Team JamBase’s Favorite Albums Of 2023

The BT ALC Big Band, one of Boston’s most treasured institutions, does their best to reshape and honor the tradition of the big band ensemble. Using the familiar format of five saxophones, four trumpets, four trombones and a rhythm section like the big bands of old, but introducing elements of soul and funk, the rotating cast ensemble has created an authentic and at its core, joyous new sound.

While the ensemble is best taken in at their local gigs (check out their monthly residency at Sally O’Brien’s in Somerville where the ensemble takes up about 25% of the room!), they laid down an epic record in 2023, Hearing The Truth.

Relying on their massive family of collaborators, the nine tracks on the album feature not just founding members Brian Thomas (BT) and Alex Lee-Clark (ALC), but also contributions from John Medeski, G. Love, The A-Beez, Eric Krasno, Karl Denson, Nigel Hall, Eric Benny Bloom and many more.

In late 2022, Taylor Swift released her 10th studio album, Midnights. The record is approachable, almost conversational in its delivery, and a mature dissection of “after-hours agonies.” It’s broody and self-reflective. Cryptic lyrics pair synth-pop with whispers of hazy R&B; a departure from her country-pop-tinged guitar-driven sound and reactive lyrics on previous albums.

The album’s lead single, “Anti-Hero” addresses feelings of depression and self-loathing, and was a commercial success perhaps because it’s so relatable. Alternatively, the synth-heavy “Karma” was delivered with a low-vibe sass over a chillwave structure that belies subtle fuck you-ism. The other 11 tracks linger in the middleground and are a reflection of societal and social – both internal and external – pressures.

And that could have been enough for Ms. Swift. But instead, in May of 2023 she released a deluxe expansion of the record, titled Midnights (The Til Dawn Edition) with added tracks on both physical and digital versions, and even those versions differ from one another.

Swift and Lana Del Rey re-recorded vocals for their dreamy “Snow on the Beach” collaboration, and rapper Ice Spice was added to “Karma,” adding an additional layer of punch. Cynics will say deluxe versions are a cash grab, but I appreciate artists who are always looking to improve their offerings; to rethink their approach and level up. In re-recording or enhancing tracks to make a solid offering superior, there’s a fallibility that I respect.

Contemporary jazz phenom Hiromi returned this year with a new band – Sonicwonder and electric new album – Sonicwonderland. Always tapping massive talents to flank her virtuosic playing Hiromi’s Sonicwonder band features Hadrien Feraud on bass, Gene Coye on drums and Adam O’Farrill on trumpet who all stand up as individually gifted musicians in their own rights. For Sonicwonderland‘s lead single of the same name Hiromi brings out synths she rarely taps (or at least we haven’t heard from her last two albums: the soundtrack to the animated film Blue Giant and her 2021 classical piano quintet album Silver Lining Suite). The energy she is famous for bringing to her live performances is on display from the first notes of “Sonicwonderland” with a driving four to the floor and electronic frenzy that is perfectly ornamented by O’Farrill. The track is a great lure for younger audiences to be introduced to and explore the world of Hiromi – (indeed many have with the album’s release bringing her to NPR’s legendary Tiny Desk for the first time).

All band members have their moments throughout the album including a soulful solo from Feraud on “Utopia” and steady chill Chicago swing from Coye but O’Farrill stands out through the nine tracks not just for the tonal strength of the trumpet but for a displayed mastery of his instrument. It is clear Hiromi has found a perfect player for her exciting compositions. The album takes a more mellow tone after the high of “Sonicwonderland” but ends with another fun ragtime tune “Bonus Stage.” If you’ve never heard Hiromi before let Sonicwonderland be your introduction to the most fun you’ll have with a jazz album all year.

The guitar wizardry of William Tyler isn’t about mind-bending solos, instead he focuses on weaving a sonic tapestry so warm and welcoming that it begs to be lived in. Secret Stratosphere is a live document of Tyler backed by his band The Impossible Truth, a collection of Nashville’s finest that breathes life into his pastoral compositions.

Featuring material from the past decade, including three tracks off his outstanding 2015 release Modern Country, I find myself returning to this album again and again. It deserves to be listened to from start to finish, with closing track “Area Code 601” putting an exclamation point on the performance.

I’m so thankful that two of my favorite artists got together and formed “a musical freehand sketch collaboration.” Michael Nau and Seth Kauffman (Floating Action) joined forces to create the almighty Dream Sitch. Their sophomore album titled Long Rattle did not disappoint.

These two have a knack for consistently producing original sounding and groovy tunes. There isn’t a track on this record I skip and after dozens of spins I still haven’t gotten tired of any of the songs. Do yourself a favor and give this album a listen if you haven’t already.

Catch Kauffman behind the drum kit on Nau’s upcoming spring tour in 2024!

Multi-Grammy Award winning artist Jon Batiste, released yet another spellbinding album, World Music Radio. The album has 21 tracks, including a bonus track featuring Lana Del Rey. Batiste said “I wanted to have that effect where you’re traveling from Saturday night to Sunday morning and you’re slowly moving towards this state of bliss, in this state of feeling this ultimate humanism and togetherness with everyone and feeling connected to the universe,” and the album does exactly that. It takes you on a worldwide journey through hip-hop, pop, dance, soul, latin, folk, classical and gospel. A little something for every type of listener.

“Running Away,” featuring Leigh Anne, the 17th track on the album, evokes powerful emotions, reminding us of the importance of friendship and supporting each other. “Wherever You Are,” another emotionally charged song on the album, is beautifully melodic and easy to connect and relate to. World Music Radio is captivating from start to finish, go give it a listen!

No not that Neal Francis, the other NEIL FRANCES. The one that’s comprised of two guys, neither of whom are named Neil or Frances.

I’m an avid Spotify song favoriter and I start feeling dumb when I go through an album and realize I’ve favorited most of the songs on the album. That’s what happened with their October release, It’s All A Bit Fuzzy. Catchy hooks, solid-yet-varietal grooves, and great features make this album one of my favorite dance albums in a while and I can’t wait to catch them live.

Keyboardist and singer-songwriter Neal Francis (yes, that that Neal Francis) captured his live album Francis Comes Alive straight to tape with an expanded 11-piece band during a show at Thalia Hall in his hometown of Chicago on March 25.

The record can be seen as a live “greatest hits” album of sorts, gathering together songs from Francis’ first three solo studio albums Changes, In Plain Sight and Sentimental Garbage. While all stellar records with that vintage funk and soul sound, the live versions on Francis Comes Alive crackle and glow with an amber analog energy like being inside an amplifier tube.

Francis Comes Alive is a fantastic listen start to finish but standouts include “Changes, Pts. 1 & 2,” “Alameda Apartments,” “Don’t Want You To Know,” “Can’t Stop The Rain” and “Problems.”

I had heard of the live antics of Andy Frasco and his squad, but it wasn’t until I saw them open for Twiddle at the 8×10 in Baltimore that I finally “got it.” My assumption was that they were flashy, gimmick laced and sub par musicians. I was very wrong. Andy and his band are incredible musicians, who can bring a positive vibe to any venue. He orchestrated a fan based hora at a show in Germany for goodness sake!!

I dove deep into his latest album, L’Optimist, when it dropped in August 2023. Appropriately named, each song brings a sense of joy, excitement and feel good tickles that make you chair dance in your office. The opening track, “Oh, What a Life” features the alt/hip hop duo Little Stranger. “Iowa Moon” strips the antics down to a beautiful folky ballad that showcases Andy’s vocals and sensitive side. The dichotomy of the song, “Miss Getting High,” isn’t lost on most, as Andy and his band matures and broadens their subject matter, while keeping in the wheelhouse of partying and spreading positivity.

Andy Frasco & The U.N. are best served live and in person, but check out L’Optimist before heading to your local club and get familiar with his original tunes. And don’t forget your dancing shoes – his show is infectious and you cannot help but smile and join in!!

There aren’t many artists capable of putting out a collection of songs able to stand among their best after eight albums. Yet Jason Isbell and his powerhouse backing band, The 400 Unit, did just that with their excellent Weathervanes record. Isbell is a master storyteller who pulls no punches and writes songs addressing the turbulent times we’re living through.

Weathervanes has been out for six months and I’m still drawn in more with each listen. I’m also blown away by the production values, an impressive feat considering Isbell was behind the board after he made four straight albums (leaving the covers LP Georgia Blue out of the equation) with the incomparable Dave Cobb. Each of the album’s 13 tracks hit hard with “Cast Iron Skillet” a particular gut-punch.

When Yo La Tengo released This Stupid World back in February I had the thought that it would be hard to top the album as my favorite for the year and over the next 10 months that proved true. The album’s nine tracks were built out of in-studio jams and the record reflects the live feel of the sessions.

Yo La Tengo’s typically dynamic approach to songcraft is apparent throughout the record within their signature juxtaposition of noise and melody, heavy and soft sounds, quiet and loud expressions and darkness with lightness. The sprawling seven-minute opening track, “Sinatra Drive Breakdown,” sets the tone for the album, which unfolds as a cohesive unit and sounds like the work of a band performing upon the foundation of several decades of trust.

Though they often collaborate with outside producers, Yo La Tengo self-produced and self-recorded This Stupid World, which is the trio’s 17th full length release. In taking such an insular approach, Ira Kaplan, Georgia Hubley and James McNew were able to capture a truly authentic representation of the current state of the band.