Jer's Top Ten CDs of 2001

All Proceeds from CDs bought at AMAZON.COM when linked from this site support Jer's Page

Time the third annual edition of “Jer’s Top Ten CDs of the Year”. For a few days this Fall even music seemed insignificant compared to the horror unfolding in the world, but when the initial shock began to wear off and I could turn off the TV for a little while, I once again found solace in music. Mostly I returned to the comforting songs of the past. I played the Dire Straits’ Brothers in Arms album a lot because the title song seemed appropriate and it harkened back to seemingly simpler days. I also wore out a November 1983 Jerry Garcia Band bootleg CD that my friend Scott had originally given me back in college. I remember driving down the highway listening to the radio simulcast of the “Tribute to Heroes” telethon and almost having to pull over as I listened to Neil Young perform the most heart wrenching version of “Imagine” that closely mirrored Lennon’s original while being one hundred times more intense. One brand new album in particular did bring a measure of peace and understanding to the whole scary mess, which brings me to my choice for album of the year...

1. Love & Theft-Bob Dylan

Anyone who knows my musical tastes knows that this choice is no big surprise, but Bob earned his spot on the top of the list. I thought that 1997’s Time out of Mind was a masterpiece and if Bob never did another record he had still sealed his legacy with one last great album. Then along comes Love & Theft which is totally different than it’s predecessor while still being totally brilliant. Dylan is in a peppy mood here and he reinvents himself once again, this time as a wisecracking crooner with a pencil-thin mustache. He covers a lot musical ground here including Jazz, Pop, Folk, Blues and Rockabilly. “Highwater" is a banjo-driven tribute to Charley Patton and the uncertain world he lived in, but it ends up portraying our current reality as eloquently as anything I could imagine. “Moonlight” is a Billie Holiday style ballad that manages to be love struck and cynical at the same time. “Mississippi” is classic Dylan fare with insightful and descriptive lyrics that stand up to his strongest work. Dylan recorded the album earlier this year with his touring band who have distinguished themselves as Dylan’s best instrumental supporters since The Band.

2. Scar-Joe Henry

I have heard a lot about Joe Henry over the years, but never actually heard his music. The inclusion of a rare guest appearance by jazz great, Ornette Coleman pushed me over the edge and into buying this album. Henry concocts a sort of Blues/Folk/Lounge conglomeration that is made even stronger by his backing band made up of New York musicians like Marc Ribot, Brian Blade, Brad Meldau and Me’shell Ndegeocello. You will be hard pressed to find sadder or more poignant songs this year than the opening medley of “Richard Pryor Addresses a Tearful Nation” and “Stop”. “Richard Pryor…” features a Ornette Coleman solo that hits so hard it is like a punch in the stomach. “Stop” is actually the same song as that “Don’t Stop” song that was a hit for Madonna this summer. It turns out Henry is related to Madonna somehow and they collaborated on the song which actually isn’t bad by Madonna, but it’s better here. Also, check out the bonus track at the end, which sounds like Ornette warming up in the studio, but even his warm-up is brilliant.

3. Blue Boy-Ron Sexsmith

This album took awhile to grow on me, but I now I am drawn back to it again and again. Sexsmith is singer-songwriter from Canada who writes beautiful melodies and lyrics, which is rare. The strongest songs on here have a bit of a jazzy side to them like “Foolproof” which sounds like a lost Chet Baker song. If there is any justice in the world it should become a jazz standard. Two of Sexsmith’s biggest supporters are Elvis Costello and Paul McCartney and both of their influences are evident here. Steve Earle and the “Twang Trust” are credited as the producer, which seems odd since there is not much twang here, but to his credit, Earle stays unobtrusive as a producer. The common link between Sexsmith and Earle is undoubtedly their great songs.

4. Count’s Jamband Reunion-Larry Coryell, Steve Marcus, Kai Eckhardt and Steve Smith

Apparently, fusion guitarist, Larry Coryell and tenor saxophonist, Steve Marcus had a short-lived Jazz-Rock band called the Count’s Rock Band back in the sixties. Journey drummer Steve Smith got the two back together to record a “reunion” album and against all odds, the result is really good. They manage to pull of the layers of encrusted cheese that have plagued the fusion genre since the sixties and produce something that is somewhat retro, but also modern. Coryell is legend with fusion and progressive guitar fans and he manages to be spacey and jazzy without losing his edge. Marcus is obviously influenced by Coltrane, but if you think Coltrane playing with an acid-rock band would be cool then you might dig this album. Smith is a very talented drummer and I can forgive him for Journey because he is really inventive and does not overplay on this release. Kai Eckhardt is a young bass player who also plays with Garaj Mahal. Jeff Chimenti plays keyboards on about half the album. Chimenti is one of my favorite keyboardists who also plays with Ratdog and Les Claypool’s Flying Frog Brigade (Both of those bands also released excellent live albums this year).

5. The Philadelphia Experiment-Uri Caine, Ahmir Thompson and Christian McBride

This is a cool record from the good folks at Ropeadope Records who put out several strong albums this year. This album combines three Philadelphia musicians from three seemingly different genres together to jam. They are Uri Caine (Avant-garde), Ahmir Thompson (Hip-Hop) and Christian McBride (Jazz). The result is really cool and a great album for just chilling. The album is a tribute of sorts to Philadelphia itself and includes several songs associated with the city including Elton John’s “Philadelphia Freedom”. The overall feel is very groovy. All songs are instrumental Jazz/Funk with a twist. Pat Martino sits in on 3 tracks on guitar and plays great.

6. Essence-Lucinda Williams

Some critics seemed disappointed by this follow-up to Lucinda’s cool as shit 1998 album, Cars Wheels on a Gravel Road. I think that is because it is very different, but you will be left behind if you don’t at least give this album a chance. Lucinda has said that Billie Holiday was a big influence on the style and feel of this album and you can hear it on most tracks. Most songs feature mellow and unobtrusive arrangements that frame Lucinda’s beautiful singing. You can hear Billie Holiday coming through but that influence is mixed with a solid helping of Carter Family twang. This album was meant to be heard late at night. Lucinda is backed by some of my favorite musicians including Bo Ramsey, Tony Garnier, Charlie Sexton, Jim Keltner and Jim Lauderdale.

7. The Word-Robert Randolph, John Medeski, Luther Dickinson, Cody Dickinson and Chris Chew

This was the disc (also on Ropeadope Records) that introduced steel pedal guitarist, Robert Randolph to the world. Randolph had previously only played in churches and religious gatherings, but here he teams up Luther, Cody and Chris from the North Mississippi All Stars and John Medeski of Medeski, Martin & Wood. This is instrumental gospel music that summons the spirit of the Jesus and Duane Allman simultaneously. This album is high-spirited good fun that has a contagious energy and incredible chops from this all-star band. Medeski is especially good on Organ. Randolph also put out a really good live album this year with his regular backing band.

8. Spirit of the Century-Blind Boys of Alabama

More Gospel, led by Clarence Fountain these guys have been producing great work for decades, but this album is really special. It features a distinguished backing band consisting of John Hammond, David Lindley, Charlie Musselwhite and Danny Thompson. The Blind Boys are the real stars as usual though as they wrap their voices around some strange, but cool song choices like, “Give A Man a Home’ by Ben Harper, “Way Down in the Hole” by Tom Waits and “Just Want to See His Face” by the Rolling Stones. All of these more modern songs work really well as do more traditional fare like “Motherless Child”, “Nobody’s Fault But Mine” and the incredible “Amazing Grace” which is reset to the music of “House of the Rising Sun”.

9. The Deep End Vol. 1-Gov’t Mule

When Gov’t mule bassist Allen Woody died last year it was unclear weather his band mates, Warren Haynes and Matt Abts would continue on. They couldn’t figure out how to replace Woody so instead they invited some of the best bassists in the world to sit in on one track each for this album which is only part one of a two part set (part two is due this Spring). Gov’t Mule plays mostly Cream-style Blues-Rock with a Southern twist, but they manage to be especially versatile with their guests. ‘Down and Out in New York City” is a relatively unknown James Brown tune that features Flea on bass. “Life on the Outside” is a funky Haynes original with Larry Graham on bass. John Scofield and Chris Wood sit in on guitar and bass respectively for a jazzy jam called “Sco-Mule”. There are a lot of highlights here including tracks with Mike Gordon, Jack Bruce and Little Milton. Warren Haynes had an incredible year in 2001. He not only recorded this album, but toured with the Allman Brothers, Phil Lesh & Friends and Gov’t Mule.

10. National Antiseptic-James Mathus & His Knockdown Society

Front man James Mathus also played on Buddy guy’s excellent CD, Sweet Tea, but his solo disc is even better. This is his second album under the Knockdown Society moniker (Mathus also fronts the Squirrel Nut Zippers). Luther and Cody Dickinson play a large role on this disc, which adds to the fun. There is a little bit of Folk, R&B, and Gospel here, but mostly this is the Blues. While the music owes a debt to its predecessors like Muddy Waters, Howlin’ Wolf and Charley Patton, it is not enslaved to the Blues tradition which is what makes it so good. It is a really fun album with great musicianship and creativity. I want to note that Luther and Cody Dickinson have to be my Co-MVPs of 2001. They played great on this album as well as The Word. They also were the back-up band on John (Jojo) Hermann’s cool Folk-Rock album on Fat Possum records, Smiling Assassin. In addition they released the second North Mississippi All Stars album, 51 Phantom in December that would probably be # 11 on this list.