The Best Music of 2009

A confession. I’m not the biggest fan of year-end top ten lists. Let’s face it, some years – like this one – you can’t come up with ten albums you absolutely love. Also, it’s not like I’ve heard every album released during the year. Although I am Rich in name, spirit and friends, I am not in terms of bank accounts. As such, I tend to restrict my lists to the music I’ve purchased or have been given by a generous pal or kind publicist. In addition, I like to live with an album for a while. See, in many ways listening to an album is like dating. There are the ones you dislike instantly and never see or hear from again. There are the ones that you think you love at first but, three encounters later, you realize everything that can be said has been said and all that follows now is boredom. Then there are the ones with nuance which reveal different pleasures with each listen. The following six albums - presented from number 6 to number 1- meet the preceding requirements and are, so far, the keepers.

“The Fall” by Norah Jones. Like another overnight sensation, Alanis Morrissette, the critical chatter of Jones’ work since her meteoric debut has been more about declining CD sales rather than artistic growth. That’s a shame because also like Morrissette, Jones’ music has deepened with each successive album. Centering on a relationship’s demise, “The Fall” is her best yet. Think of this as her Millie Jackson album with Jones convincingly singing with an angry, brokenhearted weariness. Whoever this guy Jones is warbling about must be feeling mighty low now. Seems like he drove her out of Brooklyn – as on the album’s best cut “Back To Manhattan” – and straight into the studio for one terrific finger-wagging record.

“King Of Latin Soul” by Joe Bataan. This is a totally sentimental pick. Among my treasured earliest memories as an infant are of sitting on my late much-beloved grandmother’s living room sofa while my uncles and aunts danced to the latest boogaloo 45’s. Backed by the fine Spanish group Los Fulanos, Bataan recreates that signature sound and ably reproduces the sonic excitement as well.

“Stronger With Each Tear” by Mary J. Blige. In which the greatest soul singer of the last 25 years proves why she’s deserving of such a title. Even when the material isn’t up to her ever-improving vocal powers, Blige’s commitment to truth in the grooves elevates it. And when the songs are worthy of her - as the last three “Kitchen,” “In The Morning” and “I Can See In Color” are – the results are as miraculous as she is.

“Memoirs Of An Imperfect Angel” by Mariah Carey. In which the most underrated diva of the last 25 years continues her winning streak. Since her “Vision Of Love” debut, Carey has consistently put out one entertaining album after another. Forget the pampered image and drunken award acceptance speeches and just listen to that glorious voice. It’s no wonder she’s directly influenced a generation - for good and bad – of hitmakers from Christina Aguilera and Britney Spears to Jordin Sparks. It’s that powerful and expressive. And when she’s pissed off as on the Eminem diss “Obsessed,” well, let’s just say there’s no other pop singer that can hit high C with a snarl.

“Together Through Life” by Bob Dylan. Dylan hasn’t sounded this fresh, funky and, yes, funny in ages. The highpoint? His evil chuckle at the end of “My Wife’s Hometown.” (Which just happens to be Hell.)

“BLACKSummers’ Night” by Maxwell. Not only is this the best album of the year, this is the best soul man album since Marvin Gaye’s “I Want You.” With this sultry R&B work with jazz underpinnings, the previously-underrated Maxwell enters the musical pantheon. The first thought after hearing the superb album opener “Bad Habits” is that he has never sung with such unadulterated passion. The realization a few months and dozens of listens later is that few male singers ever have. What makes the album great is that he dares to start at such a high emotional peak and then maintains it for the next 8 tracks. A masterwork.

Honorable mentions: “Cantora” by Mercedes Sosa: a worthy coda to a glorious career. “MPL Sound” by Prince: the Purple One’s best dance disc since “The Black Album.” “Music For Men” by Gossip: an exciting effort which almost equaled the hype. “Let’s Do it Again” by Leela James: finally, Shanachie releases a covers album that nearly matches the originals.

Song of the year: “Empire State Of Mind” by Jay-Z & Alicia Keys.
In which Hova proclaims himself to be the new Sinatra and bolsters his case by providing the Big Apple – and, later, the Yankees – with the best anthem it’s had since Ol’ Blue Eyes hijacked “New York, New York” from Liza Minnelli. The funniest thing about it is as much as I love it, now that I’ve heard Alicia Keys’ quieter take on it on her “The Element Of Freedom" album, I prefer her version. Where Jay-Z swaggers through the streets of New York, Keys provides a slower, sensitive tour through the city that never sleeps. It’s the difference between traveling by limo and a gypsy cab. One’s about being sleek and styling while the other’s about necessity and negotiation. Yes, they both get you to your destination but only the latter’s going to give the grit and bumps of the city. While Jay-Z gives you the panoramic view; Keys not only zooms in on the faces on the corners but also their souls. Great stuff either way.