John Kelly's Top 10 Albums of 2021

In no particular order, here goes...

Promises – Floating Points, Pharaoh Sanders and The London Symphony Orchestra.

Sam Shepherd, who records under the name Floating Points, has made many a fine album, but this collaboration with the legendary saxophonist Pharaoh Sanders is a thing of absolute wonder, power and beauty. Shepherd really was the man for the job – a musician of great taste, who knew his history and, very importantly, knew exactly what to do with the orchestra. And as for the mighty Pharaoh, being in his 80's had in no way diminished his genius – a genius also much in evidence at the NCH in 2018. Quite possibly the last time I was out.

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Vulture Prince – Arooj Aftab

I was so taken by this album that I immediately sent it off to my most trusted musical friend. My breathless enthusiasms, I’m glad to say, were very quickly confirmed. Arooj, who lives in Brooklyn, grew up in Pakistan and her music has been termed Neo-Sufi – a reference to both her very rich heritage and a progressive approach to the music. She somehow manages to break free of tradition and yet somehow, remain very beautifully within it. There’s a sadness in there too. These are very deep waters. Like Arooj herself, this is the real thing.

She Walks in Beauty – Marianne Faithfull with Warren Ellis

Eleven poems delivered by Marianne over musical settings assembled by the great Warren Ellis of Dirty Three, Grinderman and, of course, Nick Cave and the Bad Seeds. Poets like Shelley, Keats, Byron, Tennyson etc. are perhaps not cutting edge enough for the new crowd, and many of these old-school, romantic poems may be familiar only as classroom texts, but don’t be put off by any of that. Marianne’s voice could break your heart. The version of Thomas Hood’s The Bridge of Sighs is almost too much to bear.

Tone Poem – Charles Lloyd & The Marvels

Yet another octogenarian saxophonist, the mighty Charles Lloyd and his third full-length album with The Marvels – a quintet that includes Bill Frisell. Typical of Lloyd’s eclectic approach, this one features compositions by Ornette Coleman, Leonard Cohen and Gabor Szabo and it is, like pretty much everything Charles Lloyd does, marvellous.

Deciphering The Message – Makaya McCraven

Drummer, producer and beat-scientist Makaya McCraven hokes through the vaults of Blue Note Records and applies his skills to reimagining tracks that are, for the most part, not particularly well-known. To even consider the idea of beats when the original drummers are people like Billy Higgins, Art Blakey and Elvin Jones you’d really need to know what you’re at, but Makaya has proven over the years, not least with his reimagined version of Gil Scott-Heron’s final album, that he’s one of finest musician/producers of his generation. There’s a lot of groove on this one. Very welcome groove indeed. And anything that sends people back to source is always a good idea.

The Trojan Story – various

This one’s a reissue – three albums of ska, rocksteady and reggae originally released in 1971. This makes it a 50th anniversary of a release that really did change the shape of things; and this back at a time when much of this music was considered old hat and of very little consequence. From Lord Tanamo to Jimmy Cliff, Dandy Livingstone to the Maytals, from Phyllis Dillon to Lee "Scratch" Perry this is as enjoyable and danceable as historical documents get.

The Solution is Restless – Joan As Policewoman, Dave Okumu and Tony Allen

An album that developed from a one-off, free session with the tape just rolling. Joan, who has made some really great records over the years, has all the musical chops for a project like this one. Classically trained, wide-open to just about everything and always eager to collaborate. Tony Allen, as always, provides a glorious groove – and it’s a groove that now brings a whole added significance to the very spirit of the record. At the beginning of April, news came of the death of Joan’s mentor Hal Wilner and then, at the end of that same month, Tony Allen died. The album is dedicated to both men.

Sound Ancestors – Madlib

Multi-instrumentalist and producer Madlib is heard here in collaboration with Four Tet’s Kieran Hebden. It’s billed a Madlib solo record but even so, Hebden edited and arranged these 16 tracks from among several hundred that were sent to him. I’m never really too sure who’s doing what on records like these, but then I don’t look that closely into it. Yes, I love to spot the odd soul or jazz sample but beyond that it’s an experience in itself. So, as long as it works, I’m up for it. And this works a treat.

Hay What – Low

Alan Sparkhorse and Mimi Parker back with some truly beautiful noise. There’s always something sparse and simple underneath, and often melodically heart-breaking too, but then the whole thing is gorgeously enveloped in feedback and static and, after that, it all depends on how loud you can play your stereo. It really is a sonic adventure into the unknown. And this is where I really miss gigs. The chance to hear a band like Low playing like this, and holding its nerve, at volume.

Achtung Baby – U2

Another anniversary reissue – this time an extremely hard-to-believe 30 years. If you’re a youngster and you’ve somehow missed U2, or you’re one of the old guard and have come take them for granted, stick this record on as loud as you can go. It’s a belter of an album, and one that sonically and every other way, absolutely achieved what it set out to do. Some very big songs on here too. U2’s best album? I think it is. Certainly my favourite.

John Kelly's Top Ten Albums of 2021

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