him. Not only is he a compatriot, he is also a personal friend and that’s a well-documented fact. Of course, choosing the record merely on this basis would be unfair. But wouldn’t it be equally unfair to dismiss it for the same reasons?
Here is what I wrote about it in my review:
My Real Trip doesn’t only feature Horea the guitarist, but also Horea the composer. The listener finds him at his most comfortable: on acoustic, playing profoundly melodious, story-driven songs. This is the purest form of music: self-released, in limited edition, containing entirely and exclusively the artist’s vision – a veritable breath of fresh air in an industry cluttered with easy-listening tunes for the lowest common denominator. In a way, this is the anti-record: an independent work of art that celebrates the musician’s vision and character. This is Horea drinking wine, it’s Horea riding his beloved bicycle or retreating to the mountains to think. It’s Horea playing the music he loves most, with no-one hovering over him, telling him what to write or pressing him to adjust his compositions to the perceived demands of an easily distracted target-audience. His target audience consists of people who love music for the artistry and dedicate their full attention to it. His audience does not merely want to hear sounds, they want to experience music and My Real Trip delivers.
[…]Horea Crișovan’s long-awaited debut is a heartfelt expression of love for the medium. The musician invites you into his own personal space and you truly feel like you are a part of his compositional universe.
I am not a musician, but I am an award-winning writer (sorry, I just had to place that in there :P) and as such, primarily a storyteller. The narrative and the genuineness of the artist (see Patricia Barber’s Smash, Sofia Rei’s De Tierra y Oro or Xela Zaid’s Orange Violet) are as important to me as their skill or the money their record label invests in post-production. Like last year’s record – Iva Bittova’s self-titled album- My Real Trip captures the essence of the musician in a simple, yet singular way and that is what makes it the best of the best.
Congratulations to the musicians, the physical prize consists in a copy of my science fiction novel Mindguard if you will just kindly leave me your e-mail addresses so I can send you the Amazon gift card. These are the Music and Myth Awards for 2014, I’m anxious to see what 2015 has in store for music lovers!